Art by Medium: Chalk

Enzo Benedetto (Reggio Calabria 1905 - Rome 1993), Soldier, Comrade in Arms Plaster sculpture measuring 33 x 23 x 21 cm. Provenance: descendants of the artist, Rome. Work accompa...

Gustave FONTAINE ( Etterbeek 1877-1952 Bruxelles). Opera firmata (vedi dettaglio foto) Misura scultura (vedi scheda tecnica) Base appoggio 32 x 29 cm Scultore policromo e pittore....

Ritratto di Noemi, 2019 Graphite and White Chalk on Toned Paper, 7 x 10 inches “Ritratto di Noemi”, a captivating portrait, by artist Justas Varp...

Nicolle was born in Zimbabwe (Rhodesia as it was then) and grew up in Africa and then travelled the world for some years before settling in the Uk. “My love of colour stems from my ...

Framed dimensions: 19.13 x 17.25 in

This magnificent drawing from the Venetian Renaissance intrigues us in many ways. It depicts an allegorical composition whose meaning partly escapes us: a veiled figure seated on a stone bench (which we have identified as Chastity), seems to be turning away from a woman's bust beside her, below which are two rabbits, a traditional allegory of fertility, but also sometimes of lust. This drawing, executed on blue paper, undoubtedly belongs to the Venetian Renaissance. The inscriptions on the back of the old mounting board indicate the various attributions considered by its last owner, the British painter and art historian Sir Lawrence Gowing. We have retained the attribution to Giuseppe Porta proposed by art historian John Arthur Gere as the most relevant. We were incredibly fortunate to find a hexagonal frame of a very similar format for this drawing, the upper corners of which were formerly cut (irregularly). This 17th-century Dutch frame comes from an aristocratic collection in Lombardy, and creates a kind of fascinating chase around this Venetian drawing...

Her unparalleled artistic talent and her most significant contribution to art history are evident in her treatment of movement, both in her depictions of dance and in her numerous po...

Hermann Prell (1854 Leipzig - 1922 Dresden-Loschwitz). Half-length portrait of a Pharisee, 1885. Sketch for the right-hand figure in the painting Judas Iscariot, 1886. Pencil drawing heightened with opaque white and black chalk on beige-grey wove paper (papier vélin), 34 x 27.8 cm (visible size), 52 x 45 cm (mount), signed, dated and inscribed "H. PRELL 1885 zu 'Judas'". Minor browning, collection stamp on the reverse. - In the shadow of betrayal - About the artwork This painting is the sketch for the head of the Pharisee offering the coins to Judas in one of Herrmann Prell's major works, the painting Betrayal of Judas, completed in 1886. The painting belongs to the Staatliche Kunstsammlungen Dresden and is illustrated in Adolf Rosenberg: Prell, Bielefeld and Leipzig 1901, p. 21 (Fig. 19). It is especially highlighted in Thieme-Becker (vol. 27, p. 376). Hermann Prell, Betrayal of Judas, 1886 The monumental head, which fills the picture and is distinguished by its ornamented robe, is almost a lost profile, which in the executed painting is justified by the Pharisee's turning towards Judas. Despite the fact that the sitter withdraws from the viewer by turning away, it was necessary to artistically elaborate the motivation for the purchase of one of Christ's disciples, which is why the drawing focuses on the expression of the face, while the 'accessories' are treated in a more summary manner. In characterising the face, Hermann Prell performs a balancing act: since the Pharisee, despite his destructive actions, is an actor in the history of salvation, the head must show a dignity appropriate to the event, but at the same time the physiognomy must also bear witness to the scheming attitude that led to the betrayal. To solve this dilemma, Prell draws on the traditional depictions of the heads of the apostles, shading the face to indicate the obdurate darkness of the spirit and moving the base of the nose slightly upwards while the mouth falls away, thus giving a physiognomic expression to the motivation of the action. The fatal drama of the betrayal is expressed in the monumentalisation of the head and in the thunderous white highlights that contrast with the darkness of the chalk. As a study, considered by the artist to be a work in itself, this drawing reveals the pictorial problems and brainstorming of monumental painting. About the artist In 1872 Prell, who was one of the most important exponents of monumental painting of his time, began studying painting with Theodor Grosse at the Dresden Academy of Art and continued with Carl Gussow at the Berlin Academy in 1876. Hans von Marées taught him in Rome in 1878. More influential on his work, however, were Arnold Böcklin and Max Klinger, with whom Prell had been friends since his student days and with whom he worked together on several occasions. Prell's first major work, which established his reputation as a monumental painter, were the frescoes in the banqueting hall of the Architektenhaus in Berlin in 1881/82, commissioned by the state and depicting the different periods of architecture. Prell then went to Italy for two years to study fresco painting. Other major commissions followed. These included monumental frescoes in the town halls of Worms (1884), Hildesheim (1882-92), Gdansk (1895) and Dresden, the staircase of the Silesian Museum of Fine Arts in Breslau (1893/94), the throne room of the German Embassy in Rome (1896-99) and the staircase of the Albertinum in Dresden (1900-1904). From 1886 Prell taught at the academy of arts in Berlin and in 1892 he was appointed professor at the academy of arts in Dresden. His students included Osmar Schindler and Hans Unger...

A colorful sketch of a female bust, in the style of contemporary academic realism. Artist Bio Ben Fenske (b. 1978) although a native of Minnesota, a...

An abstract composition featuring soft organic shapes in muted earth tones and translucent blues. The forms resemble fluid droplets or anatomical structures, outlined loosely with ex...

"Hiding on Saturn (No. 2)" is a 31.5 x 36-inch mixed media painting by Katherine Filice, made with ink, paper, charcoal, branches, stucco, and chalk on buried canvas. The surface is ...

An early work on paper, by American Impressionist painter, Ben Fenske. It's rare to see a drawing like this from Fenske, especially of a self portrait. Fenske uses classical draftin...

Artist: Bertrand Dorny, French (1931 - ) Title: Black Abstract Year: 1978 Medium: Spray Paint with Charcoal and Conte Crayon on Paper, signed l.r. Paper Size: 22 x 30 inches

Isidore Pils (Paris, 1813 – Douarnenez, 1875) Study of a Woman Holding a Bowl Red chalk, heightened with white chalk, on buff paper 36.3 × 26.5 cm (14 ¼ × 10 ⅜ in.) Unsigned Prove...

Attributed to Gabriel-Jacques de Saint-Aubin (Paris, 1724 – 1780) Le Menuet, circa 1765–1770 Red chalk on paper 13 3/8 x 8 1/4 in (34 x 21 cm) Verso: black chalk and red chalk Unsi...

Original Painting acrylic in combination with chalks on 100% raw, natural cotton canvas Dimensions: 130X120 cm Galaxy in Green, a sense of floating between worlds. Work in green, pla...

After Sir Peter Lely 1618 - 1680 Anne Hyde, Duchess of York; King James II Pencil, ink and white chalk on paper, Image size: 10 x 8 inches (25.5 x 20.5 cm) Original frame This work,...

Inscription ‘Henriette de/ Balzac maitresse/ d’henry 4’ (upper left) Otherwise unsigned The physiognomy of the sitter is close to another anonymous portrait by Dumonstier, more det...

Original pencil, chalk and crayon drawing on paper. Hand signed and dated on front by the artist. Framed. Artwork is in excellent condition. Certificate of authenticity included. A...

LeRoy Neiman Original Mixed media on paper; including tempera, acrylic, pastel, watercolor, and conte' crayon Dated 1966 8 1/2″ x 16 1/4″ viewab...

Stamp Signed: Jongkind and dated: Sept 84 Inscribed: 30-142 in ink lower right Provenance: Private collection, Pennsylvania Jongkind was born in Lattrop, in the eastern part of The...

Edda Renouf Magnet Drawing #4, 1980 Pastel, chalk on paper Sheet: 34 x 28 inches Frame: 36 5/8 x 30 1/2 inches Signed and dated recto This work was donated by the artist to the Fo...

Jacob de Wit (Amsterdam 1695–1754) – Allegory of Victory with Two Putti and Trophies of War, Design for a Pediment This lively design by Jacob de Wit, th...

DANNY GALIEOTE Riptide Study Conté and Gouache on Archival Paper 30 x 24 1/2 inches, Framed Danny Galieote has a propensity for capturing the quintessentials of Americana in works that blend realist narratives with a pop sensibility. The works are reminiscent of classic, vintage postcard imagery with an undercurrent of poetic, and often surprising, juxtaposition. The stylistic effect is a blend between the old-school charm of Norman Rockwell, with the unexpected twist of surrealist René Magritte. JoAnne Artman Gallery is pleased to present an exhibition of new works by Danny Galieote with a focus on iconic American summertime scenes. Galieote belongs to a group of contemporary artists and writers that are part of a revitalized interest in American regionalist history and art. The American Regionalist art...

Nicolle was born in Zimbabwe (Rhodesia as it was then) and grew up in Africa and then travelled the world for some years before settling in the Uk. “My love of colour stems from my ...

French Symbolist School (circa 1890–1910) Landscape with Meditative Figures Charcoal on paper (watermark “France” and “Ingres d’Arches,” circa 1890) 57 x 31 cm Provenance: Private ...

French School, 18th century Circle of Hubert Robert (1733–1808) Landscape with Antique Ruins Red chalk on paper, 31 x 20.5 cm Unsigned Collector’s stamp lower left, very faint: “L...

William Russell Flint was a Scottish artist and illustrator who was known especially for his watercolour paintings of women. He also worked in oils, tempera and printmaking. He was b...

Attributed to Jan van der Heyden (1637–1712) – A Dutch Village Church; verso: The Westerkerk and Keizersgracht, Amsterdam This double-sided drawing, attributed to the great Dutch to...

Charles HORTIN (Attributed to) (XIX) Black chalk and white gouache Signed lower right 12 x 16 cm

The Cloud, -Oil on Linen -60 x 70 cm -Abstract, c. 2026 España’s intuitive processes and open engagement with materials allow images to arise through attention rather than prescri...

French (?) school circa 1770 Portrait of a Lady in a Tondo, red chalk on paper 20 x 29 cm Numbered 25 on the upper left Little holes in the bottom (intended for binding) Not framed ...

Sanatan Dinda - Yugpurush - 28 x 20 inches (unframed size) Conte & Dry Pastel on Paper, 2016 shipment without frame Style : Sanatan Dinda discovers the beautiful amidst the ruins o...

Sanatan Dinda - Ganesha - 28 x 20 inches (unframed size) Conte & Dry Pastel on Paper Proposed Frame Size : 3 inches mount on all sides and 1 Inch frame Supported by Artist's Authent...

Sanatan Dinda - Ganesha - 28 x 20 inches (unframed size) Conte & Dry Pastel on Paper Proposed Frame Size : 3 inches mount on all sides and 1 Inch frame Supported by Artist's Authent...

Part of the ring-wall of the Taj Mahal, Agra, India, 1914 Signed with initials and dated bottom right Black chalk on paper, 45.5 x 53 cm Literature: Ernst Braches en J.F. Heijbro...

Delicate pastel and chalk drawing by Elisabeth Sauer (German, 20th century), titled “Pusteblume” (“Dandelion”), signed E.S. 85 lower right. The composition captures a cluster of sof...

1.Ruins by the river Watercolor  50 x 33 cm Signed lower right 2.Tomb Black pencil with white chalk highlights 32 x 25 cm 3.Méharée Black chalk with colored highlights 29.8 x 43.2...

This drawing is a typical work by Andalusian artist Ismael de La Serna in the 1930s, when he reached full maturity in his art after spending ten years in Paris. His style at that tim...

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Collections: Sir Thomas Lawrence, who acquired the contents of Fuseli’s studio; Susan, Countess of Guilford, née Coutts (1771-1837), acquired from the Lawrence estate; Susan, Baroness North (1797-1884), daughter of the above; Mrs A. M. Jaffé, acquired in France, c. 1950 to 2016. Black chalks, on buff-coloured paper Stamped verso: ‘Baroness Norths Collection / of Drawings by H Fuseli Esq.’ Framed dimensions: 26.38 x 20.63 inches This boldly drawn sheet depicting a seated figure was made by Fuseli at an important and highly productive moment in his career. The monumental drawing is closely related to another sheet by Fuseli in the British Museum which Schiff published as subject unknown. Both drawings were made when Fuseli was designing his most important sequence of historical works, including scenes from Shakespeare and Milton, The Nightmare and The Death of Dido which was exhibited at the Royal Academy to great critical acclaim in 1781. The present drawing does not relate directly to any of Fuseli’s finished historical paintings of the period, but evidently the image of a slightly menacing, seated and covered old woman was precisely the sort of motif he was playing with. It is notable that the same figure reappears later in Fuseli’s work as the witch from Ben Jonson’s Witch’s Song which Fuseli produced as both a painting and engraving in 1812. Fuseli returned to London in 1779 from a highly creative and productive period in Rome and established himself as one of the leading history painters of the period. Fuseli re-established contact with his old mentor Sir Joshua Reynolds, becoming a regular guest at his dinner table and visitor to his studio. The earliest and most striking manifestation of this strategy was Fuseli's Death of Dido, exhibited in 1781 at the Royal Academy. Executed on the same scale as Reynolds's version (Royal Collection), Fuseli's vertically oriented picture was hung directly opposite Reynolds's with its horizontal orientation, inevitably inviting comparison between the two works and garnering Fuseli much publicity and favourable reviews in the newspapers. The present, previously unpublished sheet, relates closely to a drawing now in the British Museum. That sheet shows the same seated old woman, drawn on a smaller scale and more schematic in design, seated next to an anatomical drawing of a man. The pose of this figure is related to the pose of Dido in his Death of Dido; the foreshortened torso, arrangement of head, oblique view of Dido’s features and arms all suggest that the study can be viewed as an initial thought for the composition. Fuseli may have initially thought of including the figure of the hunched and covered old woman. Drawn on identical paper to the British Museum sheet, our study is an enlarged depiction of the same figure, more elaborately delineated and developed. The presence of a chain to the right of the figure, suggests that the iconography was related in some way to a scene of imprisonment. Fuseli had first explored the motif of the hooded old woman in an early Roman drawing, 'The Venus Seller'. The idea of a grotesque old woman, hooded and with angular nose and projecting chin seen in profile was most spectacularly used by Fuseli in his sequence of paintings depicting The Three Witches from Macbeth. Fuseli seems to have kept the present sheet and may have returned to it when preparing a painting of The Witch and the Mandrake from Ben Jonson’s Witch’s Song from his Masque of Queens in 1812. Here the same seated figure looks out from under her hood and picks a mandrake by moonlight. Jonson’s drama had been performed at the court of James I in 1609, inspired the subject. To throw the nobility of the queens into relief, the poet added a coven of witches, one of whom declares: ‘I last night lay all alone, On the ground, to hear the mandrake groan; And plucked him up, though he grew full low, And, as I had done, the cock did crow.’ The figure was reversed in the associated etching which was published in 1812. It seems likely that the present drawing remained as part of Fuseli’s working archive of figure studies. The present drawing was presumably purchased with the bulk of Fuseli’s drawings after the artist’s death by Sir Thomas Lawrence. Lawrence’s large group of Fuseli drawings were then acquired by Susan, Countess of Guildford (1771-1837). Lady Guildford was the eldest daughter of the banker Thomas Coutts (1735-1822), who himself had supported Fuseli’s journey to Rome in the 1770s and had remained one of the artist’s key...

Jan Goeree (Middelburg 1670 – Amsterdam 1731) Interior of the Nieuwe Kerk, Amsterdam (c. 1724) Red chalk for the architecture, pen and black ink, grey wash on paper Composition reversed in preparation for engraving 25 × 17.5 cm Watermark: Hunting horn, Churchill 318 (dated 1724) Unsigned Provenance Private collection, France Context & Attribution Trained in the studio of Gérard de Lairesse, Jan Goeree was among the finest Dutch engravers of the early eighteenth century, celebrated for his architectural views of Amsterdam. This drawing is a preparatory study for an engraving of the same subject now preserved in a major public collection. The final print—slightly larger—closely follows the reversed composition of this sheet. Subject In the center of the Gothic nave, five bearers carry a catafalque toward a freshly dug grave—a tribute to the naval heroes often buried in the Nieuwe Kerk. This funerary motif, familiar from Dutch painting (e.g. Emanuel de Witte, 1657), evokes the vanitas theme and the transience of earthly life. Technical Analysis Goeree’s use of red chalk for the architecture and ink for the figures reveals his working method: the chalk lines could be used to produce a counterproof restoring the correct orientation of the architecture, while the inked figures remained adjustable before the design was transferred to the copper plate. Place within the Oeuvre Drawings of church...

Tina Figarelli is a classically trained artist whose favorite subject matter in her artwork is ideas with a strong narrative. Tina leaves the viewer hin...

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To see our other views of Oxford and Cambridge, scroll down to "More from this Seller" and below it click on "See all from this Seller" - or send us a message if you cannot find the ...

To see our other views of Oxford and Cambridge , particularly suitable for wedding and graduation presents, scroll down to "More from this Seller" and below it click on "See all from...

The pair consists of the present work and an engraving after it by the hand of Giles DeMarteau (Liège 1722 – 1776 Paris) titled Woman in Fantasy Costume, after Jean Baptiste Le Prince, and measuring, 10 ⅜ x 8 ⅝ inches (26.5 x 22 cm). DeMarteau's engraving is inscribed at the bottom: Le Prince inv. del. / Demarteau sc. / A Paris ches Demarteau Graveur du Roi, rue de la Pelterie à la Cloche...

Antique Oil Paintig by Willy Belling, Still Life with Flower Vase Signed lower right. Dimension measured with frame. Frame slightly damaged.

English School Bernard, Self Portrait 1950s Pencil and sepia chalk on paper Image size: 9 1/2 x 13 1/2 inches (24 x 34.3 cm) Handmade contemporary frame This imaginative self-portra...

Alfred Daniels (1924-2015) Almshouses Canning Circus Nottingham, 1975 Conte and wash 33x62cm Born in the East End of London, in Bow, Daniels (known as ‘Danny’) was apprenticed to hi...

Red chalk on paper Image size: 7 1/2 x 9 1/4 inches (19 x 23.5 cm) Contemporary frame An enigmatic portrait of a young woman after Sir Peter Lely's drawing, currently shown in the B...

French School, circa 1900 Young Woman with a Wide-Brimmed Hat Charcoal and black chalk with white highlights on thick cream laid paper 20 × 29.2 cm Academic study of a young woman ...

HARRY CARLETON ATTWOOD (1907-1985) The Model - Design for Eltham Palace Coloured chalks, arched top Framed 21 by 13 cm., 8 ¼ by 5 in. (frame size 39.5 by 31.5 cm., 15 ½ by 12 ½ in...

FRANK LEWIS EMANUEL (1865-1948) Portrait of Archibald Hartrick Signed, inscribed and dated l.l.: A S HARTRICK (artist) by F L EMANUEL 1884 Black chalk heightened with white chalk on blue paper...

Chalk pastel on paper Christian Frederiksen is a Georgian artist born in 1989 who lives and works in Calgary, Canada. He loves to experiment with new ways of creating imagery by col...

Chalk pastel on paper Christian Frederiksen is a Georgian artist born in 1989 who lives and works in Calgary, Canada. He loves to experiment with new ways of creating imagery by col...

CAROLYN SERGEANT (1937-2018) Girl Reading Pencil and black chalk, heightened with white, unframed 40.5 by 28 cm., 16 by 11 in. (mount size 57 by 43 cm., 22 ½ by 17 in.) Carolyn Cann studied at Wimbledon School of Art (1955-59) and at the Royal Academy Schools (1959-62) where she was a Silver Medallist. At the Royal Academy Schools she met and later married her fellow student, John Sergeant. She had several one-man exhibitions in London, at the Fine Art Society, Colnaghi, Hazlitt, Gooden & Fox, the Waterhouse Gallery and Waterman Gallery. She also showed at the Leicester Galleries, Roland, Browse and Delbanco and elsewhere. In 1983 John and Carolyn bought an old run down farm house near Builth Wells in Powys, mid Wales. The house needed such extensive renovation that it took many years to complete. After their two sons...

HERBERT WILSON FOSTER (1846-1929) Summer Inscribed with title beneath the mount Chalk on paper, circular Framed Diameter 42 cm., 16 ½ in. (frame size 61 by 58 cm., 24 by 22 ¾ in.) Herbert Wilson Foster was born in Endon, Staffordshire. He attended Hanley School of Art before continuing his studies in London, Belgium and France. His paintings of rural and domestic subjects were exhibited at the Royal Academy between 1873 and 1899. In 1893 he accepted a teaching position at the Nottingham School of Art, where his pupils included Laura Knight and Harold Knight. Works by him are in the collections of the Minton archives; the Wisbech & Fenland Museum; Leicester Art Gallery; Rushcliffe Council and Nottingham Castle Museum. In addition to his work as a painter he worked as a porcelain painter, working at one point on the tile panels in the Victoria & Albert Museum. He is known to have worked at Mintons from 1872 where he specialized in portraits of contemporary personalities, including members of the Royal Family. This head of a girl was probably intended for a painted ceramic wall charger...

Ink, chalk & mica on sculpted paper Framed 34.5 x 26.5 x 2 in, black wood frame Katherine Filice is an award-winning American abstract artist born in 1963 who lives and works in Hol...

JOHN SUTTON (20th Century) Still Life with Fruit Signed, inscribed and dated: 10/5/42 Watercolour, chalks and pen and ink, unframed 25 by 31.5 cm., 10 by 12 ½ in. (mount size 40 ...