Art by Medium: Chalk

French school of the 18th century Three pencils (pencil, red chalk, white chalk) on paper 27 x 18 cm (45 x 34 cm with frame) Inscription at bottom “Saint-Aubin de l’Académie de musique” Dated "1785" Augustin d'Herbez known as "Saint-Aubin" was a tenor and member of the Royal Academy of Music...

This is a drawing by James Childs (1945-2020) offered by CLAMP in New York City. Nick Xylouris 2004 Signed and titled, recto Graphite and Conté crayon on paper 12 x 8.25 inches

Standing Female Nude Colored chalks on tan Strathmore paper, c. 1975 Signed in chalk upper right (see photo) Condition: Excellent Housed in an 8 play acid free rag matting S...

Cecil Charles Windsor Aldin. English ( b.1870 - d.1935 ). Trotting Horses Harnessed to a Lightweight Fly. Chalk on Paper. Signed. Image size 19.3 inches x 27.8 inches ( 49cm x 70.5c...

This is a drawing by James Childs offered by CLAMP in New York City. 2004 Signed and titled, recto Graphite and Conté crayon on paper 12 x 8.25 inches

Louis Auguste Brun (Swiss 1758-1815), Study of a Hound Dog. Circa 1782. A skilled draughtsman and an outstanding painter of portraits, animals and landscapes, the Swiss artist Louis-...

Circle of François Boucher (French 1703 - 1770), Study of a Child. This charming work is probably a study for a painting, it shows a child with a swathe of billowing fabric over her ...

Bolognese School (Circa 1600), Study of a child. The Bolognese School or the School of Bologna flourished in the capital of Emilia Romagna, between the 16th and 17th centuries in Ita...

Bozzetto Accademico della Testa di un Cherubino. Disegno a carboncino e gessetto bianco su carta leggermente colorata di grigio. Seconda metà dell'Ottocento In buone condizioni. Prov...

'Raven's Feast'. Original Artwork. Framed ready to hang _________________ Winter has cast Upon lichened stones, Like driftwood, The whale's bones: The raven's feast Exploring the fl...

I thought the sun rose in your eyes 2022 Signed and titled, verso Graphite and conté on paper mounted to panel 16 x 12 x .875 inches This work is offered by CLAMP in New York City.

This plaster statue, depicting "the Annunciation," is a sketch for a bronze that the artist would exhibit between 1957 and 1960 at his solo shows at the Strozzina in Florence, the Co...

Framed dimensions 18.5 x 17.5 inches One of two original drawings of seraphim created for the British firm of stained-glass designers Shrigley and Hunt. The drawings are by the cele...

Portrait of a semi-attired young woman titled "Regarding Agnes" by Duncan Hannah. Conte pencil on paper. Signed front lower right. Offered framed. Frame size: 10.75 x 8.75 inches ...

Stewart has exhibited extensively throughout the United States and is represented by the Arthur Roger Gallery in New Orleans, Gail Severn Gallery in Sun Va...

'Ribbons in the Wind'. Original Artwork. Framed ready to hang _________________ Reeds dance in the morning light, momentarily casting shadows on tide and weather softened stones. Exp...

'Winter's Bones, Heart of Spring'. Original Artwork. Framed ready to hang _________________ The camellia, symbolic of unity, love and devotion, blooms radiantly from within the prote...

Framed dimensions 18.5 x 17.5 inches One of two original drawings of seraphim created for the British firm of stained-glass designers Shrigley and Hunt. The drawings are by the cele...

Jules Cheret (1836-1932) La Confidence (The confidence) 1909 signed and dated in the lower right Charcoal and heightenings of white chalk 22.7 x 22.7 cm Framed under glass : 33.8 x...

Jene Highstein Untitled, 1982 Pastel and Chalk on Paper Hand signed and dated by artist on the front 32 × 40 inches Frame included Original hand signed pastel and chalk drawing, with...

Jules Cheret (1836-1932) A couple, 1909 signed and dated in the lower right Charcoal and heightenings of white chalk 23 x 23 cm Framed under glass : 33.8 x 33.8 cm This work is hi...

Erich HERMES (1881-1971) Portrait of a Woman, 1929 Sanguine on paper Signed "E. Hermès" and dated "29" lower left 29.5 x 22.5 cm original frame Erich Hermès, a Geneva artist of Germ...

This intensely expressive figure is a preparatory study for "Arab Market on the Tocria Plain", a painting exhibited at the 1865 Salon and now in the Musée des Beaux-Arts in Lille. 1...

Jacques GAMELIN Carcassone 1738-1803 Study after the triton of the Triumph of Galatea by Raphaël 1768 Black stone and light white chalk on blue paper Signed and dated lower right 41...

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

A chalk and graphite drawing of a bird.

Farmhands by Yvon Pissarro (b. 1937) Conté chalk on paper 76 x 56.5 cm (30 x 22 ½ inches) Signed lower middle Yvon Vey Executed in 1983 Provenance Studio of the artist, Montpellier ...

Pencil, chalk and watercolour depiction of Napoleon at the head of his generals by French artist Jean Ducel. The work is signed bottom right. A bold and graphic depiction of Napoleo...

Die moralische Eifersucht  is a contemporary artwork realized by Friedrich Schröder Sonnenstern in 1964. Pencil and colored chalks on Schoellershammer cardboard. Signed "F. S. SONN...

This drawing by Charles Umlauf depicts a woman's body in the nude. The piece is executed in conté crayon on paper and measures 9" x 12.5". It comes framed and ready to hang in a 19.2...

A beautiful watercolour and chalk on paper circa 1860 by French Barbizon painter Henri Joseph Harpignies. The piece depicts figures beside the river Seine in Paris with a view of the Île de la Cité and the Notre Dame Cathedral behind on what looks to be a cool autumn day with the leaves of the trees beginning to turn brown. Signed lower right. Dimensions: Framed: 20"x23.5" Unframed: 10"x13.5" Provenance: M. Knoedler & Co. New York Christie's - New York Saint-Privé is a French commune located in the department of Yonne in region Bourgogne-Franche-Comt Born in Valenciennes, Henri Harpignies...

James O. Clark, American sculptor, art educator. Recipient Sculpture award, Creative Artists Public Service, 1978, award for sculpture, National Endowment for Arts, 1982, Graphics award, 1983; fellow, John Simon Guggenheim Memorial Foundation, 1989; grantee, Pollock-Krasner Foundation, 1995, New York Counsel on Arts. Member selection committee Islip (New York ) Museum, 2002; Member of American Abstract Artist (associate; active 1999—2003). ONE PERSON EXHIBITIONS 2015 ltd los angeles, Los Angeles, CA 2011 RHV Fine Art, Brooklyn, NY 2010 Mariboe Gallery, Hightstown, NJ 2009 Lesley Heller Gallery, New York, NY 2006 Elizabeth Harris Gallery, New York, NY 1998-9 “Tulips, Hysteria, Coordinating”, Nicholas Davies, New York, NY 1997 “James O. Clark”, Ohio University, Athens, OH 1994 The College of Saint Rose Art Gallery, Albany, NY 1991 Max Protetch Gallery, New York, NY 1990 James...

MB 702 (Contemporary Life Drawing of Male Nude by Mark Beard) graphite, Conte crayon and charcoal on Arches paper 30 x 19 inches unframed Con...

Wayne Summers uses traditional materials and marries them with contemporary motifs in his abstract pieces. This unique approach to creating modern works of art places Summers among ...

Mark Beard Portrait of Michael Feingold 1993 Signed and dated, l.l. Conté crayon and charcoal on paper 11 x 7.5 inches This work is offered by CLAMP in New York City.

Le Ballon de Rouge Collage with colored pencil and conté on paper Signed, recto This collage is offered by CLAMP in New York City.

Artist Motivation: "By Any Means" is bold, gritty, modern, vibrant and compelling! This "Street Style" Abstract Expressionist painting is raw and captivating! "By Any Means" fits ...

Charcoal, sanguine and white chalk on paper, initialled ‘F.B.’ (lower right), 48cm x 38cm (69cm x 57cm framed). British painter, printmaker, draughtsman, and designer, the son of a...

A fine sanguine and graphite study of two saints, possibly copied from an earlier work by a 15th-century renaissance master. The delicate drawing has been beautifully presented in an...

Lois Dodd Untitled Landscape, 1990 Colored chalk on grey wove paper Signed, dated and inscribed "For Beverly & Howard", lower right. Original artist's frame included This unique work...

Academic style life drawing of female nude with charcoal and graphite by Mark Beard, "MB 017" graphite, Conte crayon and charcoal on Arches paper 30 x 22 inches unframed Signed, lowe...

Nam June Paik Untitled, Plate Six from Novecento, 1992 Mixed Media: Color offset lithograph with unique chalk pastel drawing 13 3/10 × 18 inches Edition 104/130 Pencil numbered 104/130, hand signed in pastel chalk on the front Edizioni Carte Segrete, Rome, Italy Excellent condition; held in matting which can be easily removed The matting measures 18" x 21" This was part of a series of works produced for the Nam June Paik retrospective at the Palazzo delle Esposizioni, Rome, 1992, Nam June Paik: Arti Elletroniche. This is one of the editions which bears unique hand coloring with pastel chalk. A comparable work sold at auction in 2015 for US $12,583. (see details below): Nam June Paik Title Novecento Description Nam June PAI K Novecento 1930-1940, 1992 Pastel sur offset en couleurs, épreuve signée et numérotée 104/130 Edizioni Carte Segrete, Rome 23,5 x 39,5 cm EH Oeuvre réalisée a l'occasion de la rétrospective Paik au Palazzo delle Esposizioni, Rome, 1992, Nam June Paik: Arti Elletroniche, cinema e Media Verso il XXI Secolo Medium pastel Year of Work 1992 Size Height 9.3 in.; Width 15.6 in. / Height 23.5 cm.; Width 39.5 cm. Misc. Signed Sale of Millon & Associés: Monday, June 22, 2015 [Lot 00090] Design Sold For 11,057 EUR Hammer (12,583 USD) Nam June Paik Biography Nam June Paik was born in 1932 in Seoul. He received a BA in aesthetics from the University of Tokyo in 1956 where he also studied music and art history. After graduating, he studied for a year with composer Thrasybulus Georgiades Georgiades at the University of Munich and for two years with composer Woflgang Fortner at the International Music College in Freiburg. He attended the International Summer Courses for New Music in Darmstadt in 1957, when he met Karlheinz Stockhausen, and in 1958, when he met John Cage. Cage, and through him Marcel Duchamp, had a significant influence on Paik as he became a major force in the avant-garde through performances. In Hommage à John Cage (1959), Paik employed audiotape and performance to attack traditional musical instrumentation and compositional practices, splicing together piano playing, screaming, bits of classical music, and sound effects. Realizing that taped sound was not enough, he decided to move into performance, first by introducing performative actions into his audio works. In 1961 Paik performed Simple, Zen for Head and Étude Platonique No. 3, in which he became a volatile figure, thrashing about in unexpected patterns and sudden movements to his signature soundtracks. In 1962 Paik participated in the Fluxus International Festival of the New Music in Weisbaden. Paik's first exhibition, entitled Exposition of Music - Electronic Television, in 1963 at Galerie Parnass at Wuppertal, launched his transition from composer and performance artist to the inventor of a new art form: an engagement with the material site of television as an instrument. In the exhibition, thirteen televisions lay on their backs and sides with their reception altered; for example, Zen for TV (1963) reduced the television picture to a horizontal line and Kuba TV (1963) shrank and expanded the image on the television set according to the changing volume. In 1964 Paik traveled to the US. He quickly settled in New York and became a leading innovator among an emerging generation of artists seeking new modes of artistic expression and distribution. That same year, Paik collaborated with Shuya Abe to create Robot K-456 (1964), a remote controlled robot that played audiotaped speeches by John F. Kennedy and defecated beans in Paik's Robot Opera (1964). In the interactive work Magnet TV (1965), Paik invited viewers to modify the television's output into swerving abstract lines through the movement of a magnet over the TV. In 1967 Paik and frequent collaborator Charlotte Moorman were arrested when Moorman performed Paik's Opera Sextronique (1967), a striptease as she played the cello at the Filmmakers' Cinematheque in New York. Paik's TV Bra for Living Sculpture (1969), which Moorman wore in performances, featured two television tubes...

An exquisitely rendered drawing of a dancer in a moment of pause. What I like best about this drawing is its lack of the usual glamour associated with pictures of ballet dancers. To ...

Additional Information: Work is titled “Aperture Series 1985”; Provenance: Collection of Phyllis Kiley (wife of the artist), Boca Raton, Florida Marking(s); notes: signed on label ...

Original conte crayon drawing of a reclining female nude on tinted archival paper by the American artist, Renate Duncan. Signed lower left. Artist full name and address verso. Circa ...

Academic life drawing of male nude with charcoal and graphite by Mark Beard, "MB 085A" graphite, Conte crayon and charcoal on Arches paper 30 x 18.5 inches unframed Signed, lower rig...

Chalk pastel and acrylic on illustration board Christian Frederiksen is a Georgian artist born in 1989 who lives and works in Calgary, Canada. He loves to experiment with new ways o...

Alice Mary Chambers. English ( b.1855 - d.1920 ). Portrait of Rebecca Porter Paddon 1850 – 1915 (nee Somerset) Red Chalk on Paper Signed with monogram upper left. Image size 17.9 inches x 14.8 inches ( 45.5cm x 37.5cm ). Frame size 25 inches x 21.9 inches ( 63.5cm x 55.5cm ). Available for sale; this original sanguine red chalk portrait drawing on paper is by the English female artist Alice Mary Chambers and dates from around 1880 to 1885. The drawing is presented and supplied in a glazed frame dating from the 1990s which uses a backboard and mount from the 1960s (which is shown in these photographs). This antique drawing is in very good condition. It is supplied ready to hang and display. The drawing is signed with the artist’s monogram upper left. Provenance: By descent through the sitter’s family. Alice Mary Chambers was a fascinating and significant figure in British artistic circles, and part of the higher echelons of the ‘aesthetic’ phase of the Pre-Raphaelite movement of the late nineteenth century. A contemporary of Evelyn De Morgan, Kate Bounce and Marianne Stokes, she was also a close friend of Charles Augustus Howell through whom she met Algernon Swinburne, Whistler and Dante Gabrielle Rossetti. The influence of Burne-Jones, Holman Hunt and E.R. Hughes can also be seen in her highly acclaimed red chalk studies and watercolour works. Alice was born in Harlow, Essex, in 1855, the daughter of the Rev John Charles Chambers, a controversial figure in the Anglican Church, and his wife, Mary. Their two older children had both died in infancy in 1852. At the time of her birth, Alice’s father was vicar of St Mary Magdalene in Harlow, but in 1856 he became perpetual curate of St. Mary’s, Crown Street, and warden of the House of Charity, both in Soho, London, and he retained these positions until his death. He has been described as turning St Mary’s into a model for managing a parish along ritualist (Anglo-Catholic) lines. By consent, he and his wife separated ‘each to live crypto-monastic lives of celibacy and charity’. Census records show that in 1861 Alice and her mother were living at Fernley Bank, West Hill, Sydenham, a school for young ladies run by her mother’s sisters, Sarah, Martha and Ann, and at which her mother also taught. By 1871 Alice and her mother were again living with her father, in Bloomsbury. However, within the next three years, both her parents died. In his will her father made his brother, who was vicar of Hook in Yorkshire, guardian of Alice and left the income from a substantial sum for her maintenance and education. It appears this enabled her to complete her studies. Alice had emerged as an artist by 1875, when she produced her earliest dated work. She exhibited at the Royal Academy (9 works), and the New Watercolour Society and the New Gallery, London between 1881-1894. She specialised in drawings of female figures and mythological and orientalist subjects. She also provided frontispiece illustration for Mary Hullah’s The Lion Battalion (1885), a collection of stories for children. Chambers signed her work with a monogram which is reminiscent of Rossetti’s, and often used a leafy backdrop. By 1881 Chambers had established a close relationship with the artists’ agent, Charles Augustus Howell, who is considered one of the most colourful characters of the Victorian age. Howell was the friend and agent of Dante Gabriel Rossetti, and later secretary to John Ruskin. He had a mixed reputation during his lifetime, as both a ‘gifted raconteur’ and a ‘prodigious liar’. Chambers became a member of a close circle around Howell, that also included his wife, Kitty, and his mistresses, the artist Rosa Corder and Clara Vaughan. It has been suggested that Chambers was the third of these mistresses, though she somehow managed to retain her respectability. Chambers was at her most artistically productive during the years of her friendship with Howell and his circle, benefitting from the support of a like-minded community. By 1881 she was living at 17 Red Lion Square, an address with significant Pre-Raphaelite associations – and described herself an “artist in drawing and painting’. Previous lodgers at 17 Red Lion Square included Dante Gabriel Rossetti, W.H.Deverall, and Edward Burne-Jones. It was also the premises at which (William) Morris, Marshall, Faulkner & Co established their first headquarters. When Howell died in 1890, he and Chambers were living at the same address in Southampton Row, and possibly in a ménage with Rosa Corder. Chambers was obviously a most trusted friend as she was named as one of the two executors and trustees of his will, along with the auctioneer, Frederick John Bonham, and as one of the two guardians of his daughter by Kitty, along with Corder. It was Chambers who made the arrangements for Howell’s funeral and the sale of his estate. Following Howell’s death and through the 1890s Chambers appears to have led a peripatetic life and spent much of her time in France and Spain In 1901 she was living at 15 Ann’s Villas, in West London, and described herself in the census at living on her own means, rather than as an artist. From that time, she retained one or more addresses in London, but spent most of her time in a cottage in Sussex, or abroad in Italy or Spain. In 1913 Chambers donated Dante Gabriel Rossetti’s plaster death mask to the National Portrait Gallery. Alice Chambers died at Pomona House, Fulham on 5 May 1920. © Big Sky Fine Art There is a tantalizing link between the artist and the sitter of this drawing; they were both remarkable women in their time, with only five years between them in age, and they had the same lifespan of 65 years. They would have mixed in similar social circles and from what is known of their individual lives it is easy to imagine that they would have admired and respected each other. They obviously spent time together when Rebecca sat for her portrait. From the appearance of the subject, it can be reasonably estimated that the picture was created around 1880-85, when the artist would have been around 25-30 and the subject around 30-35. There are two likely circumstances in which this picture may have been commissioned. The first is the occasion of the marriage of Rebecca to her second husband, art collector Samuel Paddon, in 1879. In this scenario, this would have been a romantic gesture, to capture the beauty of the bride. The second scenario is a more pragmatic one; in 1885, six years after marrying Rebecca, Samuel Paddon sued the infamous artist’s agent Charles Augustus Howell. As a close friend, and possibly lover of Howell, Chambers provided promissory notes to help settle the claim. So, this portrait may have been undertaken as part of that settlement. Whatever the circumstances of its creation, this drawing demonstrates the extraordinary skill of one enlightened young woman by capturing the spirit of another. © Big Sky Fine Art This truly beautiful original red chalk drawing on paper by Alice Mary Chambers (1855-1920) is a half-length portrait of Rebecca Porter Paddon, nee Somerset, (1850-1915). It is signed with the artist’s usual monogram in the upper left section. Chambers was well-known for her red chalk studies, and this is a very fine example of her work. The beautiful young woman who is the subject of this drawing is Rebecca Porter Somerset Paddon and her own story merits telling too: Rebecca was born at Wootton Bassett in Wiltshire in 1850, the daughter of Edmund Thomas Somerset and Mary Ann Somerset. She married Charles John Paddison on 24 June 1874, but three years later she filed for divorce on the grounds of his cruelty and adultery. She also sought custody of their son, born in 1875. The divorce became final in 1879. Until the 1857 Matrimonial Causes Act it was essentially impossible to obtain a divorce without the passage of a private Act through Parliament. Even after 1857 divorce was extremely rare in England, and for a woman to divorce her husband was virtually unheard off. The fact that Rebecca was courageous enough to initiate and see this process through speaks volumes of her character. Two years after her divorce Rebecca married again, on 17 May 1879. Her second husband, Samuel Wreford Paddon was a diamond merchant and art collector. They went on to have three children together ; Eva, Stanley and Philip. Samuel Paddon was an associate of Charles Augustus Howell, and through him was introduced to Whistler. At this time the Paddons were living in Reigate, Surrey. Rebecca is known to have liked pastel drawings, and bought one from Whistler, possibly from the Venice Pastels exhibition of 1881. During the 1880s the Paddons lived at 55 Earls Court Square, London. Samuel Paddon eventually fell out with Howell over some black Chinese ware...

Academic life drawing of two nude males with charcoal and graphite by Mark Beard, "MB 827" graphite, Conte crayon and charcoal on Arches paper 29.75 x 21.75 inches unframed Signed, l...

Young child crying. Black chalk drawing, early 20th century. Monogram K lower left. Paper wear, especially at the bottom. Drawing (at sight): 28 x 19 cm Passepartout: 42 x 31 cm

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...

Louis-Alphonse DAVID (1798-1849) Le Moulin de la Butte aux Cailles, Paris, (The Mill at la Butte aux Cailles) signed lower left Pencil and white chalk on paper 22,5 x 36 cm Framed : 40,5 x 55 cm Louis-Alphonse David is known for a relatively small body of work, including portraits and large compositions. In any case, in this work he shows a remarkable mastery of drawing, with particularly suggestive and subtle plays of light and shadow. The Butte aux Cailles, now part of the 13th arrondissement of Paris, was a hill covered in meadows, vineyards and woods, built with several windmills and overlooking the river Bièvre. It was named after Pierre Caille...

Original conte crayon drawing of a sitting female nude on tinted archival paper by the American artist, Renate Duncan. Signed lower left. Circa 1980. Condition is excellent. The art...

Melchior DOZE (1827-1913) Study of a saint, ca. 1875-79 Preparatory drawing for the decoration of the church of Saint-Félix de Saint-Gervasy (Gard), chapel of the Cross (south side...

Woman Pulling on a Slip Conte on paper, c. 1910 Signed lower right: "E. Shinn" (see photo of legs, signature on right) Provenance: Estate of the Artist (see label) Graham Gallery, N...

The work represents a carefully rendered and meticulously observed environmental portrait of a young girl absorbed in study in front of a book case. It celebrates the intelligence o...

Daniela Astone Scilla 100 x 70 Charcoal on paper framed the size is 120 x 90 with museum glass Daniela Astone works and lives in Florence. For years she was a teacher on the famous...

This drawing by Mark Beard is already framed, price includes framing. Untitled (Nude Man with Raised Leg) 1990 Signed and dated, l.l. Charcoal with red and white conté crayon on R...