Art by Medium: Chalk

This commanding work is a masterful intersection of Contemporary Impressionism and Modern Wildlife Art. The painting captures the serene dignity of a Great Egret against a dynamical...

François Alfred DELOBBE Paris 1835 - 1920 Study of a Reclining Man Black chalk on blue-gray paper Stamp from the studio sale in the lower left corner 30 x 45 cm sheet 45 x 6...

To see more, scroll down to "More from this Seller" and below it click on "See all from this Seller." Hilary Hennes (née Hilary Miller) (1919 - 1993) Flowers on a Table Chalks 56 x...

This refined 18th-century French red chalk study sheet presents a group of figures derived from The Feast at the House of Simon the Pharisee by Jean Jouvenet, through the intermediar...

Sanguine chalk on paper Image size: 7 x 8 1/2 inches (18 x 22 cm) Acid free cut-out mount This 17th century drawing depicts a reclining woman with her back. The Sanguine chalk that...

HELLEU, PAUL CÉSAR (1859 -1927) "JEUNE FEMME ASSISE" (Young Woman Seated) Original Drawing in sanguine, white and black chalks, c. 1910 Signed in pencil by artist, lower right Full M...

Contemporary realistic figurative mixed media drawing PROVENANCE Exhibited at Katarzyna Napiorkowska Gallery. The Gallery is a primary representative for this artist. The Gallery o...

Follower of Giovanni Francesco Barbieri, called Il Guercino (Cento 1591 – 1666 Bologna) Sibyl or bust-length woman, seen in profile to the left, wearing a turban Red chalk on paper,...

La Bella Attrice, 2018 Graphite and White Chalk on Toned Paper, 7.75 x 5.5 inches Exemplifying the essence of Renaissance poise, La Bella Attrice showcases Justas Varpucanskis’s e...

FEDERICO BAROCCI (Urbino 1526-35 - 1612) Study of bearded man Black and red chalk, stumping, pastel heightened with white on brown-prepared paper 15 3/8 x 10 5/8 in 39 x 27 cm Unsi...

Italian School, circa 1700 – Ornamental Design with a Dove and a Serpent in an Oak Wreath This large and sculptural black chalk drawing, heightened with white, probably by an Italia...

John Rabone Harvey ( 1966 - 1922) graphic and chalk deep green artist paper , unframed artist paper : 5.5 x 7 inches Provenance: private collection Condition: very good condition Ha...

The present work, drawn with black Conté crayon on a paper calendar sheet, Sylvia Spicuzza presents the viewer with a rhythmic vision. The scene is dominated by the figure of a woman...

Adrian Barquero For Now, 2025 Mixed media 60h x 40w in 152.40h x 101.60w cm ABQ018 Influenced by his Colombian heritage and background, Barquero uses his personal experience to exp...

A portrait of a male head, in profile by BenFenske. The artist uses a variety of colors to convey a naturalist impression. Artist Bio Ben Fenske (b. 1978) although a native of Minn...

Provenance: Mercedes von Dietrichtein, Buenos Aires. Alexander von Dietrichstein. By descendants Morritz von Diestrichstein. Nicolaes Pieterszoon Berchem (1 October 1620 – 18 February 1683) was a highly esteemed and prolific Dutch Golden Age painter of pastoral landscapes, populated with mythological or biblical figures, but also of a number of allegories and genre pieces. He was a member of the second generation of "Dutch Italianate landscape" painters. These were artists who travelled to Italy, or aspired to, in order to soak up the romanticism of the country, bringing home sketchbooks full of drawings of classical ruins and pastoral imagery. His paintings, of which he produced an immense number, (Hofstede de Groot claimed around 850, although many are misattributed), were in great demand, as were his 80 etchings and 500 drawings. His landscapes, painted in the Italian style of idealized rural scenes, with hills, mountains, cliffs and trees in a golden dawn...

Italian School, late 16th century Head of a Man and Écorché Studies of Arms Red chalk on laid paper, 21 x 11 cm Provenance: Collection of Michael Jaffé CBE (1923–1997), English art historian and Director of the Fitzwilliam Museum, Cambridge Private collection, France This drawing, attributed to the Italian School of the late 16th century, demonstrates the influence of Michelangelo’s approach to anatomy and expression. The sheet combines two distinct studies: an anatomical rendering of arms in the écorché technique, focusing on the musculature and skeletal details, and a head of a man, drawn with careful attention to light and shadow. The use of red chalk lends the work warmth and immediacy, qualities often associated with Renaissance studies of the human form. The écorché studies reflect the Renaissance fascination with anatomy as both an artistic and scientific pursuit. The detailed depiction of the musculature suggests the artist’s interest in understanding the mechanics of the body, a practice heavily influenced by Michelangelo’s drawings...

Red chalk on paper Image size: 9 x 7 inches (23 x 17.75 cm) Acid free mount The Greek god Attis was the spouse of Cybele, the fertility goddess.  He was from Phrygia, a kingdom in c...

Untitled (Portrait of Jon) n.d. Signed, l.r. Conté crayon on vellum 21 x 17.5 inches (53.3 x 44.5 cm) This artwork is offered by CLAMP, New York.

PAUL CÉSAR HELLEU Le Duet. Color chalks and pencil on tan wove paper, circa 1900. 653x500 mm; 25 3/4x19 3/4 inches. Signed in pencil, lower right recto. Framed size: 36.5 x 31 x 1....

An exceptional 17th-century Old Master figure study executed in black chalk and heightened with white on grey-brown toned paper. Titled "Young Man with a Sword and Cloak", this drawi...

A beautiful mid 20th century French naive chalks on paper landscape depicting a horse & carriage in the snow, by Maurice Ghiglion-Green. The charming work is inscribed to a friend ...

Anthonius VAN DYCK (1599–1641) A portrait study of a standing man Black and white chalk on bluish green paper, 25.4 × 17.5 cm Unsigned Provenance Collection Julius Samuel Held (1...

Maurice Chabas (Nantes 1862 – Versailles 1947) Pensive Young Woman Graphite with white-chalk highlights on blue-grey paper 46 × 32 cm Unsigned Provenance Bruno Delarue Gallery, É...

This spectacular red chalk drawing depicts an elderly woman, her eyes bulging, her hand stretched out towards the sky. This disturbing character, who seems close to dementia, and the elongation of her arm with its Mannerist overtones, plunge us into the Florentine artistic milieu of the first half of the 17th century. The proximity of this drawing to some characters in the fresco in the Pitti Palace representing The Muses, Poets and Philosophers chased from Parnassus, the last masterpiece of Giovanni da San Giovanni, leads us to propose an attribution to this artist and a dating of around 1635-1636. 1. Giovanni da San Giovanni, the painter of contradiction We take here the title of the monography dedicated to the artist by Anna Banti in 1977, which remains the reference book for this artist. The son of a notary, Giovanni Mannozzi, known as Giovanni da San Giovanni, abandoned his studies to go to Florence at the age of sixteen, where he entered the studio of Matteo Rosselli (1578 - 1650) around 1609 and enrolled in the Academy of Drawing Arts in 1612. Around 1615 he produced his first known works, mainly frescoes for the city's tabernacles. He became famous in Florence for his originality, combining an obsessive application to the study of drawing and the reading of poetry and history with a disheveled appearance. Between 1619 and 1620 he decorated the facade of the Antella Palace in Piazza Santa Croce, a decoration that still partly survives today. The death of Cosimo II in 1621 put an end to the Florentine building activity and Giovanni da San Giovanni left for Rome to find other sponsors with the painter Francesco Furini...

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...

Ferdinand von Kobell (1740–1799) Figures by a River at the Edge of a Wood Black chalk, stump and white chalk highlights, on paper 19 x 28.8 cm Signed and dated lower right: 1777 P...

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 O. Clark, Seibu Gallery of Contemporary Art, Tokyo, Japan 1989 “Sculpture”, Max Protetch Gallery, New York, NY TWO PERSON EXHIBITIONS 2012 “Luminous Flux”, (Forrest Myers and James O. Clark) curated by Heather Hubbs, Regina Rex Gallery, NY 2006 “Some Kind of Wonderful”, (Tara Donovan and James Clark), curated by Karol Lawson, Maier Museum of Art, Lynchburg, VA (catalogue) 2002 James Clark and Joan Waltemath, Sideshow Gallery, Brooklyn, NY SELECT GROUP EXHIBITIONS, 2018 "SCULPTORS RECOLLECTED", Francis Cape, James Clark, Judy Pfaff, curated by Jeanne Flanagan, The Esther Massry Gallery, Albany, NY. (Catalog) 2018 "The Nature Lab: homage to the RISD Nature Lab founder, Edna Lawrence", curated by Eric Wolf, LABspace, Hillsdale, NY (Catalog) 2018 "Greatest Show on Earth", Sideshow Gallery, Brooklyn, NY 2016 "Chromatic Space", Curated by Jonathan Lippincott, Shirley Fiterman Art Center, New York, 2015 "NADA NY", ltd los angeles, New York, NY 2015 "American Academy of Arts and Letters Invitational", New York, NY 2015 LTD Los Angeles Hit Pause: “Sometimes you just have to pee in the sink” featuring Alex Becerra, James O. Clark, Gerald David, Radamés “Juni” Figueroa, Yann Gerstberger...

Studio of Carlo Maratti (or Maratta) Camerano 1625 – Rome 1713 Studies of a kneeling female figure, an arm, a hand, and a head in profile Red chalk on paper 43.4 x 26.6 cm Unsigne...

Drawing in chalk and pastel on dark grey Strathmore paper signed bottom left.

Eugène Viollet-le-Duc (1814 - 1879) Walker in a wood, somewhere in the South of Italy (Naples/Sicily) Signed and dated at the bottom right, with the artist's mark (L.2924a) on the m...

Important period red chalck watercolor pencil drawing with neoclassical subject. Depicting the Atilius Regulus departing for Carthage. Atilius Regulus was a Roman statesman taken pri...

This contemporary plaster sculpture of a ram’s head is inspired by the art of Ancient Rome and Ancient Greece with a reference to Neoclassicism and Neoclassical period old masters, when the discoveries of archaeological sites became the focal point in art history between the 18th and 19th century. The artist is able to attribute incredible details to this work of art featuring a majestic appearance due to its large curling ridged horns. This animal figurative work of art is sculpted on the round, the artist took inspiration both from his imagination and archaic reminiscences. He modeled the inert chalk creating an animal with very real facial expression and incredible realistic features with intricate detailed head. This sculpture is the plaster cast hand modeled by the artist that served him as a reference model to create a bronze sculpture with the lost wax technique, also the bronze version is on sale on my page. So it represents the first phase of a fascinating and long process of creating sculptural art, a studio piece made as a maquette before a bronze version was cast. The present aries' head sculpture has been painted to simulate the green patina that archaeological metal sculptures take over the centuries. Two green patina sculptures...

French School, late 19th century Figure Study (recto); Reclining Figure Study (verso) Red chalk on paper, 13.3 x 10.2 cm Signed (unreadable) Provenance: Probably from a sketchboo...

John Rabone Harvey ( 1966 - 1922) graphic and chalk deep green artist paper , unframed artist paper : 5.5 x 7 inches Provenance: private collection Condition: very good condition Ha...

Late Mid Century French pastel drawing on paper of a farmer harvesting wheat by Jean Arène. Signed and dated bottom right, in modern black metal frame with black card mount. A charm...

Art Sz: 12 1/2"H x 16"W Frame Sz: 18 3/4"H x 22"W c1938 Conte Crayon w/ Gouache

Untitled (Cat Study) Signed, u.r. Graphite on paper 8.5 x 11 inches (21.6 x 27.9 cm) This artwork is offered by CLAMP, New York.

Roman School (circa 1590–1620) Study of a Male Executioner Black chalk on laid paper, 275 x 199 mm Unsigned Formerly Giancarlo Sestieri Collection This dynamic figure study, exe...

Clothespins (Study for “David and Goliath”) 1971 Signed, l.l. Conté crayon on paper 8 x 14 inches (20.3 x 35.6 cm) This artwork is offered by CLAMP, New York.

DENYS CALVAERT (Antwerp c. 1540 – 1619 Bologna), ATTRIBUTED TO Screaming Face Red chalk on paper 17.5 x 14.5 cm After 1608 Unsigned Provenance: Unidentified collection (Lugt L.2339...

Attributed to Jacob JORDAENS (Antwerp 1593–1678) Study of Feet and a Figure Sketch Red and black chalk on laid paper 25.9 × 18.4 cm (10¼ × 7¼ in.) Unsigned Minor losses, folds, an...

Paul Feiler Split Ovals , 1963 Front bottom right - signed and dated Chalk on Paper 28.0 x 24.0 cm Paul Feiler was a German-born artist who was a prominent member of the St Ives Sch...

Medium: Charcoal, Chalk and Gold Paint on Mid-Toned Paper Signature: Signed Lower Left Dimensions: 19.00" x 37.00" Henry VIII licensing Bible translation; Woman refusing to recant.“The Answer to Tyndal’s Prayer” and “The Martyrdom of Anne Askew” Preliminary study for mural: The Governor’s Reception Room, Pennsylvania State Capitol Building. Literature (related to the finished work): The Century magazine, June 1905; “The Holy Experiment” by Violet Oakley Carter: “The Red Rose Girls...

Figurative chalk drawing of black Greyhound dog and red birds on vintage collaged book pages 'The Searchers' by Louise Laplante in 2022 chalk on vintage collaged book pages 28 x 46 1/2 inches unframed, 32 x 52 inches in natural wood frame with non-glare plexi This graphic, figurative drawing in black chalk with collaged antique...

This rare drawing by Nattier is part of a set of preparatory studies executed in 1717 for one of the painter's first commissions, the painting commissioned by Tsar Peter I of Russia ...

Untitled (Study for “The Haircut”) 1986 Conté crayon on paper 13 x 9.5 inches (33 x 24.1 cm) This artwork is offered by CLAMP, New York.

'Just for One Day'. Original Artwork. Framed ready to hang _________________ Such sensual fullness, intoxicating in it's momentary glamour, for tomorrow the petals will fall softly l...

Jean-Paul Laurens (French, 1838-1921), Seated Man Seen From Behind, Black Chalk on Laid Paper, 19th century, inscribed "16" and  "20 av. 62" lower left, giltwood frame. Image: 7.5" ...

John Rabone Harvey ( 1966 - 1922) graphic and chalk deep green artist paper , unframed artist paper : 5.5 x 7 inches Provenance: private collection Condition: very good condition Ha...

Original drawing by Patricia Traub

This artwork is a mid-century, mixed-media portrait on paper, executed primarily in colored pastels, charcoal and white chalk highlighting. It showcases a striking, classically struc...

Pencil and chalk on paper, unsigned Image size: 8 1/2 x 13 inches (22 x 33cm) This wonderful drawing depicts 'The Cleansing of the Temple', a biblical narrative where Christ expels...

pastel on paper

Nicolas-Auguste Hesse (Paris, 1795–1869) Portrait of a Woman, probably 1825–35 Black chalk on white wove paper; oval format 9⅜ × 7¹³⁄₁₆ in. (23.8 × 19.8 cm) Provenance: An old labe...

pastel on paper

John Rabone Harvey ( 1966 - 1922) graphic and chalk deep green artist paper , unframed artist paper : 5.5 x 7 inches Provenance: private collection Condition: very good condition Ha...

We would like to thank Juliette Parmentier-Courreau of the Custodia Foundation for her welcome and support during the consultation of Glomy’s Journal des Ouvrages. This spectacularly large "feuille de desseins ajustés" commissioned by François Boucher from Jean-Baptiste Glomy is emblematic of the painter's art and mastery of rocaille. It is also fully representative of the taste of this period in the field of decorative arts. The largest of these three drawings, placed at the bottom of the composition, is particularly interesting: dating from around 1756, it constitutes a modello (apparently unpublished) for the frontispiece of the "Catalogue des tableaux de Monsieur de Julienne"), preserved in the Morgan Library in New York. 1. François Boucher, the master of French rocaille The extraordinary career of Francois Boucher was unmatched by his contemporaries in versatility, consistency and output. For many, particularly the writers and collectors who led the revival of interest in the French rococo during the last century, his sensuous beauties and plump cupids represent the French eighteenth century at its most typical. His facility with the brush, even when betraying the occasional superficiality of his art, enabled him to master every aspect of painting – history and mythology, portraiture, landscape, ordinary life and, as part of larger compositions, even still life. He had been trained as an engraver, and the skills of a draftsman, which he imbued in the studio of Jean-Francois Cars (1661 – 1738), stood him in good stead throughout his career; his delightful drawings are one of the most sought-after aspects of his oeuvre. As a student of Francois Lemoyne (1688 - 1737), he mastered the art of composition. The four years he spent in Italy, from 1727-1731, educated him in the works of the masters, classics and history, that his modest upbringing had denied him. On his return to Paris in 1734, he gained full membership of the Royal Academy of Painting and Sculpture with his splendid Rinaldo and Armida (Paris, Musée du Louvre). Although, throughout his career, he occasionally painted subjects taken from the Bible, and would always have considered himself first as a history painter, his own repertoire of heroines, seductresses, flirtatious peasant girls and erotic beauties was better suited to a lighter, more decorative subject matter. His mastery of technique and composition enabled him to move from large scale tapestry...

Signed low left. Documents indicate that Cornelis Pietersz Bega was born in either 1631 or 1632 in Haarlem. His grandfather was the renowned history painter Cornelis Cornelisz van Haarlem (Dutch, 1562 - 1638), and his extended family included many other more minor painters, sculptors, and craftsmen. In the spring of 1653 he traveled with the portraitist and still life painter Vincent Laurensz van der Vinne...

Title: Mid Century Academic Nude Study Sanguine Drawing Female Portrait Medium: Sanguine red chalk on toned paper, unframed Size: 18.75 x 13.25 inches (height x width) Provenance: p...