Art by Medium: Chalk

This framed 23.5" x 19.5" drawing of a seated female nude depicts the figure in a frontal pose leaning forward with one leg raised and elbow placed on her kneecap. Her head rests in ...

Artist : Kory Twaddle "Autumn Biogram of the Nelson" Newsprint, graphite, conté crayon pastel, charcoal, beeswax, cardboard, paper, gingko leaves, stickers, and Mixed Media on drawi...

Work on paper Golden wooden frame with glass pane 66 x 53.5 x 3.5 cm

This painting depicts a whimsical dog lying on the floor with great attention to detail, an emotion is felt within the dog's face. The sepia color used and quick strokes are what mak...

Signed with the estate stamp lower right corner Note: The image has been sqaured off in red chalk grid lines for use in a large painting Dated in charcoal lower right: "23 Nov '96"

An expressive sanguine drawing by the artist Samouil Nevelshtein, depicting a short-haired girl. Signed, dated and inscribed in Cyrillic to the lower right-hand corner. There is a la...

A sanguine conte study of a head. Presented in a wash line mount and a distressed gilt-effect wooden frame. Signed and dated to the lower-left edge. Pastel Society exhibition label o...

Inscribed: 3. una Madonna che va in Egitto, verso, and Madonna che va in Egitto, recto Provenance: Private Collection, UK, since 1999 This expressive and boldly executed drawing is the work of Luca...

This framed 20" x 14" painting in a surrealist style by artist Leonard Kaplan depicts three nude figures crowded together, sitting and standing with a white bird obscured by the dark shadows. Predominant colors are red, orange, black, and cream. The painting is on paper and masonite framed behind glass in a silver metal frame. Leonard Kalan is known for surrealism and figure paintings. He died in California in 2008. Leonard was born January 15, 1922 in New York City and won a scholarship in 1940 to study at the Art Student League under Reginald Marsh and William Pair. He won an art scholarship to New York University in the late 1930's. He studied art at the Henry Street...

1998 Signed and dated, l.r. Conté crayon on paper 22.5 x 15 inches, image

Fortuny Rose, original drawing created with Conté & Pastel on Fabriano watermarked, handmade paper, by Susan Manchester. Museum quality frame included...

Artist: Joseph Piccillo, American (b. 1941) Title: High Divers Year: circa 2010 Medium: Oil and Chalk on Canvas Size: 72 x 60 inches

This piece by Brian Jobe consists of two separate stacks of concrete and steel. The stack to the left is a bit taller than the other stack, as the top-most block of corrugated concrete has been turned on its side. Beneath the corrugated concrete blocks on each sculpture is a steel plate that balances the concrete blocks on top of two breeze blocks...

Waves by Yvon Pissarro (b. 1937) Conté chalk on paper 70 x 100 (27 ¹/₂ x 39 ³/₈ inches) Signed and dated Yvon Pissarro 1986 Provenance Studio of the ar...

ERNST LUDWIG KIRCHNER 1880-1938 (German) Aschaffenburg 1880 - 1938 Davos Title: Ball Playing Nudes Ballspielende Akte, 1932 Technique: Chalk Drawing on Smooth Wove Paper Paper s...

This framed 13.5" x 13.5" charcoal and conte drawing by artist James Cobb captures a ballerina in a seated, relaxed pose. The work is on toned gray drawing...

Abstract composition is an original contemporary artwork realized by Loris Ferrari in 1987. Tempera and chalk on paper. Hand signed and dated by the artist.

Cabaret 1972 Film Original Clapper Board Liza Minnelli Oscar Academy Award Movie Provenance: From the estate of Liza Minelli's former stage manager Di...

Study of an Indian Model Unsigned Pastel and chalk on blue paper, mounted to support Provenance: Estate of the artist (per Graham and Sons, agent f...

A charming charcoal drawing by the artist Peter Collins, depicting a long-haired figure. Unsigned. Well-presented in a grey on white double card mount and in a simple contemporary bl...

Suhas Roy - Radha - 20 x 20 inches ( unframed size) Tempera Coloured Conte on Pastel on Paper , 2005 Suhas Roy 's mystic woman which he calls 'Radha', either Oil on canvas or sof...

Provenance: Private Collection, UK After initial training under Justus Suttermans and Vincenzo Dandini, in 1673 Anton Domenico Gabbiani embar...

A wonderful portrait of a young girl by the listed British artist Peter Collins. Very well presented in a contemporary black frame with card mount. Inscribed with the name of the sit...

Abstract/Symbol expressionism

Artist: Augustus Edwin John (Welsh, 1878-1961) Title: "Portrait of a Lady" *Signed by John lower right Circa: 1910 Medium: Original red and black Chalk Drawi...

Net image size: approx 14:" x 10" red chalk on laid paper, see provenance as listed with the item Dr. George LaPorte NYC Ask for updated images of the work in the frame Camillo Procaccini...

This figurative portrait drawing titled "Jade" is an original artwork by Chambers Austelle made of acrylic, chalk pastel, wax pastel. This piece measures 12"h x 12"w. Chambers Austelle is a contemporary figurative painter and educator living and working in Charleston, SC. Austelle is best known for her compositions of vivid color and female subjects. The isolated environments challenge the viewer to question the way beauty and women are perceived in our culture. Austelle’s work has been exhibited nationally and exists in many private collections. She was awarded Best in Show at The City Gallery for “Piccolo Spoleto’s 2016 Juried Exhibition”, as well as Charlie Magazine’s “50 Most Progressive”. Most recently, she was the 2018 recipient of St. Thomas’ Artist...

HERBERT JOHNSON HARVEY (British 1883-1956) Reverie Signed with monogram and dated l.l.: HJ 09 Red chalks Framed 29.5 by 22 cm., 11 ¾ by 8 ¾ in. (fra...

Get over it (Abstract painting) Acrylics, oil, chalk on raw Canvas Artwork is exclusive to IdeelArt. This artwork will be shipped rolled in a dent-resistant tube. This method is espe...

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

A Gift from King Charles X to the Duchesse de Berry REDOUTE, Pierre Joseph. Rosa parvi-flora. Watercolour over traces of black chalk on vellum, within gold framing lines; signed in...

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...

Lester Johnson untitled charcoal, conte crayon, and spray enamel on board from 1972. Framed.

Title : First Floor Biogram Materials : Acrylic, gouache, oil pastel, marker, charcoal, graphite, and conté crayon on paper Date : 2018 Dimensions : 24 x 18 x .1 in. Description : ...

Sanguine on paper. Signed and dated upper left. Provenance: Acquired directly from the artist at his home in Chiang Mai, Thailand in 1969.

Abstract expressionist CoBrA style chalk on paper of an imaginary bird by French artist, A Nuchy. Signed to the bottom right. Highly colourful and inventi...

Jack Hooper "Fruit Still Life" 10-1996 Conte crayon and gouache on paper 19.75"x14.25" cherry wood frame with white sides 24.25"x18.25" Signed and dated in...

VI Rose Nose Cat Colored chalks on black paper, 1977 Signed and dated lower right (see photo) Titled lower left (see photo) Part of a series entit...

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...

Get over it (Abstract painting) Acrylics, oil, chalk on raw Canvas Artwork is exclusive to IdeelArt. This artwork will be shipped rolled in a dent-resistant tube. This method is espe...

Nude drawing by Joseph Steiner on paper in pencil and chalk. Monogrammed lower left. Gallery frame and estate stamp. Image size: 30 x 20 cm

Sketche for a Sculpture is an original Pencil and Pastel realized by Charles Moulin in early-20th Century. Good condition on a little brown paper. No ...

Figurative nude drawing on Arches paper graphite, conte crayon and charcoal on Arches paper 22 x 15 inches unframed Contemporary figurative life study drawing of a reclining male nu...

Abstract expressionism/symbolism

Work on paper Silver aluminum frame with glass pane 40,5 x 50,5 x 2 cm

HERBERT WILSON FOSTER (1846-1929) Spring Inscribed with title beneath the mount Chalk, 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...

Something More, Original Abstract Painting, 2020 Abstract Painting on Paper Artist Commentary: The long name for this one is 'Tearing Through the Sky in Wonder'. This one is very ...

Inscribed “159” in the upper right Provenance: (Possibly) The Van Goyen sketchbook which in 1845 belonged to Andrew Geddes, A.R.A. (1783-1844), London; his sale, Christie's, London,...

The drawing is an “Academic study”, as we can notice by the deep attention given to lights and shadows (emphasized by the use of both black and white chalk) and by the plastic pose o...

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

HERBERT WILSON FOSTER (1846-1929) Summer Inscribed with title beneath the mount Chalk, 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...

Jack Hooper "Asian Woman II" 10-1990 Acrylic and conte crayon on rag paper 31"x42.25 unframed Signed and dated in pencil lower right Minor wear consistent with age and history Jac...

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

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...

West Hills Race Meeting November 13, 1926 Drawn on stone 4/35 signed Paul Brown lower right Art Sz: 13"H x 22"W

Study of Trees in Forest II Conté crayon on paper 8.5 x 11 inches (21.6 x 27.9 cm) This work is offered by ClampArt in New York City.

Brown and black chalks and pencil on cream wove paper. Signed and dated in pencil, lower left recto.

Thinking of art-historical nudes from Fortuny and Boucher. ____________________________________ Dimitri operates from the idea of the “unfinished.” It informs his choice of materia...