Art by Medium: Charcoal

The artist has covered New York collections for over 16 years and has interviewed, as a journalist, several fashion designers and personalities for different publications. He loves t...

BÍMPÉ (which means to be born with perfection) In Yoruba land, it's our culture to be christened with beautiful names most especially the women. BÍMPÉ is one of such beautiful names, so also this piece portrays the perfection in the creation of women. "Self-Made" is a captivating series of artwork created by the talented artist Alawaye Tope...

Shipping Procedure Ships in a well-protected tube from Nigeria This work is unique, not a print or other type of copy. Accompanied by a Certificate of Authenticity. About Artist Olu...

French Landscape is a drawing in Charcoal and watercolor in the early 20th Century by Jean Le Soudier. Good Conditions. The artwork is depicted through soft strokes in a well-balan...

On offer is a work which was part of a book of drawings by Granville Redmond (1871-1935). The moody, lamp-lit scene of a man at his desk, a bottle within easy reach, and the ghostly ...

Medium: Charcoal and Pencil on Paper Dimensions: 31.00" x 23.75" Signature: Inscribed and Signed. Signed and inscribed 'To Steve Kovac/sincerely/Norman/Rockwell' (lower right) Proven...

Model with Mandolin in Ink and Charcoal on Paper Black and white painting of a woman by acclaimed bluegrass musician Katherine "Kathy" Kallick (American, b. 1952). A woman is sitting in a chair, with a mandolin in her lap. She is shown in profile, looking to the viewer's right. Next to the chair is an end table with a vase of flowers. Unsigned, but was acquired with a collection of the artist's work. Paper size: 22.5"H x 28.38"W Katherine Kallick...

Warm crown palette charcoal drawing of nude female figure arching backwards, circa 1980. Signed lower right. Original artwork on paper displayed on a white mat with a gold border....

This is a hand drawn original artwork on heavyweight paper by internet sensation mad charcoal He is represented by Krause Gallery NYC Ships rolled in a ...

Gustave Poetzsch (1870-1950) Carriage coming from a Small Village, c. 1900 Original charcoals and pencil drawing Signed bottom right Stamp of the Estate auction sale on the back On...

The artist has covered New York collections for over 16 years and has interviewed, as a journalist, several fashion designers and personalities for different publications. He loves t...

Robert Lebsack creates artworks using mixed media with ink, acrylic, and charcoal on archival copies of newspapers, textbooks, and sheet music. As a visionary artist, Lebsack weaves ...

Mid Century French Portrait Josine Vignon (French 1922-2022) Medium: Pencil/ charcoal /watercolour on artists paper, double sided Size: 9.5 height) x 6.25 (width) Stamped Verso Con...

The Sun Inside by Sedef Gali 2023 Dye, Ink, and Acrylic on Canvas 84.6" × 104.3" Sedef’s artistic practice is deeply influenced by her upbringing in cities characterized by diver...

This artwork is part of my “Interior” series – artworks created to bring lightness and beauty into your space. The series is designed to please the eye without overwhelming it, addin...

This diptych includes two drawings: “Tiny Life in Hands” and “Hands of Childhood.” Artwork ''HANDS OF CHILDHOOD'' captures a warm, soul-soothing moment of childhood — when you simpl...

“Doctor V” — artwork from the “Portraits Without Faces” series. This series is a tribute to people who devote themselves wholeheartedly to their work — those who create, heal, teach...

"Dentist IІІ" — artwork from the “Portraits Without Faces” series. The triptych “Dentist” includes three drawings: “Dentist I,” “Dentist II,” and “Dentist III.” The triptych “Dentis...

California Girls, 2018 Graphite, Rust Color Charcoal, and Japanese Watercolor on paper by artist Brad Fisher. Unframed 9 × 12 in Shipping is not included. See our shipping policie...

Beach Mom, 2018 Graphite, Rust Color Charcoal, and Japanese Watercolor on paper by artist Brad Fisher. Unframed. 9 × 12 in Shipping is not included. See our shipping policies. Ple...

The triptych “Doctor” includes three drawings: “Doctor I,” “Doctor II,” and “Doctor III.” The triptych “Doctor” is from the “Portraits Without Faces” series. The size of each artwo...

The drawing "On the Drive" is the first work from my new series "Youth". It reflects the energy, courage and drive of the younger generation, which is ready to take risks, look at th...

French Teen Avec Chien, 2019 Rust color charcoal, ink and watercolor on paper by artist Brad Fisher. Unframed. 12 × 9 in Shipping is not included. See our shipping policies. Pleas...

Oscar Bluemner was a German and an American, a trained architect who read voraciously in art theory, color theory, and philosophy, a writer of art criticism both in German and English, and, above all, a practicing artist. Bluemner was an intense man, who sought to express and share, through drawing and painting, universal emotional experience. Undergirded by theory, Bluemner chose color and line for his vehicles; but color especially became the focus of his passion. He was neither abstract artist nor realist, but employed the “expressional use of real phenomena” to pursue his ends. (Oscar Bluemner, from unpublished typescript on “Modern Art” for Camera Work, in Bluemner papers, Archives of American Art, Smithsonian Institution, as cited and quoted in Jeffrey R. Hayes, Oscar Bluemner [1991], p. 60. The Bluemner papers in the Archives [hereafter abbreviated as AAA] are the primary source for Bluemner scholars. Jeffrey Hayes read them thoroughly and translated key passages for his doctoral dissertation, Oscar Bluemner: Life, Art, and Theory [University of Maryland, 1982; UMI reprint, 1982], which remains the most comprehensive source on Bluemner. In 1991, Hayes published a monographic study of Bluemner digested from his dissertation and, in 2005, contributed a brief essay to the gallery show at Barbara Mathes, op. cit.. The most recent, accessible, and comprehensive view of Bluemner is the richly illustrated, Barbara Haskell, Oscar Bluemner: A Passion for Color, exhib. cat. [New York: Whitney Museum of American Art, 2005.]) Bluemner was born in the industrial city of Prenzlau, Prussia, the son and grandson of builders and artisans. He followed the family predilection and studied architecture, receiving a traditional and thorough German training. He was a prize-winning student and appeared to be on his way to a successful career when he decided, in 1892, to emigrate to America, drawn perhaps by the prospect of immediate architectural opportunities at the Chicago World’s Fair, but, more importantly, seeking a freedom of expression and an expansiveness that he believed he would find in the New World. The course of Bluemner’s American career proved uneven. He did indeed work as an architect in Chicago, but left there distressed at the formulaic quality of what he was paid to do. Plagued by periods of unemployment, he lived variously in Chicago, New York, and Boston. At one especially low point, he pawned his coat and drafting tools and lived in a Bowery flophouse, selling calendars on the streets of New York and begging for stale bread. In Boston, he almost decided to return home to Germany, but was deterred partly because he could not afford the fare for passage. He changed plans and direction again, heading for Chicago, where he married Lina Schumm, a second-generation German-American from Wisconsin. Their first child, Paul Robert, was born in 1897. In 1899, Bluemner became an American citizen. They moved to New York City where, until 1912, Bluemner worked as an architect and draftsman to support his family, which also included a daughter, Ella Vera, born in 1903. All the while, Oscar Bluemner was attracted to the freer possibilities of art. He spent weekends roaming Manhattan’s rural margins, visiting the Bronx, Brooklyn, Queens, and New Jersey, sketching landscapes in hundreds of small conté crayon drawings. Unlike so many city-based artists, Bluemner did not venture out in search of pristine countryside or unspoiled nature. As he wrote in 1932, in an unsuccessful application for a Guggenheim Fellowship, “I prefer the intimate landscape of our common surroundings, where town and country mingle. For we are in the habit to carry into them our feelings of pain and pleasure, our moods” (as quoted by Joyce E. Brodsky in “Oscar Bluemner in Black and White,” p. 4, in Bulletin 1977, I, no. 5, The William Benton Museum of Art, Storrs, Connecticut). By 1911, Bluemner had found a powerful muse in a series of old industrial towns, mostly in New Jersey, strung along the route of the Morris Canal. While he educated himself at museums and art galleries, Bluemner entered numerous architectural competitions. In 1903, in partnership with Michael Garven, he designed a new courthouse for Bronx County. Garven, who had ties to Tammany Hall, attempted to exclude Bluemner from financial or artistic credit, but Bluemner promptly sued, and, finally, in 1911, after numerous appeals, won a $7,000 judgment. Barbara Haskell’s recent catalogue reveals more details of Bluemner’s architectural career than have previously been known. Bluemner the architect was also married with a wife and two children. He took what work he could get and had little pride in what he produced, a galling situation for a passionate idealist, and the undoubted explanation for why he later destroyed the bulk of his records for these years. Beginning in 1907, Bluemner maintained a diary, his “Own Principles of Painting,” where he refined his ideas and incorporated insights from his extensive reading in philosophy and criticism both in English and German to create a theoretical basis for his art. Sometime between 1908 and 1910, Bluemner’s life as an artist was transformed by his encounter with the German-educated Alfred Stieglitz, proprietor of the Little Galleries of the Photo-Secession at 291 Fifth Avenue. The two men were kindred Teutonic souls. Bluemner met Stieglitz at about the time that Stieglitz was shifting his serious attention away from photography and toward contemporary art in a modernist idiom. Stieglitz encouraged and presided over Bluemner’s transition from architect to painter. During the same period elements of Bluemner’s study of art began to coalesce into a personal vision. A Van Gogh show in 1908 convinced Bluemner that color could be liberated from the constraints of naturalism. In 1911, Bluemner visited a Cézanne watercolor show at Stieglitz’s gallery and saw, in Cézanne’s formal experiments, a path for uniting Van Gogh’s expressionist use of color with a reality-based but non-objective language of form. A definitive change of course in Bluemner’s professional life came in 1912. Ironically, it was the proceeds from his successful suit to gain credit for his architectural work that enabled Bluemner to commit to painting as a profession. Dividing the judgment money to provide for the adequate support of his wife and two children, he took what remained and financed a trip to Europe. Bluemner traveled across the Continent and England, seeing as much art as possible along the way, and always working at a feverish pace. He took some of his already-completed work with him on his European trip, and arranged his first-ever solo exhibitions in Berlin, Leipzig, and Elberfeld, Germany. After Bluemner returned from his study trip, he was a painter, and would henceforth return to drafting only as a last-ditch expedient to support his family when his art failed to generate sufficient income. Bluemner became part of the circle of Stieglitz artists at “291,” a group which included Marsden Hartley, John Marin, and Arthur Dove. He returned to New York in time to show five paintings at the 1913 Armory Show and began, as well, to publish critical and theoretical essays in Stieglitz’s journal, Camera Work. In its pages he cogently defended the Armory Show against the onslaught of conservative attacks. In 1915, under Stieglitz’s auspices, Bluemner had his first American one-man show at “291.” Bluemner’s work offers an interesting contrast with that of another Stieglitz architect-turned-artist, John Marin, who also had New Jersey connections. The years after 1914 were increasingly uncomfortable. Bluemner remained, all of his life, proud of his German cultural legacy, contributing regularly to German language journals and newspapers in this country. The anti-German sentiment, indeed mania, before and during World War I, made life difficult for the artist and his family. It is impossible to escape the political agenda in Charles Caffin’s critique of Bluemner’s 1915 show. Caffin found in Bluemner’s precise and earnest explorations of form, “drilled, regimented, coerced . . . formations . . . utterly alien to the American idea of democracy” (New York American, reprinted in Camera Work, no. 48 [Oct. 1916], as quoted in Hayes, 1991, p. 71). In 1916, seeking a change of scene, more freedom to paint, and lower expenses, Bluemner moved his family to New Jersey, familiar terrain from his earlier sketching and painting. During the ten years they lived in New Jersey, the Bluemner family moved around the state, usually, but not always, one step ahead of the rent collector. In 1917, Stieglitz closed “291” and did not reestablish a Manhattan gallery until 1925. In the interim, Bluemner developed relationships with other dealers and with patrons. Throughout his career he drew support and encouragement from art cognoscenti who recognized his talent and the high quality of his work. Unfortunately, that did not pay the bills. Chronic shortfalls were aggravated by Bluemner’s inability to sustain supportive relationships. He was a difficult man, eternally bitter at the gap between the ideal and the real. Hard on himself and hard on those around him, he ultimately always found a reason to bite the hand that fed him. Bluemner never achieved financial stability. He left New Jersey in 1926, after the death of his beloved wife, and settled in South Braintree, Massachusetts, outside of Boston, where he continued to paint until his own death in 1938. As late as 1934 and again in 1936, he worked for New Deal art programs designed to support struggling artists. Bluemner held popular taste and mass culture in contempt, and there was certainly no room in his quasi-religious approach to art for accommodation to any perceived commercial advantage. His German background was also problematic, not only for its political disadvantages, but because, in a world where art is understood in terms of national styles, Bluemner was sui generis, and, to this day, lacks a comfortable context. In 1933, Bluemner adopted Florianus (definitively revising his birth names, Friedrich Julius Oskar) as his middle name and incorporated it into his signature, to present “a Latin version of his own surname that he believed reinforced his career-long effort to translate ordinary perceptions into the more timeless and universal languages of art” (Hayes 1982, p. 189 n. 1). In 1939, critic Paul Rosenfeld, a friend and member of the Stieglitz circle, responding to the difficulty in categorizing Bluemner, perceptively located him among “the ranks of the pre-Nazi German moderns” (Hayes 1991, p. 41). Bluemner was powerfully influenced in his career by the intellectual heritage of two towering figures of nineteenth-century German culture, Johann Wolfgang von Goethe and Georg Wilhelm Friedrich Hegel. A keen student of color theory, Bluemner gave pride of place to the formulations of Goethe, who equated specific colors with emotional properties. In a November 19, 1915, interview in the German-language newspaper, New Yorker Staats-Zeitung (Abendblatt), he stated: I comprehend the visible world . . . abstract the primary-artistic . . . and after these elements of realty are extracted and analyzed, I reconstruct a new free creation that still resembles the original, but also . . . becomes an objectification of the abstract idea of beauty. The first—and most conspicuous mark of this creation is . . . colors which accord with the character of things, the locality . . . [and which] like the colors of Cranach, van der Weyden, or Durer, are of absolute purity, breadth, and luminosity. . . . I proceed from the psychological use of color by the Old Masters . . . [in which] we immediately recognize colors as carriers of “sorrow and joy” in Goethe’s sense, or as signs of human relationship. . . . Upon this color symbolism rests the beauty as well as the expressiveness, of earlier sacred paintings. Above all, I recognize myself as a contributor to the new German theory of light and color, which expands Goethe’s law of color through modern scientific means (as quoted in Hayes 1991, p. 71). Hayes has traced the global extent of Bluemner’s intellectual indebtedness to Hegel (1991, pp. 36–37). More specifically, Bluemner made visual, in his art, the Hegelian world view, in the thesis and antithesis of the straight line and the curve, the red and the green, the vertical and the horizontal, the agitation and the calm. Bluemner respected all of these elements equally, painting and drawing the tension and dynamic of the dialectic and seeking ultimate reconciliation in a final visual synthesis. Bluemner was a keen student of art, past and present, looking, dissecting, and digesting all that he saw. He found precedents for his non-naturalist use of brilliant-hued color not only in the work Van Gogh and Cezanne, but also in Gauguin, the Nabis, and the Symbolists, as well as among his contemporaries, the young Germans of Der Blaue Reiter. Bluemner was accustomed to working to the absolute standard of precision required of the architectural draftsman, who adjusts a design many times until its reality incorporates both practical imperatives and aesthetic intentions. Hayes describes Bluemner’s working method, explaining how the artist produced multiple images playing on the same theme—in sketch form, in charcoal, and in watercolor, leading to the oil works that express the ultimate completion of his process (Hayes, 1982, pp. 156–61, including relevant footnotes). Because of Bluemner’s working method, driven not only by visual considerations but also by theoretical constructs, his watercolor and charcoal studies have a unique integrity. They are not, as is sometimes the case with other artists, rough preparatory sketches. They stand on their own, unfinished only in the sense of not finally achieving Bluemner’s carefully considered purpose. The present charcoal drawing is one of a series of images that take as their starting point the Morris Canal as it passed through Rockaway, New Jersey. The Morris Canal industrial towns that Bluemner chose as the points of departure for his early artistic explorations in oil included Paterson with its silk mills (which recalled the mills in the artist’s childhood home in Elberfeld), the port city of Hoboken, Newark, and, more curiously, a series of iron ore mining and refining towns, in the north central part of the state that pre-dated the Canal, harkening back to the era of the Revolutionary War. The Rockaway theme was among the original group of oil paintings that Bluemner painted in six productive months from July through December 1911 and took with him to Europe in 1912. In his painting journal, Bluemner called this work Morris Canal at Rockaway N.J. (AAA, reel 339, frames 150 and 667, Hayes, 1982, pp. 116–17), and exhibited it at the Galerie Fritz Gurlitt in Berlin in 1912 as Rockaway N. J. Alter Kanal. After his return, Bluemner scraped down and reworked these canvases. The Rockaway picture survives today, revised between 1914 and 1922, as Old Canal, Red and Blue (Rockaway River) in the collection of the Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, Washington D. C. (color illus. in Haskell, fig. 48, p. 65). For Bluemner, the charcoal expression of his artistic vision was a critical step in composition. It represented his own adaptation of Arthur Wesley’s Dow’s (1857–1922) description of a Japanese...

Pick up the pieces and make it whole again, wipe your tears, mend the broken heart, stand up and do it again remember nobody expects anything but your success. You're a winner Paint...

Artwork ''Hands of Childhood'' captures a warm, soul-soothing moment of childhood — when you simply can’t pass by a sunlit field without picking a dandelion that has already turned i...

Charcoal and oil pastel on cardboard realized by Sirio Pellegrini in 1960s. Hand signed. Includes a wooden frame realized by the Artist. cm. 44x34. Sirio Pellegrini, born in Rome ...

"'I choose this,' said Polly, holding up a long white kid glove, shrunken and yellow with time, but looking as if it had a history." Illustration for An Old-Fashioned Girl by Louisa...

Love Letter To Self by Sedef Gali 2023 Oil and Acrylic on Canvas 59" × 72.8" Sedef’s artistic practice is deeply influenced by her upbringing in cities characterized by diverse c...

Shipping Procedure Ships in a well-protected tube. This work is unique, not a print or other type of copy. Accompanied by a Certificate of Authenticity. About the Artist Joy Eyitayo...

Gustave Poetzsch (1870-1950) Study of a Young Boy, 1903 Original sanguine charcoal drawing Signed bottom right on tinted paper 30 x 23 cm (c. 19 x 13 in) Stamp of the Estate auctio...

Original artwork description: Step into the world of Westeros through this meticulously crafted graphite and charcoal drawing of Jon Snow. Every detail – from the texture of his cloa...

Original artwork description: This is the same flock of young birds – bold, full of energy, fearless, and confidently exploring the yard. These are the young cockerels daring to comp...

Shipping Procedure Ships in a well-protected tube. This work is unique, not a print or other type of copy. Accompanied by a Certificate of Authenticity. About the Artist Joy Eyitayo...

Academic drawing: L'Écorché by Houdon. Italian school. 19th century. 59x44cm This represents the statue of the écorché by the French sculptor Houdon. Sculpture - Anatomical model o...

Shipping Procedure Ships in a well-protected tube from Nigeria This work is unique, not a print or other type of copy. Accompanied by a Certificate of Authenticity. About Artist Top...

Jim’s of Lambertville is proud to offer this artwork by: Joseph Meierhans (1890 - 1980) Joseph Meierhans is one of the most important modernist painters associated with Bucks Count...

Juventus Football Player, UEFA Champions League Triumph, 1996. Cm 72 x 50 Technique: Charcoal on paper, signed and dated '96 Author: Marco Silombria (Savona, 1936 - Albissola, 2017...

Unknown/Unidentified Artist, "Untitled: Three Nude Females", Figurative/ Nude Charcoal signed Drawing on Paper, 24 x 18, Late 20th Century Colors: Black a...

No room for doubt come out to the light, flee from that past that keeps hunting you down. You don’t need to hide anymore, you’re a precious jewel. Painting Ships in a well-protected...

Black and yellow abstract charcoal drawing by Houston artist Paul Forsythe. The piece features an abstract, organic shape floating against a white background. Currently hung in a lig...

Artist: Marilina Marchica (1984, Italy) Title: Frammento CN Year: 2025 Medium: Charcoal on translucent drafting paper Frame: Custom, handcrafted solid wood frame Dimensions: Framed:...

Treesong (Contemporary, Realist Charcoal Landscape Drawing by Sue Bryan) 18 x 24 x 2 inches Charcoal and acrylic on Primed Arches Paper Mounted on Wood Panel Excellent condition, Ready to hang as is This contemporary charcoal landscape drawing on arches paper was completed in 2021 by Sue Bryan. Born in Ireland, the artist uses landscapes from her childhood as inspiration for her current work primarily consisting of beautifully detailed charcoal drawings of trees and wooded landscapes. The artist captures exquisite detail and luminous light with the mere use of black and white charcoal and carbon pencil. The artist creates this tree through a blend of light and shadow that demonstrates the artist's masterful technique. Dark leaves and winding branches in black charcoal contrast elegantly against a light filled sky. There is sturdy wire installed on the back for easy hanging. Artist Statement: "My work is drawing based. As a native of Ireland, the landscape there has certainly shaped and influenced my own history. Many of my drawings are of places that have a deep personal association for me; an endeavor perhaps to stay connected to my roots. My aim is not only to convey a sense of place and belonging, but also an attempt to capture the ineffable, to evoke a feeling or a memory, to invite the viewer to look beyond and beneath what they see. My process is one of building up tones and textures using a combination of charcoal, carbon and graphite, all of which yield a wonderful range of blacks and grays that vary in density and transparency as much as in tonality. Much of drawing’s appeal to me lies in its very constraint, in its simplification, in the reduction of nature’s macrocosm to the coal-black char of organic matter. For me, the act of drawing is an end in itself." About the work: A native of Ireland, Sue Bryan explores the memories of youth rooted in her homeland's landscape. Employing charcoal on both paper and panel, these moody and misty studies reminds us that the water-locked terrain is not always sunny and green. Exquisite detail found in each tree branch or mass of tall grasses lining the horizon dominates the foreground. Light emulates from the background attempting to penetrate the density of opaque cloud cover. Bryan's small scale drawings convey an intimate and highly personal sense of place and belonging. SELECTED EXHIBITIONS 2019 'A Quiet Respite", Carrie Haddad Gallery, Hudson, NY 2018 'DRAWN',5th Annual International Exhibition of Contemporary Drawing, Manifest Gallery, OH 2018 'On Paper - An Exhibition of Drawings', Florence Academy of Art, NJ 2018 'MONOCHROME', Bo.Lee Gallery, London 2017 'Arboreal', Manifest Gallery, OH 2017 'Hudson Valley Landscapes', Carrie Haddad Gallery, Hudson, NY 2017 'Affordable Art Fair, Battersea, London, October 2017 'A Long Way from Home', Bo.Lee Gallery, London 2017 187th Annual Exhibition, Royal Hibernian Academy, Dublin, Ireland 2017 'Palette', Abend Gallery, Denver, CO 2017 'Summer Exhibit', Carrie Haddad Gallery, Hudson, New York 2017 'Exquisite Abandon : Contemporary Miniature Works', Laguna College of Art & Design 2017 8th Annual Drawing Discourse, University of North Carolina Ashville 2017 'Small is Beautiful', Le Salon Vert, Geneva Switzerland 2016 'Smart Dust', Group Show, Sla307, 307 West 30th Street, New York, NY 2016 'Inside Outside', Carrie Haddad Gallery, Hudson, NY 2016 7th Annual Drawing Discourse, S Tucker Cooke Gallery, University of North Carolina Asheville 2016 186th Annual Exhibition, Royal Hibernian Academy, Dublin, Ireland 2016 DRAWN, 3rd Annual International Exhibition of Contemporary Drawing, Manifest Gallery, OH 2016 'Summer Group Invitational', George Billis Gallery, NYC 2015 'Radical Inventions', Carrie Haddad Gallery, Hudson, NY 2015 'Strange Paradise', First Street Gallery's National Juried Exhibition, Juror Steven Harvey 2015 185th Annual Exhibition, Royal Hibernian Academy, Dublin, Ireland 2015 'DRAWN' 2nd Annual International Exhibition of Contemporary Drawing, Manifest Gallery 2015 7th Annual Juried Exhibition, Prince Street Gallery, NYC, Juror Robert Berlind 2015 Bradley International Print & Drawing Exhibition, Heuser Art Center, IL, Juror Beth Grabowski 2015 'Interactive Lines' Small Group Invitational, Cabarrus Arts Council, Condor, NC 2014 ‘Regarding the Sublime’, Small Group Invitational, North Park University, IL 2014 27th Northern National Art Competition, Nicolet College Art Gallery 2014 184th Annual Exhibition, Royal Hibernian Academy, Dublin, Ireland 2014 'DRAWN’ 1st Annual International Exhibition of Contemporary Drawing, Manifest Gallery 2014 POP-UP : On and Off the Wall, Series 2, Invited Artist, First Street Gallery, NYC 2014 5th Drawing Discourse, University of North Carolina, Asheville, Juror Tim Lowly 2013 VISTA [landscape in contemporary art], National Juried Show, Manifest Gallery 2013 Marks, A National Juried Drawing Exhibition, Madelon Powers Art Gallery, East Stroudsburg University, PA 2013 American Art Today : Figures, The Bascom, A Center for Visual Art, Juror Jonathan Stuhlman 2013 First Street Gallery's National Juried Exhibition, Juror Donald Kuspit 2013 4th Annual Drawing Discourse, S Tucker Cooke Gallery, University of North Carolina, Asheville, Juror Susan Hauptman 2012 Fort Wayne Museum of Art Contemporary Realism Biennial, Fort Wayne Museum of Art, Juror Frank Bernarducci 2012 25th Northern National Art Competition, Nicolet College Art Gallery, Juror Sarah McKenzie 2011 Salmagundi Annual Non-Member Open Exhibition, Salmagundi Club, NYC 2011 33rd Bradley International Print & Drawing Exhibition, Juror Robert E Marx

Robert Lebsack creates artworks using mixed media with ink, acrylic, and charcoal on archival copies of newspapers, textbooks, and sheet music. As a visionary artist, Lebsack weaves ...

"Dentist I" — artwork from the “Portraits Without Faces” series. This series is a tribute to people who devote themselves wholeheartedly to their work — those who create, heal, teac...

This layered paper and drawing collage titled "House Studies Series V" is an original artwork by Seth Clark made of paper, charcoal, pastel, graphite, and acrylic on wood. Through a ...

"Sandhill Crane" (2025) by Lee Andre is a beautiful photorealistic charcoal illustration, depicting the side view of a breed of North American crane. This piece rests at 8 x 15 inche...

“Doctor II” — artwork from the “Portraits Without Faces” series. This series is a tribute to people who devote themselves wholeheartedly to their work — those who create, heal, teac...

Painting Ships in a well-protected tube from Nigeria This work is unique, this is not a print or other type of copy. Signed on the front side and accompanied by a Certificate of Auth...

“Doctor I” — the first artwork from the “Portraits Without Faces” series. This series is a tribute to people who devote themselves wholeheartedly to their work — those who create, ...

This original drawing by Fabien Granet, is created in 2025 with charcoal and pastel on paper (26 x 18 cm). This work is part of a series of contemporary landscapes inspired by the co...

Medium: Charcoal Drawing on Paper Signature: Signed Lower Right Story Illustration from The Saturday Evening Post

Mixed media oil paint and linseed dipped charcoal on canvas, in this calming, soothing and engaging large-scale atmospheric work of art by Sophie Dixon. The paint is applied fairly t...

In the context of African culture, a BOSS LADY typically refers to a strong, independent, and confident woman who is often successful in her career, someone who is self-assured and a...

Shipping Procedure Ships in a well-protected tube. This work is unique, not a print or other type of copy. Accompanied by a Certificate of Authenticity. About the Artist Joy Eyitayo...

"The Portrait" by Geneviève Zondervan (French 1922-2013) pencil/ charcoal on thick paper, unframed paper size: 25 x 18.75 inches Beautifully decorative, mid 20th century French ori...

The theory of Heaven is a novelty that Plato introduced to philosophy. Inspired by this concept, the artist proposes a series of works where I imagine and recreate possible worlds on...

Miguel CONDE (1939-) The fruit seller, 1998 Original ink drawing with charcoal enhancement Signed bottom left On heavy tinted vellum 79 x 60 cm (c. 32 x 26 in) Excellent condition

Juventus Football Player, UEFA Champions League 1996 – 101 x 72 cm Technique: Charcoal on paper, signed and dated ’96 Author: Marco Silombria (Savona, 1936 - Albissola, 2017) Dimen...

10 Maneras de Volar 10 is a gouache and charcoal on Amate paper by Latin American artist Carlos Luna. Executed in black, brown, deep blue, red and white, the work depicts a flying, p...