Art by Medium: Charcoal

Portrait is an original drawing in pencil and charcoal on paper, realized Hubert Yencesse, Hand-signed. The state of preservation of the artwork is go...

Gaston COPPENS (1909 - 2002) Dreaming Nude Original pastel drawing Stamp signature Stamp of the artist on the back On wove paper 48 x 36 cm (c 18 x 14 inches) Excellent condition Gaston Coppens studied sculpture in the prestigious Ecoule Boulle (Paris). Working in Boulogne Billancourt, just near Paris, his drawings keep the influence of his first formation : modeling volumes, subliming with harmony light and shadow. He was also influenced by the first cubist painters...

Gaston COPPENS (1909 - 2002) Lovers, Tenderness Original charcoal drawing Stamp signature Stamp of the artist on the back On wove paper 37 ...

Lovers is an original artwork realized in 1927 by Andre Leroux. Original black and white charcoal drawing. The artwork represents a couple of lovers wh...

Charcoal, pastel lace Audrey Anastasi states: "The paper doll series was created first in the presence of a live model, working quickly, in charcoal an...

Marie LAURENCIN Colorful flowers, 1953 Original pencil drawing Signed by artist stamp On paper 24.5 x 19.5 cm (c. 9.6 x 7.6 inch) Very good conditi...

K.G. Subramanyan - Untitled - 22 x 14 inches (unframed size) Pastel & Charcoal on Paper Inclusive of shipment without frame. Style : K G Subramanyan was one of the leading artists who was part of India’s post-Independence search for identity through art. A writer, scholar, teacher and art historian, K G Subramanyan was prolific in his art, spanning the spectrum of mediums from painting to pottery, weaving, and glass painting. He believed in the value of Indian traditions and incorporated folklore, myth and local techniques and stories into his work. Critic Geeta Kapur has stated that Subramanyan was deeply influenced by popular, modern, classical and indigenous traditions. No matter what the medium, be it handmade paper or acrylic sheet, his artistic practice has integrated fluid traditions so as to create a new lingua franca. The strokes that shape the faces and the little blobs, the vertical and horizontal drama all become like a choreographed symbolism that has a sense of play in line and length. Nothing is in excess, nothing is obnoxious but each stroke forms the finesse of versatile ventures. About the Artist and his work : K.G. Subramanyan (1924-2016) was born in Kerala. Education : He completed his Bachelor’s Degree in Economics from the Presidency College in Chennai. In 1948, he graduated from Kala Bhavan in Santiniketan, where he studied under the tutelage of Benode Behari...

K.G. Subramanyan - Untitled - 22 x 14 inches (unframed size) Pastel & Charcoal on Paper Inclusive of shipment without frame. Style : K G Subramanyan was one of the leading artists who was part of India’s post-Independence search for identity through art. A writer, scholar, teacher and art historian, K G Subramanyan was prolific in his art, spanning the spectrum of mediums from painting to pottery, weaving, and glass painting. He believed in the value of Indian traditions and incorporated folklore, myth and local techniques and stories into his work. Critic Geeta Kapur has stated that Subramanyan was deeply influenced by popular, modern, classical and indigenous traditions. No matter what the medium, be it handmade paper or acrylic sheet, his artistic practice has integrated fluid traditions so as to create a new lingua franca. The strokes that shape the faces and the little blobs, the vertical and horizontal drama all become like a choreographed symbolism that has a sense of play in line and length. Nothing is in excess, nothing is obnoxious but each stroke forms the finesse of versatile ventures. About the Artist and his work : K.G. Subramanyan (1924-2016) was born in Kerala. Education : He completed his Bachelor’s Degree in Economics from the Presidency College in Chennai. In 1948, he graduated from Kala Bhavan in Santiniketan, where he studied under the tutelage of Benode Behari Mukherjee...

Sunil Das - Early Horses VII - 18.5 x 29 inches (unframed size) Charcoal on Paper ( Framed & Delivered ) Sunil Das was one of India's most important postmodernist painters and rose ...

Sunil Das - Early Horses X - 34 x 20.75 inches (unframed size) Charcoal on paper ( Framed & Delivered ) Sunil Das was one of India's most important postmodernist painters and rose t...

Signed (at lower right): Louisa Chase 1989

Femme assise is a superb original charcoal drawing on paper, realized an unknown French artist of the end of XX century. A beautiful and sensual sitting woman is portrayed in a mome...

Portrait is a beautiful drawing in pastel and charcoal on paper realized by Fernand Renault (1865-1909) In good condition. Stamped on the lower right. The artwork represents the p...

La Bavarde is an original drawing realized during the half of the 20th Century by an anonymous artist. The artwork represents a woman and a crow. Titled hand written on the lower ...

"The Phone Rings" is an original hand colored drawing on ivory-colorated paper by Mino Maccari (1898-1989). In excellent conditions: As good as new. Sheet...

Telephone is an original artwork realized by Mino Maccari in the 1970's. Mixed media colored drawing. Hand-signed by the artist on the lower margin. Good conditions except for s...

Three studies of a woman in movement is an original black charcoal drawing on thick serrated sheet on the left side, realized at the beginning of the 20th Century by the artist Georg...

Male bust and male head is an original black chalk drawing on greige sheet, realized at the beginning of 20th Century by the artist Georges Gôbo (Saint Francisco, 1876 - Nantes 1958)...

Sunil Das - Early Horses IX - 21 x 34 inches (unframed size) Charcoal on Paper Inclusive of shipment in ready to hang form. Sunil Das was one of India's most important postmodernist...

Study of a hand carrying a bag is an original black chalk drawing on greige sheet, realized at the beginning of the 20th Century by the artist Georges ...

Nude Of Woman is a charcoal drawing on brown paper. Unsigned. Good conditions except for some folds and some rips on the corners. Prolific and eclectic, the Italian Gio Colucci (Florence, 1892 – Paris, 1974), also known in France as Geo Colucci, was a painter, engraver, illustrator, ceramist, and sculptor. From 1921, he exhibited his engravings in various salons. He worked with French publishers specialized in the illustrated books of high bibliophilia, and delivered series of remarkable prints for texts by Barbey d'Aurevilly, Pierre Loti, Guy Maupassant...

Homme Main Levée is an original charcoal drawing on thick sheet, realized at the beginning of the 19th Century by the artist Georges Gôbo (Saint Francisco, 1876 - Nantes 1958). Sign...

Marie LAURENCIN Cat and Dog Playing, 1953 Original pencil drawing Signed by artist stamp On paper 24.5 x 19.5 cm (c. 9.6 x 7.6 inch) Very good condition, m...

Gaston COPPENS (1909 - 2002) Model Looking at the Sea Original charcoal drawing Stamp signature Stamp of the artist on the back On wove paper 37 x 31 cm (...

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...

Gaston COPPENS (1909 - 2002) Nudes Storm Original charcoal drawing Bears the stamped signature of the artist Stamp of the artist studio on t...

"Seated Cat" is an original charcoal drawing by Sylvia Spicuzza. The artist stamped her signature lower right and wrote the title in charcoal lower left. This piece is a study of a b...

Gaston COPPENS (1909 - 2002) Studies of a Model in the Workshop Original charcoal drawing Stamp signature Stamp of the artist on the back On wove paper 37 x 31 cm (c 15 x 12 inch) ...

Portrait Of Man is a charcoal drawing on brown paper, hand-signed by the artist on the lower right. Good conditions except for some folds and rips along the margins. Prolific and eclectic, the Italian Gio Colucci (Florence, 1892 – Paris, 1974), also known in France as Geo Colucci, was a painter, engraver, illustrator, ceramist, and sculptor. From 1921, he exhibited his engravings in various salons. He worked with French publishers specialized in the illustrated books of high bibliophilia, and delivered series of remarkable prints for texts by Barbey d'Aurevilly, Pierre Loti, Guy Maupassant...

Sauna is an original drawing in charcoal e sanguine on paper realized by an Anonymous artist of the XX century. The state of preservation is good. The artwork represents the scener...

Gaston COPPENS (1909 - 2002) Model Getting Up Original charcoal drawing Signed in the bottom right On drawing paper 52 x 43 cm (c 21 x 17 inch) Excellent condition Gaston Coppens ...

Trees is an original drawing in pencil and charcoal, realized by an Anonymous artist of the XX century. The state of preservation of the artwork is very good and aged with some fold...

To see our other Modern British Art, including others by Hennes, scroll down to "More from this Seller" and below it click on "See all from this Seller" - or send us a message if you...

Figure is an original modern artwork realized the 1980s by the Italian artist Mino Maccari (Siena, 1898 - Rome, 1989). Original charcoal drawing on Ivory paper. Hand-signed in pen...

Figurative drawing with graphite, charcoal, and conte crayon on Arches paper 30 x 19 inches, unframed One piece of 30 x 19 inch Arches paper. Two drawings on opposite sides. These u...

Figurative nude drawing made with graphite, conte crayon and charcoal on Arches paper 30 x 19 inches unframed This unique life study drawing of two male nude models was made by Mark...

This book canvass was made in order to give books new life. They were an abandoned and almost extinct encyclopedia. The two artists and industrial designers decided to convert it int...

Marie LAURENCIN Lying girl, 1953 Original ink and pencil drawing Signed by artist stamp On paper 24.5 x 19.5 cm (c. 9.6 x 7.6 inch) Very good condition, light marks of the manipul...

Sunil Das - Untitled - 8.5 x 7 inches (unframed size) Ink &Charcoal on paper Inclusive of shipment in ready to hang form. In the sixties Sunil's art was often seen to feature a dial...

"Untitled", a nude study by listed American artist Hendrik Grise (1914-1982) is a charcoal on paper drawing representing a walking female nude figure created sometime in the '60s. T...

Gaston COPPENS (1909 - 2002) Nude on a Chair Original charcoal drawing Signed in the bottom right Stamp of the artist on the back On drawing paper 52 x 43 cm (c 21 x 17 inch) Exce...

Christmas greeting card is an original artwork realized by Mino Maccari in the 1970's. Colored watercolor and charcoal drawing on cardboard. Initials of the artist on the lower mar...

Gaston COPPENS (1909 - 2002) Mary Revealing her Shoulders Original charcoal drawing Stamp signature Stamp of the artist on the back On wove paper 37 x 31 cm (c 15 x 12 inch) Excel...

Gaston COPPENS (1909 - 2002) Two Studies of a Nude Profile Original charcoal drawing Signed in the bottom left Stamp of the artist on the back On drawing paper 52 x 43 cm (c 21 x 1...

"The Kiss" is an original hand colored drawing on ivory-colorated paper by Mino Maccari (1898-1989). In excellent conditions: As good as new. Sheet dimension: 35 x 50 cm. This is an original drawing representing a man kissing woman...

Sunil Das - Early Horses VI - 19.5 x 29 inches (unframed size) Charcoal on paper (Framed & Delivered) Sunil Das was one of India's most important postmodernist painters and rose to ...

Gaston COPPENS (1909 - 2002) Nude in Green Original charcoal drawing Bears the stamped signature of the artist Stamp of the artist studio on the back On wove paper 41 x 32 cm (c. 1...

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

Gaston COPPENS (1909 - 2002) Nude Seated on Red Pillow Original charcoal drawing Signed bottom left Stamp of the artist studio on the back On wove paper 41 x 32 cm (c. 16 x 13 inch)...

Beautiful elephant water color painting on unique book canvass. The two artists and industrial designers made the canvass with extinct and unused encyclopedia books in order to give ...

Marie LAURENCIN Spring Blossom : Leaves in Blue, 1953 Original pencil drawing Signed by artist stamp On paper 24.5 x 19.5 cm (c. 9.6 x 7.6 inch) Very good condition, marks of the ...

Gaston COPPENS (1909 - 2002) Three Studies of a Resting Woman Original charcoal drawing Signed in the middle left Stamp of the artist on the back On drawing paper 52 x 43 cm (c 21 x...

Image dimensions: 16 x 20 cm Vautour pape is beautiful original charcoal drawing on ivory-colored paper, realized by the French Artist and Illustrator Ray Lambert (1889-1976). Of ...

Gaston COPPENS (1909 - 2002) Model Waiting in the Studio Original charcoal drawing Signed in the bottom right Stamp of the artist on the back On drawing paper 52 x 43 cm (c 21 x 17...

Shuvaprasanna Bhattacharya - The Golden Flute - 12 x 12 inches (unframed size) Oil, Acrylic and Charcoal on canvas Inclusive of shipment in a roll form. ...

Le canot is a beautiful original charcoal drawing on paper by the French artist Gaston Bruelle / XIX-XX century). Original Title: "Le Canot avec paysage des Proses" Title and date ...

Frank Campanella (American, 1922-2016), "Untitled: Portrait of A Blond Male", Figurative Portrait done in Charcoal on Brown Charcoal Paper Unsigned, 20 x 14, Late 20th Century Colors: Black, Red, White, Gray, Blue, Brown, Yellow "Untitled: Portrait Of A Blonde Male" is a Modern Figurative Portrait capturing a side profile of a young but mature male subject with a distinctive mustache. He's dressed in a red shirt with white pinstripe on the shoulder. His hair is a light dirty blond with lighter beige highlight with light bluish-grayish eyes, pointed nose with fuller lips. Frank Campanella is a listed artist known for New Jersey landscapes...

Gaston COPPENS (1909 - 2002) Nude Leaning on a Stick Original charcoal drawing Signed in the bottom right Stamp of the artist on the back On drawing paper 52 x 43 cm (c 21 x 17 inch...