Art by Medium: Graphite

gouache & graphite on mylar

graphite on mylar

Frame, 2014 Graphite on paper 15.75 x 20.1 inches / 40 x 51 cm Nikos Kanarelis was born in Athens, Greece in 1975 where he now lives and works. Βetween 1999 and 2004 he studied ...

Rimandati is a beautiful artwork realized by Maurizio Gracceva in the 2009. Mixed media on paper: graphite, acrylic, spray, pencils. Hand signed by the artist. Title, date, techi...

Untitled is a beautiful artwork realized by Maurizio Gracceva in 2009. Mixed media on paper: graphite, acrylic, spray, pencils. Hand signed by the artist. Title, date, techiniqu...

A very fine graphite study of the well-known sculpture 'Gladiator's Left Foot' by Agasias of Ephesus. The artist has signed to the upper right corner. Well presented in a vintage thi...

Sentinel at the Border Graphite and monoprints on canvas. Vast frontiers require a watchful eye, whether in the terrain of the physical world or the world of ideas. This image calls ...

Liz Barber pursued painting while obtaining her degree from the Massachusetts College of Art and Moore College of Art. She currently resides in Marietta, Georgia. Barber’s paintings ...

Stamped, verso, with estate stamp for Victor Di Gesu (American, 1914-1988) and created circa 1950. Winner of the Prix Othon Friesz, Victor di Gesu first attended the Los Angeles Art...

Stamped, verso, with estate stamp for Victor Di Gesu (American, 1914-1988) and created circa 1950. Winner of the Prix Othon Friesz, Victor di Gesu first attended the Los Angeles Art...

A fine graphite drawing by Brynhild Parker. Unsigned. Well presented in an oak frame and card mount. On paper.

Genichiro Inokuma, Japanese (1902 - 1993) - Subterranean III, Year: 1970, Medium: Graphite, gouache and collage on board, signed and dated lower le...

Genichiro Inokuma, Japanese (1902 - 1993) - Subterranean II, Year: 1970, Medium: Gouache, Graphite and Collage on board, signed and dated in pencil...

Frog/goddess of transformation is flanked by a single bean believed to carry the souls of ancestors to connect with the past and ensure lineage. In this five-piece mixed-media series on wood...

"Isadora Duncan (Blue)" is an original mixed media drawing created by Abraham Walkowitz. It is made with pen & ink, graphite, and watercolor piece on cream paper. The artist signed t...

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

"Light 2010 #3" is an original graphite drawing on paper by Bill Teeple, signed in pencil in the lower right. This small image of a sunrise over the water is surrounded by a large white mat, isolating this intimate work so that it may be viewed on its own. Art size: 2 3/4" x 1 1/2" Frame size: 11" x 14" "I am the Director of Iowa Contemporary Art (ICON) and Bill Teeple Fine Art, in Fairfield. I have been serious about making art for 50 years, with a degree in art from the University of California at Berkeley. I have taught art in Fairfield for the past 15 years." In the ’70s, Bill and his artist partner Lynn Durham were living in California. Their fantasy/fairy art...

This series was inspired by a 1950’s era instruction manual found while clearing out my father’s basement workshop. The How To Light A Model manual employed voluptuous female models to teach lighting techniques to amateur photographers such as my father. Diagrams plot the prescribed direction of the lights. The nude women hold the pose, their lips bright red and their feet dirty from the studio floor. As naked props for the authoritarian photographer, their vulnerability seems palpable. This work visualizes the human condition as a balance between feral and fabricated worlds. Vivid, oversized creatures embody instinctual energy. Wax seals, gold spheres and text-like marks signify rational structures. One speaks in a whisper, the other in a hiss. Winifred McNeill...

My biomorphic abstractions range from intimate to immersive in scale, referencing our interconnectedness. Building curvilinear ceramic sculpture and then drawing intertwined graphi...

Bijin-ga Series XVII (nº 17) Title: Love for a farmer´s wife Sensual portrait of a young and beautiful farmer´s wife. Her cheerful and careless gesture, showing her chest between the open folds of the neckline of his humble dress; the strands of hair falling on her temples, and her smiling gesture denote the state of happiness enjoying love, in a well-deserved break from her hard work. This image is part of the bijin-ga series (“Pretty women”) drawn by Mario BGil, based in the Kitigawa Utamaro woodblock...

This brilliantly rendered female portrait by a major American post-war illustrator known for his stunningly glamorous women. Notice how all the elements of the composition work tog...

STILL LIFE CORAL OCHRE Graphite and oil pastel on paper Size: 39 x 46.5 cm (including frame) An engaging and powerful abstract composition by British contemporary artist Lloyd Durli...

"Daughters of Atreus" Broadway Play Set Design Drawing American Modernism WPA. 8 x 10 ¾ inches. Graphite on paper, 1936. Initialed on lower right. The play opens October 14, 1936 at Broadway’s 44th Street Theatre. Handwritten title, date, and signature on lower center of original matte which is now affixed to the verso. Inscription on lower right of matte reads, "For Prince & Barbara - Jo Mielziner...

Painted circa 1950 by Victor Di Gesu (American, 1914-1988) and stamped, verso, with certification of authenticity. Winner of the Prix Othon Friesz, Victor di Gesu first attended th...

This series was inspired by a 1950’s era instruction manual found while clearing out my father’s basement workshop. The How To Light A Model manual employed voluptuous female models to teach lighting techniques to amateur photographers such as my father. Diagrams plot the prescribed direction of the lights. The nude women hold the pose, their lips bright red and their feet dirty from the studio floor. As naked props for the authoritarian photographer, their vulnerability seems palpable. This work visualizes the human condition as a balance between feral and fabricated worlds. Vivid, oversized creatures embody instinctual energy. Wax seals, gold spheres and text-like marks signify rational structures. One speaks in a whisper, the other in a hiss. Winifred McNeill...

Victor Di Gesu (American, 1914-1988) circa 1955 and stamped, verso, with Victor di Gesu estate stamp. An elegant figural drawing showing a woman seated, resting her head on her arms...

Margot Glass's graphite drawing on prepared black paper transforms delicate dandelions into luminous, ghost-like forms. Each fine line is meticulously drawn, creating a richly detail...

Bijing-Ga series XXVII (Nº 27) Title: Tomomoto Toyohina Tomimoto Toyohina was a much sought-after geisha (entertainer) who performed narrative ballads accompanied by the shamisen. She was one of several non-prostitute beauties, including teahouse waitresses, whom Utamaro depicted repeatedly in the early to mid 1790s. She appears here with a brush in hand, dressed and combed with simple elegance. This composition is from a six-print series comprising half-length portraits of famous beauties (Famous beauties of Edo). Utamaro elevated Tomimoto Toyohina to the status of one of the three most renowned beauties of her age (together with Okita and Ohisa). She was from a prominent family of musicians that provided entertainment in the Yoshiwara. Toyohina’s appeal undoubtedly was as much due to her appearance as to her skills in singing, and Utamaro’s celebration of her would have further elevated the status of an already well-known lineage. This image is part of the bijin-ga series (“Pretty women”) drawn by Mario BGil, based in the Kitigawa Utamaro woodblock print...

Graphite on paper, signed lower right Image size: 9 x 12 1/2 inches (23 x 32 cm) Mounted and framed Little is known about the artist Winifred Anne Rymer apart from that her career f...

Margot Glass's graphite drawing on black heavyweight paper transforms delicate dandelions into luminous, ghost-like forms. Each fine line is meticulously drawn, creating a richly det...

Beth Shields is a distinguished abstract artist whose work has captivated collectors and audiences worldwide. Based in Santa Cruz, California, Beth has dedicated her life to artistic...

Artist Statement: "There is a particular aspect of drawing that I find especially gratifying -- it's the capacity to produce an image that seems to be spontaneously executed . Whil...

Beth Shields is a distinguished abstract artist whose work has captivated collectors and audiences worldwide. Based in Santa Cruz, California, Beth has dedicated her life to artistic...

Original work by Mary Early. Work is graphite, wax crayon, and sumi ink on Arches paper, 12 1/4 x 16". "The production, or “pouring,” of beeswax elements has become a meditative process that is integral to my art practice, serving as an observation of time, materials, and space. The raw beeswax I use has taken its form at the end of a long series of natural processes followed by a manufacturing process, and once it is in my hands, the studio becomes a factory. I apply my own methods of transforming the material by casting the beeswax into three-dimensional forms. Once I have fixed both a place and a time in the future for a potential installation, I begin to determine how the beeswax lines will take their aggregated shape in that space and, simultaneously, how many lines might be manufactured for that particular space in the amount of time available." Mary Early (born 1975, Washington, DC) lives and works in Washington, DC. She studied visual art, film, and video at Bennington College, and her work has been exhibited at the United States Botanic Garden, Washington Project for the Arts, the Corcoran Gallery of Art, Second Street Gallery (Charlottesville, VA), Hemphill Fine Arts (Washington DC,) the Austrian Cultural Forum (Washington DC), Galerie Im Ersten (Vienna, Austria), Kloster Schloss Salem (Salem, Germany), Kunstlerbund Tubingen (Tubingen, Germany), and the American University Museum (Washington DC) among other regional and national galleries. Her early work incorporated formed concrete, tarpaper and paraffin wax, fabricated wood structures, and, increasingly over the years, surfaces coated with wax as a method of preserving or concealing an object within. Recent works have relied solely on solid forms cast in wax, abandoning the use of any permanent armature. Temporary installations are guided by schematic drawings and plans, which then serve as a permanent record. In 2014 she exhibited her first large-scale installation of wax lines at Second Street Gallery in Charlottesville, VA, followed by temporary installations in response to various historical sites in Salem, Germany (2016) and Tubingen Germany (2017). In 2017 she participated in the exhibition “Twist-Layer-Pour” at the American University Museum, which included Untitled [Curve], an installation of thousands of beeswax lines assembled on the floor of the museum. In spring 2018 she was commissioned to create a temporary installation at the Sun Valley Center for the Arts, Sun Valley Idaho. This work took the form of two intersecting curtains of hanging beeswax lines bisecting a 12’ foot x 18’ foot room, providing an immersive and enclosed viewing space. Early’s work is included in the collections of the US Department of State/Embassy of Panama, Kimpton Hotels, and the District of Columbia Art Bank among other public and private collections. She is a recipient of the Artist Fellowship Grant from the DC Commission on Arts & Humanities, Washington DC (2020, 2019, 2018, 2017, 2016, 2015, 2014, 2011, 2009, 2007). Early is the director of HEMPHILL Fine Arts, Washington, DC, and serves on the boards of Hamiltonian Artists and Washington Sculptors Group. She handles the work of contemporary artists and artist estates, including the work of William Christenberry, Colby Caldwell, Hedieh Javanshir Ilchi, Linling Lu, Mingering Mike, Robin Rose, Renée Stout...

“My biomorphic abstractions range from intimate to immersive in scale, referencing our interconnectedness. Building curvilinear ceramic sculpture and then drawing intertwined graph...

Well presented in a white card mount. Signed. On watercolour paper.

"My work principally consists of deeply abstracted figure compositions--intuitive constructions that begin with random marks establishing larger masses of torsos, heads, and limbs in an undefined setting. The emphasis is almost purely on intuition. The figures are born of their surrounding environment, emerging only partially and fugitively from the layers of pigment. A narrative is evident but never overt. A crown, a shield, a boat, a wheel. Though the subject has recently coalesced around my reading of Dante and Shakespeare, the settings remain extremely vague- a beach, an interior, a woodland. The paintings are, in the end, meditations on the relationship between the protagonists in a wordless drama. In my paintings, I use a cold wax medium combined with dry pigments, oil paint, and embedded fragments of burlap. The surfaces eventually build up into a dense, rugged terrain." --Thaddeus Radell

Entitled "Drawing for The Sponsor," this work by Chicago-based artist Patrick Fitzgerald envisions an advertisement by Southport Tool and Die, a Chicago company from the 1940s and th...

Artist Commentary: This piece is created from a photo of a piece from the Small Works Group, manipulated on the computer, printed on a laser print then drawn on with graphite and cha...

Eve Nethercott, American (1925 - 2015) - Lilies (45), Year: circa 1958, Medium: Pencil on Paper, Size: 15 in. x 11 in. (38.1 cm x 27.94 cm), Description: A unique graphite draw...

Eve Nethercott, American (1925 - 2015) - City Street and City Buildings Study (41), Year: 1953, Medium: Two-Sided Watercolor and Pencil Drawing, Size: 12.5 in. x 13.5 in. (31.75...

A captivating graphite study of a middle aged woman with short cropped hair. The artist depicts the women from lower angle to best captures her strong features and distant gaze. Sign...

A fine graphite study of a gentleman in uniform. There is a smaller sketch in the upper right corner in preparation for the more accomplished study to the center of the page. Signed ...

A charming graphite study depicting a woman with short cropped hair in a 1920's fashion wearing a beaded necklace. There are to sketched to the right side of the page practising the ...

A piercing study of a woman with an intense stare. The artist captures the woman from lower angle with her gaze staring down at the viewer giving her a strong, defiant aura. Signed t...

Estate stamp, verso, for Victor Di Gesu (American, 1914-1988) and painted circa 1955. Watercolor figurative showing an abstracted view of a woman standing in an interior holding a p...

“My biomorphic abstractions range from intimate to immersive in scale, referencing our interconnectedness. Building curvilinear ceramic sculpture and then drawing intertwined graph...

'Tropical Breeze, Madagascar' by Paul Samuel, 1979. American School watercolor ---- Signed lower left, 'Paul J. Samuel', (American, 20th century), titled 'Madagascar' and dated 1979...

These works reflect the animism of Japanese culture and Zen training. Living in temples and the countryside with craftsman communities in Japan for over a decade, Majio was deeply in...

Oedipus Specs Rita Simon (aka Atirnomis), American (1938) Date: 1972 Ink, Graphite and Collage on Paper, signed and dated in ink lower right, titled in ink on verso Image Size: 8.75 ...

This series was inspired by a 1950’s era instruction manual found while clearing out my father’s basement workshop. The How To Light A Model manual employed voluptuous female models to teach lighting techniques to amateur photographers such as my father. Diagrams plot the prescribed direction of the lights. The nude women hold the pose, their lips bright red and their feet dirty from the studio floor. As naked props for the authoritarian photographer, their vulnerability seems palpable. This work visualizes the human condition as a balance between feral and fabricated worlds. Vivid, oversized creatures embody instinctual energy. Wax seals, gold spheres and text-like marks signify rational structures. One speaks in a whisper, the other in a hiss. Winifred McNeill...

Electric Coffin is coded within art history and ideologies from archetypes of mysticism. We explore found truths from modernity and a personal historical perspective. A process-drive...

The Remains, A series of 10 works An insect approaches a crumpled paper doily to eat what remains of a party. This series explores the moment when the trimmings become debris and presumptions of human control are upended. The text-like marks on white vertical rectangles are deliberate, but indecipherable. They appear as if a poem, written in an ancient language, that honors this eternal cycle of destruction and regeneration. Winifred McNeill...

The Remains, A series of 10 works An insect approaches a crumpled paper doily to eat what remains of a party. This series explores the moment when the trimmings become debris and ...

This series was inspired by a 1950’s era instruction manual found while clearing out my father’s basement workshop. The How To Light A Model manual employed voluptuous female models to teach lighting techniques to amateur photographers such as my father. Diagrams plot the prescribed direction of the lights. The nude women hold the pose, their lips bright red and their feet dirty from the studio floor. As naked props for the authoritarian photographer, their vulnerability seems palpable. This work visualizes the human condition as a balance between feral and fabricated worlds. Vivid, oversized creatures embody instinctual energy. Wax seals, gold spheres and text-like marks signify rational structures. One speaks in a whisper, the other in a hiss. Winifred McNeill...

The Remains, A series of 10 works An insect approaches a crumpled paper doily to eat what remains of a party. This series explores the moment when the trimmings become debris and ...

Sean Lyman is a Professor of Painting and Drawing at Missouri State University, with an extensive list of international exhibitions and work in public permanent collections including...

“My biomorphic abstractions range from intimate to immersive in scale, referencing our interconnectedness. Building curvilinear ceramic sculpture and then drawing intertwined grap...

Melissa Furness is an artist that treats painting as a conceptual object that challenges history. Each series is related through this conceptual exploration of the distortions of his...

Poured beeswax work by Mary Early from her "Study for Līnea" series. "The production, or “pouring,” of beeswax elements has become a meditative process that is integral to my art practice, serving as an observation of time, materials, and space. The raw beeswax I use has taken its form at the end of a long series of natural processes followed by a manufacturing process, and once it is in my hands, the studio becomes a factory. I apply my own methods of transforming the material by casting the beeswax into three-dimensional forms. Once I have fixed both a place and a time in the future for a potential installation, I begin to determine how the beeswax lines will take their aggregated shape in that space and, simultaneously, how many lines might be manufactured for that particular space in the amount of time available." Mary Early (born 1975, Washington, DC) lives and works in Washington, DC. She studied visual art, film, and video at Bennington College, and her work has been exhibited at the United States Botanic Garden, Washington Project for the Arts, the Corcoran Gallery of Art, Second Street Gallery (Charlottesville, VA), Hemphill Fine Arts (Washington DC,) the Austrian Cultural Forum (Washington DC), Galerie Im Ersten (Vienna, Austria), Kloster Schloss Salem (Salem, Germany), Kunstlerbund Tubingen (Tubingen, Germany), and the American University Museum (Washington DC) among other regional and national galleries. Her early work incorporated formed concrete, tarpaper and paraffin wax, fabricated wood structures, and, increasingly over the years, surfaces coated with wax as a method of preserving or concealing an object within. Recent works have relied solely on solid forms cast in wax, abandoning the use of any permanent armature. Temporary installations are guided by schematic drawings and plans, which then serve as a permanent record. In 2014 she exhibited her first large-scale installation of wax lines at Second Street Gallery in Charlottesville, VA, followed by temporary installations in response to various historical sites in Salem, Germany (2016) and Tubingen Germany (2017). In 2017 she participated in the exhibition “Twist-Layer-Pour” at the American University Museum, which included Untitled [Curve], an installation of thousands of beeswax lines assembled on the floor of the museum. In spring 2018 she was commissioned to create a temporary installation at the Sun Valley Center for the Arts, Sun Valley Idaho. This work took the form of two intersecting curtains of hanging beeswax lines bisecting a 12’ foot x 18’ foot room, providing an immersive and enclosed viewing space. Early’s work is included in the collections of the US Department of State/Embassy of Panama, Kimpton Hotels, and the District of Columbia Art Bank among other public and private collections. She is a recipient of the Artist Fellowship Grant from the DC Commission on Arts & Humanities, Washington DC (2020, 2019, 2018, 2017, 2016, 2015, 2014, 2011, 2009, 2007). Early is the director of HEMPHILL Fine Arts, Washington, DC, and serves on the boards of Hamiltonian Artists and Washington Sculptors Group. She handles the work of contemporary artists and artist estates, including the work of William Christenberry, Colby Caldwell, Hedieh Javanshir Ilchi, Linling Lu, Mingering Mike, Robin Rose, Renée Stout...