Art by Medium: Graphite

Acrylic, graphite and thread on canvas - Unframed. The threaded lines suggest a physical barrier that interrupts the shapes and stops them from connecting and at the same time a tra...

Acrylic, graphite and thread on canvas - Unframed. The threaded lines suggest a physical barrier that interrupts the shapes and stops them from connecting and at the same time a tra...

Acrylic, graphite and thread on canvas - Unframed The threaded lines suggest a physical barrier that interrupts the shapes and stops them from connecting and at the same time a tran...

Robert Ruello Switch-It #9, 2016 graphite, watercolor, and colored pencil on paper 20 x 15 inches Energetic and charged with visual power, the Switch-It series is movement and transition visualized. Ruello’s formal investigation of how we move through and disrupt various environments (digital, analog, and in-between) is rendered through these graphic elements. As he notes, “As a result of this disruption, the array is no longer stable or predictable — visual illusions and shifting figure/ground relationships begin to emerge.” Ruello’s work stems from an enjoyment in the tension between the stable and the unpredictable. Though not figural, his work presents elements that are recognizable from our visual vernacular. Digital screens, popular science...

Mauricio Sandoval (Aguascalientes, México, 1960) Lives and works in Mexico City Mauricio Sandoval is an abstract painter, one of the best ever in Mexico; he creates his own pictoria...

SOLD UNFRAMED Village au bord d l'Eau by Paulémile Pissarro (1884-1972) Graphite on paper 32 x 23.5 cm (12 ⁵/₈ x 9 ¹/₄ inches) Signed lower right, Paulémile-Pissarro- Executed circ...

Marc Swanson Three Men, 2017 graphite and collage on paper 13 3/4 x 10 3/4 in (34.9 x 27.3 cm) paper size 16 3/4 x 13 3/4 x 1 1/2 in (42.5 x 34.9 x 3.8 cm...

A Surreal Soiree 2024 Graphite and synthetic polymer on canvas 120 x 100 cm / 27.3 x 39.5 inches in artist frame Signed, dated and annotated on verso Caption: A Surreal Soiree - At ...

Marc Swanson In the Garden, 2017 graphite and collage on paper 17 x 14 in (43.2 x 35.6 cm) paper size 24 7/8 x 21 7/8 x 1 1/2 in (63.2 x 55.6 x 3.8 cm) frame size The duality betw...

Colored pencil and graphite on plastic paper. Unframed. Screech of Ice is a new series of drawings made by holding a bunch of pencils in two hands and letting them to do the control...

Collage by Torea Frey created using found papers from vintage dictionaries and thesauruses, graphite powder, and matte medium. Torea is a writer,...

Acrylic, graphite and thread on canvas - Unframed The threaded lines suggest a physical barrier that interrupts the shapes and stops them from connecting and at the same time a tran...

Graphite on paper, signed bottom right Image size: 13 x 8 3/4 inches (33 x 22.25 cm) Original frame Dora Thacher Clarke, later Dora Middleton, (1895–1989) was a British sculptor and wood carver who also wrote about, and promoted African art. Clarke was born in Harrow in Middlesex. Her father, Joseph Thacher Clarke was an American architect. Clarke won a scholarship that allowed her to attend the Slade School of Fine Art. Aged fifteen, Clarke initially studied at the Slade on a part-time basis for three days each week throughout 1910 and 1911 but during 1915 and 1916 she studied sculpture there as a full-time student. Clarke first exhibited at the Royal Academy in 1923 and continued to do so until 1959. In the early 1930s she was a regular exhibitor in group shows at the Goupil Gallery and in March 1937 had her first solo show at the French Gallery. She also exhibited at the Paris Salon and with the Royal Society of British Artists. Clarke's works included bronze castings, memorials and wood sculptures, often of African heads. For example she was commissioned to sculpt the posthumous portrait bust of Sir Walter Morley Fletcher. The most notable of her memorials is the panel and medallion tribute to Joseph Conrad at Bishopsbourne in Kent, which was unveiled in 1927. Clarke also wrote about, and promoted African art and spent a year, between 1927 and 1928 in Kenya, where she made many drawings which when she returned to London she used as the basis for wood carvings and bronzes of tribal figures. Wood carving became her technique of choice, often working with hardwoods and, on occasion, sperm whale teeth. Clarke married Admiral Gervase B Middleton in 1938 but rarely exhibited work under her married name. During World War II, Clarke was commissioned by the War Artists' Advisory Committee to produce a portrait medallion depicting a serviceman who had been awarded the George Cross. This proved to be the only portrait medallion acquired for the WAAC collection. Sculptures by Clarke are held in various museums, including the Ashmolean Museum which also holds a 1936 portrait of her by Orovida Camille Pissarro.

Colored pencil and graphite on plastic paper. Unframed. Screech of Ice is a new series of drawings made by holding a bunch of pencils in two hands and letting them to do the control...

Acrylic, graphite and thread on canvas - Unframed The threaded lines suggest a physical barrier that interrupts the shapes and stops them from connecting and at the same time a tran...

This large scale oil painting by Mark Masyga employs a linear abstract composition. Masyga's masterful knowledge and background in color field painting shows a heightened sense and ...

Acrylic, graphite and thread on canvas - Unframed The threaded lines suggest a physical barrier that interrupts the shapes and stops them from connecting and at the same time a tran...

Graphite on paper, Unframed. Margaret Neill works for a time on a group of pieces in a series, using classic almost primal materials such as graphite, charcoal, paint on traditional...

Acrylic, graphite and thread on canvas - Unframed The threaded lines suggest a physical barrier that interrupts the shapes and stops them from connecting and at the same time a tran...

Collage, acrylic and graphite on paper. This abstract collage by the New York/ Hawaiian artist, Debra Drexler, incorporates cut paper, drawing and impasto brushwork with poured pain...

Collage, acrylic and graphite on paper. This abstract collage by the New York/ Hawaiian artist, Debra Drexler, incorporates cut paper, drawing and impasto brushwork with poured pain...

Oil, charcoal, wax, pigment, and graphite on canvas. Alison Haley Paul is a contemporary painter of lavishly textured landscapes full of nuanced color. Her work conjures up connotat...

graphite, flashe, ink and gesso on paper, 22"x30" signed by the artist The text in this painting reads like a mantra: Not If But When, in grades of red, pink and blue on a washed gre...

graphite, flashe, ink and gesso on paper, 22"x30" signed by the artist The text in this painting reads: still pretty though, painted in stark capital letters faded into the backgroun...

Raphael Soyer (American, 1899-1987), Figural Narrative, Mixed Media on Paper, signed in pencil lower right, wood frame. Image: 22" H x 16.25" D; frame: 29.5" H x 24" W. Provenance: F...

Jacques Villon, born Gaston Émile Duchamp on July 31, 1875, in Damville, France, was a pivotal figure in the development of modern art. As the elder brother of Marcel Duchamp, Raymond Duchamp-Villon, and Suzanne Duchamp-Crotti, Villon was part of a family that profoundly influenced 20th-century art. He adopted the pseudonym Jacques Villon to distinguish himself from his siblings, and began his career as a cartoonist and illustrator. Villon's contributions to modern art were acknowledged internationally, with exhibitions at prestigious venues such as the Salon d'Automne, the Salon des Indépendants, and the Armory Show in New York in 1913. His work influenced the trajectory of abstract art, and his legacy is celebrated in numerous museums and collections worldwide. While this drawing isnt common of his bolder cubist style, it shows his skill in sketching and shapes which add a dimension to the abstract nature of this automobile drawing...

Harold Town (1924-1990) is the ultimate chameleon of Canadian art. One of the founders of Painters Eleven, he remains one of the most fascinating characters from this important colle...

"Hands caught in motion." Becca Fuhrman says of her work... My work aims to express the small moments that make up a life; quilting memories together one by one. When I was little,...

watercolor, charcoal, graphite, ink on paper 19"x25" available framed Known for her idiosyncratic cartographic explorations of the psyche and mental states, Smith incorporates ou...

Medium: Watercolor over Graphite on Thick Paper Signature: Unsigned Gustavson was an excellent golfer himself and illustrated the book How To Play Your Best Golf by Tommy Armour in ...

Comes framed and ready to hang in professional wood black floater frame. Artist’s Statement: “I have been working on more formal and restrained paintings lately, and decided to loos...

Halo, Drawing, study for a sculpture. ARTIST'S STATEMENT Michael Davis My sculptures and installations are physically and symbolically multilayered mechanisms that react to environ...

This is a beautiful piece by Alexis Portilla. The rich inky grey, black and white colors of this piece contrasts against the symbolism of vessels and pictographs. Vessels are a recur...

Mixed media drawing on paper Dated and signed on the back In the plastic work of Geneviève Seillé, the word, like a sign, reigns supreme. An object o...

ARTIST'S STATEMENT Michael Davis My sculptures and installations are physically and symbolically multilayered mechanisms that react to environments and man-made inventions from the...

Christies stamp verso. In silver molded frame, french-lined mat, glazed. OS: 18 1/2" x 22", SS: 11" x 15". Shinn took over from Joseph Urban as the Art Director on the William Randol...

Halo, Drawing, study for a sculpture. ARTIST'S STATEMENT Michael Davis My sculptures and installations are physically and symbolically multilayered mechanisms that react to environ...

“I know not with what weapons World War III will be fought, but World War IV will be fought with sticks and stones.” ― Albert Einstein. Always working with graphite and charcoal, Ro...

Denis Polge (French, b. 1972), Surrealist Composition, Watercolor and Graphite on Paper, 2006, signed in pencil and dated lower right, Friends of the Academy and Alexandre Biaggi lab...

Giorgia Oldano is a young Italian artist specialized in wildlife. She masters drawing and monotype. In order to construct her paintings, the artist travels a lot around Italy and the...

Robbie Cornelissen is one of the leading contemporary draughtsmen in the Netherlands. Cornelissen has established a reputation for the monumental, architectural drawings that he has ...

Powerful pencil study of Bachoo, Countess Woronzow. Tchelitchew exaggerates the sitters features with abnormally large eyes for dramatic effect, Bachoo (Countess Bachoobai Woronzow-D...

Harold Town (1924-1990) is renowned across Canada for his eclectic and dynamic body of work. In the 1950s, Town established his reputation with a series of abstract monotypes (call...

An early example from pioneering Female Cartoonist/ Illustrator Edwina Dumm, who draws a comic strip from her long-running cartoon series Tippie which lasted for almost five decades. Signed and dated Edwina, 9-25, matted but unframed. Frances Edwina Dumm (1893 – April 28, 1990) was a writer-artist who drew the comic strip Cap Stubbs and Tippie for nearly five decades; she is also notable as America's first full-time female editorial cartoonist. She used her middle name for the signature on her comic strip, signed simply Edwina. Biography One of the earliest female syndicated cartoonists, Dumm was born in Upper Sandusky, Ohio, and lived in Marion and Washington Courthouse, Ohio throughout her youth before the family settled down in Columbus.[1] Her mother was Anna Gilmore Dennis, and her father, Frank Edwin Dumm, was an actor-playwright turned newspaperman. Dumm's paternal grandfather, Robert D. Dumm, owned a newspaper in Upper Sandusky which Frank Dumm later inherited. Her brother, Robert Dennis Dumm, was a reporter for the Columbus Dispatch, and art editor for Cole Publishing Company's Farm & Fireside magazine. In 1911, she graduated from Central High School in Columbus, Ohio, and then took the Cleveland-based Landon School of Illustration and Cartooning correspondence course. Her name was later featured in Landon's advertisements. While enrolled in the correspondence course, she also took a business course and worked as a stenographer at the Columbus Board of Education. In 1915, Dumm was hired by the short-lived Republican newspaper, the Columbus Monitor, to be a full-time cartoonist.[2] Her first cartoon was published on August 7, 1915, in the debut issue of the paper. During her years at the Monitor she provided a variety of features including a comic strip called The Meanderings of Minnie about a young tomboy girl and her dog, Lillie Jane, and a full-page editorial cartoon feature, Spot-Light Sketches[3]. She drew editorial cartoons for the Monitor from its first edition (August 7, 1915) until the paper folded (July 1917). In the Monitor, her Spot-Light Sketches was a full-page feature of editorial cartoons, and some of these promoted women's issues. Elisabeth Israels Perry, in the introduction to Alice Sheppard's Cartooning for Suffrage (1994), wrote that artists such as Blanche Ames Ames, Lou Rogers and Edwina Dumm produced: ...a visual rhetoric that helped create a climate more favorable to change in America's gender relations... By the close of the suffrage campaign, women's art reflected the new values of feminism, broadened its targets, and attempted to restate the significance of the movement.[4] After the Monitor folded, Dumm moved to New York City, where she continued her art studies at the Art Students League. She was hired by the George Matthew Adams Service[5] to create Cap Stubbs and Tippie, a family strip following the lives of a boy Cap, his dog Tippie, their family, and neighbors. Cap's grandmother, Sara Bailey, is prominently featured, and may have been based on Dumm's own grandmother, Sarah Jane Henderson, who lived with their family. The strip was strongly influenced by Mark Twain’s Adventures of Huckleberry Finn, as well as Dumm’s favorite comic, Buster Brown by Richard F. Outcault. Dumm worked very fast; according to comics historian Martin Sheridan, she could pencil a daily strip in an hour.[6] Her love of dogs is evident in her strips as well as her illustrations for books and magazines, such as Sinbad, her weekly dog page which ran in both Life and the London Tatler. She illustrated Alexander Woollcott's Two Gentlemen and a Lady. For Sonnets from the Pekinese and Other Doggerel (Macmillan, 1936) by Burges Johnson (1877–1963), she illustrated "Losted" and other poems. From the 1931 through the 1960s, she drew another dog for the newspaper feature Alec the Great, in which she illustrated verses written by her brother, Robert Dennis Dumm. Their collaboration was published as a book in 1946. In the late 1940s, she drew the covers for sheet music by her friend and neighbor, Helen Thomas, who did both music and lyrics. During the 1940s, she also contributed Tippie features to various comic books including All-American Comics and Dell Comics. In 1950, Dumm, Hilda Terry, and Barbara Shermund...

Rarely do you come across a work of art that is vastly different than just about anything you see. This work is undeniably brilliant and a sheer pleasure to behold. Alexander Leydenfrost...

"Held" by Rick Sindt is a small graphite drawing of two male figures embracing. This deceptively simple drawing is very powerful in its beauty and intimacy. The graph lines often u...

A wonderfully detailed tonal study by contemporary American artist James Aponovich (b. 1948). Born in Nashua, NH, Aponovich lives in New Hampshire and has become very well known nati...

"Untitled #6" is a graphite drawing by Rick Sindt. The central figure is gazing onto the other with such intensity yet that is offset by the gentle caress of the hair. The graphite...

"Pause" by Rick Sindt is a small graphite drawing of two male figures - one gazing directly at the viewer. We, the viewer, seem to be interrupting this i...

This loose watercolor of a woman veiled in a navy scarf conveys a sense of mystery. Her beautiful blue eyes are the color of water. She stares out at the viewer with something to tell us. But what?? This piece is matted in a heavy mat measuring 14h x 11w inches. This artwork is unframed. Contact gallery for framing request. Eduardo Alvarado Female Mask Watercolor and pencil on paper 8.50h x 5.75w in 21.59h x 14.61w cm EDA008 EDUARDO ALVARADO b. Spain, 1972 EDUCATION 1990-95 Licenciado en BB AA La Facultad de BB AA de la UPV, Bilbao La Facultad de BB AA de San Fernando, Madrid SOLO EXHIBITIONS 2018 Casa del Libro, Logroño 2016 Casa de Cultura. Miranda de Ebro 2015 Casa de Cultura. Miranda de Ebro Galería Espiral, Noja 2014 Galerie d´Art Anne Broitman. Biarritz, France 2013 Galería de Arte-Centro Cultural (junto a Vesna Pavlovic). Novi Sad, Serbia Centro Cultural La Vidriera, Maliaño The Gallery of Contemporary Fine Arts (junto a Vesna Pavlovic). Nis, Serbia 2012 Gallery Seasons (junto a Vesna Pavlovic). Sofia, Bulgaria Gallery SKC (junto a Vesna Palovic). Belgrado, Serbia Manos para qué os quiero. Logroño Galería Espiral. Feria Internacional de Arte Contemporáneo, Santander Sala Asociación Artistas de Guipuzcoa (junto a Juan Carlos Cardesín), San Sebastian 2011 Galería Espiral, San Miguel de Meruelo Galería Jovan Popovic (junto a Vesna Pavlovic). Opovo, Serbia Galería Veciti Trkac (junto a Vesna Pavlovic). Nis, Serbia Exit Art Gallery (Fundación Adolfo Dominguez...

"Field Study - Winter Patterns" is a mixed media piece by Terri Warpinski using photographs, drawings, and fragments of notebook and sketchbook paper. The artist signed the piece in ...

This is a small and intimate example of the watercolor paintings of Dan Muller. The image shows an expressive landscape with a saturated blue sky, red rocks, and green and yellow fol...

Dan Charbonnet’s art is grounded in the rudiments of painting. He strives to achieve balance between process and application. The construction process comprises actions like ripping,...

GARDENS & GALAXIES: MAGENTA ROSE (2020) Medium: Oil stick, wax pencil, graphite, archival pigment print on 100% Hahnemuhle cotton-rag paper. PLEASE NOTE ACTUAL Paper Size: 24” h x 4...

GARDENS & GALAXIES: YELLOW ROSE (2019) Medium: Oil stick, wax pencil, graphite, archival pigment print on 100% Hahnemuhle cotton-rag paper. PLEASE NOTE ACTUAL Paper Size: 24” h x 42...

GARDENS & GALAXIES: RED GERBERA (2019) Medium: Oil stick, wax pencil, graphite, archival pigment print on 100% Hahnemuhle cotton-rag paper. PLEASE NOTE ACTUAL Paper Size: 24” h x 42...

Mark Freeman (1908-2003) Mix media - graphite, crayon and color pencil on paper. This lovely Chinatown, New York image measures 10 ½ x 9 inches. Frame: 19 x 16 1/2. It is in excellen...

GARDENS & GALAXIES: HELICONIAS (2020) Medium: Oil stick, wax pencil, graphite, archival pigment print on 100% Hahnemuhle cotton-rag paper. PLEASE NOTE ACTUAL Paper Size: 24” h x 42”...

GARDENS & GALAXIES: PURPLE FLOWERS (2019) Medium: Oil stick, wax pencil, graphite, archival pigment print on 100% Hahnemuhle cotton-rag paper. Paper Size: 24” h x 42” w Image Size: ...

Medium: Oil stick, wax pencil, graphite, archival pigment print on 100% Hahnemuhle cotton-rag paper. PLEASE NOTE ACTUAL Paper Size: 24” h x 42” w Image Size: 20” x 37” includes a 2”...