Art by Medium: Graphite

Art Sz: 9 1/2"H x 11"W Provenance: Gillian Dupont's The Old Habit Tack Shop Marshall, VA

“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, Robbie Cornelissen’s limited palette emphasises the stark sombre nature of his metaphysical drawings, The Undertow is his sixth solo exhibition at Art Mûr. At the centre of the exhibition hovers Terra Nova, a dark and desolate world parallel to our own. Robbie Cornelissen’s drawings, such as The Space of Absence and Thriller, seem to pull from the stop motion’s frames. Other images, made especially for The Undertow isolate key fragments; the cloud, mounds and timeless dwellings, Cornelissen’s signature technical interest. In addition to his methodical approach, Cornelissen uses the written word, scrawling and erasing terms repeatedly, in English, French, and German, these fastidious markings and exact translations leave a trace and a glitch on paper and screen. Much of his existing work includes words and phrases like “tribunal,” “myself when I am real” and “the need to disappear.” Do they identify what forms, systems and sentiments that are, or could be present? Or do they warn of what is to come? Suspended in the atmosphere of a planetary body, Cornelissen’s clouds extend down to the surface, looming over Earth and Terra Nova. But are they harmless clouds, or associated with nuclear explosions? And is that the ash, dust, pollution and detritus of these invented places, the remnants of an unsustainable society, a dream factory? Or the promise of life anew? In weather forecasting, or aeromancy, the presence of clouds can promise darkness and gloom, but they can also bring cleansing. The ominous aura of the grid, an applied system and structure used by many, including draughtsmen, architects, urban planners, designers and artists to organise and sometimes classify information, is a recurring element in his work. The grid can be observed from a distant bird’s eye view, or close up, allowing Cornelissen’s large format drawings...

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...

Graphite on paper, numerous pencil inscriptions Image size: 5 1/2 x 21 1/2 inches (14 x 55 cm) Period style hand made gilt frame Provenance The collection of Ernest Pearce (1930-20...

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...

“It is terrifying to paint. When you start out, you are faced with this great unknown. And you think, am I ever going to paint again? Yet, as you work, it starts to formulate itself...

Graphite on Natural Toned Paper Art Size: 9 x 6 inches Framed: 15.5 x 18 inches An expressive drawing of three friends sitting around a table rendered in lively gestural lines of gr...

Roy Carruthers is a brilliant mix of George Tooker and Fernando Botero but with unexpected charm. "The Suitor with Voyeur", A variation of this concept was done in oil twenty years later. "The Venus of Ponte Vedra...

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...

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 ...

Frank Anderson's "Sketch of the Well" is a delicate and evocative drawing rendered in graphite on paper. Created in 1865, this work captures the simplicity and intimacy of a moment c...

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...

Lee Wells Double Sophia, 2018 Hand embellished monoprint on canvas with projection mapped video 125 x 150 cm Contact for video link. Currently on view as part of Sentient Electroics at Wallplay Seaport Sophia’s Safehouse in an Uncanny Valley examines the recent celebrity culture of humanoid AI as a way to better understand humanity, authenticity, identity, and memory in the early 21st century. The installation, inspired in part by the dystopian literary works of George Orwell, Mary Shelley, Philip K. Dick, Isaac Asimov...

In this painting, Sylvia Spicuzza demonstrates her skill as an illustration artist, representing the Milwaukee character Billie the Brownie with a growing spring of a tree. An illustration like this could grace the pages of a children's book or illustrated magazine, or as an advertisement for Schuster’s Department Store. Watercolor, gouache and graphite on paper 8 x 5.75 inches, artwork 14 x 12 inches, frame Stamped with artist signature, below image, lower left. Presented in a new custom frame with a gold-finish neoclassical wood moulding, archival matting and mounting materials; and UV glass to inhibit fading. Born in 1908, Sylvia Spicuzza was the daughter of noted painter Francesco Spicuzza. Sylvia devoted herself to teaching art to the students of Lake Bluff Elementary School in Shorewood, WI. During this time Sylvia produced a magnificent body of work that was undiscovered until her death. Sylvia's work is rich, diverse and fascinating collection of drawings, watercolors and prints from the 1920's to the 1990's. Her style ranges from early figurative drawings to regionalism, Art Deco, lyrical abstractions of every conceivable subject (both real and imagined), as well as figurative paintings that reflect the work of Picasso, Kandinsky and Max Ernst in the 1930's and 1940's. Biomorphic and organic, Modernist images are presented with Sylvia Spicuzza's own unique sense of style, humor and fantasy. Billie the Brownie was a multi-media star of Christmas in Milwaukee from the 1920s to the 1950s. Years earlier, the writer and artist Palmer Cox...

Charbonnet received an MFA from the University of New Orleans. He has work in the public collections of the Whitney Museum of American Art, the New Orleans Museum of Art, The Speed M...

Collaged Scientific American articles, plaster, acrylic and graphite on handmade wooden panel. Artist's Statement: "Despite the advances we’ve made in technology, there’s something...

Lee Wells Double Sophia, 2018 Hand embellished monoprint on canvas with projection mapped video 125 x 150 cm Contact for video link. Currently on view as part of Sentient Electroics...

Sketch for Minoff's painting October 3:30 PM.

Architect and artist Grover Mouton brings utilizes hand drawings to illustrate urban design proposals. Acting as a catalyst to explore design concepts,...

Architect and artist Grover Mouton brings utilizes hand drawings to illustrate urban design proposals. Acting as a catalyst to explore design concepts,...

Architect and artist Grover Mouton brings utilizes hand drawings to illustrate urban design proposals. Acting as a catalyst to explore design concepts,...

Blond Sophia #1, 2018 Hand embellished monoprint on canvas 47 1/5 × 35 2/5 in 120 × 90 cm Sophia’s Safehouse in an Uncanny Valley examines the recent celebrity culture of humanoid A...

Lee Wells Double Sophia, 2018 Hand embellished monoprint on canvas with projection mapped video 125 x 150 cm Contact for video link. Sophia’s Safehouse in an Uncanny Valley examines the recent celebrity culture of humanoid AI as a way to better understand humanity, authenticity, identity, and memory in the early 21st century. The installation, inspired in part by the dystopian literary works of George Orwell, Mary Shelley, Philip K. Dick, Isaac Asimov...

V3: Variations on a Body Series, - Oil Pastel, - 89 x 58 cm - Figurative Abstraction It depicts intertwined human forms in vibrant green, outlined with fluid, freehand strokes in...

V2, blends woodcut, graphite, and oil pastel on paper to create a striking composition of interlaced, abstracted figures. The work features bold green silhouettes layered with fluid,...

Alyse Rosner 2018

Hight brow couple having relationship issues rendered in a black and white stylized Art Deco fashion. In pencil the caption reads "Are you willing to divorce your wife the minute sh...

Graphite on paper Image size: 5 1/2 x 20 1/2 inches (14 x 52 cm) Framed This sketch is a portrait of Thomas Gotch is by his lifelong friend and confidante, Jane Ross, whom he met at...

James Stroudley 1906-1985 Portrait of the Artist's Wife Graphite on paper Image size: 13 x 10 inches Unframed James Stroudley was born in London on 17 June 1906, the son of James St...

With a career spanning more than three decades, Robbie Cornelissen has established himself among the leading contemporary draughtsmen in Europe. His vast and irresolute creative universe demonstrates the complexity of a world dealing with new spatial concepts. Every corner of the planet may have been explored, but digital technologies have opened up an endless universe to discover, a virtual labyrinth without an exit in which one can easily get lost. His drawings often serve vertiginous perspectives out of which emerge distressing voids that refer more to metaphorical states of mind than physical spaces. Cornelissen’s works offer an exploration of these fields and are therefore often viewed as places of anxiety. They could easily be interpreted as portraits of a technophobic mind, alarmed by the speeds and heights of our advanced neoliberal societies. But for some, the volatility of these spaces is also incredibly exciting – liberating even. Cornelissen represents a world in which things are freed from the pragmatism of their usage to exist simply for the interest of their geometry. This is particularly true of architecture, the prime subject of his artistic research. In many ways, Cornelissen’s technique is very classical. His expertise of linear perspective takes root in the heritage of Quattrocento Masters of the likes of Pietro Perugino...

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 ...

Digital Graphic Artwork Framed 67.3 x 49.7 x 1 cm, acrylic frame Dani André Skogfelt is a visual self-taught Norwegian artist born in 1978 who lives and works in Oslo, Norway. He s...

Digital Graphic Artwork Framed 67.3 x 49.7 x 1 cm, acrylic frame Dani André Skogfelt is a visual self-taught Norwegian artist born in 1978 who li...

Digital Graphic Artwork Framed 67.3 x 49.7 x 1 cm, acrylic frame Dani André Skogfelt is a visual self-taught Norwegian artist born in 1978 who lives and works in Oslo, Norway. He s...

Digital Graphic Artwork Framed 67.3 x 49.7 x 1 cm, acrylic frame Dani André Skogfelt is a visual self-taught Norwegian artist born in 1978 who li...

Digital Graphic Artwork Framed 67.3 x 49.7 x 1 cm, acrylic frame Dani André Skogfelt is a visual self-taught Norwegian artist born in 1978 who lives and works in Oslo, Norway. He s...

Digital Graphic Artwork Framed 67.3 x 49.7 x 1 cm, acrylic frame Dani André Skogfelt is a visual self-taught Norwegian artist born in 1978 who lives and works in Oslo, Norway. He s...

Following in line with artists before her, like Rembrandt and van Gogh, Sandra Sweeny here presents a self portrait. The image is direct but subtle in its handling of materials, but ...

Lamp, 2014 Graphite on paper 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 at the painting departm...

Untitled Still Life, 2014 Graphite on paper 17.4 x 20.85 / 44 x 53 cm Nikos Kanarelis was born in Athens, Greece in 1975 where he now lives and works. Βetween 1999 and 2004 he s...

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 ...

In this drawing, Sylvia Spicuzza presents the viewer with a scene from the theater or opera, showing five women on stage. Three of the women have their backs to the viewer, while one...

German School (19th Century) 'In the Sculptor's Studio' ‍ Graphite on paper Circa 1880 43.5 x 34 cm

Jim’s of Lambertville is proud to offer this artwork. Signed. Complemented by a hand carved and gilt frame. William L. Lathrop (1859-1938) Deemed “Father of the New Hope Art Colony”, William Langson Lathrop was born in Warren, Illinois. He was largely self-taught, having only studied briefly with William Merritt Chase in 1887, at the Art Students League. Lathrop first moved east in the early 1880s, and took a job at the Photoengraving Company in New York City. While there, he befriended a fellow employee, Henry B. Snell. The two men became lifelong friends and ultimately, both would be considered central figures among the New Hope Art Colony. Lathrop's early years as an artist were ones of continuing struggle. His efforts to break through in the New York art scene seemed futile, so he scraped enough money together to travel to Europe with Henry Snell in1888. There he met and married an English girl, Annie Burt. Upon returning to New York, he tried his hand at etching, making tools from old saw blades. Even though his prints were extremely beautiful, he still was impoverished. Lathrop would return to his family in Ohio, before once again attempting the New York art scene. In 1899, with great trepidation, he submitted five small watercolors to an exhibit at the New York Watercolor Club. He won the Evans Prize, the only award given, and four of the five paintings were sold the opening night. At age forty Lathrop’s career would finally take off and he became an “overnight success Lathrop came to Phillips Mill for the first time in1898, to visit his boyhood friend, Dr. George Marshall. Shortly after, he and his family purchased the old miller’s house from Dr. Marshall. The Lathrop’s home became a social and artistic center for the growing New Hope colony. Tea and fascinating conversation was the “order of the day” every Sunday. This was a scene fondly recalled by many younger art students that Lathrop taught privately at Phillips Mill. It was common to see groups of his students painting and sketching along the banks of the canal or aboard his canal boat. He had previously taught in the Poconos and at the Lyme, Connecticut Summer School in1907, but Phillips Mill always remained Lathrop’s permanent address. In 1928, a committee headed by Lathrop was formed to purchase the old Phillips Mill building as a place to hold community gatherings and art exhibitions. The committee had success and in 1929 the Phillips Mill Community Association was formed. This became the center of the New Hope Art Colony holding annual exhibitions and still operating today. In 1930, Lathrop had built a sailboat he named the “Widge”. For eight consecutive seasons he sailed it along the coast of Long Island...

David Kim Whittaker ARK, No. 6. , 2007-2008 Signed, titled and dated '1, of 20 ARK, No. 6. Whittaker DKW 2007-2008' on the reverse Oil and graphite on paper laid on card 36.5 x 28.8 ...

David Kim Whittaker ARK, No. 9, 2007-2008 Signed, titled and dated '1, of 20 ARK, No. 9. Whittaker DKW 2007-2008' on the reverse Oil and graphite on paper laid on card 36.5 x 28.8 cm...

David Kim Whittaker ARK, No. 12. , 2007-2008 Signed, titled and dated '1, of 20 ARK, No. 12. Whittaker DKW 2007-2008' on the reverse Oil and graphite on paper laid on card 36.5 x 28....

Joyce Wieland (1931-1998) is one of the most accomplished and versatile Canadian artists. She achieved a level of commercial and critical success in her lifetime that was exceptional for a woman in her era in a male-dominated field. Wieland set new standards for what women artists could accomplish and was the first woman artist to have a solo exhibition at the National Gallery (Ottawa) in 1971. Many of her innovative creations predate similar works by female artists...

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...

Grover Mouton is a New Orleans based artist and architect who utilizes hand drawings to illustrate urban design proposals. Many of his drawings were initially created as part of the ...

Grover Mouton is a New Orleans based artist and architect who utilizes hand drawings to illustrate urban design proposals. Many of his drawings were initially created as part of the ...

"Full Moon #26" is an original graphite drawing on paper by Bill Teeple, signed in the lower right corner of the mat. This small image of the moon 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: 1 5/8" x 2" Frame size: 14" x 11" "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...

"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...

"Ascension #4" 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...

"Woman Carrying Purse" is an original watercolor and graphite drawing by Hannah de Rothschild. This artwork features a woman with a handbag. She is wearing a blue dress, and her face...

Signed Lower Right Burgoyne Diller (1906-1965) Recognized as the first American painter to embrace the tenets of Neo-Plasticism, Burgoyne Diller made an important contribution to ...

"Playing Dress Up in the Attic" is an original graphite drawing by Sylvia Spicuzza. The artist signed the piece. This artwork features two children playing dress-up. 8" x 5" art 19...

This gorgeous artwork on paper was created initially with a screen print base of the model, then Rosie hand finishes the work with a unique splash and painted composition. Some call them Unique Prints. The base image is only used 12 times and this is the AP Rosie Emerson, born in 1981, is a contemporary artist working almost exclusively on representing the female form. Emerson’s figures draw reference from archetypes old and new, from Artemis to the modern day super model, each solitary figure, an allegory of her own fantasy. Interested in surface, the interplay between photography and painting. Emerson’s works are playful constructs; Photography is used, not as a device for capturing reality but for creating romanticised optical illusions. Inspired by her love of theatre, performance, shrines and rituals, she uses lighting, costume, set and prop making, alongside printmaking and painting to create other worldly one off pieces. Her photography is inspired by both the drama of the baroque, and ethereal qualities of Pre Raphaelite works. Other important influences include late medieval and renaissance paintings, Japanese prints, and magical realist literature. Emerson’s screen...

Davidoff creates drawings, paintings, prints and installations that consider intricate patterns in nature and the overlaying systems used to observe, map and define organic landscape...

Signed and dated lower right Provenance David Stuart Galleries, Los Angeles Willard Gallery, New York Daisy Viertel Shapiro, New York Exhibition Corcoran Gallery of Art, Washington...