Art by Medium: Graphite

Medium: Watercolor, Graphite, and Wash on Board Signature: Signed Lower Left "The Study Hour (The College Girl at Her Studies)." Illustration for the Colleg...

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 univ...

"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...

"Field Study - Typology of Hand" is a mixed media piece by Terri Warpinski using photographs, drawings, and fragments of notebook and sketchbook paper. The artist signed the piece in the lower right and titled it lower left. 9 1/2" x 7" art 20 7/8" x 17" frame From her home base in Oregon Terri Warpinski travels the world to pursue her creative practice. She is a Professor of Art at the University of Oregon and was a Fulbright Scholar in Israel 2000-2001. Recent awards include an Individual Artist Fellowship (2014), two Career Opportunity Grants (2015, 2013) from both the Ford Family Foundation and the Oregon Art...

Miss Twisty is a story of a young girl who leaves the big city to spend time in the country. The book is filled with insight and humor. This work is a deftly rendered black-and-wh...

This drawing is part of the current exhibition entitled "The fantastic story of the liquid mountain" at Claire Corcia Gallery in Paris. The liquid mountain is populated by living be...

Graphite on paper Image size: 7 x 5 inches (17.75 x 12.75 cm) Mounted Jane Ross Little is known about Jane Ross apart from that she attended Heatherley's Art School. Here she met ...

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 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...

Gouache, color pencil and graphite on paper Signed lower right Unique work 1 / Hélène DUCLOS, 2016 – Artist Statement “Questioning the human condition and the position of being ali...

This painting features hues of brown, orange and pink. Heather Bird Harris is an artist, mother, and educator based in Atlanta and New Orleans. Sh...

This striking mid-century modern drawing by Taos-based artist James Meek features a bold geometric abstract composition that reflects the clarity and precision of mid-20th-century mo...

Alison Haley Paul is a contemporary painter of lavishly textured landscapes full of nuanced color. Her work conjures up connotations and geographical memories: that summer you spent ...

Alison Haley Paul is a contemporary painter of lavishly textured landscapes full of nuanced color. Her work conjures up connotations and geographical memories: that summer you spent ...

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 univ...

Graphite on paper Image size: 11 x 8 ½ inches (28 x 22 cm) White gold frame Gordon Scott Gordon Scott was trained at the Royal College of Art (1934-38) under Gilbert Spencer, Alan ...

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 univ...

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 ...

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 univ...

Miriam Peralta Sostenido 12, 2015 Graphite and charcoal on paper 72h x 28.30w in 182.88h x 71.88w cm

Miriam Peralta Sostenido 13, 2015 Graphite and charcoal on paper 66.90h x 28.30w in 169.93h x 71.88w cm

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 ...

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 ...

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 ...

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...

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...

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...

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 ...

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 ...

Ink and graphite on paper Signed, entitled and dated below

CARL FRIEDRICH HEINRICH WERNER 1808 - 1894 Dwelling by the Nile Graphite on Paper Carved giltwood frame Image Size: 8 ¾ x 15 ¼ inches SKETCHES OF CARL WERNER EXHIBITION AT OUR...

Watercolour and graphite on paper Image size: 9 1/2 x 12 inches (24 x 30.5 cm) Acid free mount This is a view just outside of the village of Warlingham, Surrey, where Scott had a house. The Artist Gordon Scott frst studied at Croydon School of Art and then was trained at the Royal College of Art between 1934-38 under Gilbert Spencer, Alan Sorrell and Charles Mahoney...

Graphite on paper, inscribed on original backing Image size: 6 1/2 x 5 1/2 inches (16.5 x 14 cm) Mounted This is a delightful graphite drawing by the artist Joseph Nash that depict...

Echo by Rose Umerlik is an abstract painting, Oil and Graphite on wood panel, 32 x 52. This is part of a new 2022 series. According to Umerlik, " I became a mother this past year. ...

Original Painting - Acrylic and Graphite on Canvas White 30" x 30" 2018 Signed on back (verso) in pencil with name and date Optional framing JEAN WOLFF is a New York City-based abs...

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 ...

Early in the artist's career most likely for Vogue Magazine. Signed lower left. Helen Dryden (1882–1972) was an American artist and successful industrial designer in the 1920s and 1...

This work on paper is from 1979 when Smyth exploring themes of nature in architecture and landscape. From the age of one, Smyth was regularly taken to museums and churches across E...

Entitled "Drawing for Allegheny + Ludlum Helmet & Jacket," this work by Chicago-based artist Patrick Fitzgerald is a companion piece to his sculpture "A+L Helmet & Jacket." Worn by the imagined driver of one of his miniature soap box derby cars, each helmet & jacket is branded with an industrial sponsor, in this case the Allegheny Ludlum Corporation, a steel manufacturer from the early 20th century. Mounted on subtle collage materials and paper fragments...

Graphite on Paper Image size: 12 ½ x 16 ¼ inches (31.75 x 41 cm) Acid free mount Carl Friedrich Heinrich Werner Carl Werner was born in Weimar in 1808, the son of a piano teacher ...

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

Graphite on Paper Image size: 21 x 13 3/4 inches (53.25 x 35 cm) Carved gilt frame Carl Friedrich Heinrich Werner Carl Werner was born in Weimar in 1808, the son of a piano teacher...

Graphite on Paper Image size: 19 x 14 inches (48.25 x 35.5 cm) Acid free mount Carl Friedrich Heinrich Werner Carl Werner was born in Weimar in 1808, the son of a piano teacher and...

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

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

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

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

Pencil on Paper Image size: 18 1/2 x 14 inches (45.75 x 35.5 cm) White gold frame Gordon Scott Scott was trained at the Royal College of Art (1934-38) under Gilbert Spencer, Alan So...

Oil and graphite on canvas

Presented paintings and drawings by Rusudan Khizanishvili, created in 2024-2025, all focus on offerings, albeit of different types. There is not a single tautology or repetition in t...

Presented paintings and drawings by Rusudan Khizanishvili, created in 2024-2025, all focus on offerings, albeit of different types. There is not a single tautology or repetition in t...

Presented paintings and drawings by Rusudan Khizanishvili, created in 2024-2025, all focus on offerings, albeit of different types. There is not a single tautology or repetition in t...

Judi Tavill( NJ) creates biomorphic abstraction coupling sculpture with drawing that references the complicated experience of connection and entanglement. ...

Graphite on paper, signed and dated Image size: 18 x 12 1/2 inches (46 x 32 cm) Mounted and framed The sitter for this portrait, Alfred Hardiman, was an English sculptor. Hardiman and Lyon were friends and met when they both attended the British School at Rome in the early 1920s. Hardiman won a London County Council Scholarship to the Royal College of Art in 1912, and three years later joined the Royal Academy School. After a period as an engineer's draughtsman in the Royal Flying Corps during the First World War, Hardiman resumed his studies and in 1920 was awarded the British Prix de Rome scholarship, spending two years at the British School at Rome. There he developed his style, a blend of naturalism and classicism influenced by Roman and Etruscan art and early fifth century Greek sculpture. Hardiman's best-known (but also most controversial) work is the Earl Haig Memorial on Whitehall in London. More universally admired are the heraldic lions flanking the main entrance to the City Hall, Norwich, a work which fully epitomises his style. He was appointed consultant sculptor to the building, having worked with one of the architects, Stephen Rowland Pierce, on the Haig Memorial. Hardiman also carved three large stone figures for the outside of the council chamber, and worked with other sculptors on the project including James Woodford and Eric Aumonier. Hardiman was elected Associate of the Royal Academy in 1936 and a full Academician in 1944. He became a fellow of the Royal Society of British Sculptors in 1938 and the following year received their silver medal for his statue of Haig. In 1946 he won a gold medal for his bronze fountain figure for the New Council House, College Green, Bristol, which however was never erected. In 1918 he married Violet, daughter of Herbert Clifton White, of London, and had two daughters. He died at Stoke Poges on 17th April 1949. Robert Lyon...

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.

Graphite on paper Image size: 7 1/2 x 9 inches (19 x 23 cm) Carved gilt frame Literature Illustrated in Malcolm Bell's 'Sir Edward Burne-Jones, A Record and Review', London, 1899, p.127. Provenance Major Charles Sydney Goldman 1958 By descent to his Sons John and Margaret Monck (John Goldman Monck) 1958-1963 Commander Victor Robert Penryn Monck (Victor Robert Penryn Monk Goldman) 1958-1963 Christie's London (Christie, Manson and Woods) 1963, John Monck and Cmdr Penryn Monck sale 26 April 1963 part lot 71 Sir John Richardson, 2019 Burne-Jones decided that the folds in the drapery in this study were too complex for the final painting and fairly soon after he simplified the draperies. The work is a drapery study for the seated figures at the centre of Sir Edward Coley Burne-Jones monumental The Sleep of Arthur in Avalon (Museo de Arte de Ponce, Puerto Rico). The artist spent seventeen years working on the complex narrative, even moving his studio to a larger space to accommodate the canvas. Born as a commission from his patron George Howard, 9th Earl of Carlisle, to decorate a wall in his library at Naworth Castle, The Sleep of Arthur in Avalon was left unfinished in Burne-Jones’ studio upon his death. The work was bequeathed to a studio neighbour whose descendants sold it at auction in 1963, where it was purchased by Luis A. Ferré, politician and founder of the Museo de Arte de Ponce. To his friends and family, Burne-Jones was known for his 'unpainted masterpieces'. Indeed, from his youth he made swift sketches, such as this study, that appeared effortless in contrast to his carefully crafted paintings and allowed him to work out ideas and refine details. He also drew outside of the studio, and his contemporaries remarked at his uncanny ability to do so while fully engaged in other activities. The painter W. Graham...

Artwork by New York artist Gail Postal. Graphite, and Oil Paint. Postal has had two major influences on her work – old hand tinted black and white Japanese photographs and Eastern ...

This powerful work on paper is a singular piece from the "Sum of Destructions" series by Bryan Ryley. This entire series of twelve works, along with a monumental painting of the same...