Art by Medium: Pastel

Dzidra Bauma (1930) Dzidra Bauma works in watercolor technique. She paint figural compositions, portraits, landscapes, flowers and still life. She is one of the most productive wate...

Signed lower left H. Claude Pissarro Hugues Claude Pissarro is a contemporary French painter associated with a modern Impressionist tradition rooted in the Pissarr...

White sailboat. Paper, pastel 27x33 cm Victor Karnauh (1950, Dnepropetrovsk Oblast, Ukrainian SSR – 2012, Dnepropetrovsk Oblast, Ukraine) – a painter, ...

Untitled 2002 (Abstract Painting) Pastel on paper - Unframed. In her abstract drawings, collages and paintings, Fieroza Doorsen brings to life the tensions and harmonies that emerg...

Artist: Kazuhide Yamazaki (Japanese-American, 1951-2023) Title: "Untitled" *Titled, signed, and dated by Yamazaki in pencil lower right Year: 1981 Medium: Original Watercolor and Oil...

This pastel portrait captures the side profile of a young African American man dressed in a black hoodie. The artist skillfully employs the pastel medium to bring out the rich textur...

James Vaulkhard Jim, 2025 Oil, charcoal, pastel and oil stick on fine linen 80 x 70 cm 31.5 x 27.6 inches James Vaulkhard Share James Vaulkhard holds a BA degree in History of Art f...

Pamela Burns British, b. 1938 Gale Force Winds at High Tide, 1999 pastel and pencil 29.5 x 42 cm 11 5/8 x 16 1/2 in signed, dated and titled Pamela Burns is a British painter. B...

Phil May Kurman (American, 1911-1953) Untitled, 20th century Pastel on paper Sight: 7 x 4 1/2 in. Framed: 15 1/4 x 10 1/4 x 1 in.

Artist: Jose Canes, Spanish (1931 - ) Title: Girl in Blue Room Year: circa 1975 Medium: Acrylic and Pastel on Paper, signed l.r. 'Dore' Size: 25.5 x 19.5 in. (64.77 x 49.53 cm)

Diana Kurz Light White Pastel on Paper 14 x 11 inches Diana Kurz (born 1936) is an Austrian-born feminist painter. In 1938, Diana Kurz's family fled Austria, first to England and t...

Untitled Pastel on paper, 1922 Initialed lower right (see photo) Exhibited: Francis Nauman, Leon Kelly: Draftsman Extraordinaire, New York, April 4 - May 23, 2014. Condition: excellent Image size: 11 8 7/8 inches Frame size: 18 1/4 x 16 1/4 inches Provenance: Estate of the artist The Orange Chicken...

Pamela Burns British, b. 1938 Dried Plants on the Shingle, 1999 pastel and charcoal 29.5 x 42 cm 11 5/8 x 16 1/2 in signed, dated and titled Pamela Burns is a British painter. Bu...

Amy Londoner Musical Conductor, 1922 Signed and dated lower right Pastel on paper Sight 18 x 23 inches Amy Londoner (April 12, 1875 – 1951) was an American painter who exhibited at the 1913 Armory Show. One of the first students of the Henri School of Art in 1909. Prior to the Armory Show of 1913, Amy Londoner and her classmates studied with "Ashcan" painter Robert Henri at the Henri School of Art in New York, N.Y. One notable oil painting, 'The Vase', was painted by both Henri and Londoner. Londoner was born in Lexington, Missouri on April 12, 1875. Her parents were Moses and Rebecca Londoner, who moved to Leadville, Colorado, by 1880. In 1899, Amy took responsibility for her father who had come to Los Angeles from Leadville and had mental issues. By 1900, Amy was living with her parents and sister, Blanche, in the vicinity of Leadville, Denver, Colorado. While little was written about her early life, Denver City directories indicated that nineteenth-century members of the family were merchants, with family ties to New York, N.Y. The family had a male servant. Londoner traveled with her mother to England in 1907 then shortly later, both returned to New York in 1909. Londoner was 34 years old at the time, and, according to standards of the day, should have married and raised a family long before. Instead, she enrolled as one of the first students at the Henri School of Art in 1909. At the Henri School, Londoner established friendships with Carl Sprinchorn (1887-1971), a young Swedish immigrant, and Edith Reynolds (1883-1964), daughter of wealthy industrialist family from Wilkes-Barre, PA. Londoner's correspondence, which often included references to Blanche, listed the sisters' primary address as the Hotel Endicott at 81st Street and Columbus Avenue, NYC. Other correspondence also reached Londoner in the city via Mrs. Theodore Bernstein at 252 West 74th Street; 102 West 73rd Street; and the Independent School of Art at 1947 Broadway. In 1911, Londoner vacationed at the Hotel Trexler in Atlantic City, NJ. As indicated by an undated photograph, Londoner also spent time with Edith Reynolds and Robert Henri at 'The Pines', the Reynolds family estate in Bear Creek, PA. Through her connections with the Henri School, Londoner entered progressive social and professional circles. Henri's admonition, phrased in the vocabulary of his historical time period, that one must become a "man" first and an artist second, attracted both male and female students to classes where development of unique personal styles, tailored to convey individual insights and experiences, was prized above the mastery of standardized, technical skill. Far from being dilettantes, women students at the Henri School were daring individuals willing to challenge tradition. As noted by former student Helen Appleton Read, "it was a mark of defiance,to join the radical Henri group." As Henri offered educational alternatives for women artists, he initiated exhibition opportunities for them as well. Troubled by the exclusion of work by younger artists from annual exhibitions at the National Academy of Design, Henri was instrumental in organizing the no-jury, no-prize Exhibition of Independent Artists in 1910. About half of the 103 artists included in the exhibition were or had been Henri students, while twenty of the twenty-six women exhibiting had studied with Henri. Among the exhibition's 631 pieces, nine were by Amy Londoner, including the notorious 'Lady with a Headache'. Similarly, fourteen of Henri's women students exhibited in the groundbreaking Armory Show of 1913, forming about eight percent of the American exhibitors and one-third of American women exhibitors. Of the nine documented works submitted by Londoner, five were rejected, while four pastels of Atlantic City beach scenes, including 'The Beach Umbrellas' now in the Remington Collection, were displayed. Following Henri's example, Londoner served as an art instructor for younger students at the Modern School, whose only requirement was to genuinely draw what they pleased. The work of dancer Isadora Duncan, another artist devoted to the ideals of a liberal education, was also lauded by the Modern School. Henri, who long admired Duncan and invited members of her troupe to model for his classes, wrote an appreciation of her for the Modern School journal in 1915. She was also the subject of Londoner's pastel Isadora Duncan and the Children: Praise Ye the Lord with Dance. In 1914, Londoner traveled to France to spend summer abroad, living at 99 rue Notre Dames des Champs, Paris, France. As the tenets of European modernism spread throughout the United States, Londoner showed regularly at venues which a new generation of artists considered increasingly passe, including the annual Society of Independent Artists' exhibitions between 1918 and 1934, and the Salons of America exhibition in 1922. Londoner also exhibited at the Morton Gallery, Opportunity Gallery, Leonard Clayton Gallery and Brownell-Lambertson Galleries in NYC. Her painting of a 'Blond Girl' was one of two works included in the College Art Associations Traveling Exhibition of 1929, which toured colleges across the country to broad acclaim. Londoner later in life suffered from illnesses then suffered a stroke which resulted in medical bills significantly mounting over the years that her old friends from the Henri School, including Carl Sprinchorn, Florence Dreyfous, Florence Barley, and Josephine Nivison Hopper, scrambled to raise funds and find suitable long-term care facilities for Londoner. Londoner later joined Reynolds in Bear Creek, PA. Always known for her keen wit, Londoner retained her humor and concern for her works even during her illness, noting that "if anything happens to the Endicott, I guess they will just throw them out." Sprinchorn and Reynolds, however, did not allow this to happen. In 1960, Londoner's paintings 'Amsterdam Avenue at 74th Street' and 'The Builders' were loaned by Reynolds to a show commemorating the Fiftieth Anniversary of the Exhibition of Independent Artists in 1910, presented at the Delaware Art Center, Wilmington, DE. In the late 80's, Francis William Remington, 'Bill Remington', of Bear Creek Village PA, along with his neighbor and artist Frances Anstett Brennan, both had profound admiration for Amy Londoner's art work and accomplishments as a woman who played a significant role in the Ashcan movement. Remington acquired a significant number of Londoner's artwork along with Frances Anstett Brenan that later was part of an exhibition of Londoner's artwork in April 15 of 2007, at the Hope Horn...

Medium: Charcoal, Pastel, and Watercolor on Board Signature: Signed Lower Right Sight Size 16.00;" Framed 28.00" x 25.00"

Horizon pastel on paper 6 x 6inches 12 x 12 inches 2023

Pastel on paper Francine Ledieu is a French artist born in 1931 who lives and works in Paris, France. In the 50s, she was a student of Maurice Rocher who specialized in Sacred art. In the ’80s, Francine was a student of Jean Bertholle from the Saint Roch Academy. The artist had personal exhibitions at Maison Mansart from 1989 to 1993 and at Étienne de Causans Gallery in 1997. In 1998 & 2009 she exhibited at La Petite Galerie...

This piece, titled "Wanderer 11" is an original artwork by Seth Clark as part of his newest solo exhibition, "Passing Through" and is made of collage, charcoal, pastel, acrylic, and...

Carl Axel Elvegård (1883–1962) Sweden Early Winter in Dalarna, 1923 signed and dated lower right Ax. Elvegård 1923 pastel and pencil on paper paper 48.5 × 61.5 cm (19.1 × 24.2 in) ...

Travel notes 2007. Paper, pastel, 24x22 cm The focal point of the artwork is a colorful cityscape, reflecting the artist's impressions and experiences of a particular place during ...

Katharine Ludington (1869-1953). Portrait of Mrs. Allen Wilson, Villanova PA, 1904. Pastel on cardboard. Panel measuring 11 x 16 inches. Signed and dated lower left. Unframed. ...

Water soluble wax pastel & 14-colour silkscreen on Canson Mi-Teintes Drawing Paper Edition 2 of 30 Signed, dated and numbered on the front Mint

Mixed media monoprint with pastel, pencil, and oil based ink. 26.5 x 26.5 inches framed.

Ker-Xavier Roussel Lorry-les-Metz 1867 – 1944 Etang-la-Ville French Painter 'L’après-midi d’un faune' Signature: signed lower left and right Medium: pastel on paper mounted on boar...

A beautiful pastel portrait by American female modern artist Franc Root McCreery Franc Root McCreery (1888-1957) Born: Dodge City, Kansas, US Franc Root M...

Subrata Biswas - Untitled - 11.5 x 8.25 Inches ( unframed size ) Dry Pastel & Charcoal on Paper , 2020 ( Unframed All in Delivered Price ) Style : The motive of a child in its most ...

Arthur Clifton Goodwin American, 1864-1929 Washington Bridge Pastel & charcoal on paper 18 by 22 in. W/frame 20 by 24 in. Inventory Number: 01156

Arietta series 2 (Abstract drawing) Charcoal ink and pastel on paper - Unframed. Margaret Neill works for a time on a group of pieces in a series, using classic almost primal mater...

The vision of St. John Paper, pastel, 16x23 cm It presents a colorful cityscape on a dark background, the use of pastels allows for the creation of vibrant colors and a dynamic com...

Ginger Williams Cook is a painter, published illustrator, and arts educator based in Jackson, MS. Her paintings have been featured in numerous exhibitions, publications, and media. G...

Boats. Paper/pastel. 9,5x13,5 cm. Georgs Barkans (1925-2010) Textile artist, architect, artist Professional education: University of Latvia, Faculty of Architecture (1945-1952) Art ...

Pastel on paper stretched on canvas Each 23 ¼ x 19 ¾ inches; 59 x 50 cm Framed dimensions, each: 83 x 67.5 cm Both signed ‘F. Cotes Px 1751’ Collections: Captain Penton; Christie’...

Laura Hills is an American treasure in terms of the body of work that she produced in pastel. She is a master of this medium of pastel and she had been a celebrated miniaturist arti...

"Girl Drinking" by Charlie Mackesy is an original charcoal and pastel work, signed by the artist in pastel. The artwork is presented beautifully framed, making it an ideal addition t...

Picnic. 1999, paper, pastel, 28.5x33 cm Colorful abstract composition in fauvist style with figures

ABOUT Stephen Basso Stephen Basso's highly original pastels and oil paintings are romantic, yet thought provoking fantasies. His whimsical works are alive with boundless imaginat...

"Untitled" Mid 20th Century American Abstract 1960s Color Field Abstraction James Daugherty (1887 – 1974) Untitled 15 x 21 ½ inches May 15, 1967 Pastel on paper Signed lower left ...

Ginger Williams Cook is a painter, published illustrator, and arts educator based in Jackson, MS. Her paintings have been featured in numerous exh...

Belle of the Ball 24.0 x 6.0 x 2.0, 4.0 lbs Pastel on archival paper Hand signed by artist Artist's Commentary: "Waves have a rhythm to them and the longer you watch them the qui...

Pauline Plummer (b.1933) Original, pastel on paper. Double mounted in a glazed wooden frame. Signed and inscribed to the reverse.

Richard Stone Reeves Seattle Slew, 1977 Signed lower right Pastel on newsprint 9 1/4 x 14 inches Richard Stone Reeves (1919–2005) was one of the most celebrated equine painters of ...

Diana Kurz June Watercolor and pastels on board 17 x 23 inches Diana Kurz (born 1936) is an Austrian-born feminist painter. In 1938, Diana Kurz's family fled Austria, first to Engl...

Shipping Procedure Ships in a well-protected tube from Nigeria This work is unique, not a print or other type of copy. Accompanied by a Certificate of Authenticity (Issued by the Gal...

Description im Solliday's pastel painting, "Moonlit Arroyo Pathway," invites the viewer to a moonlight hike along a meandering trail that gently vanishes into the undulating landscape of hills. The rolling clouds above accentuate the fullness of the landscape while a radiant moon bathes the scene in a celestial glow, casting its luminous enchantment upon the scene. Solliday's meticulous attention to delineated edges skillfully captures the rich textures and authentic essence of the natural world, transporting the observer into a mesmerizing nocturnal dreamscape. Provenance Acquired by the gallery directly from the artist Signed " T. Solliday" on lower right corner Exhibitions 20th Anniversary Exhibition: Celebrating a Legacy of Excellence, American Legacy Fine Arts, Pasadena, California, November 10 – December 16, 2023 Theodore N. Lukits (1897-1992): An Aesthetic Realist and Peter Adams and Tim Solliday: Continuing the Lukits Legacy at Palos Verdes Art...

I intuitively paint each of my paintings based on my mood of the day or at that moment. I never know what I am going to create until I see the end result. Sometimes it is a colorful,...

Tim’s main concern within his work is exploring the colour field. Although vivid Tim’s works are invariably balanced, using a signature colour palette of extremely bright and intense...

Romantic, tonalist style charcoal drawing of a tree in isolation by Sue Bryan "Arborescent", 2025 charcoal, acrylic, and pastel on paper dry mounted to canvas 30 x 22 inches 31.25 x ...

This refined pastel portrait depicts a young woman, probably in her teenage years, shown in three-quarter view with her chin resting lightly against one hand. Dressed in a simple whi...

This artwork is a mid-century, mixed-media portrait on paper, executed primarily in colored pastels, charcoal and white chalk highlighting. It showcases a striking, classically struc...

Objects is an original contemporary artwork realized in 1981 by the Italian artist Bruno Conte (Rome, 1939). Original pastel drawing on black cardboard. Passepartout included (cm 3...

"Hallman's" is a landscape with figures and farmhouse, by American Impressionist painter Albert Van Nesse Greene. The painting is a 13.5" x 19....

Diana Kurz Pink Green Study Pastel on paper 20 x 15 inches Diana Kurz (born 1936) is an Austrian-born feminist painter. In 1938, Diana Kurz's family fled Austria, first to England ...

James Vaulkhard Tom, 2023-24 Oil, charcoal, pastel and oil stick on fine linen 120 x 150 cm 47.5 x 59 inches James Vaulkhard Share James Vaulkhard holds a BA degree in History of Ar...

This sophisticated soft pastel drawing offers an intimate, poetic look at a branching cluster of lavender roses. Set against a textured, muted gray background, the artwork balances c...

This esquisse -a draft, a beginning, an intuition - resists the weight of fixed identity. It recalls how the feminine often appears in fragments: not yet body, not yet form, but vi...

Pastel and pencil on paper - Unframed. In her abstract drawings, collages and paintings, Fieroza Doorsen brings to life the tensions and harmonies that emerge when structure meets i...

A Striking 1930s American Modern Figure Study of a Seated African American Nude Male Model by Notable Chicago Artist, Walter Burt Adams (Am. 1903-1990). A wonderful, early example ...

A Striking 1930s American Modern Figure Study of a Seated African American Nude Male Model by Notable Chicago Artist, Walter Burt Adams (Am. 1903-1990). A wonderful, early example ...

Amy Londoner Beach at Atlantic City, circa 1922 Signed lower right Pastel on paper Sight 23 x 18 inches Amy Londoner (April 12, 1875 – 1951) was an American painter who exhibited at the 1913 Armory Show. One of the first students of the Henri School of Art in 1909. Prior to the Armory Show of 1913, Amy Londoner and her classmates studied with "Ashcan" painter Robert Henri at the Henri School of Art in New York, N.Y. One notable oil painting, 'The Vase', was painted by both Henri and Londoner. Londoner was born in Lexington, Missouri on April 12, 1875. Her parents were Moses and Rebecca Londoner, who moved to Leadville, Colorado, by 1880. In 1899, Amy took responsibility for her father who had come to Los Angeles from Leadville and had mental issues. By 1900, Amy was living with her parents and sister, Blanche, in the vicinity of Leadville, Denver, Colorado. While little was written about her early life, Denver City directories indicated that nineteenth-century members of the family were merchants, with family ties to New York, N.Y. The family had a male servant. Londoner traveled with her mother to England in 1907 then shortly later, both returned to New York in 1909. Londoner was 34 years old at the time, and, according to standards of the day, should have married and raised a family long before. Instead, she enrolled as one of the first students at the Henri School of Art in 1909. At the Henri School, Londoner established friendships with Carl Sprinchorn (1887-1971), a young Swedish immigrant, and Edith Reynolds (1883-1964), daughter of wealthy industrialist family from Wilkes-Barre, PA. Londoner's correspondence, which often included references to Blanche, listed the sisters' primary address as the Hotel Endicott at 81st Street and Columbus Avenue, NYC. Other correspondence also reached Londoner in the city via Mrs. Theodore Bernstein at 252 West 74th Street; 102 West 73rd Street; and the Independent School of Art at 1947 Broadway. In 1911, Londoner vacationed at the Hotel Trexler in Atlantic City, NJ. As indicated by an undated photograph, Londoner also spent time with Edith Reynolds and Robert Henri at 'The Pines', the Reynolds family estate in Bear Creek, PA. Through her connections with the Henri School, Londoner entered progressive social and professional circles. Henri's admonition, phrased in the vocabulary of his historical time period, that one must become a "man" first and an artist second, attracted both male and female students to classes where development of unique personal styles, tailored to convey individual insights and experiences, was prized above the mastery of standardized, technical skill. Far from being dilettantes, women students at the Henri School were daring individuals willing to challenge tradition. As noted by former student Helen Appleton Read, "it was a mark of defiance,to join the radical Henri group." As Henri offered educational alternatives for women artists, he initiated exhibition opportunities for them as well. Troubled by the exclusion of work by younger artists from annual exhibitions at the National Academy of Design, Henri was instrumental in organizing the no-jury, no-prize Exhibition of Independent Artists in 1910. About half of the 103 artists included in the exhibition were or had been Henri students, while twenty of the twenty-six women exhibiting had studied with Henri. Among the exhibition's 631 pieces, nine were by Amy Londoner, including the notorious 'Lady with a Headache'. Similarly, fourteen of Henri's women students exhibited in the groundbreaking Armory Show of 1913, forming about eight percent of the American exhibitors and one-third of American women exhibitors. Of the nine documented works submitted by Londoner, five were rejected, while four pastels of Atlantic City beach scenes, including 'The Beach Umbrellas' now in the Remington Collection, were displayed. Following Henri's example, Londoner served as an art instructor for younger students at the Modern School, whose only requirement was to genuinely draw what they pleased. The work of dancer Isadora Duncan, another artist devoted to the ideals of a liberal education, was also lauded by the Modern School. Henri, who long admired Duncan and invited members of her troupe to model for his classes, wrote an appreciation of her for the Modern School journal in 1915. She was also the subject of Londoner's pastel Isadora Duncan and the Children: Praise Ye the Lord with Dance. In 1914, Londoner traveled to France to spend summer abroad, living at 99 rue Notre Dames des Champs, Paris, France. As the tenets of European modernism spread throughout the United States, Londoner showed regularly at venues which a new generation of artists considered increasingly passe, including the annual Society of Independent Artists' exhibitions between 1918 and 1934, and the Salons of America exhibition in 1922. Londoner also exhibited at the Morton Gallery, Opportunity Gallery, Leonard Clayton Gallery and Brownell-Lambertson Galleries in NYC. Her painting of a 'Blond Girl' was one of two works included in the College Art Associations Traveling Exhibition of 1929, which toured colleges across the country to broad acclaim. Londoner later in life suffered from illnesses then suffered a stroke which resulted in medical bills significantly mounting over the years that her old friends from the Henri School, including Carl Sprinchorn, Florence Dreyfous, Florence Barley, and Josephine Nivison Hopper, scrambled to raise funds and find suitable long-term care facilities for Londoner. Londoner later joined Reynolds in Bear Creek, PA. Always known for her keen wit, Londoner retained her humor and concern for her works even during her illness, noting that "if anything happens to the Endicott, I guess they will just throw them out." Sprinchorn and Reynolds, however, did not allow this to happen. In 1960, Londoner's paintings 'Amsterdam Avenue at 74th Street' and 'The Builders' were loaned by Reynolds to a show commemorating the Fiftieth Anniversary of the Exhibition of Independent Artists in 1910, presented at the Delaware Art Center, Wilmington, DE. In the late 80's, Francis William Remington, 'Bill Remington', of Bear Creek Village PA, along with his neighbor and artist Frances Anstett Brennan, both had profound admiration for Amy Londoner's art work and accomplishments as a woman who played a significant role in the Ashcan movement. Remington acquired a significant number of Londoner's artwork along with Frances Anstett Brenan that later was part of an exhibition of Londoner's artwork in April 15 of 2007, at the Hope Horn...

"Sioux Camp," an original mixed media on paper by Tom Perkinson, is a piece for the true collector. His use of saturated violets, vivid yellows, and resplendent oranges pushes color to almost-otherworldly realms. The viewer is invited to step into the painting to explore the scene within and imagine gazing at an easel of a plein-air painter with the blue sky, clouds, and grasses in full view. Here, Perkinson chose to depict a Sioux settlement. A fire with smoke rising helps set the stage for day turning to night. The scene is filled with activity. Women watching over playing children. A father teaching a lesson. A group of three or more watching over the horses. Others occupy the settlement out of view. Perkinson describes his style of painting as "Romantic Realism," a technique that incorporates two iconic art movements. This style, in combination with the imagination of the artist, produces remarkable results, showcasing Perkinson's keen ability to capture emotion, nature, and life - all in a brushstroke. Both his technical talent and choice of subject matter pair perfectly with its carved, custom, antique-finish, gilt frame. This masterful work would make a great addition to an art collection and enhance most any home, perfect for those who have an affinity for landscapes, impressionism, romanticism, realism, Southwestern Art, Native American themed art, plein-air painting, and nature. "The Sioux nation were the largest of all the Native American tribes and consisted of three divisions which were based on their location, dialect and their subculture. The Sioux tribe originally lived along the upper Mississippi in Minnesota, Iowa, and Wisconsin. They were forced west by the French and their Chippewa allies. During the migration west to the Great Plains, the tribe split into three divisions - the Lakota, Dakota and Nakota. The names Lakota, Dakota, and Nakota all mean "Allies" or "Confederates." The Sioux tribe fiercely resisted the white encroachment of the Great Plains. The names of the most famous chiefs who led the Sioux tribe into battle were Sitting Bull, Red Cloud, Chief Gall, Crazy Horse, Rain in the Face, and Kicking Bear. Famous conflicts included the Sioux Wars (1854-1890), Red Cloud's War (1865-1868), the 1876 Battle of Little Bighorn, and the 1890 Ghost Dance...