Art by Medium: Pastel

Claude GAVEAU Blue and Pink Composition : Surrealist Bouquet (Silence in petals) Original pastel drawing Handsigned in pencil Countersigned on the back (with another drawing on the ...

Contemporary Impressionist pastel of an autumnal woodland scene by Belgian artist Francis Besson. Signed to the very bottom right and presented in a simple gold contemporary frame un...

Artist: Raoul Dupoux (1906-1988) Title: Untitled Year: circa 1965 Medium: Watercolor and pastel on wove paper Size: 26 x 27 inches Condition: Good Inscrip...

Title: Mid-Century Textured Abstract Watercolour With Swan Bird and Sleeping Face by Anne Marie Migette Perard (French 1902-1977) Medium: Watercolour with textured mixed media on unf...

Pastel on paper Signed and titled (lower right) 49cm × 76cm (62cm × 89cm framed) Cayford, now retired, was a graphic designer and illustrator working in London in the postwar period...

Title: Mid-20th Century French Pastel Landscape of Trees in a Sunlit Public Garden by Anne Marie Migette Perard (French 1902-1977) Medium: Pastel on unframed paper Size: 15.25 inches...

PEDRO J. LEMOS (American, 1882-1954) FOOTBALL STATUE THROUGH THE TREES - UC BERKELEY 1921 - THE ORIGINAL YEARBOOK PASTEL Pastel drawing on colored paper 12 5/8 x 9 5/8 inches. Full signature in pastel, Pedro J Lemos. In good condition. A few bits of old tape at the corners, verso. THE 1921 UC BERKELEY YEARBOOK CONTAINED SEVERAL LEMOS PASTEL REPRODUCTIONS. Pedro de Lemos was an important proponent of the Arts and Crafts Movement. He produced some of the finest color woodcuts of the period as well as fine pastels, paintings and architecture. He was also an instructor and director of the Stanford University Art Department, From Wikipedia: Pedro Joseph de Lemos (25 May 1882 – 5 December 1954) was an American painter, printmaker, architect, illustrator, writer, lecturer, museum director and art educator in the San Francisco Bay Area. Prior to about 1930 he used the simpler name Pedro Lemos or Pedro J. Lemos; between 1931 and 1933 he changed the family name to de Lemos, believing that he was related to the Count de Lemos (1576–1622), patron of Miguel de Cervantes. Much of his work was influenced by traditional Japanese woodblock printing and the Arts and Crafts Movement. He became prominent in the field of art education, and he designed several unusual buildings in Palo Alto and Carmel-by-the-Sea, California..... In 1911 he began teaching decorative design at the San Francisco Institute of Art.[8] In late 1912 he was one of the founders the California Society of Etchers, and the following year he started offering the Institute's first classes in printmaking. Some of his students, such as William S. Rice and John W. Winkler (1894-1979), went on to achieve significant fame as printmakers. He helped organize the California print...

Title: Mid-20th Century Pastel of the River at Brantôme in France by Anne Marie Migette Perard (French 1902-1977) Medium: Pastel on unframed paper Size: 14.75 inches (height) x 21.25...

Title: French Mid-Century Pastel Beach Scene with Sailboat and Bathing Huts by Anne Marie Migette Perard (French 1902-1977) Medium: Pastel on unframed paper Size: 6.25 inches (height) x 9.75 inches (width) Condition: As is normal with unframed works on paper there are some minor old creases or paper edge curls/ tears - all of which should be covered over or smoothed out once framed; generally very good and sound. Provenance: as with all the works we have by this artist, it has come from the artists estate in France. Description: This charming pastel by Anne Marie Migette Perard captures a tranquil moment on a French beach, where a group of figures sits along the sand, gazing toward the horizon. A small sailboat rests by the shoreline, and a pair of ochre and cream-colored beach huts adds a nostalgic holiday charm...

Title: Mid-20th Century Post-Impressionist Pastel of Wildflowers in White Vase by Anne Marie Migette Perard (French 1902-1977) Signed: Yes Medium: Pastel on unframed paper Size: 18 i...

Contemporary male nude done with artists quality charcoal chalks on acid free drawing paper. :: Drawing :: Contemporary :: This piece comes wi...

"Cactus Wren" (2022) by J. Adam McGalliard is an original, handmade pastel illustration on paper that depicts a small bird standing on a bloomed cactus. J. Adam McGalliard is a Co...

Work on paper Brown wooden frame with glass pane 48 x 39 x 1.5 cm

Dark Green Field Oliviero Masi Italian (1948) Date: 1980 Pastel on paper, signed lower right Size: 17.5 x 17.5 in. (44.45 x 44.45 cm)

Portrait of a young boy, impressionist painting. Dimensions WITHOUT frame in cm 32 x 42

Ruslan Perekucha was born in 1967. Since childhood, he was interested in the history of art, and he loved modernism most of all. This prompted him to collect antiques and art in the ...

Struggle teaches you a lot of things, and I am happy that I witnessed a roller coaster ride. The journey has improved me as a person and made me more mature. Life is like a roller co...

Skyscapes Series - Large Scale Landscape in Pastel on Paper Brightly colored Dry Pastel abstract landscape by Aleah Koury (American, b. 1959). ...

Girl in a cafe 70x50 cm

London Thames View is a modern artwork realized by Herbert John Finn (1860-1942). Mixed colored ink, pastel and watercolor on paper. Includes gileded frame Hand signed and dated o...

Leon Dolice New York Harbor Nocturne Signed lower right Pastel on paper 12 x 19 inches The romantic backdrop of Vienna at the turn of the century had a life-long influence upon the...

Yvonne Jacquette (American, b. 1935) Tokyo Diptych, 1985 Pastel on paper Overall 17 1/4 x 28 1/2 inches Signed lower center Provenance: Carey Ellis Company, Houston, Texas Brooke Alexander, New York Collection of an American Corporation Exhibited: New York, Brooke Alexander, Yvonne Jacquette: Tokyo Nightviews, April 5 - May 3, 1986, n.p., illustrated; this exhibition later traveled to Brunswick, Maine, Bowdoin College Museum of Art, Yvonne Jacquette: Tokyo Nightviews, June 27 - August 24, 1986. Yvonne Jacquette has a preference for high places, a circling plane, a penthouse window, an aerie from which to watch the world. Her work has often depicted the city and man-made landscape from the vantage of angels. It is a privileged perspective, long loved by photographers, who were perhaps the first to recognize the geometric grandeur of the city below. That grandeur structures Jacquette's images but is not its full content. Her work attempts to resolve the visual and emotional pardoxes of the modern metropolis. Only from the tower is there the possibility of order and context. And unlaced beauty. Jacquette first visited Japan in 1982. Nighttime Tokyo, its cars and crowds and canyons of loud Vegas neon, made a vivid and bewildering impression on her. The neon signs, pulsing, scaling the walls of high rises, fascinated the artist, "like Times Square spread over miles." Her fascination was equal parts marvel, confusion, and curiosity—the sparks of art. She returned to Tokyo in May of 1985, choosing hotel rooms with expansive vistas. From these views Jacquette excerpted images for a series of pastel night scenes. The basic forms and colors of each drawing were blocked in during night sessions by the window. She worked in the dark, selecting colors by flashlight. In daylight, she sharpened the geometry and corrected ambiguous passages. She refined the drawings further in the studio until the images read clearly. Photographic correctness was not important. The finished drawings are complete statements, not simply preparatory sketches for paintings. They have the authority of expert witness. In clear, discreet jots of pastel they record the performance of seeing, each touch of color attesting to a moment's close scrutiny. Yvonne Jacquette was born on December 15, 1934 in Pittsburgh, Pennsylvania and grew up in Stamford, Connecticut. She attended the Rhode Island School of Design, Providence from 1952 to 1955, when she moved to New York City. Her late husband was photographer Rudy Burckhardt, and the couple were part of a circle of artist friends that included Fairfield Porter, Alex Katz, Red Grooms, and Mimi Gross. She continues to live and work in New York City, as well as in Searsmont, Maine. A flight to San Diego in 1969 sparked Jacquette’s interest in aerial views, after which she began flying in commercial airliners to study cloud formations and weather patterns. She soon started sketching and painting the landscape as seen from above, beginning a process that has developed into a defining element of her art. Her first nocturnal painting...

Pastel pigment on cork

Contemporary realistic figurative mixed media drawing on cardboard by Polish artist Andrzej Szypluk. Monochromatic drawing of a female in nude. PROVE...

chalk pastels, acrylic paints, spray paints My paintings explore the relationship between elements such as the skies, the oceans, the natural environment such as the formation of rocks, cliffs, and weathered material. In my work, I aim to bring together certain properties of each of these elements to create an experience and understanding of the world and the contrasting relationships between each of these ideas. The use of texture in my work is formed using material which has been subjected to the forces of the weather, and I love to use ‘untouched’ and ‘natural’ material in my work to form the basis of all my paintings. It is the idea of bringing together a number of natural materials in my work that inspires me. The contrast between elements such as the roughness of the texture, the smoothness of the ink or paint. and the reflection of the metallics brings about a composition and structure that is unique. The impact of the weather, space, and seasons has been important in determining the structure of each of the paintings and the way the different elements and materials react to one another. The use of ink in my work has been a work in progress that I have been experimenting with over the past year. The use of this new medium has proved to be invaluable to the message and direction that I would like my work to take. On each of the works, I manipulate the Ink using air from my mouth as I want to form a stronger relationship with the canvas and the way that the ink Is manipulated. I have particularly enjoyed the added contrast which has been created between the variety of mediums being used. Textured mixed media original abstract painting by Rajan Seth.

Willem DELSAUX Ixelles 1862 - 1954 Gimbergen Profile portrait of « Allah Dita »,Indian soldier of the British Indian colonial army Pastel on p...

Throughout his artistic career, Castro has exalted the figure and genitality of the Latin American man, putting into tension the limits imposed by the sex/gender system that are part of an unquestionable patriarchal and phallocentric order. The majority of those portrayed are inhabitants of the Colombian coast, also constructing alternative ways of conceiving Latin American identity. By breaking taboos about corporality and male sexuality, his work has been censored on numerous occasions due to public accusations of immorality and pornography. Celso Castro’s work is a bare-bulb erotic photo...

Drawing on paper is his basic work tool, some are sketches of his surviving works, others are sketches of moments he documents. Undefined by medium, Celso Castro’s works each carry...

'Sailors in the Port of Nice', mixed media - gouache, pastel and oil on paper, by Alfred Salvignol (circa 1950s). The Port of Nice is one of the key hubs of Nice and, in fact, of the entire French Riviera, standing out as one of the main harbours for the boats which sail across the Mediterranean Sea. It accommodates both the ships operated by ferry companies and the private yachts of visitors who come to Nice by sea. The artist here depicts a group of crusty sailors watching...

Contemporary realistic figurative mixed media drawing on cardboard by Polish artist Andrzej Szypluk. Monochromatic drawing of a female in nude. PROVE...

Antoine Calbet presents his works, mainly portraits and genre scenes, at the Salons of the Société des artistes français from 1881 until 1940, as well as at the international exhibit...

Artist: Wifredo Lam, Cuban (1902 - 1982) Title: Untitled - I Year: 1957 Medium: Crayon and Pastel on Paper, signed and dated l.r. Paper Size: 22 in. x 26.5 in. (55.88 cm x 67.31...

Rod Judkins, British (1956 - ) - Seated Male Nude, Year: circa 1990, Medium: Pastel on Paper, signed l.r., Size: 25.5 in. x 33 in. (64.77 cm x 83.82 cm)

The Landscape is a drawing realized by an anonymous artist in the late 19th century. Pastel on paper. Good conditions. Poetic and beautiful drawing.

Title: Water Jug And Fruits Medium: Pastel on paper Size: 25 1/2" x 19 1/2" Frame Size: 30 1/2" x 24 1/2" Age: 1984 dated Signature: Brian Foster Provenance: Collection fro...

Bernardo Navarro Tomas (Cuba, 1977) 'New York City #10', 2017 mixed media on japanese paper 12.3 x 17 in. (31 x 43 cm.) ID: NAA-310 Hand-signed by author

The central concept of Larios painting series KHLORIS is based on the idea of ​​the garden as a metaphorical space. Larios seeks to find a certain romantic beauty in the details of n...

Souleymane Keita, Senegalese (1947 -2014) - Green Symphony, Year: 1982, Medium: Pastel on J Perrigot Arches Special MBM, signed and dated in pencil ...

Contemporary abstract expressionist pastel on paper of a Provençal landscape 'Cancan b' by Dutch artist Bernadette Van Baarsen. Signed an...

Leon Dolice New York Harbor (Brooklyn Bridge), circa 1939-1940 Signed lower left Pastel on paper 12 x 19 inches Exhibited Roslyn Harbor, New York, Nassau County Museum of Art, Deco ...

"Valley View" (ca. 2000) by Jann T. Bass is an original handmade pastel painting that depicts two cows next to a rural barn in a warm landscape. This painting measures 9 x 12 inches,...

William Samuel Horton (American, 1865–1936) St. Mary’s Abbey, York Pastel on paper Signed lower left ‘William S. Horton’ 17½ × 23 in. (44.5 × 58.5 cm) Provenance: From the estate of ...

"Woman Figure" is an original erotic ink and colored pastels drawing on ivory-colored paper, glued on white paper, realized by Anonymous Artist of the XX Century. In excellent cond...

Josine Vignon (French 1922-2022) ...

Untitled (Woman by the Windows) Unsigned. Pastel on board, c. 1915 Created while the artist was in Giverny, France Provenance: Gift of the artist to his wife, Mary Hess Buehr by Desc...

Francesco Spicuzza (American, 1883-1962) Untitled Landscape, 20th century Pastel on paper Sight size: 24 x 30 in. Framed: 26 1/4 x 32 3/8 in. Signed lower right: Spicuzza Italian-born Francesco Spicuzza was primarily a Wisconsin painter who did portraits, still-lives and local landscapes. He spent the first part of his life in near-poverty to become a painter. An eternal optimist, in 1917, the artist reported: "I am happy and my only ambition now is to paint better and better until I shall have reached the measure of the best of which I am capable." (Spicuzza, 1917, p. 22). His predilection for beach scenes germinated early: reportedly, the five-year-old boy first drew the outlines of his father's fishing boat in the sand on the seashore near their home in Sicily. After setting himself up as a fruit peddler in Milwaukee, Spicuzza's father sent for his family when Francesco was eight years old. For the following six years the boy was unable to attend school because of his job in his father's fruit and vegetable business. The poor lad suffered a caved-in shoulder from carrying a heavy wooden crate. The young Spicuzza was aided by moral and financial support from a sympathetic Milwaukee businessman named John Cramer, publisher and editor of the Evening Wisconsin, who raised Spicuzza's salary as a newspaper assembler so that he could attend school. In 1899 or 1900, Spicuzza began studying drawing and anatomy under Robert Schade (1861-1912), a painter of panoramas who had been trained in Munich under Carl Theodor von Piloty. Spicuzza was also taught by Alexander Mueller (1872-1935), a product of the Weimar and Munich academies. Mueller realized Spicuzza was a colorist and encouraged that orientation (Madle, 1961). Spicuzza found it beneficial to accept an apprenticeship in a lithographic studio for $8 a week, which demanded most of his time. During the St. Louis Universal Exposition in 1904, still a struggling student, Spicuzza attended the fair, thanks to Cramer. It was not long before Spicuzza received a twenty-five dollar portrait commission, and this inaugural success led to new commissions and allowed him to continue as a painter. The earliest influences in his work appear to be from Edward H. Potthast and Maurice Prendergast, though Spicuzza never mentioned either artist. Already in August 1910, Spicuzza was described in a newspaper as "one of the most talented of Milwaukee's rising workers." He undoubtedly received lasting inspiration from his one summer study period in 1911 with John F. Carlson at the Art Students League's Summer School in Woodstock, New York. Certainly Spicuzza would have picked up spontaneity in handling the brush from Carlson. Although he executed numerous still-lives and an occasional religious work, Spicuzza is best known for his Milwaukee beach scenes populated with frolicking bathers in multi-colored attire, not unlike the images of Potthast, who used a similar technique. Many of these are small, preparatory works on canvas board executed between 1910 and 1915. Frequently with even greater animation than Potthast, Spicuzza produced moving images of youthful energy and uninhibited child's play. These beach genre scenes reflect the attitude of American impressionists who depicted the more pleasant side of life. Spicuzza manipulated a successful balance of rich pigment applied in varying degrees of impasto texture with subtle nuances of hue. Working all'aperto, he sought "the soft enticing shades of yellow, blue, green, pink and lavender . . . to get the effects of bright glistening summer air." (L.E.S., n.d.). As a painter whose color not only derived from direct observation but also from a personal theory of color symbolism, Spicuzza traded the linear approach of lithography for dynamic patches of brilliant color. Like Prendergast, he would often tilt the angle of the picture plane to bring the viewer's position above the scene. Spicuzza was unable to enter the 1913 Armory Show or the Panama-Pacific International Exposition two years later but he did submit work to the annual exhibitions of the Pennsylvania Academy of the Fine Arts and those of the Art Institute of Chicago. His first important award was the bronze medal presented by the St. Paul Institute in 1913, which was followed by the silver medal two years later. Before long, Spicuzza had acquired a greater sense of security in his profession and was described by a writer in International Studio (April 1917) as "an independent artist with an assured future. His pastels and water-colours are poetic and joyous bits of nature with a genuine out-of-door feeling." In 1918, his Spirit of Youth, exhibited at the National Academy of Design, sold for $112.50. Four years later, the artist achieved his greatest local recognition by winning the gold medal from the Milwaukee Art Institute. Spicuzza spent a great deal of time painting en plein air and by 1925 he began summering at Big Cedar Lake, near West Bend, Wisconsin to gather his subject matter. Easter Morning (1926) owes something to the Symbolist movement, with its figure of Christ appearing over a seascape. During the difficult era of the Depression, patrons came to Spicuzza's aid and during the 40s, he taught housewives, businessmen and students at the Milwaukee Art Institute, the Milwaukee Art Center, and in his private studio. In the following decade, although his kind of art was no longer popular in the "make-it-or-break-it" New York gallery world, Spicuzza enjoyed regular patronage and sales. His beach scenes became more static and he would experiment with modernist techniques. Spicuzza died at the age of seventy-eight. Sources: L.E.S., "Do Colors Change a Person's disposition? Experiments of a Milwaukee Artist...

"He [Cobble] has come to accept the fact that low production can lead to under appreciation in the short run, but he also knows that his gifts of perception and discrimination are ra...

This work will be exhibited at Art on Paper NYC, September 4–7, 2025. – Marc Chagall (1887-1985) - Esquisse pour Lane bleu Pastel and charcoal on paper from 1979. Unqiue work. D...

Title: Landscape Year: 2024 Technique: mixed media on Cotton Canvas 100x105 cm Description: This original work by Marilina Marchica explores the relationship between man, nature...

Fragments Family House this drawing is part of a series of artworks, tell and trace the evolution and changes of a 70s house of a typical Italian fam...

Untitled (Joe and Patsy LoGuidice at the Casa Luna) Pastel, charcoal and colored pencil on paper, 1970-1975 Signed lower right in pencil: Larry Rivers Inscribed on the rabbit of the ...

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...

Original pastel on heavy card stock (made in Paris) by the well known Hudson River artist, George Douglas Brewerton. A view of Mount Shasta in Northern California. Signed lower left. Circa 1880. Condition is excellent. The artwork is housed in its original scroll decorated frame. Overall framed measurements are 33.25 by 19 inches. Provenance: A East Coast Florida estate. George Douglas Brewerton received lessons in art from Prof. Robert W. Weir at West Point where his father was Superintendent. In 1874, he was detailed to San Francisco as an officer in the Stevenson Regiment. In 1848, he underwent many adventures in Western deserts and mountains with Kit Carson, who crossed the country with news of the California Gold Rush. After serving as an aide to Gen. Rufus Saxton during the Civil War, Brewerton called himself “Colonel,” although he never received an army commission...

DNA is genetic information, hidden and encrypted in body fluids. Veiled data that we load, that we do not know and that someone knows how to decipher. Such specifications characteriz...

Jungle Scene pastel on artist paper, unframed painting: 23.5 x 16.5 inches Provenance: private collection, France Condition: very good condition For more any more information please...

Half in Limbo This pastel drawing 'Golden Purple - 25-02-21' is based on a previous graphite pencil drawing 'Roundism - 14-09-19'. The latter I always liked because of its abstract ...

Golden - 01-02-21 One Color is No Color This pastel is in line with my previous pastel drawing 'Golden - 28-01-21' but that one looks rather monochrome. Time it was to add some m...

Jogen Chowdhury - Untitled Brush & Ink on Paper 8.2 x 5.8 inches, 2023 (Unframed & Delivered) Modern Indian artist Jogen Chowdhury executed Still life drawing in Ink, pastel. Alway...

Contemporary Impressionist pastel of a landscape by French/Belgian artist Francis Besson. Signed to the very bottom right. A whirl of colours and designs shape this gorgeously sump...