Art by Medium: Pencil

MEDIUM: Limited Edition Cel SIZE: 13.5" x 16.5" EDITION SIZE: 750 SKU: WB1053 ABOUT THE IMAGE: Gossamer first appeared in “Hair-Raising Hare,” directed by Chuck Jones in 1946. Gi...

Medium: acrylic, flashe, collage, pencil, paint pen, crayon and glitter on canvas. Our gallery is pleased to announce the first solo exhibition of Tucson-based artist Jenny Day, ent...

Serie "U no és ningú" No. 21 by Antoni Tàpies (1923-2012) Acrylic, felt and pencil on cardboard 50 x 65 cm (19 ³/₄ x 25 ⁵/₈ inches) Signed lower right, Tàpies Executed in 1978 Prove...

William Barnett (1918-1992). Portrait of a Reclining Woman ca. 1950's. Pencil and Ink on paper measuring 8 3/4 x 8 3/4 inches. Signed lower right. Unframed. William Barnett ( c...

Original drawing on paper. Hand signed, titled and dated on verso by the artist. Artwork size: 22.5 x 28.75 inches. Frame size: 29.25 x 35 inches. ...

Jim’s of Lambertville is proud to offer this artwork by: Gershon Benjamin (1899-1985) An American Modernist of portraits, landscapes, still lives, and the urban scene, Gershon Benj...

Charles Spencelayh 1865-1958 British The Buttonhole Signed “C.SPENCELAYH” (lower left) and inscribed “This Drawing was accepted into the Royal Academy but crowded out for want of ...

Bijin-ga Series I (Nº1) Title: Karagoto of The Chojiya Head and bust portrait of the beautiful courtesan Karagoto, of the Chojiya House, who appears looking to her left while drying her right ear with the sleeve of her yukata (a fine summer garment, normally made of cotton that was normally used after bathing). The wide sleeve falls from her ear covering her right breast and leaving the left one uncovered. This image is part of the bijin-ga series (“Pretty women”) drawn by Mario BGil, based in the Kitigawa Utamaro woodblock print...

watercolor and pencil drawing of a small airplane. framed in a silver leaf frame. landscape

Mario Zamparelli served as the chief designer for the reclusive billionaire Howard Hughes' empire, creating his promotional images and designing many of its products. In the present...

Drawing based on natural pigments from leaves, flowers and bark and Pastel, Pencil, flower petals, Color and Ink on Paper. In my work there is a cross with the gaze of animals, a rem...

Italian artist Fabio Coruzzi merges painting and photography into one imaginative image that offers a new outlook on an otherwise ordinary urban scene. His artworks represent an auth...

William Barnett (1918-1992). Portrait of a Reclining Woman ca. 1950. Pencil and Ink on paper measuring 9 x 8 inches. Signed lower left. Unframed. William Barnett ( called Will)...

Pastel Landscape by Irina Hale (British 1932-2022) pastel and pencil sketch on brown artist tracing paper , unframed painting: 4.5 x 3.75 inches provenance: private collection, Cotsw...

Emerging in the late twentieth century with his celebrated “Men in the Cities” series, Robert Longo quickly established himself as a draftsman of rare discipline, transforming media ...

MEDIUM: ​Original Production Cel on Original Background IMAGE SIZE: 10.5" x 9" PRODUCTION: Batman The Animated Series, What is Reality? SKU: IFA6678 ABOUT THE IMAGE: Batman: The An...

Dream of Gauguin Initialed in the lower right corner: Z; faintly titled and inscribed "tropical" in pencil in the blank portion of the board at right; estate stamped verso Board size...

Up for sale from the series is an original production cel on printed background with matching original production drawing featuring The Thing Series from 1979 created by Hanna Barbera...

Provenance: Artist's studio; His brother-in-law, Sir Edmund William Gosse, London; By descent in the Gosse family until 1920-1930; British private collection; by descent; Christie's ...

Ink & pencil on paper, Tamar Darchiashvili is a Georgian artist born in 1972 who lives and works in Tbilisi, Georgia. In 1996 she graduated from the Tbilisi State Academy of Arts, F...

Sofia Bonati was born in Buenos Aires, Argentina in 1982 to a family of artists. Although she studied geology in university, drawn by her everlasting lov...

Italian artist Fabio Coruzzi merges painting and photography into one imaginative image that offers a new outlook on an otherwise ordinary urban scene. His artworks represent an auth...

Conditions : Excellent overall Conditions. Framed under glass. Complementary shipping worlwide by DHL, FEDEX. Returning customers : 25% OFF listed price on all Belfort SAS catalogue....

Rapidly executed with the tip of a brush, this wash bordering on abstraction seduced us with its great spontaneity. This (unsigned) study is a first thought for a small licentious ca...

Nuanced grays intersected by bright lines and dashes result in this emotive, nearly explosive, spatial investigation. Gravity Composition 01 (2022) by Kyle Butler. Acrylic, graphite,...

Mavis Smith (b. 1956, Trenton, NJ) studied art and design at the Pratt Institute in New York and completed her studies in 2002 at the Seattle Academy of Fine Art. She is the author a...

Four outrigger proa’s on the beach of Kusambe, Bali, 1937 Signed with initials, dated and described with location bottom left Pencil and ink on paper, 29.7 x 35 cm In ebonized frame with white mount WILLEM OTTO WIJNAND NIEUWENKAMP (1874-1950) Nieuwenkamp was born on July 27th 1874 in Amsterdam. His father owned sailing ships sailing to Indonesia and hearing the stories of the returning captains evoked in the young Nieuwenkamp an obsession for distant lands and adventure. After a failed attempt by his father to have his son make a career in his business, Nieuwenkamp attended the Academy for Decorative Art in Amsterdam. However, he left within one year to go his own way. He was an autodidact and a great experimenter with new techniques, particularly in the art of etching. Nieuwenkamp was a very focused man with the discipline of a scientist tempered by the sensitivity of an artist, a lust for adventure, a natural appreciation for ethnic arts and an enormous ambition to tread new paths. In 1898 he visited Indonesia for the first time and on his second visit in 1903-1904 he went on to Bali and became the first foreign artist to love Bali and the Balinese with a passion. Having secured agreements with several museums in the Netherlands to obtain Balinese art and objects for their collections, Nieuwenkamp immediately started to purchase and order a wide range of ethnographic art and objects from local artists and craftsmen. Through his drawings and books, he gave an excellent impression of Balinese art and culture at that time. Since 1854 Northern Bali was under Dutch...

Jane Birch I Must Have Done Something Good graphite on paper 6h x 7.50w in 10.5h x 12.5w in framed 15.24h x 19.05w cm JAB007 My drawings are lovingly objectifying. I’m an alien rese...

William Barnett (1918-1992). Portrait of a Man ca. 1950's. Pencil and Ink on paper measuring 10.25 x 13 inches. Signed lower right. Unframed. William Barnett ( called Will) was...

MEDIUM: ​Original Production Cel on Printed Background IMAGE SIZE: 10.5" x 9" PRODUCTION: Batman The Animated Series, The Man Who Killed Batman SIGNED: Bruce Timm SKU: IFA9238 ABO...

This silver botanical drawing is made with graphite on painted black paper. The exploration of ephemerality, and the fragility of dandelions, their texture and movement, are the focu...

Title: Romantic Gothic Architecture Study Graphite Drawing Artist: Unknown artist (19th century style) Medium: Graphite on paper Size: 12.25 x 9.25 inches (height x width) Condition:...

Barnett, a surrealist artist incorporates discarded mechanical objects and gadgets into his artwork. His work is characterized by its unique and ecl...

Graphite on paper, signed on reverse Image size: 11 x 9 1/2 inches (28 x 24 cm) Mounted and framed Ernest Proctor Born in Tynemouth, Northumberland, the son of a scientist, Ernest was educated at Bootham Friends' School in York and then came to Newlyn in 1907 to study with Stanhope Forbes. He quickly become recognized as the best student of the School. He acted as Assistant to Stanhope Forbes and Elizabeth Forbes...

This graphite drawing by Chicago-based artist Patrick Fitzgerald is an homage to the charm and artistry of mid-century advertisements and print media. Entitled ""Lamb Chops Feature (...

MEDIUM: ​Original Production Cel on Printed Background IMAGE SIZE: 12 Field PRODUCTION: Looney Tunes SKU: IFA6274 ABOUT THE IMAGE: Looney Tunes is a series of animated short films b...

Figurative II Series, acrylic paint on canvas, brings forth the spirit world through animals, folklore, myth, and dream. The archetypal figures, aspects of ourselves, reveal layers o...

Two illustrations from Robert Louis Stevenson's A Child's Garden of Verses (New York: Scribner's, 1905), for III: "To Auntie", Page 116 Two charming line illustrations by Smith from...

Medium: Pencil on paper Size: 10 inches (height) x 8 inches (width) Signed: No Condition: Good condition, with slight wear on the edges Provenance: From the artist's estate Descrip...

Annie French was part of the Glasgow Girls group of artists and illustrators who worked in a delicate, feminine, and detailed Art Nouveau and Pre-Raphaelite style. This work, "Flora," is masterfully rendered and decorated with sumptuous floral patterns in the most detailed way. It is signed twice in the upper right quadrant. The mat has a hand-painted decorative border. The work presents better in person, and the viewer can marvel at the minute detail. The Video is overexposed and light and not representative of color. Use still...

Graphite and watercolor on grayish-tan wove paper, 10 3/4 x 8 3/8 inches (272 x 212 mm) the full sheet. An unfinished study in good condition. On the mat-back is a notation that the...

“Parallel Lies” is the third surrealist work by Ukrainian artist Kateryna Kostyk. In this drawing, the artist explores the anatomy of duplicity — not as a simple moral flaw, but as a...

Artist: Roberto Estopiñan, Cuban (1921 - 2015) Title: Homenaje de Camilla Claudel 5 Year: 1992 Medium: Conte Crayon and Pencil Drawing on Alcantara h...

This pencil sketch of adobe homes by S. Mark Thompson, created around 1950 and signed lower right, offers a quiet yet compelling study of Southwestern architecture and atmosphere. Th...

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...

Abstract figure swinging on a tree branch in foreground. Seascape, coastline background. Thick, textural brush strokes. Darius's most recent body of work is bright, colorful, wi...

Ellen Williams Clematis I Original drawing Pencil on 150gsm Paper Image Size: H 30cm x W 20cm Sold Unframed (Please note that in situ images are purely an indication of how a piece m...

Soudeh Davoud Untitled, 2019 Colour pencil on paper 36.6 x 45 cm 14 3/8 x 17 3/4 in

William Zorach, 1887-1966 Redwoods, Yosemite Valley, 1920 Watercolor and pencil 15 ¾ x 13 ⅜ inches Signed (at lower right): William Zorach WZorach-7 Provenance: Estate of William Zorach Exhibited: William Zorach, 1887-1996, Sculpture, Drawings and Watercolors, Zabriskie Gallery, New York; Feb. 10 – March 14, 1998. William Zorach was born in Lithuania in 1889, and immigrated to the United States with his family in 1893. Settling in Cleveland with his parents, he worked as a lithographer from 1902- 1908, making enough money to study painting with Henry G. Keller at the School of Art. In 1910, Zorach traveled to Paris to study in La Palette, where he was encouraged to develop his own unique style rather than adhere to traditional teachings. Zorach once said, “I began to be conscious of the various modern influences that were invading the art world…I was disturbed and confused, and yet I felt that I was a very young man entering a new age. The forces creating modern art seemed more alive to me than anything I had known or anything being done in America.” 1 Together with his wife Marguerite, William Zorach produced a number of Cubist- style paintings for the American Armory Show of 1913, and the Forum Exhibition in New York in 1916. Around 1917, Zorach followed the lead of cubist artist Pablo Picasso and began experimenting with wood and stone carvings. By 1922, he devoted himself entirely to sculpture, and like Picasso, became fascinated in “primitive art”—the ritual objects and sculpture pieces of Oceanic, Native American and African tribes. Zorach’s work developed in its use of block-like forms with progressive suppression of detail—drawing elements from sources as disparate as the contemporary cubist and modernist movements, and combining them with forms seen in early African sculpture. Though the forms of his sculpture were often abstract, Zorach primarily focused upon a traditional subject matter, producing such well-known sculptures as Young Girl, now in the Whitney Museum of American Art, and Mother and Child, in the collection of the Metropolitan Museum of Art. Today, William Zorach is known as one of the earliest and most influential American artists dedicated to direct carving. Zorach also made an impression as a teacher and writer, facilitating a major change in the aesthetic philosophy and technique of sculpture in the United States. During the summers from 1913 to 1922, Zorach and his wife Marguerite painted...

Columbus, Georgia (USA) based artist Kellie Newsome specializes in dynamic and abstracted still-life artworks. Her expressive style emphasizes line structure, creating vibrant painti...

Pencil on paper Tamar Darchiashvili is a Georgian artist born in 1972 who lives and works in Tbilisi, Georgia. In 1996 she graduated from the Tbilisi State Academy of Arts, Faculty ...

“Portrait, Hand to Cheek” is a graphite drawing by renowned figure artist Steven Assael. The female subject is pictured seated in ¾ view, with her left hand touching her cheek. She h...

Retreating from the stress and chaos of the last year, I created another landscape; populated by an army of friendly creatures. Here the burdens of coronavirus, climate change, and political division are dismissed by hot pink kittens...

William Barnett (1918-1992). Portrait of a Man ca. 1960. Pencil and Ink on paper measuring 11 x 14 inches. Signed lower right. Small tears on sheet upper margin and right margin,...

Date: 1921 Medium: Colored Pencil on Canvas Dimensions: 22.50"x 16.50" Signature: Signed Lower Left Image of seated girl holding a teddy bear.

Jenny Day is a painter who divides her time between Santa Fe, New Mexico and Tucson, Arizona. She paints a fragmented space, examining human demand and the effects of environmental d...

Work is framed. Signed on the right bottom corner of the drawing. Amilcar's drawings from the series of "Utopia by Tolina" inspired by the imagination of the artist’s five-year-old...

The Black Panther Trials - In this historically significant work, African American Artist Vicent D. Smith functions as an Art Journalist/ Court Reporter as much as a Artist. Here, he depicts, in complete unity, 21 Black Panther Protestors raising their fist of defiance at the White Judge. Smith's composition is about utter simplicity, where the Black Panther Protestors are symmetrically lined up in a confrontation with a Judge whose size is exaggerated in scale. Set against a stylized American Flag, the supercilious Judge gazes down as the protesters as their fists thrust up. Signed Vincent lower right. Titled Panter 21. Original metal frame. Tape on upper left edge of frame. 255 . Panther 21. Framed under plexi. _____________________________ From Wikipedia In 1969-1971 there was a series of criminal prosecutions in New Haven, Connecticut, against various members and associates of the Black Panther Party.[1] The charges ranged from criminal conspiracy to first-degree murder. All charges stemmed from the murder of 19-year-old Alex Rackley in the early hours of May 21, 1969. The trials became a rallying-point for the American Left, and marked a decline in public support, even among the black community, for the Black Panther Party On May 17, 1969, members of the Black Panther Party kidnapped fellow Panther Alex Rackley, who had fallen under suspicion of informing for the FBI. He was held captive at the New Haven Panther headquarters on Orchard Street, where he was tortured and interrogated until he confessed. His interrogation was tape recorded by the Panthers.[2] During that time, national party chairman Bobby Seale visited New Haven and spoke on the campus of Yale University for the Yale Black Ensemble Theater Company.[3] The prosecution alleged, but Seale denied, that after his speech, Seale briefly stopped by the headquarters where Rackley was being held captive and ordered that Rackley be executed. Early in the morning of May 21, three Panthers – Warren Kimbro, Lonnie McLucas, and George Sams, one of the Panthers who had come East from California to investigate the police infiltration of the New York Panther chapter, drove Rackley to the nearby town of Middlefield, Connecticut. Kimbro shot Rackley once in the head and McLucas shot him once in the chest. They dumped his corpse in a swamp, where it was discovered the next day. New Haven police immediately arrested eight New Haven area Black Panthers. Sams and two other Panthers from California were captured later. Sams and Kimbro confessed to the murder, and agreed to testify against McLucas in exchange for a reduction in sentence. Sams also implicated Seale in the killing, telling his interrogators that while visiting the Panther headquarters on the night of his speech, Seale had directly ordered him to murder Rackley. In all, nine defendants were indicted on charges related to the case. In the heated political rhetoric of the day, these defendants were referred to as the "New Haven Nine", a deliberate allusion to other cause-celebre defendants like the "Chicago Seven". The first trial was that of Lonnie McLucas, the only person who physically took part in the killing who refused to plead guilty. In fact, McLucas had confessed to shooting Rackley, but nonetheless chose to go to trial. Jury selection began in May 1970. The case and trial were already a national cause célèbre among critics of the Nixon administration, and especially among those hostile to the actions of the FBI. Under the Bureau's then-secret "Counter-Intelligence Program" (COINTELPRO), FBI director J. Edgar Hoover had ordered his agents to disrupt, discredit, or otherwise neutralize radical groups like the Panthers. Hostility between groups organizing political dissent and the Bureau was, by the time of the trials, at a fever pitch. Hostility from the left was also directed at the two Panthers cooperating with the prosecutors. Sams in particular was accused of being an informant, and lying to implicate Seale for personal benefit. In the days leading up to a rally on May Day 1970, thousands of supporters of the Panthers arrived in New Haven individually and in organized groups. They were housed and fed by community organizations and by sympathetic Yale students in their dormitory rooms. The Yale college dining halls provided basic meals for everyone. Protesters met daily en masse on the New Haven Green across the street from the Courthouse (and one hundred yards from Yale's main gate). On May Day there was a rally on the Green, featuring speakers including Jean Genet, Abbie Hoffman, Jerry Rubin, and John Froines (an assistant professor of chemistry at the University of Oregon). Teach-ins and other events were also held in the colleges themselves. Towards midnight on May 1, two bombs exploded in Yale's Ingalls Rink, where a concert was being held in conjunction with the protests.[4] Although the rink was damaged, no one was injured, and no culprit was identified.[4] Yale chaplain William Sloane Coffin stated, "All of us conspired to bring on this tragedy by law enforcement agencies by their illegal acts against the Panthers, and the rest of us by our immoral silence in front of these acts," while Yale President Kingman Brewster Jr. issued the statement, "I personally want to say that I'm appalled and ashamed that things should have come to such a pass that I am skeptical of the ability of a Black revolutionary to receive a fair trial anywhere in the U.S." Brewster's generally sympathetic tone enraged many of the university's older, more conservative alumni, heightening tensions within the school community. As tensions mounted, Yale officials sought to avoid deeper unrest and to deflect the real possibility of riots or violent student demonstrations. Sam Chauncey has been credited with winning tactical management on behalf of the administration to quell anxiety among law enforcement and New Haven's citizens, while Kurt Schmoke, a future Rhodes Scholar, mayor of Baltimore, MD and Dean of Howard University School of Law, has received kudos as undergraduate spokesman to the faculty during some of the protest's tensest moments. Ralph Dawson, a classmate of Schmoke's, figured prominently as moderator of the Black Student Alliance at Yale (BSAY). In the end, compromises between the administration and the students - and, primarily, urgent calls for nonviolence from Bobby Seale and the Black Panthers themselves - quashed the possibility of violence. While Yale (and many other colleges) went "on strike" from May Day until the end of the term, like most schools it was not actually "shut down". Classes were made "voluntarily optional" for the time and students were graded "Pass/Fail" for the work done up to then. Trial of McLucas Black Panther trial sketch...

Nancy Lasar’s work is described as “drawing with light”, “condensed energy and flow”, “calm and crazy”, and “organized chaos”. The lines in Lasar’s works that are electrifying. They ...

Modern contemporary work of art by Paula Elliott. Part of the "Outcomes" series. Outcomes expands upon the discoveries made in Beginnings, embracing a greater freedom of movement an...