Art by Medium: Pencil

MEDIUM: Limited Edition Cel IMAGE SIZE: 12 Field EDITION SIZE: 200 SKU: CCV2737 Framing included in price. ABOUT THE IMAGE: This cel is hand-signed by Chuck Jones and is numbered 1...

Title: Mid Century French Pencil Study of Various Animals Artist: Josine Vignon (French 1922-2022) Medium: Pencil and Paper Size: 6.25 (height) x 9.75 (width) Stamped: Verso Con...

The Anatomy of a Horse by Robert Ladou (French 1929-2014) original drawing stuck on card in blue folder/ thick paper, unframed top drawing: 7.25 x 9...

Collection Note: The F.S. No. 22 Series ​The F.S. No. 22 series represents a visceral departure from traditional color field studies, pivoting into a realm where the medium serves as...

This piece titled "CONDENSE" is an original artwork made from pencil and ink on paper by Jasjyot Singh Hans. This piece measures 13"h x 13"w framed. Jasjyot Singh Hans is an illustrator unendingly inspired by an explosive neon mix of fashion, music and pop culture. He has a constant regard for things past and a voracity for all that is current. He studied animation film design at the National Institute of Design...

Jim Dine Love for Channel 13 Lithograph. Hand signed and numbered recto 27 × 21 1/2 inches Edition 185/200 Signed and numbered 185/200 in graphite pencil on the recto Unframed Rarel...

Collections: Henry Scipio Reitlinger (1882-1950); Private collection, UK to 2019 Framed dimensions: 14.50 x 15.38 inches This drawing is one of only two known portrait drawings by Romney (as opposed to preliminary studies for portraits) and is dated by Alex Kidson as being executed no later than 1769. It is likely that the present drawing was originally part of a sketchbook, now largely dismembered (Abbot Hall Art Gallery, Kendal), which Kidson notes, contained some of Romney’s most beautiful early drawings. This drawing, and a second sheet formerly with Andrew Wyld, have been identifying as depicting the Rev. William Atkinson...

Joseph Solman Garage in Provincetown Signed with initials lower right Graphite on paper 8 7/8 x 11 7/8 inches Joseph Solman was born in 1909 in Vitebsk, in what is now Belarus, the...

Maassluis – 08-06-21 An Incredible Search This graphite pencil drawing of Maassluis is an inbetween exercise. I find myself in this incredible search for capturing the cubist e...

Embracing Trees This graphite pencil drawing Park Hoog Oostduin – 14-09-22 follows directly after Het Sterrenbos – 12-09-22. Suddenly I found myself embracing the love for dra...

Alyse Rosner 2022

John Rabone Harvey ( 1966 - 1922) graphic and chalk deep green artist paper , unframed artist paper : 7 x 5.5 inches Provenance: private collection Condition: very good condition Ha...

“Orgasm” marks a decisive shift in the artist’s practice. Departing from her previous realist works executed in graphite and charcoal, the artist embraces a freer, more intuitive lan...

Erotic Scene is an original pencil drawing realized by Maurice Vertès in the 1930s. The little drawing is in good condition with some folding on yellowed paper. On the back is the ...

Newest Addition This graphite pencil drawing ‘Duivelsberg – 25-12-23’ is my newest addition to my ever growing Berg en Dal Series. Last pastel was great to do and I am insp...

Refurbishing This graphite pencil drawing ‘Sinterklaas in Voorburg – 03-12-23’ is my first one after I my big operation on my website. It doesn’t happen that often I skip ...

A Bit of Mystery This graphite pencil drawing ‘Clingendael – 15-11-23’ is the second impressionist drawing in a row. Last one of Amsterdam already was devoid of any cubist s...

A Perfect Mixture This graphite pencil drawing ‘Berg en Dal – 02-11-23’ is a sort of mixture of cubism and impressionism. Less abstracted than the previous one but more cubi...

A Break This graphite pencil drawing ‘St.-Bavo in Haarlem – 03-10-23’ is a break from the continuous stream of cubist female forms. So it goes, on a whim I decided to postpo...

Back to the Narrative This graphite pencil drawing ‘Slava Ukraini – 28-09-23’ incorporates a narrative or theme again. Neo Deco – 20-09-23 merely knew a formalistic approa...

A Beautiful Spot This graphite pencil drawing ‘Den Haag – Lange Voorhout – 15-05-23’ depicts a beautiful spot in the heart of the city. Originally it formed the offshoot o...

A Break-Out This graphite pencil drawing ‘Gent – 08-05-23’ shows a different scenery for a change. Usually you see me wandering about in the Haaglanden area, searching for a...

Still Freezing Cold This graphite pencil drawing ‘Marlot – 27-04-23’ follows my previous drawing of Park Arentsburgh. This how it goes, walking to and fro. Going from one sp...

One amongst Many This graphite pencil drawing ‘Park Arentsburgh – 20-04-23’ stretches all the way back to the outer rim of Voorburg. However, my last drawing of Marlot is to...

Merely a Park This graphite pencil drawing ‘Marlot – 11-04-23’ follows my previous one depicting the Noteboompark in Voorburg. We stay in the region because Marlot is not fa...

Willow Trees This graphite pencil drawing ‘Notenboompark - 06-04-23’ follows my sketch of lambs in Clingendael of last week. Suddenly I wanted to do one of Voorburg again, the...

Love Doing Landscapes This graphite pencil drawing ‘Clingendael – 16-03-23’ follows shortly after my last one of Castle Wittenburg two days ago. Frankly I just love doing la...

Pioneering female abstract artist Elsie Driggs paints stylized abstract organic forms in a warm palette of orange browns and tope. She merges abstraction with some figuration. A structured face composed of lines and tone emerges from an orange background. It's 1939, and even though Driggs is not well known, she is preceding many of the marquee names of abstraction by a decade. Although under the radar, this is a major work and is titled on the back stretcher is " Egyptian Gothic." It features the artist's inventiveness with her fine pencil lines incorporated in flat washes of color and collage elements. Signed lower right and inscribed on frame verso with title, artist and the date of 1939. Provenance, Christie's, Freemans. Framed under glass.. Elsie Driggs (1898 – July 12, 1992 in New York City) was an American painter known for her contributions to Precisionism, America's one indigenous modern-art movement before Abstract Expressionism, and for her later floral and figurative watercolors, pastels, and oils. She was the only female participant in the Precisionist movement, which in the 1920s and 1930s took a Cubist-inspired approach to painting the skyscrapers and factories that had come to define the new American landscape. Her works are in the collection of the Whitney Museum of American Art, the Houston Museum of the Fine Arts, the Fine Arts Museums of San Francisco, the James A. Michener Art Museum in Pennsylvania, and the Columbus Museum of Art, among others. She was married to the American abstract artist Lee Gatch. Career Born in Hartford, Connecticut, Driggs grew up in New Rochelle, a suburb of New York City, in a family that was supportive of her artistic interests. After a summer spent painting with her sister in New Mexico in her late teens, she felt she had found her life's calling. At twenty, she enrolled in classes at the Art Students League of New York, where she studied under George Luks and Maurice Sterne, both of whom were charismatic, inspirational figures in her early life. She also attended the evening criticism classes held at the home of painter John Sloan. Driggs spent fourteen months in Europe from late 1922 to early 1924, drawing and studying Italian art. There she met Leo Stein, first in Paris and later in Florence, who became an important intellectual influence, and who urged her to study Cézanne. He also introduced her to the works of Piero della Francesca, the Renaissance artist for whom she felt throughout her life the greatest admiration.[1] Driggs eventually settled in New York City, where she found representation with the progressive Charles Daniel Gallery.[2] (Advised that the old-fashioned and misogynistic Daniel would be unlikely to take on a woman artist, she signed the works she left for his consideration simply "Driggs" and waited to meet him in person until he had expressed his eagerness to include her in his gallery.)[3] In sympathy with those artists Daniel represented who were part of the burgeoning Precisionist movement, such as Charles Demuth, Charles Sheeler, George Ault, Niles Spencer, and Preston Dickinson, she too painted "the modern landscape of factories, bridges, and skyscrapers with geometric precision and almost abstract spareness."Impressionism and academic or Ashcan realism represented the past, in Driggs' view, and she intended to be resolutely modern. She was an attractive and engaging woman, but her demeanor belied a strong ambition and a clear sense of what it would take to make her mark in the New York art world. Driggs was part of the pre-eminent first group of Precisionist painters, including Demuth and Sheeler, who exhibited at the Daniel Gallery in the 1920s. Although a later group of Precisionist painters, including Louis Lozowick, Ralston Crawford and others, came on the American Art scene during the 1930s, Driggs felt that the style came to an end with the 1929 stock market crash.[5] In 1926 she painted her most famous work, Pittsburgh, a dark and brooding picture now in the permanent collection of the Whitney Museum of American Art, which depicts the gargantuan smokestacks of the Jones & Laughlin steel mills in Pittsburgh. Its focus is an overpowering mass of black and gray smokestacks, thick piping, and crisscrossing wires with only clouds of smoke to relieve the severity of the image, yet it was an image in which she found an ironic beauty. She called the picture "my El Greco" and expressed surprise that viewers in later years interpreted the painting as a work of social criticism. Like the other Precisionists (e.g., Demuth, Charles Sheeler, Louis Lozowick, Stefan Hirsch), she was concerned with applying modernist techniques to renderings of the new industrial and urban landscape, not in commenting on potential dangers the overly mechanized modern world of 1920s America might present. If anything, Precisionism, like Futurism, was a celebration of man-made energy and technology. One year later, she painted Blast Furnaces, in a similar vein. As noted above, Piero della Francesca's mural depicting "The Story of the True Cross" in Arezzo, with its tubular, static and frozen forms was the major influence on Driggs' "Pittsburgh" (it may have been the major influence for "Blast Furnaces" as well).[7] After Pittsburgh, Driggs' most acclaimed work was probably Queensborough Bridge...

Framed Dimensions: 18.5h x 16.5w inches Hiroshi Hayakawa was born and raised in Japan. He earned a BA in French Literature from Keio University in To...

This new series by Danish artist Peter Kramer (1959, Roskilde, DK) based in Spain shows us a new way of working with natural and exotic elements. In this case, he uses the turmeric r...

Oil, charcoal, wax, pigment, and graphite on canvas. Alison Haley Paul is a contemporary painter of lavishly textured landscapes full of nuanced color. Her work conjures up connotat...

36"x72" oil and graphite on canvas (signed on reverse). This large scale oil painting by Mark Masyga employs a linear abstract composition. Masyga's masterful knowledge and backgrou...

Signed lower center 'S.K.Frohsin', for Kim Frohsin (American, born 1961) and dated 'August 1990'; titled on painted reserve at lower center, 'Baur-Schweitzer Malting Co, Inc. 1990'. ...

Pencil Portraits by Jacqueline Boisselot, French late 20th century size: 19.75 x 25 inches pencil drawing on artist paper, unframed condition: very good and ready to enjoy provenanc...

Pencil and charcoal drawing on paper realized in the earl 20th Century as preparatory drawing for the decorations at Théatre de l'Opéra de Marseille. Not signed, matted. A highly a...

Title: Scottish Haystacks Figure Studies Double Sided Pencil Drawing Medium: Pencil drawing on artists paper, unframed. Size: 12 x 9.25 inches (height x width) Inscribed “Scotland” t...

Questa tipologia di disegno rientra pienamente nelle "accademie" ovvero degli studi dal vivo su modello (che poteva essere un modello in carne ed ossa oppure un'opera antica)che eran...

For the Love and the Minotaur. Figurative Pencil Drawing on archival paper. Cuban Artist Jesus Nodarse 11 x 8 inches unframed THE MAN: Jesús Nodarse Valdés was born in Sagua la ...

Clarence Holbrook Carter (American, 1904-2000) Eye of the Desert, 1965 Collage, graphite and gouache on paper Signed and dated lower right 16 x 12 inches 25 x 21 inches, framed Condition: Minor stains on mat. A mid-century figural abstract painting. Clarence Holbrook Carter achieved a level of national artistic success that was nearly unprecedented among Cleveland School artists of his day, with representation by major New York dealers...

Pop Casualties - Urban Manga Social Commentary - Explosive urban manga pop art with raw social critique Artist: Chris Pegg Medium: Mixed Media on Canvas Acrylic, Oil, Ink, Pencil &a...

This painting captures a quiet meeting between the natural world and human-made structures. A vibrant green tree rises behind a simple white barrier, its organic form contrasting wit...

Antique Victorian Watercolour of Whitby Harbour by 19th Century British Artist William Langley (1852–1922) dating back to Circa 1891 Art measures 19 x 10.5 inches Frame measures 2...

Pencil, coloured pencil and chalk on paper, titled (lower left), signed (lower right), 31cm x 46cm, (51cm x 68cm framed). John Koch was an American painter and teacher, and an impo...

Jean-Hegesippe VETTER (1820-1901) Presumed Self-Portrait, circa 1850 Pencil, pen, and ink wash on paper 18 x 13 cm Born in Paris in 1820 to parents from Alsace, Jean Hégésippe Vette...

Pencil and acrylic on Fabriano-pittura paper - Unframed. This series, started in 2016 conveys a color and emotional language and is inspired by the series Color as Adjective, a seri...

George McNeil Untitled Figure, 1986 Lithograph on paper. Publisher's and Printer's Blind Stamps Hand-signed, numbered 78/84 and dated by the artist on the front with publisher's and...

MEDIUM: Limited Edition Hand-Painted Cel SIZE: 16.5" x 13.5" EDITION SIZE: 50 SKU: CC1189 ABOUT THE IMAGE: Although the famous Warner Bros. bullseye is recognized as an icon around the world, without characters it feels empty. Yet, when a Looney Tunes character is added to the bullseye's center, its meaning becomes indelible as it signifies an animated creation unsurpassed by any other of its genre. Once one sees Bugs Bunny, Daffy Duck, Road Runner, Tweety and Marvin Martian...

Artist Commentary: Books often appear in my work. Books are those containers of wisdom, of knowledge, of culture Words used to describe the piece: representational, books, humor, s...

Marcel Dzama Some of the Many Friends of Jason including Marcel, from the Estate of Jason Polan, 2019 Mixed media collage with ink, watercolor and graphite on colored paper Signed an...

MEDIUM: ​Original Production Model Cel Signed by Bob Singer IMAGE SIZE: 12.5" x 10.5" PRODUCTION: Space Ghost SKU: IFA11322 ABOUT THE IMAGE: Space Ghost ...

Title: Renewal and Revival Painting Diptych (Two seperate panels) Abstract Contemporary Bold Blue Green Invest Unique Flora The two panels align perfectly and can be displayed righ...

Warren 85. 18 (Abstract Painting) Spray paint, pencil, ink, watercolor on paper. Unframed. Peter Soriano works on relatively large sheets of Japanese paper with a tendency to work ...

The nude portal – 03-07-19 As you may have noticed by now I am keen on vortices. They show an endless sequence of swirls, almost like a singularity. Some say they lead the way t...

A stylish, colorful 1950s Mid-Century Modern abstract geometric textile design (depicting a polychrome Wedge Star pattern in red, white and blue tones) by notable costume, set and fa...

In Stem Drawing: Red Poppy No. 1, David Morrison isolates a single poppy stem against a stark white ground, transforming a fleeting botanical subject into a study of structure, tensi...

Charles Houghton Howard was born in Montclair, New Jersey, the third of five children in a cultured and educated family with roots going back to the Massachusetts Bay colony. His father, John Galen Howard, was an architect who had trained at M.I.T. and the École des Beaux-Arts in Paris and apprenticed in Boston with Henry Hobson Richardson. In New York, the elder Howard worked for McKim, Mead and White before establishing a successful private practice. Mary Robertson Bradbury Howard, Charles’s mother, had studied art before her marriage. John Galen Howard moved his household to California in 1902 to assume the position of supervising architect of the new University of California campus at Berkeley and to serve as Professor of Architecture and the first Dean of the School of Architecture (established in 1903). The four Howard boys grew up to be artists and all married artists, leaving a combined family legacy of art making in the San Francisco Bay area that endures to this day, most notably in design, murals, and reliefs at the Coit Tower and in buildings on the Berkeley campus. Charles Howard graduated from the University of California at Berkeley in 1921 as a journalism major and pursued graduate studies in English at Harvard and Columbia Universities before embarking on a two-year trip to Europe. Howard went to Europe as a would-be writer. But a near-religious experience, seeing a picture by Giorgione in a remote town outside of Venice, proved a life-altering epiphany. In his own words, “I cut the tour at once and hurried immediately back to Paris, to begin painting. I have been painting whenever I could ever since” (Charles Howard, “What Concerns Me,” Magazine of Art 39 [February 1946], p. 63). Giorgione’s achievement, in utilizing a structured and rational visual language of art to convey high emotion on canvas, instantly convinced Howard that painting, and not literature, offered the best vehicle to express what he wanted to say. Howard returned to the United States in 1925, confirmed in his intent to become an artist. Howard settled in New York and supported himself as a painter in the decorating workshop of Louis Bouché and Rudolph Guertler, where he specialized in mural painting. Devoting spare time to his own work, he lived in Greenwich Village and immersed himself in the downtown avant-garde cultural milieu. The late 1920s and early 1930s were the years of Howard’s art apprenticeship. He never pursued formal art instruction, but his keen eye, depth of feeling, and intense commitment to the process of art making, allowed him to assimilate elements of painting intuitively from the wide variety of art that interested him. He found inspiration in the modernist movements of the day, both for their adherence to abstract formal qualities and for the cosmopolitan, international nature of the movements themselves. Influenced deeply by Surrealism, Howard was part of a group of American and European Surrealists clustered around Julien Levy. Levy opened his eponymously-named gallery in 1931, and rose to fame in January 1932, when he organized and hosted Surrealisme, the first ever exhibition of Surrealism in America, which included one work by Howard. Levy remained the preeminent force in advocating for Surrealism in America until he closed his gallery in 1949. Howard’s association with Levy in the early 1930s confirms the artist’s place among the avant-garde community in New York at that time. In 1933, Howard left New York for London. It is likely that among the factors that led to the move were Howard’s desire to be a part of an international art community, as well as his marriage to English artist, Madge Knight...

Les Deux Femmes Élégantes by Ludovic-Rodo Pissarro (1878-1952) Watercolour and pencil on paper Signed with Estate stamp (monogram) lower right Executed circa 1901 21.8 x 14.7 cm (8 ⁵...

The theory of Heaven is a novelty that Plato introduced to philosophy. Inspired by this concept, the artist proposes a series of works where I imagine and recreate possible worlds on...

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

Patrick Procktor (British, 1936 – 2003) Misty Pencil and watercolour Signed and inscribed ‘Misty Patrick Procktor’ (lower edge) 9.1/2 x 6.3/4 in. (24.2 x 17 cm.) Rendered with grace...