Art by Medium: Pencil

Untitled (Kneeling Male Nude) Graphite on paper, c. 1930 Unsigned Annotated in pencil verso: "This drawing was made by David Smith in the Matulka class at A. S. L. 1931 Signed Doroth...

SALE ONE WEEK ONLY "Manipulator" is an abstracted figurative drawing in charcoal and graphite. The figure seems to be "manipulating" some object it holds without visual clarity as w...

In my pictures I try to combine the visual and the conceptual. For me, drawing is a medium of knowledge which, beyond direct expression, makes visible material and immaterial forces,...

Pencil on cream wove paper, 9 1/4 x 7 7/8 inches (235 x 200 mm). Overall toning with multiple spots of white discoloration throughout, and a spray of foxing across the image area on ...

Francisco Moncion's Pastel on Paper "Bourrée Fantasque #8" a Mid-20th Century fantasy image inspired by George Balanchine's 1949 ballet for the New York City Ballet. Moncion was a pr...

I register it and then part of it automatically goes to work. I'm not trying to paint literally, but I'm trying to bring the emotions being exerted on me closer to the viewer. A feel...

Francisco Moncion's Pastel on Paper "Bourrée Fantasque #3" a Mid-20th Century fantasy image inspired by George Balanchine's 1949 ballet for the New Y...

Francisco Moncion's Pastel on Paper "Bourrée Fantasque #6" a Mid-20th Century fantasy image inspired by George Balanchine's 1949 ballet for the New York City Ballet. Moncion was a pr...

SACHA (American, b. 1965) Two Pears in Love, 2008 Pencil on paper 20 x 16 in. Signed lower left: Sacha 2008 NYC Inscribed lower right: "Two Pears In Love" Alejandro Jose Franco or b...

Pencil on smooth cream wove paper with a window pane drawn in gold ink, 8 3/8 x 11 3/4 inches (213 x 298 mm). Signed illegibly and dated in ink and again in pencil within the lower m...

In my paintings I try to combine the visual and the conceptual. For me, drawing is a medium of knowledge that, beyond direct expression, makes material and immaterial forces and plas...

Mabel E. Johnston Untitled, c. 1930s Watercolor and pencil on paper Sight: 12 1/2 x 10 1/2 in. Framed: 21 1/8 x 17 1/4 x 1/2 in. Signed lower right: Mabel E. Johnston The first tidb...

Anna Sobkowiak is a painter and 2D animator living and working in Poznan, Poland. She graduated from the Academy of Fine Arts in Poznan and studied at the Academy of Fine Arts in Pra...

Book: Christo: The Gates Project for Central Park New York City (Hand Signed and Inscribed to art critic Anthony Haden-Guest), 1981 Hardback monograph Hand signed and inscribed to a...

Francisco Moncion's Pastel on Paper "Bourrée Fantasque #13" a Mid-20th Century fantasy image inspired by George Balanchine's 1949 ballet for the New York City Ballet. Moncion was a p...

In my paintings I try to combine the visual and the conceptual. For me, drawing is a medium of knowledge that, beyond direct expression, makes material and immaterial forces and plas...

Francisco Moncion's Pastel on Paper "Bourrée Fantasque #14" a Mid-20th Century fantasy image inspired by George Balanchine's 1949 ballet for the New York City Ballet. Moncion was a p...

Francisco Moncion's Pastel on Paper "Bourrée Fantasque #12 Blue" a Mid-20th Century fantasy image inspired by George Balanchine's 1949 ballet for the...

Francisco Moncion's Pastel on Paper "Bourrée Fantasque #11 Blue" a Mid-20th Century fantasy image inspired by George Balanchine's 1949 ballet for the New York City Ballet. Moncion wa...

Francisco Moncion's Pastel on Paper "Bourrée Fantasque #10 Blue" a Mid-20th Century fantasy image inspired by George Balanchine's 1949 ballet for the New York City Ballet. Moncion wa...

Francisco Moncion's Pastel on Paper "Bourrée Fantasque #9" a Mid-20th Century fantasy image inspired by George Balanchine's 1949 ballet for the New Y...

Francisco Moncion's Pastel on Paper "Bourrée Fantasque #7" a Mid-20th Century fantasy image inspired by George Balanchine's 1949 ballet for the New York City Ballet. Moncion was a pr...

Nam June Paik Do You Know...?, from the New York Collection for Stockholm portfolio, 1973 Silkscreen on paper, in original portfolio sleeve Signed and dated '73 and numbered 36/300 i...

Francisco Moncion's Pastel on Paper "Bourrée Fantasque #2" a Mid-20th Century fantasy image inspired by George Balanchine's 1949 ballet for the New Y...

Mabel E. Johnston Untitled, c. 1930s Watercolor and pencil on paper Sight: 12 1/2 x 10 1/2 in. Framed: 21 1/8 x 17 1/4 x 1/2 in. Signed lower right: Mabel E. Johnston The first tidb...

Katherine Porter Geometric Abstraction, 1971 Watercolor and graphite on graph paper Signed and dated "Katherine Porter 1971" in pencil on the front Held in original vintage 1970s met...

Francisco Moncion's Pastel on Paper "Bourrée Fantasque #5" a Mid-20th Century fantasy image inspired by George Balanchine's 1949 ballet for the New Y...

In this abstract vertical painting in colored pencil and acrylic on canvas by Elizabeth Gourlay, a thick, vertical stripe in a coral shade of red orange is dramatic in the center of ...

Robert Indiana Love Is God, 2014 Silkscreen on 2 ply Rising Museum Board 32 × 32 inches Hand signed and numbered 33/50 in graphite pencil on ...

Louis Osman was an English artist, architect, goldsmith, silversmith and medallist. He is notable for the gold coronet he designed and made for the investiture in 1969 of Charles, Pr...

Abstract cubist style still life graphite drawing inspired by Giorgio Morandi's bottle paintings "Morandi 17” by Hudson Valley artist, David Dew Bruner, made in 2023 Graphite on pap...

Wolf Kahn Bay with Boats, 1987 Color monotype on Somerset white wove paper Hand signed and dated by Wolf Kahn on the lower right front, bears labels on the back Frame Included: matte...

SACHA (American, b. 1965) La Sevillana, 2004 Pencil on paper 20 x 16 in. Signed lower right: Sacha '04 Inscribed lower left: "La Sevillana" Alejandro Jose Franco or better known as ...

SACHA (American, b. 1965) Maria, 2006 Pencil on paper 16 x 20 in. Signed and inscribed lower right: Sacha '06 Jerez "Maria" Alejandro Jose Franco or better known as SACHA, was born ...

In my pictures I try to combine the visual and the conceptual. For me, drawing is a medium of knowledge which, beyond direct expression, makes visible material and immaterial forces,...

Robert’s work incorporates small poetic texts, often in a childlike manner. She did not utilize conventual tools, such as a paintbrush, but moved the paint with her hands. Though right-handed, she preferred to use her left hand to tap into a fragile creative energy akin to the mark-making of an untrained child’s first gestures. Her work, therefore, has a sense of discovery that is both assertive and tentative. Her poetic texts are evocative and sometimes nonsensical, functioning more compositionally than literally. Her works on paper are often composed of variegated scribbles, and her paintings are rich painterly statements that move between abstraction and fantastical landscapes. Louise Robert’s first professional exhibition was held in Montreal...

Judy Chicago Driving the World to Destruction, 1988 Silkscreen on wove paper Pencil signed, titled, dated and numbered 35/50 on the front Included with this work is an elegant hand ...

Linda Turner, raised both in NYC and Northern Virginia, resides in Brooklyn, NY. She achieved a BFA in Surface Design/Textile Design from the Fashion Inst...

Stamped, verso, with certification of authenticity for Jane Ament De La Roche (American, 1916-2000) and created circa 1950. Winner of the Prix Othon Friesz, Ament first studied at the Chouinard Art Institute and, subsequently, in Paris with André L’Hote...

Signed and dated twice lower right: Reginald Marsh 46 / Reginald Marsh 1946

Daniel Garber (American, 1880-1958) Balderstons, c. Early 20th Century Pencil on paper 7 x 9 in. Framed: 12 x 4 x 1/2 in. Titled and initialed lower right: Balderstons, D.G. Proven...

Signed lower left, 'Marianne K. Brown' (American, 20th century); additionally signed, verso, with certification of authenticity and dated 1987. Brown has taught watercolor and des...

ASHLEE SELBURG Hummingbird House Ink and pencil on paper 14 x 11 inches

Body in the Field #11, 2022 coloured pencils on canvas 25 H x 16 W cm Signed on reverse Zsolt Berszán embodies in his works the dissolution of the human body through the prism of ...

Lower margin contains inked directive initialed by Rackham and numerous pencil indications as well as a rough thumbnail sketch of the end papers. A fascinating look into Rackham's ...

Josef Albers Blue Reminding, 1966 Silkscreen in colours, on Mohawk Superfine Bristol paper, with full margins Hand signed, titled, numbered 136/200 and dated in pencil by the artist on the front Bibliography: Catalogue Raisonne Reference: Danilowitz 168. Printed by Sirocco Screenprints, New Haven. Published by Ives-Sillman, Inc., New Haven (Danilowitz 168) Frame included: This exquisite Albers silkscreen...

In my pictures I try to combine the visual and the conceptual. For me, drawing is a medium of knowledge which, beyond direct expression, makes visible material and immaterial forces,...

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 city where I teach art. In fact Den Haag borders Voorburg so an outsider wouldn’t take notice crossing over. There is this strip of vegetation stretching from Den Haag all the way to estate ‘Vreugd en Rust’. Towards the end there is this cosy little ‘Noteboompark’, adjacent to the Juliana-Bernhard Park. That’s the one I cross through on my way to Brugman. The region Haaglanden (the greater The Hague) is well renown for its lush parks. You can find lots of ponds, weeping willows and what have you not. This one is no exception and I liked depicting these willows on the verge of Spring. It’s very cold though but the sunshine almost seems to scare away the icy northern wind. Not Much Contrast Whereas the previous drawing was full of hefty tonal variations this one is different. Before I go into details let me state I took a picture of the scenery. The photo was taken from a bridge where I couldn’t draw. Although the view was great the lighting wasn’t. So I took another photograph a day later. Finally it was sunny again and it lit the trees beautifully. This having said this one proved to be a tall order. The thin leaves didn’t contrast much with the blue sky. Only enough to make a difference so I can show the light on top of them. On the other hand, I got two reference pictures that showed the best of both worlds. The vantage point was a bit different though but that didn’t bother me. I could use the first photo and just use the other one to interpret the lighting. Water Reflections The wonderful part was the reflections in the water. I just love them like I have stated dozens of times before. The funny thing is that reflections give you both a recognition of the trees and the water as such. How about that for a double whammy? I only had to mirror structures to get a maximum effect. The bridge in the back is the actual bridge I almost cross daily. Can’t wait to get my foldable camping chair...

Thelma Appel Meeting Plaza, 2018 25 Color Silkscreen on 320 Gram Coventry paper with full margins and deckled edges. Accompanied by ARTIST SIGNED, gallery issued Certificate of Authenticity (COA) - hand signed by BOTH the artist and gallery director 23.5" (vertical) x 29.25" (horizontal) Hand signed, titled, annotated & dated on the lower right front - a rare Artists Proof, aside from the limited edition of 75 Unframed This magnificent silkscreen, Meeting Plaza is signed, dated and numbered in graphite pencil on the front from the limited edition of 75. Other examples of this work were exhibited in the 2021 show "New York and No Place Else: Art that Celebrates New York" at the Chashama Foundation, New York, and it was also featured in the invitational exhibition "Women on Paper" in April, 2021 at the Sager Reeves Gallery in Columbia, Missouri. "Meeting Plaza" is a place where people from all over the world are always welcome to meet in peace and enjoyment; an exquisite 25-color limited edition silkscreen done in collaboration with master printer Gary Lichtenstein. The work is evocative of New York's Rockefeller Center and the United Nations, but the flags are abstracted, to emphasize international unity, rather than single out any individual country. The artist explained: "I wanted to convey a city that welcomed all nationalities and all people… The flags for me are a counterpoint to the city’s geometric architecture, and their suggested movement and irregular shapes echo the organic morphology of the people below. I painted an evening sky. It is dusk. Nobody is rushing. People are conversing with each other, walking slowly or gathering in small groups enjoying a calm evening in the New York City…I, too, am one of the people converging at the 'Meeting Plaza' ...” Other examples of "Meeting Plaza" were exhibited in the 2021 show "New York and No Place Else: Art that Celebrates New York" at the Chashama Foundation, New York, and the print was featured in the invitational exhibition "Women on Paper" in April, 2021 at the Sager Reeves Gallery in Columbia, Missouri. Thelma Appel biography A co-founder of the Bennington College Summer Painting Workshop, Thelma Appel is a representational and abstract painter who has been working and teaching for more than six decades. Most recently, she was subject of a 50-year career survey (October, 2019 -February 2020) at the Brattleboro Museum in Vermont, entitled Thelma Appel: Abstract/Observed curated by Mara Williams, and she exhibited at the Mattatuck Museum in Connecticut which acquired one of her fabric collages for their permanent collection. Thelma Appel was raised in Darjeeling, India and educated in London, England, at St. Martin's School of Art (now Central St. Martins) and Hornsey College of Art before emigrating to the United States in the 1960s. Her work has been exhibited in numerous venues, including the Bennington Museum, the Berkshire Museum in North Adams, Mass., the Children's Museum of the Arts in New York City, the Mattatuck Museum, the Brattleboro Museum, the Milwaukee Art Museum, the Robert Hull Fleming Museum at the University of Vermont and the University of Pennsylvania Fine Arts Gallery. In 1974 she was awarded a YADDO Fellowship, and in 1975, Thelma Appel, along with the painter Carol Haerer, co-founded the Bennington College Summer Painting Workshop, where many distinguished painters of the day, both abstract and representational, conducted master classes. Among them were Neil Welliver, John Button, Alice Neel, Larry Poons, Friedel Dzubas, Stanley Boxer, Elizabeth Murray and Doug Ohlson – a program that continued until 1980. She has also taught drawing at Parsons School of Design, painting at Southern Vermont College and at the University of Connecticut. Appel’s work has been presented at Art on Paper, Texas Contemporary, Market Art & Design and Art New York art fairs and has been exhibited at Alpha 137...

In my pictures I try to combine the visual and the conceptual. For me, drawing is a medium of knowledge which, beyond direct expression, makes visible material and immaterial forces,...

Bernard Nacion Untitled (Style of Rembrandt), Late 20th Century Ink and pencil on artist board 19 3/4 x 15 in. This illustration shows a group of Dutch gentlemen in the style of Rem...

Ann Chernow’s work is based on impressions related to images from movies from the l930s and l940s. She uses film clips, studio publicity material, fan magazines and other memorabilia...

Raindrops Keep Falling on My Head This graphite pencil drawing ‘Clingendael – 31-03-23’follows up my previous one of Delft. For no particular reason I wanted to draw a bit of nature again. Or is it that I long for nature blossoming in Spring? Whereas in the Po Valley, Italy and Spain people scream for rain we get it here in abundance. It’s raining cats and dogs during March and this everlasting wind. Bleh! Then again, March and April in The Netherlands are famous for their unpredictability. For the time being it’s sketching indoors and therefor I draw from the stack of last year’s photos. Lambs in Clingendael There is this specific spot near the entrance of estate ‘Clingendael’ where they keep some farm animals. Besides horses and cows, sheep can also be found there. I never have been a sucker for depicting little lambs, darling ponies and golden retrievers. The spot that marks this drawing was special though. The picture was from last May and sunshine was creeping through tree leaves. All of a sudden a little lamb was caught by the light, just about to drink from the through. Just a lucky shot with the camera I think which comes in handy on a rainy day like this. The moral of the story is this. A subject can’t be corny enough as long as it is lit in a beautiful way. Not the First Time When I come to think of it, I have done some animals only themes in the past. Homage to a Dying...

A fine large charcoal and pencil drawing by British listed artist James Stroudley. Executed in 1931, it is a stunning example of a 1930s Art Deco portrait. Very strong and bold, it d...

Pastel and Color Pencils on Hahnemühle paper 300g - Pastel, Drawing, flowers, Interior Work Title : Pansy and Vase Artist : Gabriel Riesnert (French a...

profile face. original pencil drawing painting André Derain (Chatou, June 10, 1880-Garches, September 8, 1954) was a French painter, illustrator and set designer, representative of ...

Farmhands by Yvon Pissarro (b. 1937) Pencil on paper 79 x 108 (31 ¹/₈ x 42 ¹/₂ inches) Signed upper right, Yvon Vey Provenance Studio of the Artist, Montpellier Artist's Biography ...

Geometric Woman's Portrait - Rare Signed Graphite Drawing on Paper 1962 Beautiful, soft original drawing by Eugene Hawkins (American, b. 1933). A realistic depiction of a short-haired woman, her large lips parted into a soft smile. She's surrounded in geometric shapes offering a wonderful juxtaposition to the natural curves of her face and hair. Signed in pencil, "Eugene Hawkins '62" Presented in a new black mat. Mat size: 20"H x 16"W Paper size: 18.5"H x 14.5"W Eugene Hawkins (American, b. 1933) is a BIPOC artist known for his detailed portraiture and printmaking. He is listed in Who Was Who in American Art, 1564-1975, and his work was exhibited in the Whitney Museum of American Art. He spent the majority of his life working and exhibiting in Southern California. His work frequently touches upon socio-political subjects, making strong statements about the world. The California African American Museum features Eugene Hawkins's work in the Permanent Collection. Exhibition: 2017 Paperworks: Selections from the Permanent Collection focuses on works on paper produced from 1950-2000 and includes figurative, impressionistic, and abstract styles. The exhibition showcases the radically diverse range of works on paper created by African American and other artists over the last two centuries, and includes drawings, prints, paintings, and collages by Edward Mitchell Bannister...