Crayon Mixed Media

James Spencer Russell "#2" 1958 Pastel, gouache and sand collage on paper Signed in pencil lower right 24x18" James Spencer Russell (1915-2000) was born in Monticello, Indiana, but ...

MORNING BREAKFAST is an original mixed media collage on board by Brooklyn artist Karl A. McIntosh. MORNING BREAKFAST is a somewhat amusing, colorful abstract portrait portraying a black family seated together having breakfast. McIntosh shows his inventive use of collage using cut bits of colored paper in shades of red, brown, blue, pink, black. Visible are magazine print clippings for facial details, dishes, lettering layered with wildly expressive yellow, blue, green and white painted accents that create an energetic and rambunctious breakfast table scene. The viewer can't help but continue gazing at the frenzied movement and visual chatter going on in MORNING BREAKFAST, a captivating and irresistible painted collage by Karl A. McIntosh. Framed size - 27.25 in. x 33.5 in. Image size - 221.25 in. x 27.5 in. Excellent condition, archival framing, beveled cherry wood colored frame with green and gold liner, hand signed by the artist "K.A.McIntosh" on upper left edge. About the artist: Karl A. McIntosh is a self taught artist who works is pastel, watercolor, acrylic, stone, wood and metal and is a known for his imaginative transformation of found objects into works of art. Born in Kingston, Jamaica, McIntosh moved to the United States at an early age and later took up art. Among his mentors are artist Otto Neals with whom he worked at the Bob Blackburn Printmaking Working Workshop and artist Marian Griffin. McIntosh is also a poet, drummer and dancer who draws his creative inspiration and expression from his study of African art and culture. McIntosh’s bold, bright colors dance off the page and tantalize the senses. His work is profound in its statement and deliciously whimsical. His work is an honest portrayal of everyday life and the people who live it but on occasion, takes on public figures and world events most often employing satire as thick as the layers of paint or paper he uses to depict them. McIntosh’s work has been exhibited at numerous venues across the country including Dorsey’s Art Gallery, The Skylight Gallery, MOCADA (The Museum of Contemporary Diasporan Art), 843 Studio Gallery, The National Black Fine Art...

"My work principally consists of deeply abstracted figure compositions--intuitive constructions that begin with random marks establishing larger masses of torsos, heads, and limbs in an undefined setting. The emphasis is almost purely on intuition. The figures are born of their surrounding environment, emerging only partially and fugitively from the layers of pigment. A narrative is evident but never overt. A crown, a shield, a boat, a wheel. Though the subject has recently coalesced around my reading of Dante and Shakespeare, the settings remain extremely vague- a beach, an interior, a woodland. The paintings are, in the end, meditations on the relationship between the protagonists in a wordless drama. In my paintings, I use a cold wax medium...

A very striking and stylish 1970s black and white collage work by the prominent St. Ives artist Trevor Bell. The details of the work are as followS: TREVOR BELL (BRITISH, 1930-2017...

This large textural energetic abstract figurative artwork on canvas by Togolese artist Olympio is a unique mixed media painting with a raw and direct aesthetic, providing an unfilter...

This artwork was created by the artistic duo Hunter & Gatti (2010–2023). These works are part of the archive managed and exhibited by Cristian Hunter. The artist's technique consists...

Costume Drawing Mid-Century Modern American Scene Social Realism Russian Theatre Anton Refregier (1905-1979 Costume, 1931 Pencil, crayon, and silver paint on paper 17 x 13 ¾ inches...

"Second Theme" 1949 Abstract Mid 20th Century Geometric Non-Objective Hard Edge Burgoyne A. Diller (American, 1906-1965) "Second Theme" 1949. Pencil and crayon on paper. Signed and dated 'D. 49' (lower right). Image: 9 1/2 x 5 1/2 in. Andre Emmerich Gallery, New York. Martha Jackson Gallery, New York. Anderson Gallery, Buffalo, New York. David K. Anderson Grandchildren's Trust. BURGOYNE DILLER (1906-1965) Recognized as the first American painter to embrace the tenets of Neo-Plasticism, Burgoyne Diller made an important contribution to the development of non-objective art in the United States. Working in a hard-edged geometric style, he produced paintings, drawings, and collages that paved the way for the development of American Minimalism during the 1960s and 70s. Born in New York City in 1906, Diller began painting and drawing as a teenager growing up in Battle Creek, Michigan. Later, while attending Michigan State University in East Lansing on an athletic scholarship, he made weekend visits to the Art Institute of Chicago, where he familiarized himself with Impressionist and Post-Impressionist painting. He was especially drawn to the landscapes and still lives of Paul Cézanne, who modeled color to create structure and volume. In 1929, Diller moved to Manhattan and enrolled at the Art Students League, where his teachers included such progressive-minded painters as Jan Matulka, Hans Hofmann, and George Grosz. Hofmann's concept of the "push-pull" effect of form and color exerted a strong influence on his early work, as did his growing familiarity with Analytical and Synthetic Cubism, German Expressionism, and other vanguard European styles. Diller had the opportunity to see some of this work firsthand, but he also kept abreast of developments abroad by reading journals such as Cahiers d'Art. Diller completed his studies at the League in 1933, the year he had his first solo exhibition at the Contemporary Arts Gallery in New York. It was around this time that his paintings began to show the influence of the reductive, pared-down geometric compositions of the Dutch Constructivist Piet Mondrian and the equally restrained compositions of Kasimir Malevich and El Lissitsky...

X Marks the Spot Ryan Cronin Oil-Based Pastel on Paper 30" x 22.5" When people look at his work Cronin wants them to feel an immediate impact, even if they’re not sure what hit them...

Gloria Dudfield Yellow and Black Abstract Gouache and Oil Pastel on paper 35 x 36 in c. 1960 Framed Size: 38.5 x 39.5 x 1.5 Good Condition - Wear consistent with age and history. Cr...

Chicken Wing Ryan Cronin Oil Pastels on Paper 30" x 22.5" When people look at his work Cronin wants them to feel an immediate impact, even if they’re not sure what hit them. The raw...

Herman Palmer (American, 1894-1946) Untitled, 20th century Pastel on board Sight size: 11 1/2 x 14 3/4 in. Framed: 18 1/4 x 21 in. Signed lower right: Herman Palmer Herman Palmer ...

Pastel on Canson Pastel card. Pastelled following au autumnal walk on Wimbledon Common. ADDITIONAL INFORMATION: Pastel on Paper 24 H x 30 W x 1 D cm (9.45 x 11.81 x 0.39 in) Sold u...

Early mixed media painting composed of watercolor, gouache and oil pastel on card stock of a jester by the Canadian/American artist, Rolph Scarlett. Signed by the artist lower right ...

Gorgeous botanical of apricot Angel Trumpet (Brugmansia) by Miriam Prince Pinkerton (American, 1933-2013), circa 2000. Pastel and Gouache. Signed lower l...

Gloria Dudfield Tractor at Work 6-10-64 Gouache and Oil Pastel on Paper 36"x32 1/2" Unframed Signed and dated lower right in crayon Very Good Condition - Minor wear consistent with ...

Gary John's pop-street artworks have a whimsical, yet exciting and bold quality inspired by classic cartoon and comic book characters. Blending pop sensibilities with a roughened fau...

Hachiya Persimmons & Fan, Modern Still Life with Red-Orange and Blue Lovely modern still-life of a fan and persimmons by Santa Cruz, California artist Anita Heckman (American, b.20th Century). This 1987 mixed media work on paper depicts three vivid Hachiya persimmons on a windowsill beside an elegant paper fan with a tassel. A decorative window drape...

"My work principally consists of deeply abstracted figure compositions--intuitive constructions that begin with random marks establishing larger masses of torsos, heads, and limbs in an undefined setting. The emphasis is almost purely on intuition. The figures are born of their surrounding environment, emerging only partially and fugitively from the layers of pigment. A narrative is evident but never overt. A crown, a shield, a boat, a wheel. Though the subject has recently coalesced around my reading of Dante and Shakespeare, the settings remain extremely vague- a beach, an interior, a woodland. The paintings are, in the end, meditations on the relationship between the protagonists in a wordless drama. In my paintings, I use a cold wax medium...

Foundational Studies 25(A) The Composition A refined entry point into the studio’s practice, Foundational Studies 25(A) is a deliberate exploration of form and verse. Executed on ha...

This unique artwork is created through interweaving strips of painted fabriano paper in order to create a complex composition with depth and texture. The artwork is framed and floate...

Bill Shields "Micro Biomorphic Abstract Drawing " 1990's Pastel, pencil charcoal on illustration board Site measures 3"x3" silver wood frame 9.75"x10.75" Unsigned came from artist's ...

Bill Shields "Micro Biomorphic Abstract Drawing II" 1990's Pastel, pencil charcoal on illustration board Site measures 3.5"x2.5" silver wood frame 10.5"x10.5" Unsigned came from arti...

Influenced by the French Impressionists, from his time spent studying at the Academie de la Grande Chaumiere in France, Greene composed this pastel on paper with painterly marks of ...

Graphite, ink and crayon mixed media artwork of a surgical team at work by the Russian/American, Nahum Tschacbasov. Titled top right. Signed and dated lower left, 1979. Condition: Very good. Provenance: Estate of the artist. Overall framed in one inch wide black matte frame with off white mat 17.5 by 21.5 Inches. Nahum Tschacbasov’s paintings are in the permanent collections of the Metropolitan Museum of Art, the Brooklyn Museum, the Jewish Museum, the Philadelphia Museum, the Pennsylvania Museum of Fine Art, as well as numerous college and private collections. His work was shown at ACA Gallery in New York, as well as Perl’s Gallery and John Heller...

I am a Gippsland-based artist, whose creative process is ever-evolving, with the constant being my subject matter. Native Australian flora and fauna are commonly depicted in my works...

An original mixed media painting of a portrait and still life images by Israeli artist, Michael Eisemann. The artwork is hand-signed and dated in ink...

This painting comes with an Acrylic QR code plaque - when the QR code is scanned you can then point the camera at the physical painting and it will become augmented reality. To crea...

In Game Creator, Yulianna Verba presents a symbolic and emotionally rich narrative exploring self-awareness, feminine power, and spiritual awakening. This striking mixed media work—c...

Colorful mixed media piece by Christine Alfery (from Flambeau, Wisconsin) that incorporates hues of purple, red, black, and swatches of gold leaf. Th...

Glimmering marks of evening light illuminate in the foreground a tangible moment between two ladies who wearing hats of opposing color sitting at a Parisian Cafe. The ladies are exch...

Poured beeswax work by Mary Early from her "Study for Līnea" series. "The production, or “pouring,” of beeswax elements has become a meditative process that is integral to my art practice, serving as an observation of time, materials, and space. The raw beeswax I use has taken its form at the end of a long series of natural processes followed by a manufacturing process, and once it is in my hands, the studio becomes a factory. I apply my own methods of transforming the material by casting the beeswax into three-dimensional forms. Once I have fixed both a place and a time in the future for a potential installation, I begin to determine how the beeswax lines will take their aggregated shape in that space and, simultaneously, how many lines might be manufactured for that particular space in the amount of time available." Mary Early (born 1975, Washington, DC) lives and works in Washington, DC. She studied visual art, film, and video at Bennington College, and her work has been exhibited at the United States Botanic Garden, Washington Project for the Arts, the Corcoran Gallery of Art, Second Street Gallery (Charlottesville, VA), Hemphill Fine Arts (Washington DC,) the Austrian Cultural Forum (Washington DC), Galerie Im Ersten (Vienna, Austria), Kloster Schloss Salem (Salem, Germany), Kunstlerbund Tubingen (Tubingen, Germany), and the American University Museum (Washington DC) among other regional and national galleries. Her early work incorporated formed concrete, tarpaper and paraffin wax, fabricated wood structures, and, increasingly over the years, surfaces coated with wax as a method of preserving or concealing an object within. Recent works have relied solely on solid forms cast in wax, abandoning the use of any permanent armature. Temporary installations are guided by schematic drawings and plans, which then serve as a permanent record. In 2014 she exhibited her first large-scale installation of wax lines at Second Street Gallery in Charlottesville, VA, followed by temporary installations in response to various historical sites in Salem, Germany (2016) and Tubingen Germany (2017). In 2017 she participated in the exhibition “Twist-Layer-Pour” at the American University Museum, which included Untitled [Curve], an installation of thousands of beeswax lines assembled on the floor of the museum. In spring 2018 she was commissioned to create a temporary installation at the Sun Valley Center for the Arts, Sun Valley Idaho. This work took the form of two intersecting curtains of hanging beeswax lines bisecting a 12’ foot x 18’ foot room, providing an immersive and enclosed viewing space. Early’s work is included in the collections of the US Department of State/Embassy of Panama, Kimpton Hotels, and the District of Columbia Art Bank among other public and private collections. She is a recipient of the Artist Fellowship Grant from the DC Commission on Arts & Humanities, Washington DC (2020, 2019, 2018, 2017, 2016, 2015, 2014, 2011, 2009, 2007). Early is the director of HEMPHILL Fine Arts, Washington, DC, and serves on the boards of Hamiltonian Artists and Washington Sculptors Group. She handles the work of contemporary artists and artist estates, including the work of William Christenberry, Colby Caldwell, Hedieh Javanshir Ilchi, Linling Lu, Mingering Mike, Robin Rose, Renée Stout...

Original work by Mary Early. Graphite, colored pencil, and sumi ink on Arches paper, 12.25 x 16". "The production, or “pouring,” of beeswax elements has become a meditative process that is integral to my art practice, serving as an observation of time, materials, and space. The raw beeswax I use has taken its form at the end of a long series of natural processes followed by a manufacturing process, and once it is in my hands, the studio becomes a factory. I apply my own methods of transforming the material by casting the beeswax into three-dimensional forms. Once I have fixed both a place and a time in the future for a potential installation, I begin to determine how the beeswax lines will take their aggregated shape in that space and, simultaneously, how many lines might be manufactured for that particular space in the amount of time available." Mary Early (born 1975, Washington, DC) lives and works in Washington, DC. She studied visual art, film, and video at Bennington College, and her work has been exhibited at the United States Botanic Garden, Washington Project for the Arts, the Corcoran Gallery of Art, Second Street Gallery (Charlottesville, VA), Hemphill Fine Arts (Washington DC,) the Austrian Cultural Forum (Washington DC), Galerie Im Ersten (Vienna, Austria), Kloster Schloss Salem (Salem, Germany), Kunstlerbund Tubingen (Tubingen, Germany), and the American University Museum (Washington DC) among other regional and national galleries. Her early work incorporated formed concrete, tarpaper and paraffin wax, fabricated wood structures, and, increasingly over the years, surfaces coated with wax as a method of preserving or concealing an object within. Recent works have relied solely on solid forms cast in wax, abandoning the use of any permanent armature. Temporary installations are guided by schematic drawings and plans, which then serve as a permanent record. In 2014 she exhibited her first large-scale installation of wax lines at Second Street Gallery in Charlottesville, VA, followed by temporary installations in response to various historical sites in Salem, Germany (2016) and Tubingen Germany (2017). In 2017 she participated in the exhibition “Twist-Layer-Pour” at the American University Museum, which included Untitled [Curve], an installation of thousands of beeswax lines assembled on the floor of the museum. In spring 2018 she was commissioned to create a temporary installation at the Sun Valley Center for the Arts, Sun Valley Idaho. This work took the form of two intersecting curtains of hanging beeswax lines bisecting a 12’ foot x 18’ foot room, providing an immersive and enclosed viewing space. Early’s work is included in the collections of the US Department of State/Embassy of Panama, Kimpton Hotels, and the District of Columbia Art Bank among other public and private collections. She is a recipient of the Artist Fellowship Grant from the DC Commission on Arts & Humanities, Washington DC (2020, 2019, 2018, 2017, 2016, 2015, 2014, 2011, 2009, 2007). Early is the director of HEMPHILL Fine Arts, Washington, DC, and serves on the boards of Hamiltonian Artists and Washington Sculptors Group. She handles the work of contemporary artists and artist estates, including the work of William Christenberry, Colby Caldwell, Hedieh Javanshir Ilchi, Linling Lu, Mingering Mike, Robin Rose, Renée Stout...

Richard Smith, British (1931-2016) Untitled (Abstract Composition) (1976) Gouache, crayon, charcoal and metal staples on Arches paper Hand signed lower center sheet: 22 x 22 inches ...

Medium: Oil stick, wax pencil, graphite, archival pigment print on 100% Hahnemuhle cotton-rag paper. PLEASE NOTE ACTUAL Paper Size: 24” h x 42” w Image Size: 20” x 37” includes a 2”...

This artwork was created by the artistic duo Hunter & Gatti (2010–2023). These works are part of the archive managed and exhibited by Cristian Hunter. The artist's technique consists...

This artwork was created by the artistic duo Hunter & Gatti (2010–2023). These works are part of the archive managed and exhibited by Cristian Hunter. The artist's technique consists...

This artwork was created by the artistic duo Hunter & Gatti (2010–2023). These works are part of the archive managed and exhibited by Cristian Hunter. The artist's technique consists...

Maria Teresa Viecco, Colombian (1953) Date: 1994 Mixed Media on Paper, signed and dated Size: 22 x 30 in. (55.88 x 76.2 cm) Born in Bogota, Colombia, graduate in architecture of the...

The Sleep, 2022 collage, colour wax, acrylic, tempera on paper 50 H x 70 W cm Signed on reverse Raluca Arnăutu dreams the world through collages. A collage, dreamlike and surreal, ...

Crucifixion is a modern drawing in mixed media on paper realized by an anonymous artist of the 20 Century. Very good conditions, with a drawing on the rear. The artwork represents ...

I am a Gippsland-based artist, whose creative process is ever-evolving, with the constant being my subject matter. Native Australian flora and fauna are commonly depicted in my works...

Sam Lock b. 1973 Fallen as Night, 2017 gouache, pencil and pastel 55 1/8 x 39 3/8 in 140 x 100 cm signed, titled and dated verso Sam Lock is a contemporary B...

Monica DeSalvo’s “We didn’t take the plane—the plane took us!” is a lively 30 x 22 inch surreal collage on paper. Abstract areas of lime green, red, royal blue, and deep yellow embed...

This is a large sculpture and also includes an artist custom framed silkscreen with extensive handwork titled Line of Time, pencil signed and inscribed, presented in heavy metal and wooden frame (framed piece 24.5 x 30 in., sculpture piece is about 94 X 11 inches) Francoise Schein is a visual artist, trained as an architect - urban planner; She also teaches art at the ESAM Higher School of Arts and Media in Caen in Normandy . She is the founder of the INSCRIRE Association. In 2016, she was elected member of the Royal Academy of Sciences, Arts and Fine Arts of Belgium. Group Exhibitions Spain: 2016, The "5Contemporary" Paris gallery presented a group show at the Museum of Contemporary Art of Genalguacil, Spain. The show included important artists such as Françoise Schein, Mimouni and Pedro Castrortega. Born in Brussels , Françoise Schein left Belgium after studying architecture at the higher institute of architecture of the French community - La Cambre where she wrote her thesis on fundamental rights, then studied urban design at the Columbia University in the City of New York . She lived 11 years in New York where she begins a work on cartography territories. Subway map Floating on NY Sidewalk is his first monumental urban sculpture located at 110 Greene Street in SoHo (1985). At that time her works are abstract landscapes of cities, made up of networks, lines, trajectories, territories, founding texts and stories. They are constructed of very diverse materials and light. Returning back to Europe in 1989, she continues to work on what she calls her drawings-laboratories while beginning to integrate works in cities on civic themes, the main ones: at the Concorde metro station in Paris in 1991 and then in Brussels, Saint-Gilles , in 1992, these two projects took her to Lisbon in 1993 where she lived for five years and produced two monumental works (in azulejos) for the city of Lisbon at Parque metro station ( 1994) and another for the city of Stockholm at the Universitetet station (1998). She continues to travel to cities where she builds successively projects in Haifa , on the facade of the Beth Hagefen Jewish-Arab Cultural Center with Michel Butor (1994). Then she lives in Berlin where she builds the Westhafen station (2000) which takes her to Bremen to make her first human rights park, Rhododendronpark (2002). In 2005, she made the monumental Time Zone Clock in Coventry in 2005. Since 1999, she has also settled in Rio de Janeiro and initiated participatory artistic projects with the underprivileged population of the favelas . Since then, with the help of a locally trained team, many projects have been carried out, including one in Copacabana and more than 20 in different favelas (from 1999 to 2016). These works transformed the Rio workshop into sustainable development for the people who invested it. In Sao Paulo, since 2009, Françoise Schein has produced a monumental work with the participation of 1000 young people from the favela schools at Luz subway station. Her work is monumental recalling the works of Christo, Maria Dompe, Christian Boltanski, Anish Kapoor, Ai Wei Wei...

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...

Michele Landel creates intensely textured and airy collages using burned, quilted, and embroidered fabric, photographs and paper to explore the themes o...

GARDENS & GALAXIES: MAGENTA ROSE (2020) Medium: Oil stick, wax pencil, graphite, archival pigment print on 100% Hahnemuhle cotton-rag paper. PLEASE NOTE ACTUAL Paper Size: 24” h x 4...

This painting comes with an Acrylic QR code plaque - when the QR code is scanned you can then point the camera at the physical painting and it will become augmented reality. To crea...

ink, pastel on paper

Harry Koursaros (1928-1986) Peaceable Kingdom, the Ram, 1983 Framed 34 X 45. sheet 25.5 X 37 Hand Signed Provenance: Bank of Boston corporate collection. bears label verso. Harry Ko...

" The work resists framing in concepts, it overflows the contours and borders of the rational. It is through the presence of color, combined with an abstraction at times with express...

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...

Swiss artist Fredi Gertsch creates lively colorful pop-folk art paintings with one inexhaustible element: the Emmentaler cow. Humor and optimism are essential traits of the artist: "...

Inspired by Modigliani, After Blue Eyes, 2021 by a.muse is a 24" x 18" acrylic and oil stick painting on canvas mounted on archival board. The work...

Susan Grossman's works on paper are grand scale and sophisticated. The images shown at George Billis Gallery include beach scenes of the Hamptons and o...

" The work resists framing in concepts, it overflows the contours and borders of the rational. It is through the presence of color, combined with an abstraction at times with express...

" The work resists framing in concepts, it overflows the contours and borders of the rational. It is through the presence of color, combined with an abstraction at times with express...

This work belongs to the series Times Like These: Elada 1.0, presented in Kotryna Onaitytė’s solo exhibition of the same name. The exhibition is dedicated to the unique bodybuilding ...

Michele Landel creates intensely textured and airy collages using burned, quilted, and embroidered fabric, photographs and paper to explore the themes of exposure, absence, and memor...