Pencil Mixed Media

The Long Way 10 is part of the “Path to Eminence” series by Meghan Wilbar. During the pandemic, the uncertainty and isolation led Wilbar on a new series of work depicting the roads ...

collage created in 1998, from the artists studio, on archival paper, smudges, intentional with use of graphite. Mixed media, graphite, drawing, pastels, text. signed L.B. lower righ...

Elfi Schuselka (Austrian, b. 1940), Abstract Composition, Mixed Media on Paper, graphite and watercolor, stamped "Studio Elfi Schuselka" to verso, unframed. 29.5" H x 39.75" W. P...

Turbulence VIII 42" x 100" Pigment, Graphite and Sumi Ink on Archival Paper Unique Framed 105.5" x 44.5": $18,000

This diptych, Markings, with a leather-like finish of cold wax and layers of marked tissue paper on wood, reads as an ancient surface immersed in the markings of time. Fragments of m...

Prequel-Middle of the Road is part of the “Path to Eminence” series by Meghan Wilbar. During the pandemic, the uncertainty and isolation led Wilbar on a new series of work depicting...

Highway 96 is part of the “Path to Eminence” series by Meghan Wilbar. During the pandemic, the uncertainty and isolation led Wilbar on a new series of work depicting the roads that ...

Notably, Untitled #4 (black) earned a spot in Open Show by the Los Angeles critic, Peter Frank at Gallery 825, West Hollywood, CA. I grapple with the unpredictable world, and make se...

I grapple with the unpredictable world, and make sense out of chaos. I start with a loose idea and let the materials guide the work, using diverse media and unconventional materials...

Turbulence IV 64" x 42" Pigment, Graphite and Sumi Ink on Archival Paper Unique Framed 67.5" x 46.5": $12,500

Linda King Ferguson describes her "Equivalence Series" as social bodies; a re-thinking of Modernist figurative abstraction. They are a discursive formal and reductive language. As fi...

1928 Bentley Vintage Car - Antique Automotive Stamp Series- Illustration Illustration showing a 1928 Bentley vintage green car. Antique car stamp...

Known for her idiosyncratic cartographic explorations of the psyche and mental states, Smith incorporates outer and inner geographical regions in this piece. The finished work is a d...

Triptych Boat with Spirit Winds, graphite, monoprint with cold wax on 3 panels. A lone boat flanked by symbolic spirit winds comforts the highly superstitious sailors and fishermen, ...

"Mirror" is a site specific installation that was exhibited in the show "Dialects of Place(s) by Land Report Collective at COOP Gallery in Nashville, TN. In this piece, Jobe uses industrial materials such as insulation foam, concrete, window screen, and graphite tracing paper to create a patterned structure that protrudes from the corner and carries the viewer's eye upward. At the bottom of the piece, we see delicately balanced concrete on top of pale blue insulation foam. The patterned concrete and insulation foam carries the viewer's eye upwards towards another pop of blue on top of the aluminum window screen frame. The screen gives the viewer a window in which to look through the piece. On one side, this mesh frames the graphite paper and on the other side the viewer can see the patterned concrete and insulation foam. Review from "The Rib" about "Mirror" One of the more surprising works here is Nashville-based Brian Jobe...

Alberto Baraya’s work resonates within the relation men-science-nature, and deals more specifically with the aesthetics of the naturalists’s journeys and the concept of exotism. His practice involves long trips that replicate some of the mechanisms of Eurocentric colonization such as making inventories of nature or of the population’s physical features. On his work he re-contextualizes those methodologies highlighting the ideological and aesthetical choices which give them form. In the ongoing series Artificial Plant...

A stylized depiction of bathers in a swimming pool, reminiscent of 1970's style advertising, this large scale conceptual text based by New York artist, David Kramer reads: "I am all ...

1904 Renault Vintage Car - Antique Automotive Stamp Series- Illustration Illustration showing a blue vintage 1904 Renault car. Antique car stamp ...

40"x50" oil and graphite on canvas (signed on reverse). This large scale oil painting by Mark Masyga created with a stunning linear abstract composition. Masyga employs drawing tech...

Artist: Lloyd Martin Title: Pass Series 105 Size: 30 x 22 inches Medium: Mixed media, acrylic, pastel, graphite, collage on paper Year: 2018 Price: 3,500 American artist Lloyd Marti...

#draw #scketch #pencil #frame #box Por un lado está el diario de lo que ha estado sucediendo durante los últimos meses alrededor del mundo. De pequeño formato, los dibujos muestran e...

“Layers of Existence” is a meditation on reality, perception, and the unseen dimensions beyond what we consider tangible. This abstract composition plays with depth and texture, invi...

Collage, acrylic and graphite on paper. This abstract collage by the New York/ Hawaiian artist, Debra Drexler, incorporates cut paper, drawing and impasto brushwork with poured pain...

Collage, acrylic and graphite on paper. This abstract collage by the New York/ Hawaiian artist, Debra Drexler, incorporates cut paper, drawing and impasto brushwork with poured pain...

GEN PAUL (1895-1975) Nu au fauteuil Ink and pencil drawing Size: 26 x 20 cm Dimensions with frame: 43 x 37 cm Signed upper right. In perfect state of conservation Framing is FREE ...

“Forming” is a striking exploration of texture and form, embodying the beauty of imperfection and transformation. This abstract composition features a rich interplay of silver tones,...

Milton Glaser creates a brilliant graphic symbolizing a pathway to success and more. Original art Cut Paper collage and colored pencil 19 1/2 x 13 5/8 Signed to lower edge ‘Milton ...

Raphael Soyer (American, 1899-1987), Figural Narrative, Mixed Media on Paper, signed in pencil lower right, wood frame. Image: 22" H x 16.25" D; frame: 29.5" H x 24" W. Provenance: F...

This is a beautiful piece by Alexis Portilla. The rich inky grey, black and white colors of this piece contrasts against the symbolism of vessels and pictographs. Vessels are a recur...

Original painting signed by the Artist on the lower right.

Elfi Schuselka (Austrian, b. 1940), Surrealist Landscape Diptych, Mixed Media on Paper, each signed in pencil and numbered to verso. Each: 8.75" H x 10.25" W. Provenance: From the Co...

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...

GARDENS & GALAXIES: YELLOW ROSE (2019) Medium: Oil stick, wax pencil, graphite, archival pigment print on 100% Hahnemuhle cotton-rag paper. PLEASE NOTE ACTUAL Paper Size: 24” h x 42...

GARDENS & GALAXIES: RED GERBERA (2019) Medium: Oil stick, wax pencil, graphite, archival pigment print on 100% Hahnemuhle cotton-rag paper. PLEASE NOTE ACTUAL Paper Size: 24” h x 42...

GARDENS & GALAXIES: HELICONIAS (2020) Medium: Oil stick, wax pencil, graphite, archival pigment print on 100% Hahnemuhle cotton-rag paper. PLEASE NOTE ACTUAL Paper Size: 24” h x 42”...

GARDENS & GALAXIES: PURPLE FLOWERS (2019) Medium: Oil stick, wax pencil, graphite, archival pigment print on 100% Hahnemuhle cotton-rag paper. Paper Size: 24” h x 42” w Image Size: ...

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”...

Alighiero Boetti (Turin 1940 - Rome 1994), Untitled (1985) Collage, pencil and pastel on paper 76 x 57 cm signed lower center. The work appears to be archived at the Alighiero Boet...

Mark Freeman (1908-2003) Mix media - graphite, crayon and color pencil on paper. This lovely Chinatown, New York image measures 10 ½ x 9 inches. Frame: 19 x 16 1/2. It is in excellen...

This work was created by Tom Rooth in the Cambrian Mountains of Wales, where Tom lives, off-grid. Production process: Tom makes the ceramic panel, which then dries for a month. After this, he carves it down, and then it goes into the kiln for a 48 hour cycle firing. Tom then draws onto the panel, with underglaze pencils, and then glazes the artwork which goes into the kiln once more, for another 48 hour firing cycle. It is then ready for the frame (the frame dictates the subject-matter). Tom has an expert knowledge of frames - his parents were framers and restorers, and he worked at Christie's as Senior Picture Specialist and Director for 14 years, and prior to this Bonhams, Phillips and Sotheby's. Tom's works are unique, highly decorative, highly original, and will compliment any interior, whether traditional or contemporary. Tom has exhibited at The Treasure House...

"Field Study - Winter Patterns" is a mixed media piece by Terri Warpinski using photographs, drawings, and fragments of notebook and sketchbook paper. The artist signed the piece in ...

A piece from Bartolome Sastre's mixed media on paper collection. 11.25" x 8.5" Pastel and pencil on paper

A piece from Bartolome Sastre's mixed media on paper collection. 8.5 x 11.25 inches Pastel and pencil on paper

Part of Bartolome Sastre's collection of drawings with pastel. 8.5" x 11.25"

This gorgeous artwork on paper was created initially with a screen print base of the model, then Rosie hand finishes the work with a unique splash and painted composition. Some call them Unique Prints. The base image is only used 12 times and this is the AP Rosie Emerson, born in 1981, is a contemporary artist working almost exclusively on representing the female form. Emerson’s figures draw reference from archetypes old and new, from Artemis to the modern day super model, each solitary figure, an allegory of her own fantasy. Interested in surface, the interplay between photography and painting. Emerson’s works are playful constructs; Photography is used, not as a device for capturing reality but for creating romanticised optical illusions. Inspired by her love of theatre, performance, shrines and rituals, she uses lighting, costume, set and prop making, alongside printmaking and painting to create other worldly one off pieces. Her photography is inspired by both the drama of the baroque, and ethereal qualities of Pre Raphaelite works. Other important influences include late medieval and renaissance paintings, Japanese prints, and magical realist literature. Emerson’s screen...

Small child hovers suspended above a black bird taking flight. In balanced on one side a brass hook frog, on the other side a ritual object suggesting a strategy game of duality unit...

Collage by Torea Frey created using found papers from vintage dictionaries and thesauruses, graphite powder, and matte medium. Torea is a writer,...

"Alphabet Colors" is an original mixed media drawing on canvas by Tom Shelton. The artist used crayon, colored pencil, and ink. The artist says: “Looking at cursive writing teachin...

This striking mid-century modern drawing by Taos-based artist James Meek features a bold geometric abstract composition that reflects the clarity and precision of mid-20th-century mo...

Pieter Schoolwerth (American, b. 1970), "Fuck Me #00", Mixed Media Collage, 2017, signed in pencil and dated lower left, label verso, wood frame. Image: 17.5" H x 23.5" W; frame: 19...

Alison Haley Paul is a contemporary painter of lavishly textured landscapes full of nuanced color. Her work conjures up connotations and geographical memories: that summer you spent ...

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...

Echo by Rose Umerlik is an abstract painting, Oil and Graphite on wood panel, 32 x 52. This is part of a new 2022 series. According to Umerlik, " I became a mother this past year. ...

Illustration of the 1937 Rolls Royce Vintage Car - from the Antique Automotive Stamp Series Illustration showing a chauffeur next a 1937 Roll...

1950 Morgan Vintage Car - Antique Automotive Stamp Series- Illustration Illustration showing a 1950 Morgan vintage green car. Antique car stamp ...

1947 Bristol Vintage Car - Antique Automotive Stamp Series- Illustration Illustration showing a 1947 Bristol vintage red car. Antique car stamp ...

Convergence in Blue by Rose Umerlik is an abstract painting, Oil and Graphite on wood panel, 24 x 38. Rose Umerlik extracts the intangible emotional moments that live in our collect...

Fox with Bees 2025 Acrylic paint, cold wax, monoprints, oil stick on canvas. The first layer of this reality is a sweet red-haired woman. In the next layer, she looks out from a two-...

Initialed Lower Right

Robert Dandarov (Macedonian/American, b. 1959), "Dark Angel", Mixed Media on Paper, 1989, depicting a parachuting creature, signed in pencil, titled, and dated lower right, white pai...