Chalk More Art

Graphite and conté crayon on paper Signed and dated, l.r. This artwork is offered by ClampArt, located in New York City. Mark Beard, born in 1956 in Salt Lake City, now lives in Ne...

Academic life drawing of two nude males with charcoal and graphite by Mark Beard, "MB 827" graphite, Conte crayon and charcoal on Arches paper 29.75 x 21.75 inches unframed Signed, l...

Impression B Color woodcut, 1959 Signed and dated lower right (see photo) Titled lower left (see photo) A trial proof, prior to the edition of 100, signed and numbered Condition: Excellent Image size: 14 1/2 x 9 3/4 inches Provenance: Estate of the artist by decent to his heirs "Printmaker and painter Toshi Yoshida was born on July 25, 1911, into the respected Yoshida family of artists of Tokyo, Japan. Father Hiroshi was a celebrated landscape painter and printmaker, and mother Fujio established herself as the first female Yoshida artist as well as an Abstract artist later in her career. Younger brother Hodaka was an Abstract printmaker whose style, completely separate from his family's historic traditional bent, later influenced Toshi. Hodaka's wife Chizuko would become a pioneering female Japanese artist whose own exploration of Surrealism and Abstraction challenged the status quo. Toshi, however, as the eldest sibling, was expected to follow in his father's footsteps, and from an early age he was trained by Hiroshi in his studio. Unable to attend formal schooling due to the polio-induced paralyzation of his leg, Toshi would instead help with his family's printmaking studio and go on sketching trips with Hiroshi. As he got older, these trips would include India and Southeast Asia, working from morning to night taking night trains to get from one destination to another. Among Toshi's favorite subjects were the animals he discovered along the way. However, these trips ended as Japan entered military dictatorship in the mid 1930s, and artists whose work showed signs of Western influence were barred from exhibiting. At this time, Toshi left Japan for China and Korea, where he would remain for the duration of the war. He stuck to patriotic themes to remain in business, and after the end of World War II, as Japan struggled to recover from wartime economic depression, he earned his living creating traditional Japanese woodcut landscapes...

France circa 1820 Portrait of a gentleman Black chalk and pastel on paper 12 x 10 cm In its original mount, modern oak frame : 25 x 22.5 cm

David Burliuk (Ukrainian, 1882-1967) Three figure on the beach (Hamptons, Long Island New York) Conte crayon drawing on paper. Hand signed lower left. Unframed Provenance: Bloomsbury Auctions David Davidovich Burliuk (Дави́д Дави́дович Бурлю́к; 1882-1967) was a Russian poet, artist and publicist of Ukrainian origin associated with the Futurist and Neo-Primitivist movements. Burliuk has been described as "the father of Russian Futurism." David Burliuk was born on 21 July 1882 in the village of Riabushky (near Lebedyn, Ukraine) in the Kharkov Governorate of the Russian Empire. Burliuk's family was artistically inclined; two of his brothers were talented artists as well, Nikolai and Volodimir Burliuk. The Burliuk family partly descended from Ukrainian Cossacks on their father's side, who held premier positions in the Hetmanate. His mother, Ludmyla Mikhnevich, was of ethnic Belarusian descent. From 1898 to 1904, he studied at Kazan and Odesa art schools, as well as at the Royal Academy in Munich. His exuberant, extroverted character was recognized by Anton Azhbe, his professor at the Munich Academy, who called Burliuk a "wonderful wild steppe horse". During a time of significant industrialization and political change, movements such as the famed Der Blaue Reiter, a group Burliuk associated with in 1912, while he was in Munich, emphasized a shift away from the classical styles of the past, prioritizing the innovations of the future. In 1907, he made contact with the Russian art world; he met and befriended Mikhail Larionov, and they are both credited as being major forces in bringing together the contemporary art world. In 1908, an exhibition with the group Zveno ("The Link") in Kiev was organized by David Burliuk together with Wladimir Baranoff-Rossine, Alexander Bogomazov, his brother Volodymyr (Wladimir) Burliuk and Aleksandra Exter. The exhibition was a flop, especially because they were all unknown painters. The Burliuks and Larionov left for the aforementioned brothers' home in Chernianka, also known as Hylea; it was during this stay that their work became more Avant-Garde. That autumn, while visiting Ekster, they organized an exhibition which took place in the street; it was a success, and enough money was raised to go to Moscow. In 1909, Burliuk painted a portrait of his future wife, Marussia, on a background of flowers and rocks...

graphite, conte crayon and charcoal on Arches paper 30 x 19.5 inches unframed Signed 'Beard 1999' lower left corner Atelier stamp in lower right corner Unique figurative life study drawing of a seated male nude in graphite and conte crayon on Arches paper in a style that is at once traditional yet contemporary. Strong facial features and upper body muscles are evidence of the artist's excellent drafting skills. The handsome nude...

This layered paper and drawing collage titled "House Studies Series V" is an original artwork by Seth Clark made of paper, charcoal, pastel, graphite, and acrylic on wood. Through a ...

Icilio Federico Joni. Italian ( b.1866 - d.1946 ). Painted Gesso, Gilt & Wood Tavolette Book Cover Binding In The Sienese Biccherna Aesthetic. Book Cover size 11 inches x 8.1 inches ( 28cm x 20.5cm ). Frame size 16 inches x 13 inches ( 40.5cm x 33cm ). Available for sale; this painted gesso and gilt “tavolette” wooden book cover in the Biccherna aesthetic is by Icilio Federico Joni. The book cover is mounted and supplied in a contemporary black Tulip Wood frame (which is shown in these photographs) which is glazed with non-reflective Tru Vue UltraVue® UV70 glass. The wooden book cover is curved and float mounted giving a wonderful 3D depth to its presentation. The gesso and painted surfaces have benefitted from professional restoration which was performed on our instruction, supervision and approval. This antique book cover is in very good condition, commensurate with its age. The frame presentation is new and in excellent condition. Combined, it wants for nothing and is supplied ready to hang and display. The story of these panels and of their artist is fascinating, and begins in 13th century Siena: The Biccherna was the person who held the position of Magistrate of Chancellery of Finance from the 13th to the 14th century for the republic and the city of Siena, in the Tuscany region of Italy. The records of that office were very important because Siena was one of the earliest and most significant banking centres in Italy, and indeed in Europe. It became the fashion to keep banking and taxation records of the region in large books with painted leather covers. These were originally made from wood and leather. In the competition to make these ever more prestigious the bindings and panels on the front and rear of the books were painted by the major artists of the day, such as Giovanni di Paolo. Many of these mainly secular covers are displayed in the Archives of the State of Siena located in the Palazzo Piccolmini. The Gothic Revival of the 19th century occurred partly as a reaction against the progress of industrialisation in Europe generally. It was however greatly affected by the unification of Italy in the second half of the 19th century. This led to the closure and downsizing of many religious institutions, which resulted in the dispersal of thousands of works of art dating from the Middle Ages and early Renaissance. Many aristocratic and bourgeois families struggled to pay debts or simply to make ends meet and so they sold off their private collections and family heirlooms. There was then an influx of goods into the antiques market which provided a great deal of work for Italy’s restorers and craftsmen, since many of these pieces were in need of cleaning, repair and, in keeping with the interventionist tastes of the times, radical restoration, before they could be sold on, often to foreign buyers. These early Italian works became so fashionable that demand soon outstripped supply. This in turn gave rise to a new type of artist-craftsman capable of turning out from scratch increasingly convincing reproductions, imitations and out-and-out fakes. Siena naturally became the epicentre of this thriving cottage industry because of the extraordinary continuity there in traditional craft skills. This technical expertise had been handed down from generation to generation, and it was perhaps inevitable that a number of artists with real talent, the flair of commerce and a genuine love and understanding of antique Sienese art should adapt their skills to these new market conditions. Among these artists were Igino Gottardi, Alceo Dossena, Fulvio Corsini, Umberto Giunti...

Large late 20th Century shell encrusted grotto wall mirror in the style of Anthony Redmile of London. A magnificent and exuberant mirror created from sea ...

Werner Drewes Untitled Mid Century Modern Abstract Woodcut, 1974 Woodcut fold-out card on Rives BFK paper with deckled edges 9 1/5 × 6 1/4 inches Unframed Rarely seen, this twice sig...

An exquisitely rendered drawing of a dancer in a moment of pause. What I like best about this drawing is its lack of the usual glamour associated with pictures of ballet dancers. To ...

Classic imagery by one of New Orleans' most famous artists, who was a huge influence on Robert Mapplethorpe and others. Just Google "George Dureau" to find a wealth of information ab...