Charcoal Paintings

Harrison Gilman's large original artworks begin with a layer of fast-paced gestural abstraction followed by organic shapes and geometric structures. Some of his paintings remain in t...

This stunning X-large hand drawn with original charcoal line drawing and hand painted with original oil and gesso paint; it is the No 1 of the only 10 Limited Editions; The colours...

Mid Century French Portrait Signed by Josine Vignon (French 1922-2022) Medium: Pencil/ charcoal/ink on artists paper, double sided Size: 9 (height) x 6.75 (width) Stamped Verso Con...

Mid Century French Portrait Josine Vignon (French 1922-2022) Medium: Pencil/ charcoal /watercolour on artists paper, double sided Size: 9.5 height) x 6.25 (width) Stamped Verso Con...

Mid Century French Portrait Josine Vignon (French 1922-2022) Medium: Pencil/ charcoal on artists paper, double sided Size: 13 (height) x 10 (width) Stamped Verso Condition: Good Pr...

Study of the Male Back French School, early/ mid 19th century charcoal on artist paper stuck on board, glass covering framed framed: 13 x 9 inches board : 12 x 8 inches Provenance: p...

Richard Mann (1940-1990). Duino Elegies, 1981. Mixed media on rag paper, consisting of 10 sheets, corresponding to the 10 elegies, each measuring 14.5 x 23 inches. Please request additional images depicting alternate formats or videos. Biography: Playwright, poet and visual artist, Rev. Richard Mann was born and educated in Melbourne Australia. At the height of America's counter-cultural revolution, Mann moved to New York City where he lived and worked in Harlem. He was influenced by surrealism, abstract expressionism, and calligraphy at the time of his arrival. Beginning in the mid-1970's, the extreme living conditions of Harlem and demands of his religious calling provided subject matter for his painting. Urban decay and ubiquitous public graffiti provide inspiration for compositions that include highly stylized writing. By the late 1970's many works incorporate writing exclusively, with areas of layered, obscured and illegible words, very much like repeatedly tagged walls. Education: Studied painting with Maurice Cantlon, Melbourne, Australia 1961-62. Liberal Arts Studies, Christ the King...

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...

Mid Century French Portrait Josine Vignon (French 1922-2022) Medium: Pencil/ charcoal on artists paper, double sided Size: 8 (height) x 7 (width) Stamped Verso Condition: Good Prov...

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. About Artist Top...

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. About Artist Top...

Constructive figurative oil painting on canvas in mixed technique with blue and violet tones. It is part of a series where I explore the relationships between animals and humans. It ...

Nude Male Study French, circa 1800 Neo-Classical School, circle of Jacques Louis David (French 1748-1825) Pencil drawing on paper, unframed drawing: 14 x 8 inches double sided with ...

Mid Century French Portrait Josine Vignon (French 1922-2022) Medium: Pencil/ charcoal on artists paper, double sided Size: 13 (height) x 10 (width) Stamped Verso Condition: Good Pr...

Harrison Gilman's large original artworks begin with a layer of fast-paced gestural abstraction followed by organic shapes and geometric structures. Some of his paintings remain in t...

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...

Robert Lebsack creates artworks using mixed media with ink, acrylic, and charcoal on archival copies of newspapers, textbooks, and sheet music. As a visionary artist, Lebsack weaves ...

Danny Avidan’s paintings explore the tension between form and formlessness, using it as a way to reflect on the body and the creative process. His expressive gestures continuously at...

Solace portrays a woman enveloped in a serene embrace, symbolizing the quiet strength found in moments of solitude. Her posture and expression convey a sense of inner peace, offering...

Life study drawing original atelier drawing by the French artist, Jeanne Nachat (1898-1984) Nachat attended the prestigious Académie des Beaux-Arts in Pa...

Shipping Procedure FREE Shipping Worldwide 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 Authent...

Swedish artist Jonas Fisch’s imagery is vibrantly buzzing with colorful commentary on society - past and present - morphed into figures, words, and shapes. His heavily layered canvas...

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. About Artist Top...

"Be-Flowered" is deeply rooted in the African cultural heritage of a female child. In African culture, it is revered that a young woman should maintain her sexual purity until marriage, which brings immense joy and honor to her family when her husband finds her a virgin on their wedding night. The title "Be-Flowered" is derived from the concept of "Deflower," which signifies taking away a lady's innocence or dispossessing her of her virginity. However, in this painting series, my premise is centered on empowering women and celebrating their pride and inherent power. The first two pieces of the series feature ladies adorned in traditional South African bids worn during the Virgin festival. The gentle pink clouds symbolize feminine power and poise, evoking the strength and grace embodied by women. A community that empowers women tends to uphold higher moral standards than one that does not. My perspective veers away from the idea of gender equality, recognizing its limitations, and instead, I believe in gender equity, providing each gender with the opportunities they need to fulfill their potential. This series aims to leave my audience with a profound appreciation for empowerment and a celebration of cultural heritage. I hope viewers will reflect on the significance of embracing one's roots while acknowledging the strength and beauty that women contribute to society. 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. About Artist Paul Ayihawu...

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. About Artist Olu...

Shadow of Light - Nude Figurative Study with a Bottle of California Wine Abstract expressionist watercolor and charcoal painting depicting a nude woman lounging by acclaimed bluegra...

Sometimes just a colour will inspire a painting and the colour mocha did just that with this one. Its a warm muted brown with undertones of chocolate, soft pinks and creamy orange - ...

Los Angeles artist Harrison Gilman graduated from NYU’s Tisch School of the Arts. In 2018 his artworks were exhibited at the We Rise Art Fair in Los Angeles alongside Shepard Fairey ...

Robert Lebsack creates artworks using mixed media with ink, acrylic, and charcoal on archival copies of newspapers, textbooks, and sheet music. As a visionary artist, Lebsack weaves ...

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...

This exceptional artwork is currently on display and available for sale at Signet Contemporary Art Gallery and online. In "The Flowers Whispered" by Annie King, the artist invites v...

Title: Mid Century French Male Study Artist: Josine Vignon (French 1922-2022) Medium: Pencil/ charcoal on artists paper Size: 25 (height) x 19 (width) Stamped: Verso Condition: ...

Patrick Terenchin (b.1970). Paul, 2024 Gesso and charcola on paper, 16 x 20 inches. Measuring 17 x 21 inches in black frame behind glass. Signed and dated lower left.

Black heritage portrays the rich cultural, historical, and social contributions of Black individuals and communities throughout history. It encompasses the traditions, values, and ac...

Robert Lebsack creates artworks using mixed media with ink, acrylic, and charcoal on archival copies of newspapers, textbooks, and sheet music. As a visionary artist, Lebsack weaves ...

(NOTE: if you enter "Gridish" into the 1stDibs search field you will see others in this series come up) (Comes framed in a maple high-profile "floater" frame.) Artist’s Statement: ...

The body of a slim young man. 1970s. Marco Silombria signed. Marco Silombria, Italian advertising graphic designer, artist and ceramist. charcoal and wax on paper. Signed bottom righ...

Sam Maitin (1928-2004). Seated Figure, ca. 1970. Charcoal, gouache and decorative paper collage. Measuring 15.5 x 20.5 inches; 22.75 x 27.75 inches framed. Signed lower left. Excellent condition. Period frame original to the piece in mahogany with natural wood grain on sides and 22k gold leaf gilt face. After graduating from Simon Gratz High School, Maitin won a scholarship to the Pennsylvania Museum School of Industrial Art (now the University of the Arts). A painter, printmaker, sculptor, muralist, graphic designer, political activist, and beloved teacher, Maitin headed the Visual Graphics Communication Laboratory at the University of Pennsylvania’s Annenberg School for Communication from 1965–1972 and served on the board of Woodmere Art Museum from 1995–2004. He received a number of awards, including a 1968 Guggenheim Foundation Fellowship. He created murals and other public art for the Children’s Hospital of Philadelphia, the University of Pennsylvania, Temple University’s Kornberg School of Dentistry, the Please Touch Museum, and Hahnemann University Hospital, among others. Maitin's work is museum collections in the United States and Europe, including (but not limited to): Philadelphia Museum of Art Library of Congress, Washington, D.C. National Gallery of Art, Washington, D.C. Museum of Modern Art, New York Tate Gallery, London Bauersche Geisserie, Germany Oakland Museum, California Pennsylvania Academy of the Fine Arts The Currier Gallery of Art...

An artwork inspired by a love of dance and nature. The beautiful ballet dancer is in a dream of nature with her wings hinted in the shadow of her dance below. The butterflies both gu...

Title: Seated Male Nude in a Meditative Pose Artist: Josine Vignon (French 1922-2022) Medium: signed black pen/charcoal on artists paper stuck on board, glass covered Size: 9.5 (h...

Artist's Statement: "Part a new series of paintings I have been working on that I am really excited about. I am incorporating a lot of media I have been exploring over the years -- ...

The artwork is unframed and will be shipped rolled in a tube Krzysztof Gliszczyński is Professor for painting on Academy of fine arts Gdansk. Krzysztof Gliszczyński born in Miastko in 1962. Graduated from the Gdańsk Academy of Fine Arts in 1987 in the studio of Prof. Kazimierz Ostrowski. Between 1995 and 2002 founder and co-manager of Koło Gallery in Gdańsk. lnitiator of the Kazimierz Ostrowski Award, con-ferred by the Union of Polish Artists and Designers (ZPAP), Gdańsk Chapter. Dean of the Painting Faculty of the Gdańsk Academy of Fine Arts in the years 2008-2012. Vice Rector for Development and Cooperation of the Gdańsk Academy of Fine Arts in the years 2012-2016. Obtained a professorship in 2011. Currently head of the Third Painting Studio of the Painting Faculty of the Gdańsk Academy of Fine Arts. He has taken part in a few dozen exhibitions in Poland and abroad. He has received countless prizes and awards for his artistic work. He is active in the field of painting, drawing, objects, and video. Artist Statement In the 1990s I started collecting flakes of paint – leftovers from my work. I would put fresh ones in wooden formworks, dried ones in glass containers. They constituted layers of investigations into the field of painting, enclosed in dated and numbered cuboids measuring 47 × 10.5 × 10.5 cm. I called those objects Urns. In 2016, I displayed them at an exhibition, moulding a single object out of all the Urns. The Urns inspired me to redefine the status of my work as a painter. In order to do it, I performed a daunting task of placing the layers of paint not in an urn, but on a canvas, pressing each fresh bit of paint with my thumb. In the cycle of paintings Autoportret a’retour, the matter was transferred from painting to painting, expanding the area of each consecutive one. Together, the bits, the residua of paint, kept alive the memory of the previous works. It was a stage of the atomization of the painting matter and its alienation from the traditional concepts and aesthetic relations. Thus, the cycle of synergic paintings was created, as I called them, guided by the feeling evoked in me by the mutually intensifying flakes of paint. The final aesthetic result of the refining of the digested matter was a consequence of the automatism of the process of layering, thumb-pressing, and scraping off again. Just like in an archaeological excavation, attempts are made to unite and retrieve that which has been lost. This avant-garde concept consists in transferring into the area of painting of matter, virtually degraded and not belonging to the realm of art. And yet the matter re-enters it, acquiring a new meaning. The matter I created, building up like lava, became my new technique. I called it perpetuum pictura – self-perpetuated painting. Alchemical concepts allowed me to identify the process inherent in the emerging matter, to give it direction and meaning. In a way, I created matter which was introducing me into the pre-symbolic world – a world before form, unnamed. From this painterly magma, ideas sprung up, old theories of colour and the convoluted problem of squaring the circle manifested themselves again. Just like Harriot’s crystal refracted light in 1605, I tried to break up colour in the painting Iosis. Paintings were becoming symptoms, like in the work Pulp fiction, which at that time was a gesture of total fragmentation of matter and of transcending its boundaries, my dialogue with the works of Jackson Pollock and the freedom brought by his art. The painting Geometrica de physiologiam pictura contains a diagram in which I enter four colours that constitute an introduction to protopsychology, alchemical transmutation, and the ancient theory of colour. It this work I managed to present the identification of the essence of human physiology with art. But the essential aspect of my considerations in my most recent paintings is the analysis of abstraction, the study of its significance for the contemporary language of art and the search for the possibilities of creating a new message. For me, abstraction is not an end in itself, catering to the largely predicable expectations of the viewers. To study the boundary between visibility and invisibility, like in the work Unsichtbar, is to ask about the status of the possibilities of the language of abstraction. The moment of fluidity which I am able to attain results from the matter – matter...

Joseph Piccillo’s meticulous charcoal and graphite drawings and paintings reveal an exquisite draftsmanship tempered by emotional sensitivity. Piccillo presents an action-based assem...

Title: Mid Century French Male Bust Artist: Josine Vignon (French 1922-2022) Medium: Pencil/ charcoal on artists paper Size: 19 (height) x 12.5 (width) Stamped: Verso Condition:...

Selvas Negras n°2 is a unique pencil and charcoal on canvas painting by contemporary artist Calo Carratalá, dimensions are 200 cm × 300 cm (78.7 × 118.1 in). The artwork is signed, ...

"The Portrait" by Geneviève Zondervan (French 1922-2013) pencil/ charcoal on thick paper, unframed paper size: 25 x 19 inches Beautifully decorative, mid 20th century French origin...

"The Portrait" by Geneviève Zondervan (French 1922-2013) pencil/ charcoal on thick paper, unframed paper size: 25 x 19.5 inches Beautifully decorative, mid 20th century French orig...

Shuvaprasanna Bhattacharya - Wings 2021 - 60 x 30 inches (unframed size) Acrylic and Charcoal on Canvas , 2021 One of the most popular series of the Master Artist, The Golden Flute is the artists more romantic renedition of Art. The iconic figures of Krishna, Radha, and Ganesha that found lyrical expression in the Icons series are modern representations and sophisticated idealizations of the same images in the popular media. Krishna is a cosmic musician, and the tune he creates by playing his transcendental flute is embodied with cosmic energy. When Krishna is depicted as being between the age of 5 and 8, it is always with his flute. Therefore, during this period, he is aptly called Murlidhara (murali means “flute,” and dhara means “hold”), signifying the one who holds the flute. He is never without it, whether he is with his mother, on the grazing grounds with his herd of cows, among his cowherd companions or roaming around on the Jamuna banks. Gopis lose their selves in this tune. For them, music becomes the voice of love, which is too passionate and secretive. Style : The city of Kolkata has always figured prominently in his work. His themes come from his personal interactions with its urban milieu - its sickness and sordidness, its violence and vulnerability and all that compounds its existential agony. Shuvaprasanna has depicted varying moods of the city and its people, its places, and all its facets that make the city distinctive. He doesn't merely portray reality as 'matter of fact' and his presentation of reality often has dream-like elements in it. In terms of technique, Shuvaprasanna boasts a precise, finely executed style that yields an unmistakable visual intensity. He works comfortably in an assortment of media, including oil on canvas, charcoal, and mixed media. About the Artist and his work : Born : In Calcutta, 1947. Education : Graduated from Indian College of Art (R.B. University, Calcutta) in 1969. Exhibitions : Shuvaprasanna has had several gallery and museum exhibitions, including at the Tao Art Gallery and at the Chawla Art Gallery, Square One Mall. Several works by the artist have been sold at auction, including 'ABODE' sold at Waddington's 'Fine Prints & Photography Auction' in 2014. There have been many articles about Shuvaprasanna, including 'An exclusive edifice' written by Kunal Ray for The Hindu in 2014. Selected Solo Exhibitions : 2011 - Shuvaprasanna: Recent Works, CIMA, Centre of International Modern Art, India, Kolkata 2010 - Summer Show 2010, CIMA, Centre of International Modern Art, India, Kolkata 2007 - ‘Madhura: The Golden Flute’, organized by Indian Contemporary at Visual Arts Centre, Hong Kong 2006 - ‘The Divine Flute’, Aicon Gallery, USA 2002 - ‘Icons and Illusions’, Gallery ArtsIndia, New York 1998 - ‘An Appreciation of Ted Hughes’, Exhibition of Crow Paintings...

Mid Century French Portrait Josine Vignon (French 1922-2022) Medium: Pencil/ charcoal on artists paper, double sided Size: 9 (height) x 6 (width) Stamped Verso Condition: Good Prov...

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...

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...

Nigel Hall Untitled Acrylic and Charcoal Painting on Canvas, 1997 Acrylic and charcoal painting on canvas Signed and titled by the artist on the front. Dated on the back. 36 × 30 inc...

Shipping Procedure FREE Shipping Worldwide Ships in a well-protected tube from Nigeria This work is unique, not a print or other type of copy. Signed on the front side and accompanie...

"Walpi #4" is an original semi-abstract Southwestern landscape by renowned 20th-century artist Bert Van Bork (1928-2014). This captivating watercolor and mixed media painting portrays the dramatic beauty of a Native American Pueblo village nestled on the mesa of First Mesa, Arizona. Van Bork skillfully uses vibrant hues of deep blue, yellow, orange, and pink to convey the cultural richness and natural splendor of the Hopi people. The piece features adobe structures set against the expansive desert sky, merging the artist’s unique style with his deep reverence for Native American heritage. Presented in a custom white frame with archival materials and UV-protectant glass, the framed artwork measures 8 ½ x 10 ½ x ½ inches, with the image size being 4 ¾ x 7 inches. Provenance: Estate of Bert Van Bork, Evanston, Illinois About the Artist: Bert Van Bork (1928-2014) was a German-born artist, filmmaker, photographer, and writer. Trained under Karl Schmidt-Rottluff in Berlin, he played a significant role in the post-war German art scene before immigrating to the U.S. in 1954. Known for his work as a printmaker and photographer, Van Bork's powerful documentary films earned global recognition, including an Academy Award nomination for EYEWITNESS, the Legacy of Death Camp Art...

Mid Century French Portrait Josine Vignon (French 1922-2022) Medium: Pencil/ charcoal on artists paper, double sided Size: 10 (height) x 6.5 (width) Stamped Verso Condition: Good P...

Highly regarded for his luminous, ethereal landscapes reminiscent of the work of John Constable, Peter Hoffer has created a series of tree ‘portraits.’ Here a single chestnut tree in...

Rabbi in the synagogue at prayer wearing tallit and tefillin. Hugó Scheiber (born 29 September 1873 in Budapest – died there 7 March 1950) was a Hungarian modernist painter. Hugo Scheiber was brought from Budapest to Vienna at the age of eight where his father worked as a sign painter for the Prater Theater. At fifteen, he returned with his family to Budapest and began working during the day to help support them and attending painting classes at the School of Design in the evening, where Henrik Papp was one of his teachers. He completed his studies in 1900. His work was at first in a post-Impressionistic style but from 1910 onward showed his increasing interest in German Expressionism and Futurism. This made it of little interest to the conservative Hungarian art establishment. However, in 1915 he met the great Italian avant-gardist Filippo Tommaso Marinetti and the two painters became close friends. Marinetti invited him to join the Futurist Movement. The uniquely modernist style that he developed was, however, closer to German Expressionism than to Futurism and eventually drifted toward an international art deco manner similar to Erté's. In 1919, he and his friend Béla Kádar held an exhibition at the Hevesy Salon in Vienna. It was a great success and at last caused the Budapest Art Museum to acquire some of Scheiber's drawings. Encouraged, Scheiber came back to live in Vienna in 1920. A turning point in Scheiber's career came a year later, when Herwarth Walden, founder of Germany's leading avant-garde periodical, Der Sturm, and of the Sturm Gallery in Berlin, became interested in Scheiber's work. Scheiber moved to Berlin in 1922, and his paintings soon appeared regularly in Walden's magazine and elsewhere. Exhibitions of his work followed in London, Rome, La Paz, and New York. Scheiber's move to Germany coincided with a significant exodus of Hungarian artists to Berlin, including Laszlo Moholy-Nagy and Sandor Bortnyik. There had been a major split in ideology among the Hungarian avant-garde. The Constructivist and leader of the Hungarian avantgarde, Lajos Kassák (painted by Hugó Scheiber in 1930) believed that art should relate to all the needs of contemporary humankind. Thus he refused to compromise the purity of his style to reflect the demands of either the ruling class or socialists and communists. The other camp believed that an artist should be a figurehead for social and political change. The fall out and factions that resulted from this politicisation resulted in most of the Hungarian avant gardists leaving Vienna for Berlin. Hungarian émigrés made up one of the largest minority groups in the German capital and the influx of their painters had a significant effect on Hungarian and international art. Another turning point of Scheiber's career came in 1926, with the New York exhibition of the Société Anonyme, organized by Katherine Dreier. Scheiber and other important avant garde artists from more than twenty-three countries were represented. In 1933, Scheiber was invited by Marinetti to participate in the great meeting of the Futurists held in Rome in late April 1933, Mostra Nazionale d’Arte Futurista where he was received with great enthusiasm. Gradually, the Hungarian artists began to return home, particularly with the rise of Nazism in Germany. Kádar went back from Berlin in about 1932 and Scheiber followed in 1934. He was then at the peak of his powers and had a special flair in depicting café and cabaret life in vivid colors, sturdily abstracted forms and spontaneous brush strokes. Scheiber depicted cosmopolitan modern life using stylized shapes and expressive colors. His preferred subjects were cabaret and street scenes, jazz musicians, flappers, and a series of self-portraits (usually with a cigar). his principal media being gouache and oil. He was a member of the prestigious New Society of Artists (KUT—Képzőművészek Új Társasága)and seems to have weathered Hungary's post–World War II transition to state-communism without difficulty. He continued to be well regarded, eventually even receiving the posthumous honor of having one of his images used for a Russian Soviet postage stamp (see image above). Hugó Scheiber died in Budapest in 1950. Paintings by Hugó Scheiber form part of permanent museum collections in Budapest (Hungarian National Museum), Pecs (Jannus Pannonius Museum), Vienna, New York, Bern and elsewhere. His work has also been shown in many important exhibitions, including: "The Nell Walden Collection," Kunsthaus Zürich (1945) "Collection of the Société Anonyme," Yale University Art Gallery, New Haven, Connecticut (1950) "Hugó Scheiber: A Commemorative Exhibition," Hungarian National Museum, Budapest (1964) "Ungarische Avantgarde," Galleria del Levante, Munich (1971) "Paris-Berlin 1900-1930," Centre Georges Pompidou, Paris (1978) "L’Art en Hongrie, 1905-1920," Musée d’Art et l’Industrie, Saint-Etienne (1980) "Ungarische Avantgarde in der Weimarer Republik," Marburg (1986) "Modernizmus," Eresz & Maklary Gallery, Budapest (2006) "Hugó Scheiber & Béla Kádár," Galerie le Minotaure, Paris and Tel Aviv (2007) Hugó Scheiber's paintings continue to be regularly sold at Sotheby's, Christie's, Gillen's Arts (London), Papillon Gallery (Los Angeles) and other auction houses. He was included in the exhibition The Art Of Modern Hungary 1931 and other exhibitions along with Vilmos Novak Aba, Count Julius Batthyany, Pal Bor, Bela Buky, Denes Csanky, Istvan Csok, Bela Czobel, Peter Di Gabor, Bela Ivanyi Grunwald, Baron Ferenc Hatvany, Lipot Herman, Odon Marffy, C. Pal Molnar...

Charcoal drawings add warmth to an artwork and this is a nice one by Terry Futvoye. It has a few minor imperfections but still looks nice in the frame. Reframing is an option if t...