Art by Medium: Chalk

Jules Cheret (1836-1932) A couple, 1909 signed and dated in the lower right Charcoal and heightenings of white chalk 23 x 23 cm Framed under glass : 33.8 x 33.8 cm This work is hi...

"I make quiet paintings in a noisy world. My work is an intimate meditation on humble objects and the detritus of studio life. I aim to promote a reengagement with the mundane while ...

"I make quiet paintings in a noisy world. My work is an intimate meditation on humble objects and the detritus of studio life. I aim to promote a reengagement with the mundane while ...

Dallas artist David A. Dreyer’s eighth solo exhibition at Valley House Gallery was presented early in 2021, accompanied by an exhibition catalogue. His recent paintings are inspired ...

Untitled (Two Standing Nudes) 2021 Signed and dated, recto Charcoal with red and white conté crayon on Rives BFK paper 30 x 20.5 inches (76.2 x 52.1 cm) $1,600 This work is offe...

"Seated Nude with 'X'" is a conté crayon drawing on paper by the American artist Sandra Sweeney (1947 - 2017). The figure study captures an intimate and candid moment: In the image, ...

Louis Braquet is a top-selling artist in New Orleans, and as his paintings sell out quickly at the Royal Street gallery that represents him we are thrilled to have been chosen to sho...

"The Artists Wife" Realistic Nude Woman in Conté on Paper by Garth Benton Detailed nude drawing by Paul "Garth" Garfield Benton (American, 1940-2012). Po...

Preparatory drawing/study made in pencil and white chalk on paper by French artist Théodore Chassériau in the early 1850s. The drawing in question, depicting a male nude, is a prepa...

We would like to thank Juliette Parmentier-Courreau of the Custodia Foundation for her welcome and support during the consultation of Glomy’s Journal des Ouvrages. This spectacularly large "feuille de desseins ajustés" commissioned by François Boucher from Jean-Baptiste Glomy is emblematic of the painter's art and mastery of rocaille. It is also fully representative of the taste of this period in the field of decorative arts. The largest of these three drawings, placed at the bottom of the composition, is particularly interesting: dating from around 1756, it constitutes a modello (apparently unpublished) for the frontispiece of the "Catalogue des tableaux de Monsieur de Julienne"), preserved in the Morgan Library in New York. 1. François Boucher, the master of French rocaille The extraordinary career of Francois Boucher was unmatched by his contemporaries in versatility, consistency and output. For many, particularly the writers and collectors who led the revival of interest in the French rococo during the last century, his sensuous beauties and plump cupids represent the French eighteenth century at its most typical. His facility with the brush, even when betraying the occasional superficiality of his art, enabled him to master every aspect of painting – history and mythology, portraiture, landscape, ordinary life and, as part of larger compositions, even still life. He had been trained as an engraver, and the skills of a draftsman, which he imbued in the studio of Jean-Francois Cars (1661 – 1738), stood him in good stead throughout his career; his delightful drawings are one of the most sought-after aspects of his oeuvre. As a student of Francois Lemoyne (1688 - 1737), he mastered the art of composition. The four years he spent in Italy, from 1727-1731, educated him in the works of the masters, classics and history, that his modest upbringing had denied him. On his return to Paris in 1734, he gained full membership of the Royal Academy of Painting and Sculpture with his splendid Rinaldo and Armida (Paris, Musée du Louvre). Although, throughout his career, he occasionally painted subjects taken from the Bible, and would always have considered himself first as a history painter, his own repertoire of heroines, seductresses, flirtatious peasant girls and erotic beauties was better suited to a lighter, more decorative subject matter. His mastery of technique and composition enabled him to move from large scale tapestry...

Paul Ehrenberg (1876–1949) Sleeping Boy, 1895 Red chalk on paper sheet 38 × 52 cm (14.96 × 20.47 inches) framed 61 × 74 cm (24.02 × 29.13 inches) signed and dated twice Essay: Thi...

Artist : Kory Twaddle Title : California Monoprint Materials : Tempera on paper Date : 2008 Dimensions : 36 x 24 x .1 in. Kory Twaddle is a Kansas City based artist and Research A...

Figurative, still life chalk drawing of black high heels on vintage collaged music sheets. Artwork measures 29 x 33 inches 30 x 37 inches framed, deckle edge paper is floated in natural wood moulding with glass. This modern, graphic chalk drawing on collaged vintage music sheets...

Untitled 2019 Signed and dated Double-sided drawing in charcoal with red and white conté crayon on Rives BFK paper 30.25 x 20.5 inches $1,600 This work is offered by CLAMP in Ne...

We would like to thank Carolina Trupiano Kowalczyk for suggesting this attribution to Karel du Jardin after direct examination of the artwork. Her study of the drawing (in Italian), ...

Edmund D. Kinzinger was the Chairman of the Art Department at Baylor University from 1935 to 1950. Previously, Kinzinger was the Director of the Hans Hofmann School of Fine Arts in Munich. Kinzinger left Germany in 1933 because he did not agree with the Nazi government. Kinzinger’s early work in Germany was influenced by Theosophy: a philosophy based on mystical insight into the nature of God. This guided Kinzinger’s art away from representation and towards abstraction. Later, Kinzinger assimilated German Expressionism, French Cubism, and Italian Futurism with his own continuing sense of the mystery of life. While his work incorporated the formal qualities of cubism, there was always a mystical moodiness just below the surface. "From EDK: The Early Years 1913-1935" by Philip Van Keuren...

This is a drawing by James Childs offered by CLAMP in New York City. 2004 Signed and titled, recto Graphite and Conté crayon on paper 12 x 8.25 inches

Very interesting portrait of a woman done in the style of Matisse. I believe most of it was done by chalk and just the red earrings are oil paint. Image itself measures 10 1/2 inches...

Landscape Abstract Painting - "Landscape interwoven with blue and green" In this unique painting "Landscape Green Blue Woven" by the artist Skadi Engeln, a semi-abstract landscape i...

Framed Dimensions: 20.25h x 16.25w inches Hiroshi Hayakawa was born and raised in Japan. He earned a BA in French Literature from Keio University in ...

Due to the current situation related to the Novel Coronavirus pandemic, our gallery will donate 10% of our commission from this sale to the Kansas City Artists Coalition, which has been supporting local Kansas City Artists for the past 40 years. The Kansas City Artists Coalition (KCAC), is a non-profit, artist-centered, artist-run alternative space, supporting artists at every level in their career through exhibitions, continuing education and artist studios. Artist: Joseph Broghammer Title: “The Hungry Dancer” Materials : Chalk pastel and pencil on Arches Paper Date : 2017 Dimensions : 19 x 22 in. Omaha based artist Joseph Broghammer is as much of a storyteller as he is an artist. His one-of-a-kind pastel drawings in “Animals” are chronicles of his life. The creatures Broghammer creates are vehicles to uncover the varying characteristics of the artist’s personal identity. Hence, Broghammer’s “Animals” translates as a flowing stream of consciousness. The different birds and livestock staring back at the viewer are ornamented with iconographic symbols – small surprises along the way. These trinkets are keys to understanding the stories Broghammer is sharing. Broghammer began mastering his “dry painting” technique during his B.F.A. in Visual Art at the University of South Dakota. He graduated in 1986 and a year later went on to study his M.F.A. at the University of Wisconsin. In 2009, he studied at Creative Capital in Omaha, Nebraska. As storytellers often do, Broghammer later went on to become an educator himself, teaching at WhyArts? and becoming an Artist Assistant at Vera Mercer...

Jean-Robert ANGO (Active 1759 – 1773) Man on Horseback Abducting a Woman Red chalk and white chalk 26.1 x 25.9 cm Provenance Libert-Castor sale, November 19, 1993 (lot no. 23, ill...

And what are you to look for? Not random swipes, as if cleaning one’s brush on the verso. Nor the whisps of cigarette smoke wafting upward from below. No. Do look again for an exquis...

Davis Kemp Early 20th century Red Chalk drawing of Art Deco nude women with Bob hair style. Very well drawn nude study of two women from 1928 in t...

This is a drawing of a naked man sitting by Mark Beard. This work is offered by CLAMP in New York City.

DENYS CALVAERT (Antwerp c. 1540 – 1619 Bologna), ATTRIBUTED TO Screaming Face Red chalk on paper 17.5 x 14.5 cm After 1608 Unsigned Provenance: Unidentified collection (Lugt L.2339...

Original conte crayon drawing of a sitting female nude on tinted archival paper by the American artist, Renate Duncan. Signed lower left. Circa 1980. Condition is excellent. The art...

KK Kozik is an artist living and working in Sharon, CT and Brooklyn, NY. Her paintings have ben exhibited widely in the United States and abroad and have been reviewed in publicat...

Reclining Female Nude Charcoal and colored chalks with white highlights on tan laid paper, c. 1948 Signed and monogrammed by the artist lower right (see photo) A masterpiece dr...

This captivating Victorian sanguine chalk portrait drawing of a young girl is by Pre-Raphaelite British artist Edward Robert Hughes. Signed and dated 1896, Hughes depicts in great detail her sweet young face and beautiful dress which appears to almost glow with light. A full length portrait and a really lovely drawing epitomising childhood innocence. The portrait depicts Elaine Blunt and has an inscription from Edward Hughes verso. Signed and dated lower right. Provenance. Colchester estate. Sotheby Lot 283 29th June 1976 Chapman Bros Condition. Sanguine chalk on paper, 28 inches by 20 inches unframed and in good condition. Housed in a glazed oak frame, 37 inches by 29 inches framed and in good condition. Edward Robert Hughes - Not to be confused with Edward Hughes (1832 - 1908), who specialised in portrait painting. Edward Robert Hughes RWS (1851 – 1914) was an English painter who worked prominently in watercolours, but also produced a number of significant oil paintings. He was influenced by his uncle and eminent artist, Arthur Hughes who was associated with the Pre-Raphaelite Brotherhood, and worked closely with one of the Brotherhood's founders, William Holman Hunt. Having settled on his career choice, Edward Robert Hughes attended Heatherley's in London to prepare himself for the chance of auditioning for the Royal Academy School. Hughes became a student at the Royal Academy School in 1868. While Pre-Raphaelitism played an influential part in shaping Hughes work, Aestheticism is also seen in his paintings. E.R. Hughes is widely known for his works Midsummer Eve and Night With Her Train of Stars yet he built a career as a portrait painter to the upper classes. In addition to being an accomplished artist himself, E.R. Hughes was also a studio assistant to the elder artist and Pre-Raphaelite Brotherhood founding member William Holman Hunt when Hunt suffered from glaucoma. Two of the paintings that Hughes worked on with Hunt were The Light of the World, which is displayed in St Paul's Cathedral, and The Lady of Shalott, which is exhibited at the Wadsworth Atheneum. On his own he experimented with ambitious techniques and was a perfectionist; he did numerous studies for many of his paintings, some of which turned out to be good enough for exhibition. Hughes held several important offices within the artistic community over his lifetime such as becoming a member of the Art Workers Guild in 1888, and was on their committee from 1895 to 1897. He was elected to Associate Membership of The Royal Water Colour Society (ARWS) on 18 February 1891, and he chose as his diploma work for election to full membership a mystical piece (Oh, What's That in the Hollow?) inspired by a verse by Christina Rossetti entitled Amor Mundi. His painting A Witch was given by the Royal Watercolour Society to King Edward VII and Queen Alexandra to mark the coronation in 1902. In later years Hughes served as the Vice-President of the RWS before leaving in 1903. Throughout his career, E.R. Hughes exhibited his works in several galleries around London: Dudley Gallery, Grosvenor Gallery, New Gallery, The Royal Academy, and toward the end of his career he exhibited with The Royal Society of Painters in Water Colours (RWS). His works can be seen in public collections including Cartwright Hall, Bradford, Cambridge & County Folk Museum, Maidstone Museum & Art Gallery, Bruce Castle...

Italian School, 17th century Study for the Vision of Saint Anthony Red chalk on paper 247 x 185 mm Unsigned Provenance Private collection, Paris Collection of Count Alessandro Mag...

A pair of original red conte crayon drawings in their original frames featuring two young women in period clothing.

Vintage watercolor portrait of a seated female figure with red robe in front of a plant by Doris Ann Warner (American, 1925-2010). Signed "Warner" in the lower left corner. Presented...

This drawing by Mark Beard is already framed, price includes framing. Untitled (Nude Man with Raised Leg) 1990 Signed and dated, l.l. Charcoal with red and white conté crayon on R...

VERY IMPORTANT DRAWING BY JACQUES DUMONT called « LE ROMAIN" (Paris 1701-1781) Preparations for the fireworks display held in Piazza Navona in Rome on November 30, 1729, for the bi...

Matthew Cook Vanitas III (Study) Charcoal & Chalk on Paper 10h x 8w in 25.40h x 20.32w cm FRAMED DIMENSIONS 16h x 14w x 1d in 40.64h x 35.56w x 2.54d cm MLC014 Bio: Matthew Cook ...

France 18th Century, Pastorale (Arcadian Landscape) Black chalk and heightenings of white gouache on blue-grey paper 19 x 31 cm Framed : 34.5 x 46.5 cm The atmosphere and the subje...

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...

This is a drawing by James Childs (1945-2020) offered by CLAMP in New York City. Nick Xylouris 2004 Signed and titled, recto Graphite and Conté crayon on paper 12 x 8.25 inches

Image dimensions: 22.3 x 31.4 cm. Ship and Arcade is a charcoal and chalk drawing on brown paper, realized by Augustus Koopman in the late 19th Century. The artwork represents a ...

French School, early 19th century Battle Scene between Greeks and Ottomans, circa 1820–1830 Pencil and brown wash on paper, 30 × 46 cm Unsigned Provenance: Former collection of P...

A rare and captivating original portrait drawing by Mariette Lydis, executed during her important 1936 journey to America. This work showcases Lydis’s mastery of line, colour, and p...

Christopher Ganz Apollo and Daphne From Bernini Sculpture, Galleria Borghese, Rome, 2014 Colored pens & chalk 11h x 7.50w in 27.94h x 19.05w cm Frame: 16.25h x 14.25w in CG0004 -ARTIST STATEMENT- I depict my person in multiplicity with different selves representing dramatis personae. My likeness is both implicit and symbolic in the portrayal of my narrative; the drama involved in creating art and the artist’s role in society. I use realism to invite the viewer into mysterious inner worlds that are layered reflections of the outer. Dehumanizing environments are imbued with art historical references as a critique of power structures. The artist is an Everyman who is at odds with society and his self. Visually my work is a celebration of society’s dark undercurrents and its overlooked absurdities. I use charcoal and printmaking media as their tenebrous values add a fitting metaphor. The nuances of light and shadow seduce viewers into a world their better judgment would have them avoid. This provokes a sense of disquietude that causes viewers to assess our world through the austerity of a colorless, yet not humorless, light. -BIO- Christopher Ganz grew up in Northeast Ohio and from early on had a fertile imagination and an interest in art. Christopher's artistic education truly began at the University of Missouri, where his love of the human form led to many figure drawing classes and his exposure to the wonders of printmaking. Christopher's then went onto graduate school at Indiana University and a summer abroad program in Italy was a dream realized. Christopher then grasped charcoal with a renewed vigor and large, sfumato-laden drawings ensued. Christopher's artistic influences are many; from a seminal exposure to Dore's engravings of the Divine Comedy, to Rembrandt, Caravaggio, Goya, and up to Lucian Freud, Mark Tansey, and Michael Mazur. Christopher is now an associate professor of printmaking and drawing at Indiana-Purdue University Fort Wayne. Christopher drawings are represented by Ann Nathan Gallery in Chicago, and he shows his prints across the nation. -CV- EDUCATION MFA 2001 Printmaking Indiana University-Bloomington BFA 1995 Drawing and Printmaking University of Missouri-Columbia TEACHING/PROFESSIONAL EXPERIENCE 2002-13 Associate Professor, Printmaking and Drawing Indiana University–Purdue University Fort Wayne (IPFW), Fort Wayne, IN 2002 Adjunct Professor: Lithography (instructor of record) Indiana University-Bloomington 1998-00 Associate Instructor: Beginning Drawing (instructor of record) Indiana University-Bloomington 1998 Artist’s Assistant, Assisted Distinguished Professor Emeritus Rudy Pozzatti in the production of an intaglio edition, Bloomington, IN SOLO OR SMALL GROUP EXHIBITIONS 2013 Multiplicities: Drawings and Prints by Christopher Ganz, Franklin College, Franklin, IN Feb. 5 – Feb. 21 2012 Dramatis Personae: Drawings and Prints by Christopher Ganz, University of South Carolina-Columbia, Jan 16. – Feb. 16, 2012 2011 Christopher Ganz; Prints and Drawing Hendrix College, Hendrix, Arkansas, March 5 - 18 2009 Fall Season Exhibition, six drawings displayed Ann Nathan Gallery, Chicago. Oct 16 – Nov. 24 South Bend Museum of Art Biennial 25 - regional juried exhibition for artists in all media, six large drawings displayed; 14 artists selected from over 200 submissions; May 30-Aug. 23 Juror: William Lieberman, Director of Zolla/Lieberman Gallery, Chicago 2007 Christopher Ganz: Drawings, The Carnegie Visual and Performing Arts Center Covington, KY, March 9 - April 6 Alter Egos: Drawings and Prints by Christopher Ganz Trisolini Gallery, Ohio University, Athens, OH, Jan. 9 - Feb.17 2005 The Two-Way Mirror: Self - Portraits by Christopher Ganz Fort Wayne Museum of Art, Fort Wayne, IN, Aug.20 - Oct. 23 2004 Works on Paper: Christopher Ganz and Paul Schumann Robert E. Wilson Gallery, Huntington College, Huntington, IN, Sept. 2 - 25 2002 Images by Christopher Ganz - Visual Arts Gallery Indiana University-Purdue University Fort Wayne, Fort Wayne, IN, Sept. 3 – Oct. 11 2001 M.F.A. Thesis Exhibition - School of Fine Arts Gallery Indiana University, Bloomington, IN, March 27 - April 7 SELECTED ADJUDICATED OR INVITATIONAL GROUP EXHIBITIONS 2012 International Expositions of Sculpture Objects and Functional Art (SOFA) Chicago, Drawing, “The Initiation” on display in Ann Nathan Gallery space, Nov. 2-4 Reverse Watching, Invitational Print Portfolio Monoprint, “The Mind’s Eye" displayed at Mid America Print Council’s National Conference, Southeast Missouri State, Cape Girardeau, MO, Nov. 1 – 3 Contemporary American Realism: Fort Wayne Museum of Art 2012 National Biennial, Fort Wayne, IN, Aug.11-Oct. 28 32nd Annual National Print Exhibition at Artlink - National Juried Exhibition Artlink Gallery, Fort Wayne, IN, April 13 – May 23 Juror: Ladislav Hanka, internationally exhibiting printmaker International Expositions of Sculpture Objects and Functional Art (SOFA) New York, Park Avenue Armory, Drawing, “The Enigma” on display in Ann Nathan Gallery space, April 20-23 Spring Group Show, drawings, “Checking Out” and “The Enigma” displayed, April – May 2 Ann Nathan Gallery, Chicago 2011 Prints U.S.A. 2011 – National Juried Exhibition Springfield Art Museum, Missouri, Nov. 18 – Jan. 8 Juror: Elizabeth Wyckoff, Curator of Prints, Drawings & Photographs, St. Louis Art Museum International expositions of Sculpture Objects and Functional Art (SOFA) New York, Park Avenue Armory, Drawing, Checking Out on display in Ann Nathan Gallery space, April 14-17 2010 Contemporary American Realism: Fort Wayne Museum of Art 2010 National Biennial, Fort Wayne, IN, Sept. 3 – Nov. 7; two pieces accepted Cultural Baggage, Invitational Print Portfolio Intaglio print, Super-Heroes go to Hell, after Dore’ displayed at Mid America Print Council’s National Conference, University of Minnesota Minneapolis, MN, Chicago, Oct. 13-16 Art Chicago: International Fair of Contemporary and Modern Art Drawing, The Cyclops on display in Ann Nathan Gallery space, April 29 - May 2 30th Annual National Print Exhibition at Artlink - National Juried Exhibition Artlink Gallery, Fort Wayne, IN, April 16 – May 26 Juror: Claudia Berlinski, Senior Lecturer of Printmaking at Akron University, Akron, OH 2009 Are you looking at me? Invitational Print Portfolio Color lithograph, Open and Shut, displayed at IMPACT 6: International Print Conference Centre for Fine Print Research, University of the West of England, Bristol, Sept. 16 – 19 Art Chicago: International Fair of Contemporary and Modern Art Drawing, Self-Checkout on display in Ann Nathan Gallery space, May 1 – 4 Identification Please, Invitational Print Portfolio Intaglio print, Good Cop/Bad Cop displayed at Southern Graphics Council National Conference, Columbia College, Chicago, March 25 – 29 Boston Printmakers 2009 North American Print Biennial – National juried printmaking exhibition Juror: Rebecca Waddell, Curator of Prints at the New York Public Library Boston University’s 808 Gallery, Boston, MA, Feb. 15 – March 30 22nd Parkside National Small Print Exhibition - National Juried Exhibition University of Wisconsin-Parkside, Kenosha, WI, Jan.18 - Feb. 19 Juror: Professor of printmaking at the University of Wisconsin - Parkside Portraits and Beyond, Ann Nathan Galley, Chicago, IL, Jan. 9 - Feb 19 2008 Contemporary American Realism: Fort Wayne Museum of Art 2008 National Biennial, Fort Wayne, IN, Sept13 – Nov. 2; two pieces accepted 28th Annual National Print Exhibition at Artlink - National Juried Exhibition 2008 Artlink Gallery, Fort Wayne, IN, April 11 – May 21 Juror: Mark Pascale, Printmaking Faculty, School of the Art Institute of Chicago and Curator of Prints and Drawing, Art Institute of Chicago “No Danger” - Invitational Portfolio Folded paper airplane lithograph, “The Dream of Flight” displayed at Richmond International Airport as part of the Southern Graphics Council National Conference Virginia Commonwealth University, Richmond, VA, March 26 – April 26 21st Parkside National Small Print Exhibition - National Juried Exhibition University of Wisconsin-Parkside, Kenosha, WI, Jan.20 - Feb. 21 Juror: Karla Hackenmiller, Printmaking Chair and Associate Professor, School of Fine Arts, Ohio University 2007 Singularities – Invitational group exhibit Joan Resnikoff Gallery, Roxbury Community College, Boston, MA Nov. 2 – Dec. 17 Hong Kong Graphics Art Festival 2007: Crossing Boundaries - Invitational international printmaking exchange exhibition School of Design Gallery, Hong Kong Polytechnic University, Kowloon, Hong Kong, China, Nov. 1 – Nov. 16 27th Annual National Print Exhibition at Artlink - National Juried Exhibition Artlink Gallery, Fort Wayne, IN, May 26 - July 5; two pieces accepted Award Selector: Brett Colley, Assistant Professor of Art and Design, Grand Valley State University Boston Printmakers 2007 North American Print Biennial – National juried printmaking exhibition Boston University’s 808 Gallery, Boston, MA, Feb. 18 - April 1 Juror: Judith B. Hecker, Assistant Curator, Department of Prints and Illustrated Books, The Museum of Modern Art, New York 2006 The Printed Image: The First Biennial Midwestern Graphics Juried Exhibition National Juried Printmaking Exhibition Alice C. Sabatini Gallery, Topeka & Shawnee County Public Library, Topeka, KS Aug. 11 - Sept 15 Juror: Karen Kunc, Professor of Printmaking/Book Arts, University of Nebraska- Lincoln 2006 National Contemporary American Realism: Fort Wayne Museum of Art's 2006 Biennial, Fort Wayne, IN, June 10 - Aug. 20; two pieces accepted 26th Annual National Print Exhibition at Artlink - National Juried Exhibition Artlink Gallery, Fort Wayne, IN, May 26 - July 5; two pieces accepted Award Selector: Carolyn Autry, artist and Associate Professor of Art and Art History at the University of Toledo 19th University of Dallas Print Invitational - Traveling national invitational exhibition Haggerty Gallery, University of Dallas, Irving TX, Jan. 28 – March 6 three pieces accepted Texas A&M University – Corpus Christi, TX, Feb. 1 – March 9, 2007 Juror: Juergen Strunck, Professor of Art, University of Dallas A Mammalian Future? - Invitational Portfolio Intaglio print Jonas Ark displayed at Southern Graphics Council National Conference University of Wisconsin-Madison, University of Wisconsin-Madison, April 5 – 9 Paper in Particular - National Juried works on paper exhibition Larson Gallery, Columbia College, Columbia, MO, Feb. 5 - March 5; two pieces accepted. Juror: David Morrison, Professor of Printmaking, Herron School of Art and Design, Indianapolis, IN 19th Parkside National SmallPrint Exhibition - National Juried Exhibition University of Wisconsin-Parkside, Kenosha, WI, Jan.15 - Feb. 16 Juror: Rudy Pozzatti, Professor Emeritus, Indiana University - Bloomington 2005 18th Parkside National Small Print Exhibition - National Juried Exhibition University of Wisconsin-Parkside, Kenosha, WI, Jan.14 - Feb. 22 Juror: Karen Kunc, Professor of Printmaking/Book Arts, University of Nebraska-Lincoln 2004 Exchange! A Survey of International and National Exchange Print Portfolios Visual and Performing Arts Center, Main Gallery, Purdue University, Feb. 1 - 15 Juror: Kathryn Reeves, P rofessor of Art, Purdue University 2003 23rd Annual National Print Exhibition at Artlink - National Juried Exhibition Artlink Gallery, Fort Wayne, IN, May 16 - July 2, 2003 Border to Border – National Juried Drawing Exhibition Trahern Gallery, Austin Peay State University, Clarksville, TN, March 3 - 30 Juror: Jim Cantrell, independent studio artist, Bardstown, KY On/Of Paper – National Juried Exhibition Clyde Snook Gallery, Adams State College, Alamosa, CO, March 3 - April 11 Juror: Dale Leys, Professor of Drawing, Murray State University, Murray, KY Emerging Artists 2003 – National Juried Exhibition Limner Gallery, New York, NY, Feb.12 – March 1 Jurors: Tim Slowinski...

Late Mid Century French pastel drawing on paper of a farmer harvesting wheat by Jean Arène. Signed and dated bottom right, in modern black metal frame with black card mount. A charm...

The Figure is a drawing in chalk on brown paper realized by an Anonymous artist in the 1950s. Good conditions.

Reclining Female Nude Charcoal and colored chalks with white highlights on tan laid paper, c. 1948 Signed and monogrammed by the artist lower right (see photo) A masterpiece dr...

A bit of a mystery scholarly sanguine drawing. Very well executed portrait of a Lady dated either 1904, 1907, or 1909 in Venice. It is signed but I cannot make it out. The paper meas...

Jan Goeree (Middelburg 1670 – Amsterdam 1731) Interior of the Nieuwe Kerk, Amsterdam (c. 1724) Red chalk for the architecture, pen and black ink, grey wash on paper Composition reversed in preparation for engraving 25 × 17.5 cm Watermark: Hunting horn, Churchill 318 (dated 1724) Unsigned Provenance Private collection, France Context & Attribution Trained in the studio of Gérard de Lairesse, Jan Goeree was among the finest Dutch engravers of the early eighteenth century, celebrated for his architectural views of Amsterdam. This drawing is a preparatory study for an engraving of the same subject now preserved in a major public collection. The final print—slightly larger—closely follows the reversed composition of this sheet. Subject In the center of the Gothic nave, five bearers carry a catafalque toward a freshly dug grave—a tribute to the naval heroes often buried in the Nieuwe Kerk. This funerary motif, familiar from Dutch painting (e.g. Emanuel de Witte, 1657), evokes the vanitas theme and the transience of earthly life. Technical Analysis Goeree’s use of red chalk for the architecture and ink for the figures reveals his working method: the chalk lines could be used to produce a counterproof restoring the correct orientation of the architecture, while the inked figures remained adjustable before the design was transferred to the copper plate. Place within the Oeuvre Drawings of church...

Karl Johan Holter (Norway, 1870–1960) Young Man with Beret, 1896 chalk and white heightening on paper, paper mounted on board approx. 58 × 39 cm (unframed) / 22.8 × 15.4 in signed ...

'Abstract in Orchid and Jade' by Kevin Keaney. San Francisco Art Institute, Large Bay Area Oil ---- Signed verso, 'Kevin Keaney' (American, born 1962) and painted circa 1995. This S...

Octave Denis Victor Guillonnet (1872 - 1967) A young woman seated signed lower leftt Charcoal, red and white chalks on thin paper transfered on cardboard 49 x 39 cm Framed : 55.5 x ...

Attributed to Jacob JORDAENS (Antwerp 1593–1678) Study of Feet and a Figure Sketch Red and black chalk on laid paper 25.9 × 18.4 cm (10¼ × 7¼ in.) Unsigned Minor losses, folds, an...

Painter Crouching on a Chair Conté crayon on paper 15 x 10 inches (38.1 x 25.4 cm) This work is offered by ClampArt in New York City.

Domenick Capobianco (American, b. 1928), Double-Sided Chalkboard with Mixed Media Drawings, unsigned, in wood frame. 13.5" H x 13.5" W x 0.5" D. Provenance: From the Collection of th...

Hermann Prell (1854 Leipzig - 1922 Dresden-Loschwitz). Half-length portrait of a Pharisee, 1885. Sketch for the right-hand figure in the painting Judas Iscariot, 1886. Pencil drawing heightened with opaque white and black chalk on beige-grey wove paper (papier vélin), 34 x 27.8 cm (visible size), 52 x 45 cm (mount), signed, dated and inscribed "H. PRELL 1885 zu 'Judas'". Minor browning, collection stamp on the reverse. - In the shadow of betrayal - About the artwork This painting is the sketch for the head of the Pharisee offering the coins to Judas in one of Herrmann Prell's major works, the painting Betrayal of Judas, completed in 1886. The painting belongs to the Staatliche Kunstsammlungen Dresden and is illustrated in Adolf Rosenberg: Prell, Bielefeld and Leipzig 1901, p. 21 (Fig. 19). It is especially highlighted in Thieme-Becker (vol. 27, p. 376). Hermann Prell, Betrayal of Judas, 1886 The monumental head, which fills the picture and is distinguished by its ornamented robe, is almost a lost profile, which in the executed painting is justified by the Pharisee's turning towards Judas. Despite the fact that the sitter withdraws from the viewer by turning away, it was necessary to artistically elaborate the motivation for the purchase of one of Christ's disciples, which is why the drawing focuses on the expression of the face, while the 'accessories' are treated in a more summary manner. In characterising the face, Hermann Prell performs a balancing act: since the Pharisee, despite his destructive actions, is an actor in the history of salvation, the head must show a dignity appropriate to the event, but at the same time the physiognomy must also bear witness to the scheming attitude that led to the betrayal. To solve this dilemma, Prell draws on the traditional depictions of the heads of the apostles, shading the face to indicate the obdurate darkness of the spirit and moving the base of the nose slightly upwards while the mouth falls away, thus giving a physiognomic expression to the motivation of the action. The fatal drama of the betrayal is expressed in the monumentalisation of the head and in the thunderous white highlights that contrast with the darkness of the chalk. As a study, considered by the artist to be a work in itself, this drawing reveals the pictorial problems and brainstorming of monumental painting. About the artist In 1872 Prell, who was one of the most important exponents of monumental painting of his time, began studying painting with Theodor Grosse at the Dresden Academy of Art and continued with Carl Gussow at the Berlin Academy in 1876. Hans von Marées taught him in Rome in 1878. More influential on his work, however, were Arnold Böcklin and Max Klinger, with whom Prell had been friends since his student days and with whom he worked together on several occasions. Prell's first major work, which established his reputation as a monumental painter, were the frescoes in the banqueting hall of the Architektenhaus in Berlin in 1881/82, commissioned by the state and depicting the different periods of architecture. Prell then went to Italy for two years to study fresco painting. Other major commissions followed. These included monumental frescoes in the town halls of Worms (1884), Hildesheim (1882-92), Gdansk (1895) and Dresden, the staircase of the Silesian Museum of Fine Arts in Breslau (1893/94), the throne room of the German Embassy in Rome (1896-99) and the staircase of the Albertinum in Dresden (1900-1904). From 1886 Prell taught at the academy of arts in Berlin and in 1892 he was appointed professor at the academy of arts in Dresden. His students included Osmar Schindler and Hans Unger...

Pencil, coloured pencil and chalk on paper, titled (lower left), signed (lower right), 31cm x 46cm, (51cm x 68cm framed). John Koch was an American painter and teacher, and an impo...

Chalk and charcoal drawing, depicting old world progrom, "Plunder at the Jewish Ghetto, Jews of Frankfurt are attacked in the 16th century."

PORTRAIT of a young woman, 1967 Giuseppe Cavaliere (b.1932) Conte crayon on paper, sheet measuring 11 x 14 inches. Signed and dated lower left. Unframed.

Juliette Lemontey (b. 1975, Metz, France) is a French artist based in Arles. Her work is an intimate exploration of the human presence, capturing both the weight and fragility of the...

A sanguine conte study of a head. Presented in a wash line mount and a distressed gilt-effect wooden frame. Signed and dated to the lower-left edge. Pastel Society exhibition label o...