Art by Medium: Charcoal

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

Nude with Headdress and Drape Charcoal and colored pencil on paper, c. 1940 Signed by the artist in pencil lower left (see photo) Painter, lithographer and woodblock printer, born at...

Female Illustrator of the Golden Age Alice Barber Stephens renders in an academic style and women sitting in a chair and responding to something outside of the frame. Signed lower left. Most likely done for a major newsstand magazine like Harper's, Century or Scribner's Monthly. Work is framed under glass in a simple black wood frame. Perhaps period. Matt is new. Frame size: 20.5 x 14.5 From: Wikipedia Alice Barber Stephens (July 1, 1858 – July 13, 1932) was an American painter and engraver, best remembered for her illustrations. Her work regularly appeared in magazines such as Scribner's Monthly, Harper's Weekly, and The Ladies Home Journal. Early life and education Alice Barber was born near Salem, New Jersey. She was the eighth of nine children born to Samuel Clayton Barber and Mary Owen, who were Quakers. She attended local schools until she and her family moved to Philadelphia, Pennsylvania. At age 15 she became a student at the Philadelphia School of Design for Women (now Moore College of Art & Design), where she studied wood engraving. The Women's Life Class (1879), Pennsylvania Academy of the Fine Arts, Philadelphia, Pennsylvania. She was admitted to the Pennsylvania Academy of the Fine Arts in 1876 (the first year women were admitted), studying under Thomas Eakins. Among her fellow students at the Academy were Susan MacDowell, Frank Stephens, David Wilson Jordan, Lavinia Ebbinghausen, Thomas Anshutz, and Charles H. Stephens (whom she would marry). During this time, at the academy, she began to work with a variety of media, including black-and-white oils, ink washes, charcoal, full-color oils, and watercolors. In 1879, Eakins chose Stephens to illustrate an Academy classroom scene for Scribner's Monthly. The resulting work, Women's Life Class, was Stephens' first illustration credit. New Woman As educational opportunities were made more available in the nineteenth century, women artists became part of professional enterprises, including founding their own art associations. Artwork made by women was considered to be inferior by the art world, and to help overcome that stereotype women became "increasingly vocal and confident" in promoting women's work, and thus became part of the emerging image of the educated, modern and freer "New Woman". Artists then, "played crucial roles in representing the New Woman, both by drawing images of the icon and exemplifying this emerging type through their own lives." Alice Barber Stephens, The Women Business, oil, 1897, Brandywine River Museum, Chadds Ford, Pennsylvania One example of overcoming women stereotypes was Stephens' Woman in Business from 1897, which showed how women could focus not only in the home, but also in the economic world.[8] As women began to work, their career choices broadened and illustration became a commendable occupation. People's ideas about education and art started to merge, and the outcome of a certain sensitivity to the arts began to be seen as uplifting and educational. By using illustration as a means to further their practices, women were able to fit the traditional gender role while still being active in their pursuits for the "New Woman". According to Rena Robey of Art Times, "The early feminists began to leave the home to participate in clubs as moral and cultural guardians, focused on cleaning up cities and helping African Americans, impoverished women, working children, immigrants, and other previously ignored groups." Stephens took advantage of the explosion of illustration opportunities, including the opportunity to work from home. Women's education Edwin Forrest House, formerly the home of the Philadelphia School of Design for Women. Throughout the period before the civil war, textile and other decorative work became acceptable occupations for those who aspired to be in the middle class. The Philadelphia School of Design for Women, founded in 1848 by Sarah Worthington Peter was first among a group of women's design schools established in the 1850s and 1860s; others appeared in Boston, New York, Pittsburgh, and Cincinnati. It began as a charitable effort to train needy and deserving young women in textile and wallpaper design, wood engraving, and other salable artistic skills, providing a means for training women who needed wage work. The Pennsylvania Academy of the Fine Arts (PAFA) was established in 1805 by painter and scientist Charles Willson Peale, sculptor William Rush...

A charcoal and white chalk portrait of Sir Henry Roddam Calder, 5th Baronet of Muirtown (1790-1868). There are some touches of blue chalk to the subject's eyes. Presented glazed in a...

Lisa Fellerson’s paintings provoke an interplay and tension between line, shape, and color. With no preconceived idea in mind, she begins by dripping, scrapping, and gouging acrylic ...

Anything You Lose Comes Round in a Different Form (Abstract painting) Collage, Encaustic, Charcoal and Ink on panel - Unframed. Adams works on panel and paper, using a mixture of p...

(Comes framed and ready to hang in a high-profile maple frame.) Artist’s Statement: “I have been working on more formal and restrained paintings lately, and decided to loosen up by ...

Manes has had an extensive career since studying at the Graduate School of Fine Arts, Hunter College (New York) in 1983. Domestically he has shown cross-country, in museums and galle...

Original artwork description: This is the very enemy that made me afraid to go out into the yard. Everyone who grew up in the countryside knows the fear that fills a child's heart wh...

Suhas Roy - Untitled Charcoal on Paper, 10 x 13 inches, 2007 Suhas Roy 's mystic woman which he calls 'Radha', either Oil on canvas or soft colored pastel on Paper or board are a se...

Original abstract Acrylic Painting on Canvas, affixed to Windsor Newton paper. The moods and whims of nature influence the work of Sarah Van Beckum. D...

Signature: Unsigned

Gina Parr Focality Original Contemporary Painting Oil, Acrylic, and Charcoal on Canvas Canvas Size: H 100 cm x W 100cm x D 4cm Sold Unframed Please note that in situ images are purel...

"The Portrait" by Geneviève Zondervan (French 1922-2013) pencil/ charcoal on thick paper, unframed paper size: 25 x 18.75 inches Beautifully decorative, mid 20th century French ori...

Artist’s Statement: “I have been an abstract painter for over 30 years, and I can't exactly say what caused me to one night go to the studio and paint flowers, of all things. But of ...

A fine early 19th century charcoal drawing with graphite by W. Johnston. The scene depicts three figures in conversation under a tree, with a resting dog. ...

ANNE-VALÉRIE DUPOND (b. 1976, France) Anne-Valérie Dupond, born in 1976, studied at Marc Bloch University in Strasbourg, and obtained her Master’s degree in Fine Arts in 2000. Sinc...

This unique perspective cityscape piece titled, "Manhattan" is a 46x46" mixed media painting on canvas by artist Abraham Pinto. Featuring a bird's eye view of the New York City, Pint...

Rue Bootay, a New York-born artist now rooted in the vibrant artistic landscape of Los Angeles, navigates the avant-garde realm of nonrepresentational surrealism with a style uniquel...

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

'Ava (1940s Art Deco Fashion Rendition)' is an original drawing by the American artist Jorge Ruiz-Martinez. The artist works in an art deco style, imagining graceful figures in histo...

(Comes professionally framed in a solid maple floater frame, ready to hang) Artist's Statement "This series of intensely colorful paintings was begun a couple of years back in reaction to the gray oppressive weight that had descended like a pall on the American scene. I wanted to make paintings about nothing but pure delight, in honor of the fact that beneath the fog of germs and political antagonism, we still eat, laugh, love and if we're wise, acknowledge how spectacularly fortunate we are -- at least for now, in this time and place, despite the problems. For me, the colors, forms and brushstrokes here feel exuberant without suggesting an unnerving chaos. I have purposely used unlikely color combinations that despite their dissonance seem to work together. I don't feel this is a time to be making brooding works that reflect the problems we are working our way through; we all know about this. On the contrary, I think it's a time for art...

Charcoal on paper Signed by RA visitor Edwin Long and dated (lower right) 76cm × 57cm (88cm × 64cm framed) Olivier studied at the Royal Academy Schools from 1881. He exhibited exten...

Georges Antoine Rochegrosse (1859-1938) A man sitted, Study for the decoration of the Salle des fêtes (Ballroom) of the Exposition Internationale, Paris 1900 Pencil and charcoal on thin yellow paper 29.5 x 20 cm In acceptable condition : Tears and creases as visible on the photographs. In a modern frame : 46 x 36.5 cm Annotations on the back of the mount (now under the modern frame) that identifiy this drawing as a preparatory study for the decoration of the Salle des fêtes (Ballroom) of the 1900 Paris Exposition Internationale. It's also indicated that Henri Bataille...

Nothing short of amazing, this is an exceptional DRAWING by an artist that is appreciated for her skill and abilities and pictorial beauty. Her meticulous style of working with charcoal in this case and ink but often with pencil, has garnered her many collectors of her work. She often works in series and this is from 2014. It is under plexiStriking for anSarah Gillespie...

The artwork is framed and floated to the backboard. The dimensions of 44 x 50 cm are that of the artwork only, excluding the size of the frame.

Jean-Gabriel Domergue (1889–1962) was a renowned French painter and engraver, celebrated especially for his portraits of elegant women or, more precisely, a feminine figure in a styl...

French Romantic school, circa 1840 Portrait of a young man, charcoal on paper 22.5 x 17 cm In good condition, however, there is a restoration of the paper in the upper right-hand qu...

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...

Mary Borgman’s work captivates the viewer in several ways. First is their scale. They hang like medieval tapestries, with figures standing as tall as eight feet. There is also their texture – created by using charcoal on Mylar, and the results are richly gestural, with distinct charcoal strokes and eraser marks animating the figure and ground alike. With a flat surface, she creates volume and life. And perhaps the most powerful of all, the viewer is caught be the gazes of the models, who stare forcefully out of the picture. They seem to be examining us every bit as much as we are examining them. These larger-than-life portraits stem from chance encounters that grow into meaningful connections between the artist and her subject. Most are strangers that she approaches on the street. They capture her attention with expressive eyes that show experience and wisdom, distinctive shapes and a casual body language. “I try to honor the people I am drawing by centering them in the format and shooting from slightly below their eye level. I choose an expression that exudes intelligence, self-awareness and complexity. I try to convey their humanness. I want the viewer to feel this person might be someone interesting to know”, says Borgman of her subjects. The intensity with which she conveys the eyes may stem from her many years of communicating in sign language, which is based on sustained eye contact. Borgman loves the directness of drawing. It is immediate, there is no lag time. There is no time waiting for the paint to dry. She works solely in charcoal which she can manipulate to achieve varying degrees of darkness and opacity. It is messy and the artist loves that. Mary Borgman Portrait of Justin Shanitkvich, 2022 charcoal on mylar 53h x 40w in 134.62h x 101.60w cm MBG009 [This work is custom framed in shadow box style with non-reflective Tru-Vue Museum Glass] FRAMED DIMENSIONS 55.25h x 42.50w x 2.25d in 140.34h x 107.95w x 5.71d cm Mary Borgman b. October 4, 1959 St. Louis, MO SELECTED EXHIBITIONS 2017 Grand Opening: Coming Attractions, Gallery Victor Armendariz, Chicago, IL 2013 SOFA Chicago 2013, Ann Nathan Gallery, Navy Pier, Chicago, IL Portraiture Now: Drawing on the Edge, National Portrait Gallery, Arkansas Art Center, Little Rock, AR 2012 Portraiture Now: Drawing on the Edge, National Portrait Gallery, Washington D.C. SOFA Chicago 2012, Ann Nathan Gallery, Navy Pier, Chicago, IL SOFA NY, Ann Nathan Gallery, New York, NY 2011 Gallery Group Ann Nathan Gallery, Chicago, IL SOFA NY, Ann Nathan Gallery, New York, NY 2010 SOFA Chicago 2010: Special Installation at SOFA Café, Navy Pier, Chicago, IL What’s the Buzz on the Playground: Art of Today from St. Louis curated by Mary Sprague...

Jane Freilicher Untitled I, 1958-59 Signed lower right Charcoal on paper 11 1/2 x 8 3/4 inches Provenance: Tibor de Nagy Gallery, New York Private Collection, New York Jane Freilic...

Ulysse Butin Saint-Quentin (Aisne), 1838 – Paris, 1883 The Fisherman's Boy Charcoal 39 x 26 cm (54 x 39.5 cm with frame) Signed and dedicated lower right "Ulysse Butin / To my friend...

"Drawing Summer 2", by Hudson Valley artist, Jenny Nelson, in 2025 Charcoal on Strathmore paper 30 x 22 inches, 37.75 x 30 inches framed with 8 ply window mat and light gray stain w...

Albert Paul Guilmet (1879-1922) Portrait of a man, signed upper left charcoal on paper 26.5 x 33,8 cm Framed : 43.5 x 52 cm Little is known about Abert Paul Guilmet, apart from th...

Elsa, 1915 Charcoal on paper, 14 x 11 inches (35.6 x 27.9 cm) Signed and dated lower left: Daniel Garber / 1915 Provenance The artist; Estate of the artist, 1958; Tanis Garber Page,...

Sitting is a charcoal drawing realized by Mino Maccari  (1924-1989) in the Mid-20th Century. Hand-signed. Good conditions with slight foxing. Mino Maccari (Siena, 1924-Rome, June ...

"Study for Armadillo IV" (2024) by Lee Andre is a beautiful charcoal illustration of an armadillo. Born in Korea and adopted at age five by a family in Minnesota, Lee Andre's early ...

Jules Cheret (1836-1932) Two studies of a woman, 1921 charcoal on grey paper signed and dated 24 10 (19)21 on the bottom right 39.5 x 24 cm A varnish stain in the lower middle of t...

Original charcoal drawing on paper by James Shipton My works are heavily influenced by the art work of Degas and Gustav Klimt. My desire is to capture the human form, whilst port...

“Recomeço” (2024) is a charcoal and acrylic on canvas painting by Ritchelly Oliveira, measuring 190 x 150 cm (74.8 x 59 in). A poised, grayscale figure appears at the center with arm...

Study of Ruth, c. 1925 Charcoal and sepia ink on paper 22 1/4 x 27 3/4 inches (56.5 x 70.5 cm) Signed upper center: Lillian Westcott Hale Lilian Westcott Hale...

ORIGINAL MIXED MEDIA ON PAPER Unique piece Hand signed

"Drawing Summer 1", by Hudson Valley artist, Jenny Nelson, in 2025 Charcoal on Strathmore paper 30 x 22 inches, 37.75 x 30 inches framed with 8 ply window mat and light gray stain w...

Black and white abstract charcoal drawing by Houston artist Paul Forsythe. The work features a large, abstract, organic shape in the upper right corner of the composition. Currently ...

Manfred Schwartz (American, b. Poland, 1909-1970), Still Life of Seashells, Charcoal on Paper, with the artist's signature stamped lower right, unframed. 20" H x 25.75" W. Provenance...

Christian Eckart, an internationally acclaimed artist born in Calgary, Alberta in 1959, became an American citizen in 1995. After establishing his career in New York City between 198...

Shipping Procedure Ships in a well-protected tube. This work is unique, not a print or other type of copy. Accompanied by a Certificate of Authenticity. About Artist Sayeed Momoh is...

"The unusual shapes coming together in their raw simplistic form, how they interact with each other, the shapes creating their own language. I let them stand alone in their purest fo...

Nathan Brad Hall Haven charcoal on paper 18h x 24w 45.72h x 60.96w cm NBH004 Framing Options Available Nathan Brad Hall lives and works in Brooklyn...

Academic life drawing of male nude with charcoal and graphite by Mark Beard graphite, Conte crayon and charcoal on Arches paper 30 x 19.5 inches unframed Signed, lower left Strong f...

This is portrait of arguably one of the most feared boxers in the history of the sport. This piece will complement your sports collection room quite nicely and demonstrate your love...

Dovetail 1 (Abstract drawing) Charcoal on paper - Unframed. Neill creates works on canvas, linen and paper using a variety of mediums, including graphite, colored pencil, charcoal a...

Arindam Chatterjee - The Crazed Moon - 36 x 47.5 inches (unframed size) Oil, acrylic, charcoal and pastel on paper Inclusive of shipment in roll form. Arindam Chatterjee's brilliant...

Flying Alinga Double Jump, smoke on paper, framed on a contemporary box frame - all archival materials. Artwork size: 40x30 inches Frame size: 48x37x...

Buck Schiwetz (1898-1984) Houston Artist Image Size: 10 x 15.5 Framed Size: 16.5 x 22 Medium: Pencil/charcoal on Paper Unsigned from his estate "Dallas" Cityscape Buck Schiwetz (1898-1984) Dallas Skyline by E. M. “Buck” Schiwetz — 1961 by Paula Bosse This drawing reminds me of those wonderful telephone book covers (the ones with all the hidden jokes and intricate details) that I used to pore over as a child. (By the way, when clicked, this image is absolutely HUMONGOUS.) From the booklet Five Years Forward: The Dallas Public Library, 1955-1960 (more of which can be accessed here). Copyright © 2014 Paula Bosse. All Rights Reserved. Edward Muegge Schiwetz was a painter whose work recorded the state of Texas from the country to the city. In addition, Schiwetz was a magazine illustrator, graphic artist, writer, preservationist, and architect. Edward Schiwetz was born and raised in Cuero, Texas and learned to draw and paint under the instruction of his mother. He graduated from Cuero High School (1916) and received a baccalaureate in architecture from Texas A & M college, College Station...

Original charcoal drawing on paper by James Shipton My works are heavily influenced by the art work of Degas and Gustav Klimt. My desire is to capture the human form, whilst port...

The piece is signed by the artist on the reverse and includes a Certificate of Authenticity officially stamped by the gallery. We are committed to upholding the highest standards of...

Medium: Charcoal on Board Signature: Signed "W.B. King" Lower Right The Negotiation. Likely a story illustration for The Saturday Evening Post, circa 1915.

"I have been painting seriously for somewhere around 35 years, but have only ever sold regionally - most recently, through my gallery on Magazine Street in New Orleans. Through 1stDi...

Judith Williams’ Moonlit Musings evokes a dreamlike moment of introspection. This charcoal drawing features soft shadows and flowing lines that suggest movement, memory, and quiet th...