2010 August Signature Illustration Art Auction
| Sale Number: | 5054 |
| Location: | Heritage Auctions - Design District Showroom 1518 Slocum Street Dallas, TX 75207 |
| Auction Date: | August 17th at 11 AM CT |
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Session 1
Paintings
AMERICAN ARTIST (20th Century)
Catch the Brass Ring, paperback cover, 1954
Gouache on board
24 x 15 in.
Signed illegibly lower right
This illustration appeared on the cover of Stephen Marlowe's novel, Catch the Brass Ring, Ace Books #D-77, 1954.
"He was all set for a free ride -- in a hearse."
This image also appeared on the exceedingly rare and desirable British edition of Harlan Ellison's novel, Deadly Streets, Digit Books #230, 1958.
"Teenage wolf packs in the New York jungle."
From the Estate of Charles Martignette.
Catch the Brass Ring, paperback cover, 1954
Gouache on board
24 x 15 in.
Signed illegibly lower right
This illustration appeared on the cover of Stephen Marlowe's novel, Catch the Brass Ring, Ace Books #D-77, 1954.
"He was all set for a free ride -- in a hearse."
This image also appeared on the exceedingly rare and desirable British edition of Harlan Ellison's novel, Deadly Streets, Digit Books #230, 1958.
"Teenage wolf packs in the New York jungle."
From the Estate of Charles Martignette.
Robert Stanley (1918-1996)
I Cried in the Dark, paperback cover, 1958
Gouache on board
9.5 x 9.5 in.
Not signed
This illustration appeared on the cover of Ann Scott's book, I Cried in the Dark, Pyramid Books #G371, 1958.
"The deeply personal story of a woman who reconstructed her life through psychoanalysis and saved her marriage from the despair of frigidity."
From the Estate of Charles Martignette.
I Cried in the Dark, paperback cover, 1958
Gouache on board
9.5 x 9.5 in.
Not signed
This illustration appeared on the cover of Ann Scott's book, I Cried in the Dark, Pyramid Books #G371, 1958.
"The deeply personal story of a woman who reconstructed her life through psychoanalysis and saved her marriage from the despair of frigidity."
From the Estate of Charles Martignette.
AMERICAN ARTIST (20th Century)
"Yellow Peril" pulp cover, c. 1920s
Oil on canvas
27.5 x 23.5 in.
Not signed
This moody pulp cover from an unidentified title falls squarely within the tradition of Sax Rohmer's Dr. Fu Manchu character, and such infamous pulp titles as The Mysterious Wu Fang and Dr. Yen Sin. The back of this piece has the word "fooey" written on it.
"Yellow Peril" pulp cover, c. 1920s
Oil on canvas
27.5 x 23.5 in.
Not signed
This moody pulp cover from an unidentified title falls squarely within the tradition of Sax Rohmer's Dr. Fu Manchu character, and such infamous pulp titles as The Mysterious Wu Fang and Dr. Yen Sin. The back of this piece has the word "fooey" written on it.
AMERICAN ARTIST (20th Century)
Bed of Hate, paperback cover, 1955
Gouache on board
13 x 12 in.
Not signed
This illustration appeared on the cover of Si Podolin's novel, Bed of Hate, Pyramid Books #163, 1955.
"Behind the walls of a port of sin. The shocking story of an American Army deserter in Europe."
From the Estate of Charles Martignette.
Bed of Hate, paperback cover, 1955
Gouache on board
13 x 12 in.
Not signed
This illustration appeared on the cover of Si Podolin's novel, Bed of Hate, Pyramid Books #163, 1955.
"Behind the walls of a port of sin. The shocking story of an American Army deserter in Europe."
From the Estate of Charles Martignette.
AMERICAN ARTIST (20th Century)
Nurse and Doctor, paperback cover
Gouache on board
12.5 x 9.5 in.
Not signed
From the Estate of Charles Martignette.
Nurse and Doctor, paperback cover
Gouache on board
12.5 x 9.5 in.
Not signed
From the Estate of Charles Martignette.
AMERICAN ARTIST (20th Century)
Murders in the Zoo, movie poster art
Gouache on board
7 x 16 in.
Not signed
From the Estate of John McLaughlin.
Murders in the Zoo, movie poster art
Gouache on board
7 x 16 in.
Not signed
From the Estate of John McLaughlin.
AMERICAN ARTIST (20th Century)
New York Invites You, Pennsylvania Railroad poster illustration
Mixed media on board
40 x 25 in.
Not signed
From the Estate of Charles Martignette.
New York Invites You, Pennsylvania Railroad poster illustration
Mixed media on board
40 x 25 in.
Not signed
From the Estate of Charles Martignette.
AMERICAN ARTIST (20th Century)
Pin-Up in the Pond
Pastel on board
44.5 x 33.5 in.
Not signed
Pin-Up in the Pond
Pastel on board
44.5 x 33.5 in.
Not signed
AMERICAN ARTIST (20th Century)
True Crime cover illustration, 1932
Oil on board laid on foam core
12.5 x 10.75 in.
Not signed
True Crime cover illustration, 1932
Oil on board laid on foam core
12.5 x 10.75 in.
Not signed
AMERICAN ARTIST (20th Century)
Campus Call Girl, paperback cover
Gouache on board
14 x 10 in.
Not signed
This illustration appeared on the cover of Scott O'Neill's novel, Campus Call Girl, Gold Star Books, 1964.
"The shocking story of a coed who turned love into big business"
Included with this lot is a copy of the paperback novel.
Campus Call Girl, paperback cover
Gouache on board
14 x 10 in.
Not signed
This illustration appeared on the cover of Scott O'Neill's novel, Campus Call Girl, Gold Star Books, 1964.
"The shocking story of a coed who turned love into big business"
Included with this lot is a copy of the paperback novel.
ROD RUTH (American, 1912-1987)
Fantastic Adventures, pulp cover, February 1944
Oil on board
15.75 x 14.25 in.
Not signed
Rod Ruth was one of the Ziff-Davis stable of staff artists. There are notable differences between this original painting and the printed cover -- the science fiction elements have been added on the published version. Ziff-Davis often added such elements, changing one aspect or another of a painting in production in the printing stage, and most likely they added the wings to the horse, changed the hat to helmet with horns, etc., in the production stage.
From the Estate of John McLaughlin.
Fantastic Adventures, pulp cover, February 1944
Oil on board
15.75 x 14.25 in.
Not signed
Rod Ruth was one of the Ziff-Davis stable of staff artists. There are notable differences between this original painting and the printed cover -- the science fiction elements have been added on the published version. Ziff-Davis often added such elements, changing one aspect or another of a painting in production in the printing stage, and most likely they added the wings to the horse, changed the hat to helmet with horns, etc., in the production stage.
From the Estate of John McLaughlin.
HAROLD ANDERSON (American, 1894-1973)
Vigilant in the Storm
Oil on canvas
37 x 28 in.
Signed lower left
From the Estate of Charles Martignette.
Vigilant in the Storm
Oil on canvas
37 x 28 in.
Signed lower left
From the Estate of Charles Martignette.
Pulp, Pulp-like, Digests, and Paperback Art
HAROLD ANDERSON (American, 1894-1973)
Mother and Daughter
Oil on canvas
30 x 22 in.
Signed lower left
Mother and Daughter
Oil on canvas
30 x 22 in.
Signed lower left
Paintings
HAROLD ANDERSON (American, 1894-1973)
The Nurse's Escorts, full-color lithograph/calendar top illustration, c. 1943
Oil on canvas
44 x 33 in.
Signed lower left
The Nurse's Escorts, full-color lithograph/calendar top illustration, c. 1943
Oil on canvas
44 x 33 in.
Signed lower left
RONALD LEE ANDERSON (American, 1886-1926)
Christmas Surprise
Oil on board
21.5 x 17.5 in.
Signed lower left
Christmas Surprise
Oil on board
21.5 x 17.5 in.
Signed lower left
Mainstream Illustration
VICTOR COLEMAN ANDERSON (American, 1882-1937)
The Round-Up
Mixed media on paper
9 x 7 in.
Signed lower left
The finished piece is matted alongside two preliminary sketches.
The Round-Up
Mixed media on paper
9 x 7 in.
Signed lower left
The finished piece is matted alongside two preliminary sketches.
Paintings
ROLF ARMSTRONG (American, 1889-1960)
Pin-Up in Pink
Pastel on board
27.5 x 36.5 in.
Not signed
Pin-Up in Pink
Pastel on board
27.5 x 36.5 in.
Not signed
ROLF ARMSTRONG (American, 1889-1960)
American Sunday cover illustration, November 17, 1912
Pastel on paper
28 x 22.5 in.
Signed lower right
This drawing was reproduced on page 22 of Pin-Up Dreams: The Glamour Art of Rolf Armstrong by Janet Dobson and Michael Wooldridge, Watson-Guptill, 2001. This popular image was also published as an ad for Sunkist California Lemons in 1930, and it was reproduced as a full color frontispiece in the book Advertising in America The First 200 Years by Charles Goodrum and Helen Dalrymple, Harry N. Abrams Inc, N.Y., 1990. The Sunkist California Lemon ad appears on page 131 of this same publication.
American Sunday cover illustration, November 17, 1912
Pastel on paper
28 x 22.5 in.
Signed lower right
This drawing was reproduced on page 22 of Pin-Up Dreams: The Glamour Art of Rolf Armstrong by Janet Dobson and Michael Wooldridge, Watson-Guptill, 2001. This popular image was also published as an ad for Sunkist California Lemons in 1930, and it was reproduced as a full color frontispiece in the book Advertising in America The First 200 Years by Charles Goodrum and Helen Dalrymple, Harry N. Abrams Inc, N.Y., 1990. The Sunkist California Lemon ad appears on page 131 of this same publication.
ROLF ARMSTRONG (American, 1889-1960)
Collier's cover illustration, November 20, 1926
Pastel on board
17 x 14 in.
Not signed
Collier's cover illustration, November 20, 1926
Pastel on board
17 x 14 in.
Not signed
JAMES AVATI (American, 1912-2005)
Louisville Saturday, paperback cover, 1958
Oil on board
12 x 18 in.
Signed with a monograph lower left
This illustration appeared on the cover of Margaret Long's novel, Louisville Saturday, Bantam Books #A1848, 1958.
"The famous novel of soldiers and lonely women. Love, quick ecstasy and heartbreak -- the whole violent impact of an Army camp on an American town."
From the Estate of Charles Martignette.
Louisville Saturday, paperback cover, 1958
Oil on board
12 x 18 in.
Signed with a monograph lower left
This illustration appeared on the cover of Margaret Long's novel, Louisville Saturday, Bantam Books #A1848, 1958.
"The famous novel of soldiers and lonely women. Love, quick ecstasy and heartbreak -- the whole violent impact of an Army camp on an American town."
From the Estate of Charles Martignette.
JAMES AVATI (American, 1912-2005)
A Place Called Estherville, paperback cover, 1957
Oil on board
27.25 x 16.5 in.
Signed lower right
This illustration appeared on the cover of Erskine Caldwell's novel, A Place Called Estherville, Signet Books #1479, 1957. This piece was also reproduced in the Paperback Art of James Avati by Piet Schreuders and Kenneth Fulton, 010 Publishers, 2005.
From the Estate of John McLaughlin.
A Place Called Estherville, paperback cover, 1957
Oil on board
27.25 x 16.5 in.
Signed lower right
This illustration appeared on the cover of Erskine Caldwell's novel, A Place Called Estherville, Signet Books #1479, 1957. This piece was also reproduced in the Paperback Art of James Avati by Piet Schreuders and Kenneth Fulton, 010 Publishers, 2005.
From the Estate of John McLaughlin.
JAMES ELLIOTT BAMA (American, b. 1926)
Countdown for Cindy, paperback cover, 1964
Oil on board
26.5 x 17.5 in.
Signed lower right
This illustration appeared on the cover of Eloise Engle's novel, Countdown for Cindy, Bantam Books #12753, 1964.
"The thrilling story of Nurse McGee's mercy mission to a space station on the moon."
From the Estate of Charles Martignette.
Countdown for Cindy, paperback cover, 1964
Oil on board
26.5 x 17.5 in.
Signed lower right
This illustration appeared on the cover of Eloise Engle's novel, Countdown for Cindy, Bantam Books #12753, 1964.
"The thrilling story of Nurse McGee's mercy mission to a space station on the moon."
From the Estate of Charles Martignette.
MCCLELLAND BARCLAY (American, 1891-1943)
Precision Instruments
Oil on board
21.5 x 17.5 in.
Signed upper left
From the Estate of Charles Martignette.
Precision Instruments
Oil on board
21.5 x 17.5 in.
Signed upper left
From the Estate of Charles Martignette.
WALTER MARTIN BAUMHOFER (American, 1904-1987)
Dime Western Magazine, pulp cover, July 1933
Oil on canvas
34.5 x 24 in.
Not signed
From the Estate of Charles Martignette.
Dime Western Magazine, pulp cover, July 1933
Oil on canvas
34.5 x 24 in.
Not signed
From the Estate of Charles Martignette.
WALTER MARTIN BAUMHOFER (American, 1904-1987)
Doc Savage cover illustration, February 1935
Oil on canvas
29.75 x 20.25 in.
Signed lower left
Doc Savage cover illustration, February 1935
Oil on canvas
29.75 x 20.25 in.
Signed lower left
WALTER MARTIN BAUMHOFER (American, 1904-1987)
Grace O'Malley, Ireland's Pirate Queen, Argosy illustration
Oil on canvas
27 x 37 in.
Signed lower right
From the Estate of Charles Martignette.
Grace O'Malley, Ireland's Pirate Queen, Argosy illustration
Oil on canvas
27 x 37 in.
Signed lower right
From the Estate of Charles Martignette.
WALTER MARTIN BAUMHOFER (American, 1904-1987)
Murder with an All-Star Cast, True magazine illustration
Oil on canvas
19 x 33 in.
Signed lower right
From the Estate of Charles Martignette.
Murder with an All-Star Cast, True magazine illustration
Oil on canvas
19 x 33 in.
Signed lower right
From the Estate of Charles Martignette.
RUDOLPH BELARSKI (American, 1900-1983)
Nurses' Quarters Digest, paperback cover
Oil on board
25 x 16.5 in.
Signed lower right
"A realistic story about the girls in white and the doctors with whom they work and love!"
Included with this lot is a copy of the paperback novel.
From the Estate of John McLaughlin.
Nurses' Quarters Digest, paperback cover
Oil on board
25 x 16.5 in.
Signed lower right
"A realistic story about the girls in white and the doctors with whom they work and love!"
Included with this lot is a copy of the paperback novel.
From the Estate of John McLaughlin.
RUDOLPH BELARSKI (American, 1900-1983)
Male Ward, paperback cover
Oil on board
25 x 18.5 in.
Signed lower right
This illustration was on the cover of Mitchell Coleman's story, Male Ward, Venus Books, No. 170.
Included with this lot is a copy of the publication.
From the Estate of John McLaughlin.
Male Ward, paperback cover
Oil on board
25 x 18.5 in.
Signed lower right
This illustration was on the cover of Mitchell Coleman's story, Male Ward, Venus Books, No. 170.
Included with this lot is a copy of the publication.
From the Estate of John McLaughlin.
RUDOLPH BELARSKI (American, 1900-1983)
Shanty Girl, paperback digest cover, 1952
Oil on board
23 x 18 in.
Signed center right
This illustration appeared on the cover of Joan Tucker's novel, Shanty Girl, Venus Books #159, 1952.
"Passion flames on a Southern Plantation."
From the Estate of John McLaughlin.
Shanty Girl, paperback digest cover, 1952
Oil on board
23 x 18 in.
Signed center right
This illustration appeared on the cover of Joan Tucker's novel, Shanty Girl, Venus Books #159, 1952.
"Passion flames on a Southern Plantation."
From the Estate of John McLaughlin.
RUDOLPH BELARSKI (American, 1900-1983)
Adventure, men's adventure magazine cover, March 1956
Oil on board
12 x 13.5 in.
Signed lower right
From the Estate of John McLaughlin.
Adventure, men's adventure magazine cover, March 1956
Oil on board
12 x 13.5 in.
Signed lower right
From the Estate of John McLaughlin.
RUDOLPH BELARSKI (American, 1900-1983)
Air War, pulp cover, Summer 1941
Oil on canvas
29.75 x 20.75 in.
Signed indistinctly lower left
A copy of the pulp magazine is included with this lot.
Air War, pulp cover, Summer 1941
Oil on canvas
29.75 x 20.75 in.
Signed indistinctly lower left
A copy of the pulp magazine is included with this lot.
ROBERT BERRAN (American, 20th Century)
Considering the Dress, advertising illustration
Oil on canvas
28 x 22 in.
Signed lower right
From the Estate of Charles Martignette.
Considering the Dress, advertising illustration
Oil on canvas
28 x 22 in.
Signed lower right
From the Estate of Charles Martignette.
HANNES BOK (American, 1914-1964)
Female Mask, Halloween mask
Paper mache and oil paint
14 x 13 in.
Not signed
Peacock Estate and artist stamp inside.
Hannes Bok was almost certainly influenced by W. T. Benda's 1944 book, Masks, on the art of making masks.
From the Estate of Clarence Peacock.
Female Mask, Halloween mask
Paper mache and oil paint
14 x 13 in.
Not signed
Peacock Estate and artist stamp inside.
Hannes Bok was almost certainly influenced by W. T. Benda's 1944 book, Masks, on the art of making masks.
From the Estate of Clarence Peacock.
HANNES BOK (American, 1914-1964)
Male Mask
Paper mache and oil paint
11 x 7 x 9 in.
Not signed
Peacock Estate and artist stamp inside.
When worn by a person, Hannes Bok's fantasy masks take on an even more animated and eerie look.
From the Estate of Clarence Peacock.
Male Mask
Paper mache and oil paint
11 x 7 x 9 in.
Not signed
Peacock Estate and artist stamp inside.
When worn by a person, Hannes Bok's fantasy masks take on an even more animated and eerie look.
From the Estate of Clarence Peacock.
HANNES BOK (American, 1914-1964)
Stellar Stories
Oil on board
17.5 x 23.5 in.
Not signed
From the Estate of John McLaughlin.
Stellar Stories
Oil on board
17.5 x 23.5 in.
Not signed
From the Estate of John McLaughlin.
CHESLEY BONESTELL (American, 1888-1986)
Ship Ready for Return Trip, The Conquest of Space cover, original unfinished painting (c. mid-1950's or early 60's.).
Oil and graphite on canvas
31 x 33 in.
Not signed
Bonestell's original version was also reproduced in Infinite Worlds - The Fantastic Visions of Science Fiction Art by Vincent Di Fate, pages 42 and 43.
Ship Ready for Return Trip, The Conquest of Space cover, original unfinished painting (c. mid-1950's or early 60's.).
Oil and graphite on canvas
31 x 33 in.
Not signed
Bonestell's original version was also reproduced in Infinite Worlds - The Fantastic Visions of Science Fiction Art by Vincent Di Fate, pages 42 and 43.
HOWARD V. BROWN (American, 1878-1945)
The Burial
Oil on canvas
24.75 x 17.5 in.
Signed lower left
The Burial
Oil on canvas
24.75 x 17.5 in.
Signed lower left
MARGARET BRUNDAGE (American, 1900-1976)
Tropical Beauty
Mixed media on paper
17 x 13.5 in.
Signed lower right
Tropical Beauty
Mixed media on paper
17 x 13.5 in.
Signed lower right
MARGARET BRUNDAGE (American, 1900-1976)
A Rival from the Grave, Weird Tales cover illustration, January 1936
Pastel and mixed media on board
20 x 13.5 in.
Signed lower right
This cover scene for Seabury Quinn's eerie tale A Rival from the Grave is perhaps the most well-known image by Brundage, and her iconic Weird Tales covers are incredibly rare. Margaret Brundage's appeal transcends that of most pulp artists. Fantasy historian Forrest J. Ackerman summed up her allure when he enthused, "Margaret Brundage, with her titillating pulchrinudes on the covers of Weird Tales: naked ladies being sacrificed, semiclad heroes being menaced by all manner of monstrous beings -- Wow."
From the Estate of John McLaughlin.
A Rival from the Grave, Weird Tales cover illustration, January 1936
Pastel and mixed media on board
20 x 13.5 in.
Signed lower right
This cover scene for Seabury Quinn's eerie tale A Rival from the Grave is perhaps the most well-known image by Brundage, and her iconic Weird Tales covers are incredibly rare. Margaret Brundage's appeal transcends that of most pulp artists. Fantasy historian Forrest J. Ackerman summed up her allure when he enthused, "Margaret Brundage, with her titillating pulchrinudes on the covers of Weird Tales: naked ladies being sacrificed, semiclad heroes being menaced by all manner of monstrous beings -- Wow."
From the Estate of John McLaughlin.
JIM BURNS (British, b. 1948)
The Fallen Moon: The Second Book of Mana, paperback cover, 1995
Acrylic on board
23.5 x 16 in.
Initialed lower center
This illustration appeared on the cover of Ian Watson's novel, The Fallen Moon: The Second Book of Mana, Victor Gollancz, 1995.
From the Frank Collection.
The Fallen Moon: The Second Book of Mana, paperback cover, 1995
Acrylic on board
23.5 x 16 in.
Initialed lower center
This illustration appeared on the cover of Ian Watson's novel, The Fallen Moon: The Second Book of Mana, Victor Gollancz, 1995.
From the Frank Collection.
PRUETT ALEXANDER CARTER (American, 1891-1955)
Woman in Pasture, 1935
Oil on canvas
34.5 x 39.5 in.
Signed upper right
Woman in Pasture, 1935
Oil on canvas
34.5 x 39.5 in.
Signed upper right
F. EARL CHRISTY (American, 1883-1961)
Girl with Cherry Blossoms
Oil on board
33 x 21.5 in.
Signed lower right
Girl with Cherry Blossoms
Oil on board
33 x 21.5 in.
Signed lower right
HOWARD CHANDLER CHRISTY (American, 1872-1952)
Listening, 1915
Watercolor on board
33 x 22.5 in.
Signed lower left
Listening, 1915
Watercolor on board
33 x 22.5 in.
Signed lower left
FOREST H. CLOUGH (American, 1910-1985)
Nude Pin-Up, c. 1955-1960
Oil on canvas
30 x 24 in.
Signed lower right
PROVENANCE:
This painting was previously owned by Charles Martignette.
Nude Pin-Up, c. 1955-1960
Oil on canvas
30 x 24 in.
Signed lower right
PROVENANCE:
This painting was previously owned by Charles Martignette.
DEAN CORNWELL (American, 1892-1960)
A Couple in the Jungle, 1923
Oil on canvas
36 x 28 in.
Signed lower left
From the Estate of Charles Martignette.
A Couple in the Jungle, 1923
Oil on canvas
36 x 28 in.
Signed lower left
From the Estate of Charles Martignette.
DEAN CORNWELL (American, 1892-1960)
Not for Glory, Nor Yet for Gold, Goodyear ad illustration, c. 1944
Oil on canvas
40 x 33 in.
Signed lower right
Not for Glory, Nor Yet for Gold, Goodyear ad illustration, c. 1944
Oil on canvas
40 x 33 in.
Signed lower right
DEAN CORNWELL (American, 1892-1960)
The Big Fisherman, preliminary study, c. 1952
Oil on board
12 x 15 in.
Not signed
This illustration appeared in Lloyd C. Douglas's novel, The Big Fisherman, page 10, Houghton Mifflin, 1948.
From the Estate of Charles Martignette.
The Big Fisherman, preliminary study, c. 1952
Oil on board
12 x 15 in.
Not signed
This illustration appeared in Lloyd C. Douglas's novel, The Big Fisherman, page 10, Houghton Mifflin, 1948.
From the Estate of Charles Martignette.
DEAN CORNWELL (American, 1892-1960)
Never the Twain Shall Meet, book dustjacket and title illustration, 1923
Oil on canvas
28 x 45.5 in.
Signed lower right
This illustration appeared on the dustjacket of Peter B. Kyne's novel, Never the Twain Shall Meet, Cosmopolitan Book Corporation, 1923.
This piece was also reproduced on page 37 of Dean Cornwell, Dean of Illustrators by Patricia Broder, Balance House, 1978.
From the Estate of Charles Martignette.
Never the Twain Shall Meet, book dustjacket and title illustration, 1923
Oil on canvas
28 x 45.5 in.
Signed lower right
This illustration appeared on the dustjacket of Peter B. Kyne's novel, Never the Twain Shall Meet, Cosmopolitan Book Corporation, 1923.
This piece was also reproduced on page 37 of Dean Cornwell, Dean of Illustrators by Patricia Broder, Balance House, 1978.
From the Estate of Charles Martignette.
JOHN COUGHLIN (American, 20th Century)
Detective Story cover illustration, May 1929
Oil on canvas
21 x 17 in.
Not signed
This illustration appeared on the cover of Detective Story magazine for the May 25th, 1929 issue. This issue featured stories by Judson P. Philips, Johnston McCulley, and Leslie Gordon Barnard.
Included with this lot is a copy of the pulp magazine.
Detective Story cover illustration, May 1929
Oil on canvas
21 x 17 in.
Not signed
This illustration appeared on the cover of Detective Story magazine for the May 25th, 1929 issue. This issue featured stories by Judson P. Philips, Johnston McCulley, and Leslie Gordon Barnard.
Included with this lot is a copy of the pulp magazine.
Works on Paper
PALMER COX (Canadian, 1840-1924)
Brownies, book illustration
Ink on paper laid on board
8.25 in. diameter
Brownies, book illustration
Ink on paper laid on board
8.25 in. diameter
PALMER COX (Canadian, 1840-1924)
Brownies, group of 13 book illustrations
Ink on paper laid on board
2.5 x 2.5 in.
Not signed
Thirteen illustrations ranging in size from .75 x 1.75 in. to 2.5 x 2.5 in.
Brownies, group of 13 book illustrations
Ink on paper laid on board
2.5 x 2.5 in.
Not signed
Thirteen illustrations ranging in size from .75 x 1.75 in. to 2.5 x 2.5 in.
PALMER COX (Canadian, 1840-1924)
Brownies, book illustration
Ink on paper laid on board
9.25 x 7.5 in.
Signed lower right
Brownies, book illustration
Ink on paper laid on board
9.25 x 7.5 in.
Signed lower right
PALMER COX (Canadian, 1840-1924)
Brownies, book illustration
Ink on paper laid on board
10 x 8 in.
Signed lower right
Brownies, book illustration
Ink on paper laid on board
10 x 8 in.
Signed lower right
PALMER COX (Canadian, 1840-1924)
Brownies Halloween, book illustration
Ink on paper laid on board
10 x 8 in.
Signed lower left
Brownies Halloween, book illustration
Ink on paper laid on board
10 x 8 in.
Signed lower left
Paintings
BRADSHAW CRANDELL (American, 1896-1966)
Girl with Bonnet, magazine cover
Pastel on board
24.5 x 21.5 in.
Initialed lower left
Girl with Bonnet, magazine cover
Pastel on board
24.5 x 21.5 in.
Initialed lower left
GLENN CRAVATH (American, 1897-1964)
The Mad Scientist, preliminary movie promotion illustration
Gouache on board
18 x 9 in.
Not signed
From the Estate of Charles Martignette.
The Mad Scientist, preliminary movie promotion illustration
Gouache on board
18 x 9 in.
Not signed
From the Estate of Charles Martignette.
GLENN CRAVATH (American, 1897-1964)
Tarzan preliminary movie promotion illustration
Gouache on board
28 x 14 in.
Not signed
From the Estate of Charles Martignette.
Tarzan preliminary movie promotion illustration
Gouache on board
28 x 14 in.
Not signed
From the Estate of Charles Martignette.
GLENN CRAVATH (American, 1897-1964)
King Kong, original promotional daily newspaper strip-style illustration
Ink on board
11 x 28.5 in.
Signed lower right
This lot includes the original art to a King Kong comic strip and a hand-painted King Kong logo (painted in blue paint). Rare doesn't begin to describe this landmark comic strip art. All of the original artwork for the 1933 release of King Kong was presumed not to exist. The artist's son (and heir) passed away in the late 1990's and the world was treated to a great surprise! In addition to some color preliminaries for the poster art, the actual originals used for the King Kong comic strip were among the find. A set of six dailies, to be published in black and white, Monday to Saturday, were created for the local papers to introduce and advertise the movie and prepare the audience for the spectacle. The studio was expecting a major hit and created one of the most elaborate press books of all time to promote the movie. The six strips were prominently featured in the press book, taking up most of a whole page, directly following a full-color centerfold insert. Exhibitors were expected to provide these strips, with the typeset captions, to their local newspapers. Offered here is the artwork for strip #5. As such, it is the earliest known published image of King Kong.
Pressbook shown for illustration only, and is not included with the lot.
King Kong, original promotional daily newspaper strip-style illustration
Ink on board
11 x 28.5 in.
Signed lower right
This lot includes the original art to a King Kong comic strip and a hand-painted King Kong logo (painted in blue paint). Rare doesn't begin to describe this landmark comic strip art. All of the original artwork for the 1933 release of King Kong was presumed not to exist. The artist's son (and heir) passed away in the late 1990's and the world was treated to a great surprise! In addition to some color preliminaries for the poster art, the actual originals used for the King Kong comic strip were among the find. A set of six dailies, to be published in black and white, Monday to Saturday, were created for the local papers to introduce and advertise the movie and prepare the audience for the spectacle. The studio was expecting a major hit and created one of the most elaborate press books of all time to promote the movie. The six strips were prominently featured in the press book, taking up most of a whole page, directly following a full-color centerfold insert. Exhibitors were expected to provide these strips, with the typeset captions, to their local newspapers. Offered here is the artwork for strip #5. As such, it is the earliest known published image of King Kong.
Pressbook shown for illustration only, and is not included with the lot.
DOUGLASS CROCKWELL (American, 1904-1968)
Prisoner
Oil on board
21 x 21 in.
Signed upper right
From the Estate of Charles Martignette.
Prisoner
Oil on board
21 x 21 in.
Signed upper right
From the Estate of Charles Martignette.
DOUGLASS CROCKWELL (American, 1904-1968)
Thanksgiving Dinner, U.S. Brewer's Foundation ad, 1952
Gouache on board
22.5 x 23.5 in.
Signed lower right
This ad, titled Thanksgiving Dinner, appeared as number 75 in the series, Home Life in America. Its magazine publication appearances include Life (November 17, 1952), Collier's (November 22, 1952), Look (November 18, 1952), McCall's (November, 1952), and Woman's Home Companion (November, 1952).
Thanksgiving Dinner, U.S. Brewer's Foundation ad, 1952
Gouache on board
22.5 x 23.5 in.
Signed lower right
This ad, titled Thanksgiving Dinner, appeared as number 75 in the series, Home Life in America. Its magazine publication appearances include Life (November 17, 1952), Collier's (November 22, 1952), Look (November 18, 1952), McCall's (November, 1952), and Woman's Home Companion (November, 1952).
RUSSEL CROFOTT (American, 20th Century)
Tales of Secret Egypt, cover illustration
Mixed media on board
16.25 x 10.5 in.
Signed center right
From the Estate of John McLaughlin.
Tales of Secret Egypt, cover illustration
Mixed media on board
16.25 x 10.5 in.
Signed center right
From the Estate of John McLaughlin.
EDWARD D'ANCONA (American, 20th Century)
It Can't Be Me (A Growing Problem)
Oil on board
17.5 x 15 in.
Signed lower right
It Can't Be Me (A Growing Problem)
Oil on board
17.5 x 15 in.
Signed lower right
EDWARD D'ANCONA (American, 20th Century)
Pin-Up in a Row Boat
Oil on board
18 x 15 in.
Signed lower right
Pin-Up in a Row Boat
Oil on board
18 x 15 in.
Signed lower right
EDWARD D'ANCONA (American, 20th Century)
Belle with a New Ring
Oil on board
17.5 x 15 in.
Signed lower right
Belle with a New Ring
Oil on board
17.5 x 15 in.
Signed lower right
EDWARD D'ANCONA (American, 20th Century)
Pretty Girl with a Parasol
Oil on board
19 x 15 in.
Signed lower right
Pretty Girl with a Parasol
Oil on board
19 x 15 in.
Signed lower right
EDWARD D'ANCONA (American, 20th Century)
Traffic Cop
Oil on canvas
32 x 24 in.
Initialed lower right
Traffic Cop
Oil on canvas
32 x 24 in.
Initialed lower right
EDWARD D'ANCONA (American, 20th Century)
Pin-Up at the Mirror, calendar illustration, c. 1945
Oil on canvas
30 x 23 in.
Signed lower right
Pin-Up at the Mirror, calendar illustration, c. 1945
Oil on canvas
30 x 23 in.
Signed lower right
EDWARD D'ANCONA (American, 20th Century)
Headed for a Fall
Oil on canvas
34 x 24 in.
Signed lower right
Headed for a Fall
Oil on canvas
34 x 24 in.
Signed lower right
PETER DARRO (American, b. 1917)
Pin-Up in a Negligee
Oil on canvas
30 x 24 in.
Signed lower left
Pin-Up in a Negligee
Oil on canvas
30 x 24 in.
Signed lower left
PETER DARRO (American, b. 1917)
Pin-Up with Ducks
Oil on canvas
30 x 24 in.
Signed upper right
Pin-Up with Ducks
Oil on canvas
30 x 24 in.
Signed upper right
PETER DARRO (American, b. 1917)
PIn-Up with BBQ Grill
Oil on canvas
30 x 24 in.
Signed lower right
PIn-Up with BBQ Grill
Oil on canvas
30 x 24 in.
Signed lower right
PETER DARRO (American, b. 1917)
The Charmer
Oil on canvas
30 x 24 in.
Signed lower left
The Charmer
Oil on canvas
30 x 24 in.
Signed lower left
PETER DARRO (American, b. 1917)
Indian Pin-Up
Oil on canvas
30 x 24 in.
Signed lower left
Indian Pin-Up
Oil on canvas
30 x 24 in.
Signed lower left
PETER DARRO (American, b. 1917)
Night Owl
Oil on canvas
30 x 24 in.
Signed lower right
Night Owl
Oil on canvas
30 x 24 in.
Signed lower right
PETER DARRO (American, b. 1917)
Putting on a Pretty Smile
Oil on canvas
38 x 30 in.
Signed lower right
The head on this pin-up figure is a carefully pasted-on art correction element, painted on canvas.
Putting on a Pretty Smile
Oil on canvas
38 x 30 in.
Signed lower right
The head on this pin-up figure is a carefully pasted-on art correction element, painted on canvas.
PETER DARRO (American, b. 1917)
Painting the Birdcage
Oil on board
30 x 24 in.
Not signed
Painting the Birdcage
Oil on board
30 x 24 in.
Not signed
PETER DARRO (American, 20th Century)
Gardening
Oil on canvas
23.5 x 30 in.
Signed lower right
Gardening
Oil on canvas
23.5 x 30 in.
Signed lower right
HUBERT DE LARTIGUE (French b. 1963)
Miss Xmas, pin-up illustration, 1998
Watercolor on paper
24 x 15 in.
Not signed
Miss Xmas, pin-up illustration, 1998
Watercolor on paper
24 x 15 in.
Not signed
RAFAEL DE SOTO (American, 1904-1992)
Satan's Seven Swordsmen, The Spider cover illustration, October 1941
Oil on board
21 x 15 in.
Signed lower left
Original pulp covers from The Spider are incredibly rare -- only a few are known to exist.
This lot includes two letters: one from Walt Reed at Illustration House confirming authenticity of the painting, and the other from Rafael De Soto to Harry Matetsky about the painting.
Satan's Seven Swordsmen, The Spider cover illustration, October 1941
Oil on board
21 x 15 in.
Signed lower left
Original pulp covers from The Spider are incredibly rare -- only a few are known to exist.
This lot includes two letters: one from Walt Reed at Illustration House confirming authenticity of the painting, and the other from Rafael De Soto to Harry Matetsky about the painting.
Attributed to RAFAEL DE SOTO (American, 1904-1992)
Detective Magazine cover illustration, November 1945
Oil on board
17.5 x 13.5 in.
Not signed
This illustration appeared on the cover of Detective Magazine, November 1945 issue.
Included with this lot is a copy of the magazine.
From the Estate of John McLaughlin.
Detective Magazine cover illustration, November 1945
Oil on board
17.5 x 13.5 in.
Not signed
This illustration appeared on the cover of Detective Magazine, November 1945 issue.
Included with this lot is a copy of the magazine.
From the Estate of John McLaughlin.
BILLY DEVORSS (American, b. 1985)
Blonde in White Dress
Pastel on board
39 x 27 in.
Signed lower right
Blonde in White Dress
Pastel on board
39 x 27 in.
Signed lower right
A. J. DONNELL (American, d. 2001)
Sinister Barrier, book cover, 1948
Mixed media on board
15.5 x 13 in.
Signed lower left
This illustration was used for the dust jacket of Eric Frank Russell's novel, Sinister Barrier, Fantasy Press, 1948.
From the Estate of John McLaughlin.
Sinister Barrier, book cover, 1948
Mixed media on board
15.5 x 13 in.
Signed lower left
This illustration was used for the dust jacket of Eric Frank Russell's novel, Sinister Barrier, Fantasy Press, 1948.
From the Estate of John McLaughlin.
CLARENCE DOORE (American, 20th Century)
The Spitfires (Whirlwind in Petticoats), paperback cover, 1953
Oil on board
30.5 x 13 in.
Signed lower left
This illustration appeared on the cover of Beril Becker's novel, The Spitfires (Whirlwind in Petticoats), Pyramid Books #G-86, 1953.
"The story of two sisters who believed in free love"
From the Estate of Charles Martignette.
The Spitfires (Whirlwind in Petticoats), paperback cover, 1953
Oil on board
30.5 x 13 in.
Signed lower left
This illustration appeared on the cover of Beril Becker's novel, The Spitfires (Whirlwind in Petticoats), Pyramid Books #G-86, 1953.
"The story of two sisters who believed in free love"
From the Estate of Charles Martignette.
PETER DRIBEN (American, 1902-1968)
Special Detective, pulp cover, May 1945
Oil on board
27 x 22 in.
Signed lower right
This image was also used (in an altered format) for the cover of Ethel Owen's digest novel, Unwilling Bride, Astro Books #9, 1948. This painting was also also reproduced as figure 314 in The Great American Pin-up by Charles G. Martignette and Louis K. Meisel, Taschen, 1996.
From the Estate of Charles Martignette.
Special Detective, pulp cover, May 1945
Oil on board
27 x 22 in.
Signed lower right
This image was also used (in an altered format) for the cover of Ethel Owen's digest novel, Unwilling Bride, Astro Books #9, 1948. This painting was also also reproduced as figure 314 in The Great American Pin-up by Charles G. Martignette and Louis K. Meisel, Taschen, 1996.
From the Estate of Charles Martignette.
PETER DRIBEN (American, 1902-1968)
Flirt, pulp cover, April 1953
Oil on board
33 x 25 in.
Signed lower left
This painting was also reproduced as figure 292 in The Great American Pin-up by Charles G. Martignette and Louis K. Meisel, Taschen, 1996.
From the Estate of Charles Martignette.
Flirt, pulp cover, April 1953
Oil on board
33 x 25 in.
Signed lower left
This painting was also reproduced as figure 292 in The Great American Pin-up by Charles G. Martignette and Louis K. Meisel, Taschen, 1996.
From the Estate of Charles Martignette.
PETER DRIBEN (American, 1902-1968)
Bedtime Stories cover illustration, May 1938
Oil on canvas
35.5 x 24.5 in.
Signed lower right
Bedtime Stories cover illustration, May 1938
Oil on canvas
35.5 x 24.5 in.
Signed lower right
CHARLIE DYE (American, 1906-1972)
Going Home
Oil on board
18.75 x 18.75 in.
Not signed
Going Home
Oil on board
18.75 x 18.75 in.
Not signed
CHARLIE DYE (American, 1906-1972)
Where's My Date?, American Weekly cover
Oil on board
20 x 18 in.
Signed lower right
Where's My Date?, American Weekly cover
Oil on board
20 x 18 in.
Signed lower right
CHARLIE DYE (American, 1906-1972)
The Big Game, American Weekly cover
Oil on board
20 x 18 in.
Signed lower right
The Big Game, American Weekly cover
Oil on board
20 x 18 in.
Signed lower right
JEFF EASLEY (American, 20th Century)
13th and Vine, Amazing Calendar illustration, 1986
Oil on board
16 x 16 in.
Signed lower left
From the Frank Collection.
13th and Vine, Amazing Calendar illustration, 1986
Oil on board
16 x 16 in.
Signed lower left
From the Frank Collection.
HARRY EKMAN (American, 1923-1999)
Pin-Up with Puppies
Oil on canvas
30 x 25 in.
Signed lower right
This painting was reproduced as figure 324 in The Great American Pin-Up by Charles G. Martignette and Louis K. Meisel, Taschen, 1996.
From the Estate of Charles Martignette.
Pin-Up with Puppies
Oil on canvas
30 x 25 in.
Signed lower right
This painting was reproduced as figure 324 in The Great American Pin-Up by Charles G. Martignette and Louis K. Meisel, Taschen, 1996.
From the Estate of Charles Martignette.
FREEMAN ELLIOT (American, b. 1922)
Winning Aces, 1955
Gouache on board
19 x 12.25 in.
Not signed
This illustration was printed on a deck of Murry Weinger's Copa City playing cards. A deck of the cards are included with this lot.
Winning Aces, 1955
Gouache on board
19 x 12.25 in.
Not signed
This illustration was printed on a deck of Murry Weinger's Copa City playing cards. A deck of the cards are included with this lot.
DEAN ELLIS (American, 1920-2009)
The Mightiest Machine, paperback cover
Gouache on board
14 x 8.5 in.
Not signed
This illustration appeared on the cover of John W. Campbell's novel, The Mightiest Machine, Ace Books, 1972. Dean Ellis' spacecraft designs have been an important influence of the Star Wars movie franchise.
"War between the Galaxies"
Included with this lot is a copy of the paperback novel.
The Mightiest Machine, paperback cover
Gouache on board
14 x 8.5 in.
Not signed
This illustration appeared on the cover of John W. Campbell's novel, The Mightiest Machine, Ace Books, 1972. Dean Ellis' spacecraft designs have been an important influence of the Star Wars movie franchise.
"War between the Galaxies"
Included with this lot is a copy of the paperback novel.
GIL ELVGREN (American, 1914-1980)
The Winner (A Fair Catch), Brown and Bigelow illustration, 1957
Oil on canvas
30 x 24 in.
Signed middle right
This painting was reproduced as figure 334 in Gil Elvgren All His Glamorous American Pin-Ups by Charles G. Martignette and Louis K. Meisel, Taschen, 1999.
The Winner (A Fair Catch), Brown and Bigelow illustration, 1957
Oil on canvas
30 x 24 in.
Signed middle right
This painting was reproduced as figure 334 in Gil Elvgren All His Glamorous American Pin-Ups by Charles G. Martignette and Louis K. Meisel, Taschen, 1999.
GIL ELVGREN (American, 1914-1980)
Fit to Kill (I'm Fair Game for Any Hunt) (I'm Game), 1965
Oil on canvas
30 x 24 in.
Signed lower right
This painting was reproduced as figure 442 in Gil Elvgren All His Glamorous American Pin-Ups by Charles G. Martignette and Louis K. Meisel, Taschen, 1999.
From the Estate of Charles Martignette.
Fit to Kill (I'm Fair Game for Any Hunt) (I'm Game), 1965
Oil on canvas
30 x 24 in.
Signed lower right
This painting was reproduced as figure 442 in Gil Elvgren All His Glamorous American Pin-Ups by Charles G. Martignette and Louis K. Meisel, Taschen, 1999.
From the Estate of Charles Martignette.
GIL ELVGREN (American, 1914-1980)
A Fast Takeoff (A Speedy Takeoff), 1954
Oil on canvas
30 x 24 in.
Signed center left
This painting was reproduced as figure 398 in Gil Elvgren All His Glamorous American Pin-Ups by Charles G. Martignette and Louis K. Meisel, Taschen, 1999.
From the Estate of Charles Martignette.
A Fast Takeoff (A Speedy Takeoff), 1954
Oil on canvas
30 x 24 in.
Signed center left
This painting was reproduced as figure 398 in Gil Elvgren All His Glamorous American Pin-Ups by Charles G. Martignette and Louis K. Meisel, Taschen, 1999.
From the Estate of Charles Martignette.
GIL ELVGREN (American, 1914-1980)
Aiming High (Will William Tell?), 1959
Oil on canvas
30 x 24 in.
Signed lower right
This painting was reproduced as figure 341 in Gil Elvgren All His Glamorous American Pin-Ups by Charles G. Martignette and Louis K. Meisel, Taschen, 1999.
Aiming High (Will William Tell?), 1959
Oil on canvas
30 x 24 in.
Signed lower right
This painting was reproduced as figure 341 in Gil Elvgren All His Glamorous American Pin-Ups by Charles G. Martignette and Louis K. Meisel, Taschen, 1999.
GIL ELVGREN (American, 1914-1980)
Tops in Service, 1958
Oil on canvas
30 x 24 in.
Signed lower right
This painting was reproduced as figure 302 in Gil Elvgren All His Glamorous American Pin-Ups by Charles G. Martignette and Louis K. Meisel, Taschen, 1999.
From the Estate of Charles Martignette.
Tops in Service, 1958
Oil on canvas
30 x 24 in.
Signed lower right
This painting was reproduced as figure 302 in Gil Elvgren All His Glamorous American Pin-Ups by Charles G. Martignette and Louis K. Meisel, Taschen, 1999.
From the Estate of Charles Martignette.
GIL ELVGREN (American, 1914-1980)
Free Wheeling, 1937
Oil on canvas
31 x 25 in.
Not signed
This painting was reproduced as figure 89 in Gil Elvgren All His Glamorous American Pin-Ups by Charles G. Martignette and Louis K. Meisel, Taschen, 1999.
This popular image was also used for a vintage Mutoscope Arcade Card.
Free Wheeling, 1937
Oil on canvas
31 x 25 in.
Not signed
This painting was reproduced as figure 89 in Gil Elvgren All His Glamorous American Pin-Ups by Charles G. Martignette and Louis K. Meisel, Taschen, 1999.
This popular image was also used for a vintage Mutoscope Arcade Card.
GIL ELVGREN (American, 1914-1980)
Skeet Club, NAPA calendar illustration, c. 1974
Oil on canvas
34 x 30.5 in.
Signed center left
This painting was reproduced on page 191 of Elvgren - His Life and Art by Max Allan Collins and Drake Elvgren, Collectors Press, 1998 , and also as figure 556 of Gil Elvgren, All His Glamorous American Pin-Ups, by Charles G. Martignette and Louis K. Meisel, Taschen, 1999. According to an authors' (Collins and Elvgren) note, this particular Elvgren subject is unique as "the artist's enthusiasm for guns rarely made it into his pin-ups."
Skeet Club, NAPA calendar illustration, c. 1974
Oil on canvas
34 x 30.5 in.
Signed center left
This painting was reproduced on page 191 of Elvgren - His Life and Art by Max Allan Collins and Drake Elvgren, Collectors Press, 1998 , and also as figure 556 of Gil Elvgren, All His Glamorous American Pin-Ups, by Charles G. Martignette and Louis K. Meisel, Taschen, 1999. According to an authors' (Collins and Elvgren) note, this particular Elvgren subject is unique as "the artist's enthusiasm for guns rarely made it into his pin-ups."
GIL ELVGREN (American, 1914-1980)
Golfer, NAPA calendar illustration, c. 1972
Oil on canvas
28.5 x 22.5 in.
Signed lower right
This painting was reproduced on page 190 of Elvgren - His Life and Art by Max Allan Collins and Drake Elvgren, Collectors Press, 1998.
Golfer, NAPA calendar illustration, c. 1972
Oil on canvas
28.5 x 22.5 in.
Signed lower right
This painting was reproduced on page 190 of Elvgren - His Life and Art by Max Allan Collins and Drake Elvgren, Collectors Press, 1998.
GIL ELVGREN (American, 1914-1980)
Girl with Daisies, ad illustration
Oil on board
17.5 x 30 in.
Signed lower right
This painting was reproduced as figure 576 of Gil Elvgren All His Glamorous American Pin-Ups by Charles G. Martignette and Louis K. Meisel, Taschen, 1999.
From the Estate of Charles Martignette.
Girl with Daisies, ad illustration
Oil on board
17.5 x 30 in.
Signed lower right
This painting was reproduced as figure 576 of Gil Elvgren All His Glamorous American Pin-Ups by Charles G. Martignette and Louis K. Meisel, Taschen, 1999.
From the Estate of Charles Martignette.
GIL ELVGREN (American, 1914-1980)
Ovaltine, ad illustration
Oil on canvas
19.5 x 15.5 in.
Not signed
Included with this lot is a copy of the advertisement.
Ovaltine, ad illustration
Oil on canvas
19.5 x 15.5 in.
Not signed
Included with this lot is a copy of the advertisement.
GIL ELVGREN (American, 1914-1980)
Warrior, c. late 1930s
Oil on canvas
26 x 20 in.
Signed lower left
It's believed that this painting was done during Gil Elvgren's days as a student at the American Academy of Art in Chicago, in the late 1930s.
PROVENANCE:
From the Family of Gil Elvgren
Warrior, c. late 1930s
Oil on canvas
26 x 20 in.
Signed lower left
It's believed that this painting was done during Gil Elvgren's days as a student at the American Academy of Art in Chicago, in the late 1930s.
PROVENANCE:
From the Family of Gil Elvgren
GIL ELVGREN (American, 1914-1980)
Keeping Posted, 1947
Pencil on parchment paper
20 x 15 in.
Signed lower right
Keeping Posted, 1947
Pencil on parchment paper
20 x 15 in.
Signed lower right
AMERICAN ARTIST (20th Century)
The Galactic Breed, 1955
Oil on board
18 x 12.75 in.
Not signed
This illustration appeared on the cover of Leigh Brackett's novel, The Galactic Breed, Ace Books #D-99, 1955.
From the Estate of John McLaughlin.
The Galactic Breed, 1955
Oil on board
18 x 12.75 in.
Not signed
This illustration appeared on the cover of Leigh Brackett's novel, The Galactic Breed, Ace Books #D-99, 1955.
From the Estate of John McLaughlin.
MERLIN ENABNIT (American, 1903-1979)
Miss Liberty
Gouache on board
17 x 10.5 in.
Signed lower right
This painting was reproduced as figure 808 in The Great American Pin-Up by Charles G. Martignette and Louis K. Meisel, Taschen, 1996.
From the Estate of Charles Martignette.
Miss Liberty
Gouache on board
17 x 10.5 in.
Signed lower right
This painting was reproduced as figure 808 in The Great American Pin-Up by Charles G. Martignette and Louis K. Meisel, Taschen, 1996.
From the Estate of Charles Martignette.
JULES ERBIT (American, 1889-1968)
Girl in a Blue Dress
Pastel on board
39.5 x 29.5 in.
Not signed
Girl in a Blue Dress
Pastel on board
39.5 x 29.5 in.
Not signed
JULES ERBIT (American, 1889-1968)
Mother and Child
Pastel on board
44 x 34 in.
Signed lower right
Mother and Child
Pastel on board
44 x 34 in.
Signed lower right
JULES ERBIT (American, 1889-1968)
Girl in a Green Dress
Pastel on board
37 x 27 in.
Faintly signed lower right
Girl in a Green Dress
Pastel on board
37 x 27 in.
Faintly signed lower right
KERNE ERICKSON (American, 20th Century)
TWA Super-Skyliners, ad illustration
Gouache on paper
37 x 25 in.
Signed lower right
This original artwork for a travel/tourism poster, reminiscent of advertising posters from an earlier era (1930s to 1950s), depicts the glory days of traveling by air when TWA equipped their DC-3s with sleeping births for air travelers. Erickson has created numerous images of the Hawaiian Islands, the New York Skyline, and the Eiffel Tower. An art book about Kerne Erickson has been recently published.
TWA Super-Skyliners, ad illustration
Gouache on paper
37 x 25 in.
Signed lower right
This original artwork for a travel/tourism poster, reminiscent of advertising posters from an earlier era (1930s to 1950s), depicts the glory days of traveling by air when TWA equipped their DC-3s with sleeping births for air travelers. Erickson has created numerous images of the Hawaiian Islands, the New York Skyline, and the Eiffel Tower. An art book about Kerne Erickson has been recently published.
JOHN PHILIP FALTER (American, 1910-1982)
Schlitz Beer ad illustration, 1951
Oil on canvas
29.5 x 23 in.
Initialed lower left
This piece was reproduced on page 68 of Famous American Illustrators by Arpi Ermoyan, Chartwell Books, 2002.
From the Estate of Charles Martignette.
Schlitz Beer ad illustration, 1951
Oil on canvas
29.5 x 23 in.
Initialed lower left
This piece was reproduced on page 68 of Famous American Illustrators by Arpi Ermoyan, Chartwell Books, 2002.
From the Estate of Charles Martignette.
ROBERT FAWCETT (American, 1903-1967)
Magazine illustration
Gouache on board
17 x 24 in.
Not signed
Magazine illustration
Gouache on board
17 x 24 in.
Not signed
VIRGIL FINLAY (American, 1914-1971)
Skull, Science Fiction Digest illustration
Mixed media on board
9.5 x 6.5 in.
Signed lower right
Inscribed: "To Stuart David Schiff, a quiet patient for the good doctor. V. Finlay."
From the Estate of John McLaughlin.
Skull, Science Fiction Digest illustration
Mixed media on board
9.5 x 6.5 in.
Signed lower right
Inscribed: "To Stuart David Schiff, a quiet patient for the good doctor. V. Finlay."
From the Estate of John McLaughlin.
VIRGIL FINLAY (American, 1914-1971)
Group of preliminary color sketches for Fantastic Novels
Mixed media on paper
9.75 x 7 in. each
Two of five sketches signed
From the Estate of John McLaughlin.
Group of preliminary color sketches for Fantastic Novels
Mixed media on paper
9.75 x 7 in. each
Two of five sketches signed
From the Estate of John McLaughlin.
VICTOR CLYDE FORSYTHE (American, 1885-1962)
Send Your Answer
Oil on canvas
48 x 30 in.
Signed lower right
Send Your Answer
Oil on canvas
48 x 30 in.
Signed lower right
ART FRAHM (American, 1906-1981)
Nipped in the Bud
Oil on canvas
30 x 22 in.
Signed lower right
From the Estate of Charles Martignette.
Nipped in the Bud
Oil on canvas
30 x 22 in.
Signed lower right
From the Estate of Charles Martignette.
ART FRAHM (American, 1906-1981)
Glamour Pin-Up with Pink Orchids
Oil on canvas
30 x 24 in.
Signed lower left
Glamour Pin-Up with Pink Orchids
Oil on canvas
30 x 24 in.
Signed lower left
ART FRAHM (American, 1906-1981)
Pin-Up with a Candle
Oil on canvas
30 x 24 in.
Signed lower right
Pin-Up with a Candle
Oil on canvas
30 x 24 in.
Signed lower right
Pin-up and Glamour Art
ART FRAHM (American, 1906-1981)
Blonde with White Fur
Oil on canvas
28.25 x 20 in.
Signed lower left
Blonde with White Fur
Oil on canvas
28.25 x 20 in.
Signed lower left
Paintings
ART FRAHM (American, 1906-1981)
Brunette with Roses
Oil on canvas
30 x 22 in.
Signed lower left
Brunette with Roses
Oil on canvas
30 x 22 in.
Signed lower left
ART FRAHM (American, 1906-1981)
Pink Flowers
Oil on canvas
30 x 24 in.
Signed lower right
Pink Flowers
Oil on canvas
30 x 24 in.
Signed lower right
ART FRAHM (American, 1906-1981)
The Pink Dress
Oil on canvas
30 x 24 in.
Signed lower right
The Pink Dress
Oil on canvas
30 x 24 in.
Signed lower right
ART FRAHM (American, 1906-1981)
The Yellow Roses
Oil on canvas
29 x 22 in.
Signed lower right
The Yellow Roses
Oil on canvas
29 x 22 in.
Signed lower right
FRANK KELLY FREAS (American, 1922-2005)
New Worlds of Fantasy, paperback cover, 1970
Oil on board
15 x 9.5 in.
Initialed lower right
This illustration appeared on the cover of Terry Carr's compilation of stories, Ace Books.
Included with this lot is a copy of the paperback novel.
New Worlds of Fantasy, paperback cover, 1970
Oil on board
15 x 9.5 in.
Initialed lower right
This illustration appeared on the cover of Terry Carr's compilation of stories, Ace Books.
Included with this lot is a copy of the paperback novel.
FRANK KELLY FREAS (American, 1922-2005)
The Coming of Conan, Gnome Press book cover, 1953
Mixed media on board
12.5 x 10 in.
Not signed
This illustration appeared on the cover of Robert E. Howard's book, The Coming of Conan, Gnome Press, 1953.
From the Estate of John McLaughlin.
The Coming of Conan, Gnome Press book cover, 1953
Mixed media on board
12.5 x 10 in.
Not signed
This illustration appeared on the cover of Robert E. Howard's book, The Coming of Conan, Gnome Press, 1953.
From the Estate of John McLaughlin.
PAL FRIED (Hungarian/American, 1893-1976)
A Paris Boulevard
Oil on canvas
24 x 30 in.
Signed lower right
A Paris Boulevard
Oil on canvas
24 x 30 in.
Signed lower right
PAL FRIED (Hungarian/American, 1893-1976)
Paulette
Oil on canvas
30 x 24 in.
Signed lower left
Paulette
Oil on canvas
30 x 24 in.
Signed lower left
PAL FRIED (Hungarian/American, 1893-1976)
Blue Ballerina
Oil on canvas
24 x 30 in.
Signed lower left
Blue Ballerina
Oil on canvas
24 x 30 in.
Signed lower left
PAL FRIED (Hungarian/American, 1893-1976)
Prima Ballerina
Oil on canvas
24 x 30 in.
Signed lower left
Prima Ballerina
Oil on canvas
24 x 30 in.
Signed lower left
PAL FRIED (Hungarian/American, 1893-1976)
Heloise
Oil on canvas
30 x 24 in.
Signed lower left
Heloise
Oil on canvas
30 x 24 in.
Signed lower left
ROBERT FUQUA (American, 20th Century)
Revolt of the Robots, Fantastic Adventures pulp illustration, First issue, May 1930
Gouache on board
15 x 11.25 in.
Not signed
This landmark illustration appeared on the cover of the very first issue of Fantastic Adventures. The premiere issue featured Arthur Tofte's greatest story, Revolt of the Robots, May 1930, volume 1, number 1.
A copy of the pulp is included with this lot.
From the Estate of John McLaughlin.
Revolt of the Robots, Fantastic Adventures pulp illustration, First issue, May 1930
Gouache on board
15 x 11.25 in.
Not signed
This landmark illustration appeared on the cover of the very first issue of Fantastic Adventures. The premiere issue featured Arthur Tofte's greatest story, Revolt of the Robots, May 1930, volume 1, number 1.
A copy of the pulp is included with this lot.
From the Estate of John McLaughlin.
JOHN GANNAM (American, 1907-1955)
Impromptu Concert, U.S. Brewers Foundation ad, 1950
Gouache on board
23 x 19 in.
Signed lower left
The Art Directors Club 29th Annual National Exhibition label on verso.
Impromptu Concert, U.S. Brewers Foundation ad, 1950
Gouache on board
23 x 19 in.
Signed lower left
The Art Directors Club 29th Annual National Exhibition label on verso.
EDWIN GEORGI (American, 1896-1964)
Rember's Paint, Saturday Evening Post story illustration
Mixed media on board
22 x 20.5 in.
Signed lower right
From the Estate of Charles Martignette.
Rember's Paint, Saturday Evening Post story illustration
Mixed media on board
22 x 20.5 in.
Signed lower right
From the Estate of Charles Martignette.
EDWIN GEORGI (American, 1896-1964)
Call You Up Sometime, Redbook illustration, September 1956
Oil on board
18 x 24 in.
Signed lower right
This piece was reproduced on page 174 of Famous American Illustrators by Arpi Ermoyan, Chartwell Books, 2002.
From the Estate of Charles Martignette.
Call You Up Sometime, Redbook illustration, September 1956
Oil on board
18 x 24 in.
Signed lower right
This piece was reproduced on page 174 of Famous American Illustrators by Arpi Ermoyan, Chartwell Books, 2002.
From the Estate of Charles Martignette.
EDWIN GEORGI (American, 1896-1964)
One Sinner, Cosmopolitan illustration, February 1952
Oil on board
16 x 22.5 in.
Signed lower left
One Sinner, Cosmopolitan illustration, February 1952
Oil on board
16 x 22.5 in.
Signed lower left
EDWIN GEORGI (American, 1896-1964)
In the Shade
Gouache on board
15.75 x 17.75 in.
Not signed
In the Shade
Gouache on board
15.75 x 17.75 in.
Not signed
CHARLES DANA GIBSON (American, 1867-1944)
Dinner Party
Ink on paper
14 x 25 in.
Signed lower center
Dinner Party
Ink on paper
14 x 25 in.
Signed lower center
GEORGE GROSS (American, 1909-2003)
Lover Boy (Sacrifice), paperback cover, 1950
Oil on board
16 x 12 in.
Signed lower right
This illustration appeared on the cover of Harmon Bellamy's novel, Lover Boy, Venus Books #109, 1950.
"The beautiful blonde could not escape her sinful past."
A copy of the paperback is included with this lot.
From the Estate of Charles Martignette.
Lover Boy (Sacrifice), paperback cover, 1950
Oil on board
16 x 12 in.
Signed lower right
This illustration appeared on the cover of Harmon Bellamy's novel, Lover Boy, Venus Books #109, 1950.
"The beautiful blonde could not escape her sinful past."
A copy of the paperback is included with this lot.
From the Estate of Charles Martignette.
FRANK ROBERT HARPER (American, 1876-1948)
Indian Maiden, calendar illustration
Oil on canvas
36 x 27 in.
Signed lower right
Indian Maiden, calendar illustration
Oil on canvas
36 x 27 in.
Signed lower right
MABEL ROLLINS HARRIS (American, 20th Century)
Springtime Melody
Pastel on canvas
27.25 x 21.25 in.
Signed lower left
From the Estate of Charles Martignette.
Springtime Melody
Pastel on canvas
27.25 x 21.25 in.
Signed lower left
From the Estate of Charles Martignette.
ROBERT G. HARRIS (American, 1911-2007)
Country Girl, Saturday Evening Post illustration, c. 1957
Oil on canvas
24 x 24 in.
Signed upper left
From the Estate of Charles Martignette.
Country Girl, Saturday Evening Post illustration, c. 1957
Oil on canvas
24 x 24 in.
Signed upper left
From the Estate of Charles Martignette.
ADELAIDE HIEBEL (American, 1879-1965)
Indian Maidens on Rocks
Pastel on canvas
38 x 29.5 in.
Signed lower right
From the Estate of Charles Martignette.
Indian Maidens on Rocks
Pastel on canvas
38 x 29.5 in.
Signed lower right
From the Estate of Charles Martignette.
ROBERT HILBERT (American, 20th Century)
Below Zero, American Weekly cover illustration, January 17, 1954
Gouache on board
20.5 x 13.5 in.
Not signed
Stamp on verso: Jan 17 1954 / The American Weekly
From the Estate of Charles Martignette.
Below Zero, American Weekly cover illustration, January 17, 1954
Gouache on board
20.5 x 13.5 in.
Not signed
Stamp on verso: Jan 17 1954 / The American Weekly
From the Estate of Charles Martignette.
GREG HILDEBRANDT (American, b. 1939)
Hotel Nights, American Beauties pin-up, 1999
Acrylic on board
38 x 24 in.
Signed lower center
From the Estate of Charles Martignette.
Hotel Nights, American Beauties pin-up, 1999
Acrylic on board
38 x 24 in.
Signed lower center
From the Estate of Charles Martignette.
HY (HENRY) HINTERMEISTER (American, 1897-1972)
Grandma at the Weenie Roast, c. 1955
Oil on canvas
30 x 24 in.
Signed lower right
From the Estate of Charles Martignette.
Grandma at the Weenie Roast, c. 1955
Oil on canvas
30 x 24 in.
Signed lower right
From the Estate of Charles Martignette.
GUY HOFF (American, 1889-1962)
Portrait of a Pretty Girl
Pastel on board
20 x 17 in.
Signed lower left
From the Estate of Charles Martignette.
Portrait of a Pretty Girl
Pastel on board
20 x 17 in.
Signed lower left
From the Estate of Charles Martignette.
GAYLE PORTER HOSKINS (American, 1887-1962)
Leaving in a Rush
Oil on canvas
20 x 19 in.
Signed lower left
From the Estate of Charles Martignette.
Leaving in a Rush
Oil on canvas
20 x 19 in.
Signed lower left
From the Estate of Charles Martignette.
Works on Paper
JOHN HOWE (Canadian, b. 1957)
Battlescene: Bran and the Sea, 1985
Watercolor on board
16 x 23 in.
Initialed lower right
From the Frank Collection.
Battlescene: Bran and the Sea, 1985
Watercolor on board
16 x 23 in.
Initialed lower right
From the Frank Collection.
Pulp, Pulp-like, Digests, and Paperback Art
JOHN HOWE (Canadian, b. 1957)
A Raging Flood, The Enchanted World: Dwarfs, book illustration, 1984
Watercolor on board
16 x 22.5 in.
Initialed lower right
This illustration appeared on pages 88-89 of The Enchanted World: Dwarfs, Time-Life Books, 1985.
A copy of the book is included with this lot.
From the Frank Collection.
A Raging Flood, The Enchanted World: Dwarfs, book illustration, 1984
Watercolor on board
16 x 22.5 in.
Initialed lower right
This illustration appeared on pages 88-89 of The Enchanted World: Dwarfs, Time-Life Books, 1985.
A copy of the book is included with this lot.
From the Frank Collection.
Paintings
ELBERT MCGRAN JACKSON (American, 1896-1962)
Romance illustration
Oil on canvas
29.5 x 22.5 in.
Signed lower right
Romance illustration
Oil on canvas
29.5 x 22.5 in.
Signed lower right
E.V. JOHNSON (American, 20th Century)
Elsie on Ice, Borden's Dairy advertisement
Mixed media on board
13 x 12.5 in.
Not signed
From the Estate of Charles Martignette.
Elsie on Ice, Borden's Dairy advertisement
Mixed media on board
13 x 12.5 in.
Not signed
From the Estate of Charles Martignette.
RAYMOND JOHNSON (American, 20th Century)
Hired Girl, paperback cover, 1952
Oil on board
22 x 17 in.
Not signed
This illustration appeared on the cover of Amos Hatter's novel, Hired Girl, Venus Books #154, 1952.
"An intimate story of the loves of a farmer's daughter."
From the Estate of Charles Martignette.
Hired Girl, paperback cover, 1952
Oil on board
22 x 17 in.
Not signed
This illustration appeared on the cover of Amos Hatter's novel, Hired Girl, Venus Books #154, 1952.
"An intimate story of the loves of a farmer's daughter."
From the Estate of Charles Martignette.
RAYMOND JOHNSON (American, 20th Century)
Tempting Tigress, digest cover, 1953
Oil on canvas laid on board
26.25 x 21 in.
Signed lower left
This illustration appeared on the cover of John Underwood's digest novel, Tempting Tigress, Carnival Books #907, 1953.
"Her door was always open to a man who was able to pay."
The image as used again for another John Underwood novel, Hollywood Hellcat, Star Novels #764, c. 1956.
"The shocking story of what a woman must do to become a star."
From the Estate of Charles Martignette.
Tempting Tigress, digest cover, 1953
Oil on canvas laid on board
26.25 x 21 in.
Signed lower left
This illustration appeared on the cover of John Underwood's digest novel, Tempting Tigress, Carnival Books #907, 1953.
"Her door was always open to a man who was able to pay."
The image as used again for another John Underwood novel, Hollywood Hellcat, Star Novels #764, c. 1956.
"The shocking story of what a woman must do to become a star."
From the Estate of Charles Martignette.
JOHN C. KACERE (American, 1920-1999)
Anne 88, 1988
Oil on canvas
40 x 60 in.
Signed verso
From the Estate of Charles Martignette.
Anne 88, 1988
Oil on canvas
40 x 60 in.
Signed verso
From the Estate of Charles Martignette.
JOHN C. KACERE (American, 1920-1999)
Valerie II, 1989
Oil on canvas
40 x 56 in.
Signed verso
PROVENANCE:
Louis K. Meisel Gallery, New York (label verso).
From the Estate of Charles Martignette.
Valerie II, 1989
Oil on canvas
40 x 56 in.
Signed verso
PROVENANCE:
Louis K. Meisel Gallery, New York (label verso).
From the Estate of Charles Martignette.
ROBERT C. KAUFFMANN (American, 1900-1999)
Surprise Letter, 1923
Oil on canvas
28 x 20 in.
Signed lower right
From the Estate of Charles Martignette.
Surprise Letter, 1923
Oil on canvas
28 x 20 in.
Signed lower right
From the Estate of Charles Martignette.
NORMAN KENYON (American, 1901-2001)
Fishing Buddies
Watercolor on paper
15 x 19.5 in.
Signed lower right
From the Estate of Charles Martignette.
Fishing Buddies
Watercolor on paper
15 x 19.5 in.
Signed lower right
From the Estate of Charles Martignette.
JOSEPH FRANCIS KERNAN (American, 1878-1958)
Hunter with Dogs, Outdoor Life cover illustration, c. 1940
Oil on canvas
30 x 24 in.
Signed lower right
This piece also was reproduced as a full color lithograph/calendar top, c. 1940.
Hunter with Dogs, Outdoor Life cover illustration, c. 1940
Oil on canvas
30 x 24 in.
Signed lower right
This piece also was reproduced as a full color lithograph/calendar top, c. 1940.
JOSEPH FRANCIS KERNAN (American, 1878-1958)
Boy and Dog, This Week cover, September 6, 1936
Oil on canvas
30 x 24 in.
Signed lower right
This piece was was printed in a vignette format with some of the background details eliminated for the magazine cover. This popular image also appeared as a full color lithograph/calendar top. and also as a Perfect Picture Puzzle, Consolidated Paper Box Company, c. 1940.
Boy and Dog, This Week cover, September 6, 1936
Oil on canvas
30 x 24 in.
Signed lower right
This piece was was printed in a vignette format with some of the background details eliminated for the magazine cover. This popular image also appeared as a full color lithograph/calendar top. and also as a Perfect Picture Puzzle, Consolidated Paper Box Company, c. 1940.
MARTIN KOENIG (American, 20th Century)
Hope Wears White, paperback cover, 1961
Gouache on board
16 x 13.5 in.
Signed lower left
This illustration appeared on the cover of Florence Stuart's novel, Hope Wears White, Ace Books, 1961.
"What could cure a jilted heart."
From the Estate of Charles Martignette.
Hope Wears White, paperback cover, 1961
Gouache on board
16 x 13.5 in.
Signed lower left
This illustration appeared on the cover of Florence Stuart's novel, Hope Wears White, Ace Books, 1961.
"What could cure a jilted heart."
From the Estate of Charles Martignette.
WILLIAM HENRY DETHLEF KOERNER (American, 1878-1938)
At the Window, Saturday Evening Post illustration, 1920
Oil on canvas
36 x 16 in.
Signed lower right
From the Estate of Charles Martignette.
At the Window, Saturday Evening Post illustration, 1920
Oil on canvas
36 x 16 in.
Signed lower right
From the Estate of Charles Martignette.
ARNOLD KOHN (American, d. 1984)
Brunette Pin-Up
Gouache on paper
21 x 16 in.
Signed lower right
Brunette Pin-Up
Gouache on paper
21 x 16 in.
Signed lower right
ROY G. KRENKEL (American, 1918-1983)
Flight to Opar, book illustration
Ink on paper
9.25 x 6.25 in.
This illustration appeared in Philip Jose Farmer's novel, Flight to Opar, Daw Books, 1976.
"In Tarzan's Africa, 12,000 years ago!"
Flight to Opar, book illustration
Ink on paper
9.25 x 6.25 in.
This illustration appeared in Philip Jose Farmer's novel, Flight to Opar, Daw Books, 1976.
"In Tarzan's Africa, 12,000 years ago!"
JOHN LA GATTA (American, 1894-1976)
Seated Woman
Oil on canvas
30 x 26 in.
Signed upper left
From the Estate of Charles Martignette.
Seated Woman
Oil on canvas
30 x 26 in.
Signed upper left
From the Estate of Charles Martignette.
GERALD LEAKE (British, 1885-1975)
The Happy Family
Oil on canvas
35 x 40 in.
Signed lower right
From the Estate of Charles Martignette.
The Happy Family
Oil on canvas
35 x 40 in.
Signed lower right
From the Estate of Charles Martignette.
GEORGES LEPAPE (French, 1887-1971)
Pink Polka Dots, Vogue illustration, 1928
Graphite and watercolor on paper
10 x 8 in.
Signed upper left
Pink Polka Dots, Vogue illustration, 1928
Graphite and watercolor on paper
10 x 8 in.
Signed upper left
RON LESSER (American, 20th Century)
The Kubla Khan Caper, paperback cover, 1967
Gouache on board
13.5 x 10 in.
Signed lower right
This illustration appeared on the cover of Richard Prather's Shell Scott mystery novel, The Kubla Khan Caper, Pocket Books #53505, 1967.
"This one starts when a man named Ormand Monaco decides to celebrate the opening of his posh hotel in Palm Desert, the Kubla Khan, by staging a beauty contest and instead ends up with a couple of murders. Naturally he calls up you know who."
The Kubla Khan Caper, paperback cover, 1967
Gouache on board
13.5 x 10 in.
Signed lower right
This illustration appeared on the cover of Richard Prather's Shell Scott mystery novel, The Kubla Khan Caper, Pocket Books #53505, 1967.
"This one starts when a man named Ormand Monaco decides to celebrate the opening of his posh hotel in Palm Desert, the Kubla Khan, by staging a beauty contest and instead ends up with a couple of murders. Naturally he calls up you know who."
JOSEPH CHRISTIAN LEYENDECKER (American, 1874-1951)
A Real Happy New Year
Oil on canvas
20 x 45 in.
Monogrammed lower left
As Laurence S. Cutler and Judy Goffman Cutler have noted in their magnificent art monograph, J. C. Leyendecker, Abrams, 2008, "While the Arrow Collar man was seminal in the business world, the New Year's Baby was perhaps J. C. Leyendecker's greatest contribution to global iconography. He envisioned the New Year's Baby ringing in the New Year for a December 1906 Saturday Evening Post cover. Throughout America, people anxiously awaited the Post's new Baby cover, and the magazine itself became as much a tradition as the mirrored ball dropping in Times Square. Globally, Leyendecker's New Year's Baby became as popular as Santa Claus. It is now embraced as a worldwide symbol for a new beginning and a fresh future."
From the Estate of Charles Martignette.
A Real Happy New Year
Oil on canvas
20 x 45 in.
Monogrammed lower left
As Laurence S. Cutler and Judy Goffman Cutler have noted in their magnificent art monograph, J. C. Leyendecker, Abrams, 2008, "While the Arrow Collar man was seminal in the business world, the New Year's Baby was perhaps J. C. Leyendecker's greatest contribution to global iconography. He envisioned the New Year's Baby ringing in the New Year for a December 1906 Saturday Evening Post cover. Throughout America, people anxiously awaited the Post's new Baby cover, and the magazine itself became as much a tradition as the mirrored ball dropping in Times Square. Globally, Leyendecker's New Year's Baby became as popular as Santa Claus. It is now embraced as a worldwide symbol for a new beginning and a fresh future."
From the Estate of Charles Martignette.
JOSEPH CHRISTIAN LEYENDECKER (American, 1874-1951)
Kuppenheimer study
Oil on canvas
20 x 28 in.
Not signed
Kuppenheimer study
Oil on canvas
20 x 28 in.
Not signed
JOSEPH CHRISTIAN LEYENDECKER (American, 1874-1951)
Two Well Dressed Men, ad illustration
Oil on canvas mounted on board
20.5 x 13.5 in.
Not signed
From the Estate of Charles Martignette.
Two Well Dressed Men, ad illustration
Oil on canvas mounted on board
20.5 x 13.5 in.
Not signed
From the Estate of Charles Martignette.
JOSEPH CHRISTIAN LEYENDECKER (American, 1874-1951)
Study of a Turkey
Oil on canvas
16 x 11.5 in.
Not signed
Study of a Turkey
Oil on canvas
16 x 11.5 in.
Not signed
JOSEPH CHRISTIAN LEYENDECKER (American, 1874-1951)
Preliminary study for Saturday Evening Post, May 19, 1917
Oil on canvas
12.5 x 11 in.
Not signed
Preliminary study for Saturday Evening Post, May 19, 1917
Oil on canvas
12.5 x 11 in.
Not signed
JOE LITTLES (American, 20th Century)
Afternoon at the Game
Gouache on board
18 x 13 in.
Signed lower right
From the Estate of Charles Martignette.
Afternoon at the Game
Gouache on board
18 x 13 in.
Signed lower right
From the Estate of Charles Martignette.
ANDREW LOOMIS (American, 1892-1959)
Cabaret Dancers
Oil on canvas board
18 x 30 in.
Signed upper left
From the Estate of Charles Martignette.
Cabaret Dancers
Oil on canvas board
18 x 30 in.
Signed upper left
From the Estate of Charles Martignette.
ANDREW LOOMIS (American, 1892-1959)
First Car, 1952
Oil on canvas
28 x 44 in.
Signed lower right
This painting was reproduced as figure 35 in Gil Elvgren All His Glamorous American Pin-Ups by Charles G. Martignette and Louis K. Meisel, Taschen, 1999.
From the Estate of Charles Martignette.
First Car, 1952
Oil on canvas
28 x 44 in.
Signed lower right
This painting was reproduced as figure 35 in Gil Elvgren All His Glamorous American Pin-Ups by Charles G. Martignette and Louis K. Meisel, Taschen, 1999.
From the Estate of Charles Martignette.
ANDREW LOOMIS (American, 1892-1959)
McCall's magazine illustration
Oil on canvas
44 x 19.5 in.
Signed lower right
McCall's magazine illustration
Oil on canvas
44 x 19.5 in.
Signed lower right
TOM LOVELL (American, 1909-1997)
Below Deck, story illustration
Oil on board
15.5 x 22 in.
Signed lower left
From the Estate of Charles Martignette.
Below Deck, story illustration
Oil on board
15.5 x 22 in.
Signed lower left
From the Estate of Charles Martignette.
TOM LOVELL (American, 1909-1997)
Evacuated at Night, 1942
Oil on canvas
34 x 30 in.
Signed lower left
From the Estate of Charles Martignette.
Evacuated at Night, 1942
Oil on canvas
34 x 30 in.
Signed lower left
From the Estate of Charles Martignette.
FREDERICK LOWENHEIM (American, 1870-1929)
Spilt Milk
Oil on canvas
36.5 x 30 in.
Initialed lower right
Spilt Milk
Oil on canvas
36.5 x 30 in.
Initialed lower right
CHARLES ARCHIBALD MACLELLAN (American, 1885-1941)
Coca-Cola advertising illustration
Oil on canvas
19 x 14.5 in.
Signed lower right
From the Estate of Charles Martignette.
Coca-Cola advertising illustration
Oil on canvas
19 x 14.5 in.
Signed lower right
From the Estate of Charles Martignette.
EARL MACPHERSON (American, 1910-1993)
Cowgirl
Pastel and graphite on board
35.5 x 26 in.
Signed lower right
Cowgirl
Pastel and graphite on board
35.5 x 26 in.
Signed lower right
EARL MAC PHERSON (American, 1910-1993)
Pin-Up study
Pastel and gouache on paper
22.5 x 17.5 in.
Signed center right
From the Estate of Charles Martignette.
Pin-Up study
Pastel and gouache on paper
22.5 x 17.5 in.
Signed center right
From the Estate of Charles Martignette.
EARL MAC PHERSON (American, 1910-1993)
Pin-Up in Red
Gouache on board
30 x 24 in.
Not signed
Pin-Up in Red
Gouache on board
30 x 24 in.
Not signed
LOU MARCHETTI (American, 1920-1992)
The Tentacles, paperback cover
Gouache on board
17.5 x 11.5 in.
Not signed
This illustration appeared on the cover of Dana Lyon's double novel, The Tentacles and Spin the Web Tight, Ace, 1963.
Included with this lot is a copy of the paperback double novel.
The Tentacles, paperback cover
Gouache on board
17.5 x 11.5 in.
Not signed
This illustration appeared on the cover of Dana Lyon's double novel, The Tentacles and Spin the Web Tight, Ace, 1963.
Included with this lot is a copy of the paperback double novel.
CHARLES L. MCCANN (20th Century)
The Gang Magazine, pulp cover, September 1935
Oil on canvas
19 x 21 in.
Signed lower center
This gangster pulp title from the Dirty Thirties had only three issues.
From the Estate of Charles Martignette.
The Gang Magazine, pulp cover, September 1935
Oil on canvas
19 x 21 in.
Signed lower center
This gangster pulp title from the Dirty Thirties had only three issues.
From the Estate of Charles Martignette.
GERALD MCCANN (American, b. 1916)
Ranch Romance Stories, pulp cover
Oil on canvas
24 x 26 in.
Not signed
From the Estate of Charles Martignette.
Ranch Romance Stories, pulp cover
Oil on canvas
24 x 26 in.
Not signed
From the Estate of Charles Martignette.
HAROLD W. MCCAULEY (American, 1913-1977)
The Flying Robot, Fantastic Adventures pulp cover, January 1941
Oil on canvas
23.75 x 17.75 in.
Signed lower left
From the Estate of John McLaughlin.
The Flying Robot, Fantastic Adventures pulp cover, January 1941
Oil on canvas
23.75 x 17.75 in.
Signed lower left
From the Estate of John McLaughlin.
HAROLD W. MCCAULEY (American, 1913-1977)
The Buttoned Sky, Imagination magazine cover
Oil on board
19 x 15.5 in.
Not signed
This illustration was on the cover of Imagination, Stories of Science and Fantasy, August 1953.
Included with this lot is a copy of the magazine.
From the Estate of John McLaughlin.
The Buttoned Sky, Imagination magazine cover
Oil on board
19 x 15.5 in.
Not signed
This illustration was on the cover of Imagination, Stories of Science and Fantasy, August 1953.
Included with this lot is a copy of the magazine.
From the Estate of John McLaughlin.
HAROLD W. MCCAULEY (American, 1913-1977)
Hand, pulp cover
Oil on board
21.5 x 16.5 in.
Not signed
From the Estate of John McLaughlin.
Hand, pulp cover
Oil on board
21.5 x 16.5 in.
Not signed
From the Estate of John McLaughlin.
EMLEN MCCONNELL (American, b. 1872)
Janice Meredith, A Story of the American Revolution, Collier's Weekly illustration, 1899
Oil on canvas
14 x 20 in.
Not signed
This piece is a story illustration for Janice Meredith: A Story of the American Revolution, written by Paul Leicester Ford.
Janice Meredith, A Story of the American Revolution, Collier's Weekly illustration, 1899
Oil on canvas
14 x 20 in.
Not signed
This piece is a story illustration for Janice Meredith: A Story of the American Revolution, written by Paul Leicester Ford.
ROBERT MCGINNIS (American, b. 1926)
Murder Is My Business, paperback cover, 1963
Gouache on board
15.5 x 11.5 in.
Signed lower left
This illustration appeared on the cover of Brett Halliday's Mike Shayne mystery, Murder Is My Business, Dell Books #6052, 1963.
"Mike got a case that took him south of the border. That's when he learned what heat really was. A three-time killer was turning it on, and either he or the detective had to end up on ice"
Murder Is My Business, paperback cover, 1963
Gouache on board
15.5 x 11.5 in.
Signed lower left
This illustration appeared on the cover of Brett Halliday's Mike Shayne mystery, Murder Is My Business, Dell Books #6052, 1963.
"Mike got a case that took him south of the border. That's when he learned what heat really was. A three-time killer was turning it on, and either he or the detective had to end up on ice"
ROBERT MCGINNIS (American, b. 1926)
The Empty Trap, paperback cover
Gouache on board
14.5 x 10.5 in.
Signed lower center
This illustration appeared on the cover of John MacDonald's novel, The Empty Trap, Fawcett Gold Medal P3380.
The Empty Trap, paperback cover
Gouache on board
14.5 x 10.5 in.
Signed lower center
This illustration appeared on the cover of John MacDonald's novel, The Empty Trap, Fawcett Gold Medal P3380.
ROBERT MCGINNIS (American, b. 1926)
So Rich, So Lovely, and So Dead, paperback cover, 1961
Gouache on board
14 x 10.5 in.
Not signed
This illustration appeared on the cover of Hal Mansur's novel, So Rich, So Lovely, and So Dead, Dell #D383, 1961.
"She had 10 million bucks and a proposition for Scott Jordan that was murder!"
So Rich, So Lovely, and So Dead, paperback cover, 1961
Gouache on board
14 x 10.5 in.
Not signed
This illustration appeared on the cover of Hal Mansur's novel, So Rich, So Lovely, and So Dead, Dell #D383, 1961.
"She had 10 million bucks and a proposition for Scott Jordan that was murder!"
ROBERT MCGINNIS (American, b. 1926)
Timbalier, paperback cover
Oil on board
17 x 13 in.
Signed lower right
This illustration appeared on the cover of Clayton Coleman's novel, Timbalier, Dell Books, 1969.
Timbalier, paperback cover
Oil on board
17 x 13 in.
Signed lower right
This illustration appeared on the cover of Clayton Coleman's novel, Timbalier, Dell Books, 1969.
WILLIAM MEDCALF (American, 20th Century)
Nice Day for a Drive
Oil on board
38.5 x 30 in.
Signed lower right
From the Estate of Charles Martignette.
Nice Day for a Drive
Oil on board
38.5 x 30 in.
Signed lower right
From the Estate of Charles Martignette.
WILLIAM MEDCALF (American, 20th Century)
Victor oil ad illustration
Oil on canvas
42 x 31 in.
Signed lower left
This painting was also reproduced as figure 466 in The Great American Pin-up by Charles G. Martignette and Louis K. Meisel, Taschen, 1996.
From the Estate of Charles Martignette.
Victor oil ad illustration
Oil on canvas
42 x 31 in.
Signed lower left
This painting was also reproduced as figure 466 in The Great American Pin-up by Charles G. Martignette and Louis K. Meisel, Taschen, 1996.
From the Estate of Charles Martignette.
JAMES MEESE (American, 20th Century)
Dark Dream, paperback cover, 1952
Gouache on board
24 x 16.5 in.
Signed lower left
This illustration appeared on the cover of Robert Martin's novel, Dark Dream, Pocket Books #913, 1952.
"To possess her body, men would murder."
From the Estate of Charles Martignette.
Dark Dream, paperback cover, 1952
Gouache on board
24 x 16.5 in.
Signed lower left
This illustration appeared on the cover of Robert Martin's novel, Dark Dream, Pocket Books #913, 1952.
"To possess her body, men would murder."
From the Estate of Charles Martignette.
CLEMENT MICARELLI (American, 20th Century)
Steffi, paperback cover, 1959
Gouache on board
25 x 15 in.
Signed lower left
This illustration appeared on the cover of Eunice Gray's Novel, Steffi, Beacon Books #B-216, 1959.
"Too reckless with her charms -- too lavish with her love -- Steffi. a chronicle of spent caresses -- of ravaged youth -- of a girl abused beyond redemption."
From the Estate of Charles Martignette.
Steffi, paperback cover, 1959
Gouache on board
25 x 15 in.
Signed lower left
This illustration appeared on the cover of Eunice Gray's Novel, Steffi, Beacon Books #B-216, 1959.
"Too reckless with her charms -- too lavish with her love -- Steffi. a chronicle of spent caresses -- of ravaged youth -- of a girl abused beyond redemption."
From the Estate of Charles Martignette.
MARK MILLER (American, b. 1919)
Calendar Pin-Up
Oil on canvas
28 x 22 in.
Signed lower left
This painting was also reproduced as figure 837 in The Great American Pin-up by Charles G. Martignette and Louis K. Meisel, Taschen, 1996.
From the Estate of Charles Martignette.
Calendar Pin-Up
Oil on canvas
28 x 22 in.
Signed lower left
This painting was also reproduced as figure 837 in The Great American Pin-up by Charles G. Martignette and Louis K. Meisel, Taschen, 1996.
From the Estate of Charles Martignette.
ARTHUR MITCHELL (American, 1889-1977)
Western pulp cover, December 1934
Oil on canvas
28 x 26 in.
Signed lower right
From the Estate of Charles Martignette.
Western pulp cover, December 1934
Oil on canvas
28 x 26 in.
Signed lower right
From the Estate of Charles Martignette.
FREDERIC KIMBALL MIZEN (American, 1888-1964)
Banished: Those Teenage Morning Blues, Cream of Wheat ad illustration, 1925
Oil on canvas
38 x 28 in.
Not signed
This painting was reproduced on page 109 of The Nabisco Brands Collection of Cream of Wheat Advertising Art by David Stivers, Collectors Showcase, 1986.
From the Estate of Charles Martignette.
Banished: Those Teenage Morning Blues, Cream of Wheat ad illustration, 1925
Oil on canvas
38 x 28 in.
Not signed
This painting was reproduced on page 109 of The Nabisco Brands Collection of Cream of Wheat Advertising Art by David Stivers, Collectors Showcase, 1986.
From the Estate of Charles Martignette.
FREDERIC KIMBALL MIZEN (American, 1888-1964)
Overlooking the Herd
Oil on canvas
20 x 24 in.
Signed lower left
From the Estate of Charles Martignette.
Overlooking the Herd
Oil on canvas
20 x 24 in.
Signed lower left
From the Estate of Charles Martignette.
JAMES MONTGOMERY FLAGG (American, 1877-1960)
Story illustration
Ink on paper
23 x 25.5 in.
Signed lower center
Story illustration
Ink on paper
23 x 25.5 in.
Signed lower center
EARL MORAN (American, 1893-1984)
Christmas Pin-Up
Pastel on board
27 x 20 in.
Signed center right
This painting was reproduced as figure 492 in The Great American Pin-Up by Charles G. Martignette and Louis K. Meisel, Taschen, 1996.
From the Estate of Charles Martignette.
Christmas Pin-Up
Pastel on board
27 x 20 in.
Signed center right
This painting was reproduced as figure 492 in The Great American Pin-Up by Charles G. Martignette and Louis K. Meisel, Taschen, 1996.
From the Estate of Charles Martignette.
EARL MORAN (American, 1893-1984)
Blonde in Aqua Negligee
Pastel on board
30 x 20 in.
Signed lower right
From the Estate of Charles Martignette.
Blonde in Aqua Negligee
Pastel on board
30 x 20 in.
Signed lower right
From the Estate of Charles Martignette.
EARL MORAN (American, 1893-1984)
Scooping the Beach
Pastel on board
32.5 x 25.5 in.
Signed lower right
Two printed calendars and a vintage card featuring this iconic image are included with this lot.
Scooping the Beach
Pastel on board
32.5 x 25.5 in.
Signed lower right
Two printed calendars and a vintage card featuring this iconic image are included with this lot.
EARL MORAN (American, 1893-1984)
Nude at the Dressing Table
Oil on canvas
30 x 20 in.
Signed lower right
From the Estate of Charles Martignette.
Nude at the Dressing Table
Oil on canvas
30 x 20 in.
Signed lower right
From the Estate of Charles Martignette.
EARL MORAN (American, 1893-1984)
Pin-Up
Pastel on board
18 x 14 in.
Signed lower left
Pin-Up
Pastel on board
18 x 14 in.
Signed lower left
STOCKTON MULFORD (American, 1886-1960)
Tarzan and the Ant-Men, Argosy All-Story Weekly cover, February 2, 1924
Oil on canvas
13 x 17 in.
Signed lower left
A copy of the publication is included with this lot.
Tarzan and the Ant-Men, Argosy All-Story Weekly cover, February 2, 1924
Oil on canvas
13 x 17 in.
Signed lower left
A copy of the publication is included with this lot.
KNUTE O. MUNSON (American, 20th Century)
Fox Hunt Pin-Up
Pastel on paper
25 x 16.5 in.
Signed lower right
From the Estate of Charles Martignette.
Fox Hunt Pin-Up
Pastel on paper
25 x 16.5 in.
Signed lower right
From the Estate of Charles Martignette.
KNUTE O. MUNSON (American, 20th Century)
Cowgirl
Pastel on board
31 x 22.5 in.
Signed lower left
Cowgirl
Pastel on board
31 x 22.5 in.
Signed lower left
PATRICK NAGEL (American, 1945-1984)
Girl Seated on a TV
Mixed media
19 x 13.5 in.
Signed lower right
From the Estate of Charles Martignette.
Girl Seated on a TV
Mixed media
19 x 13.5 in.
Signed lower right
From the Estate of Charles Martignette.
PATRICK NAGEL (American, 1945-1984)
Undressing
Mixed media
17.5 x 13.5 in.
Signed lower right
From the Estate of Charles Martignette.
Undressing
Mixed media
17.5 x 13.5 in.
Signed lower right
From the Estate of Charles Martignette.
PATRICK NAGEL (American, 1945-1984)
Nude with Sunglasses, Playboy illustration
Acrylic on board
14.25 x 9.5 in.
Signed lower right
Nude with Sunglasses, Playboy illustration
Acrylic on board
14.25 x 9.5 in.
Signed lower right
PATRICK NAGEL (American, 1945-1984)
Playboy illustration, c. 1981
Mixed media on board
15 x 10 in.
Signed lower right
Playboy illustration, c. 1981
Mixed media on board
15 x 10 in.
Signed lower right
PETER SHEAF NEWELL (American, 1862-1924)
The Pursuit of the House Boat, 1896
Mixed media on paper
11.5 x 8.5 in.
Signed lower left
From the Estate of John McLaughlin.
The Pursuit of the House Boat, 1896
Mixed media on paper
11.5 x 8.5 in.
Signed lower left
From the Estate of John McLaughlin.
OLIVIA (OLIVIA DE BERARDINIS) (American, b. 1948)
She Came from Planet Claire, 1988
Acrylic on canvas
72 x 36 in.
Signed verso
From the Estate of Charles Martignette.
She Came from Planet Claire, 1988
Acrylic on canvas
72 x 36 in.
Signed verso
From the Estate of Charles Martignette.
MAYO OLMSTEAD (American, b. 1925)
Bruce Jenner, Olympic Decathlon winner, Wheaties cereal box illustration, 1976
Gouache on board
21 x 17 in.
Signed lower right
From the Estate of Charles Martignette.
Bruce Jenner, Olympic Decathlon winner, Wheaties cereal box illustration, 1976
Gouache on board
21 x 17 in.
Signed lower right
From the Estate of Charles Martignette.
WALT OTTO (American, 1895-1963)
Nude by the Water
Oil on board
23 x 16.5 in.
Signed lower left
Nude by the Water
Oil on board
23 x 16.5 in.
Signed lower left
FRANK R. PAUL (American, 1884-1963)
The Robot Aliens, Wonder Stories pulp cover, February 1935
Oil on canvas
22.5 x 15.5 in.
Signed lower right
This is one of the finest and most definitive Frank R. Paul science fiction images that exists, and this early vision of an alien robot is one of the fantasy master's finest. When Frank R. Paul met publisher Hugo Gernsback and Amazing Stories was launched in 1926, nearly a decade before this masterpiece was created, popular culture history was made. By career's end, Paul had created over 200 published science fiction covers and more than 1,000 black and white interiors. As Stephen D. Korshak, celebrated author of From the Pen of Paul: The Fantastic Images of Frank R. Paul, so aptly states, "To say that Frank R. Paul is the father of science-fiction illustration art is an under-statement -- his fertile imagination legacy continues to influence the field today."
From the Estate of John McLaughlin.
The Robot Aliens, Wonder Stories pulp cover, February 1935
Oil on canvas
22.5 x 15.5 in.
Signed lower right
This is one of the finest and most definitive Frank R. Paul science fiction images that exists, and this early vision of an alien robot is one of the fantasy master's finest. When Frank R. Paul met publisher Hugo Gernsback and Amazing Stories was launched in 1926, nearly a decade before this masterpiece was created, popular culture history was made. By career's end, Paul had created over 200 published science fiction covers and more than 1,000 black and white interiors. As Stephen D. Korshak, celebrated author of From the Pen of Paul: The Fantastic Images of Frank R. Paul, so aptly states, "To say that Frank R. Paul is the father of science-fiction illustration art is an under-statement -- his fertile imagination legacy continues to influence the field today."
From the Estate of John McLaughlin.
FRANK R. PAUL (American, 1884-1963)
The Eternal Cycle, Wonder Stories V6#10 cover, March 1935
Oil on canvas
23 x 17 in.
Signed lower left
Frank R. Paul was the dean of the pulp science fiction artists and he began painting scores of fantastic covers for the Gernsback pulps starting in the twenties. Paul's rocket ships, weapons, and other-worldly creatures were so wildly imaginative that he became the trailblazer for many of the pulp artists that followed. Covers such as this one for "The Eternal Cycle" no doubt inspired the men who became the rocket scientists who finally conquered space flight. Note that Paul's spacecraft is quite similar in size and has several features in common with John Glenn's Friendship 7 capsule. Glenn orbited the earth on February 20, 1962, only twenty-seven years after Frank R. Paul's image of these astronauts hit the newsstands in March, 1935.
The Eternal Cycle, Wonder Stories V6#10 cover, March 1935
Oil on canvas
23 x 17 in.
Signed lower left
Frank R. Paul was the dean of the pulp science fiction artists and he began painting scores of fantastic covers for the Gernsback pulps starting in the twenties. Paul's rocket ships, weapons, and other-worldly creatures were so wildly imaginative that he became the trailblazer for many of the pulp artists that followed. Covers such as this one for "The Eternal Cycle" no doubt inspired the men who became the rocket scientists who finally conquered space flight. Note that Paul's spacecraft is quite similar in size and has several features in common with John Glenn's Friendship 7 capsule. Glenn orbited the earth on February 20, 1962, only twenty-seven years after Frank R. Paul's image of these astronauts hit the newsstands in March, 1935.
FRANK R. PAUL (American, 1884-1963)
The Robot Aliens, Wonder Stories illustration, February 1935
Mixed media on board
17 x 12.5 in.
Signed lower left
Our consignor slyly points out that in this wild scene Frank Paul's invading anthropomorphic robot seems to be "taking liberties" with an innocent Earth automobile.
A copy of the February 1935 Wonder Stories pulp is included with this lot.
The Robot Aliens, Wonder Stories illustration, February 1935
Mixed media on board
17 x 12.5 in.
Signed lower left
Our consignor slyly points out that in this wild scene Frank Paul's invading anthropomorphic robot seems to be "taking liberties" with an innocent Earth automobile.
A copy of the February 1935 Wonder Stories pulp is included with this lot.
FRANK R. PAUL (American, 1884-1963)
Science Fiction cover study, c. 1939
Gouache on board
9 x 7 in.
Not signed
This piece is a study for Paul's famous cover for the December 1939 issue of Science Fiction.
Science Fiction cover study, c. 1939
Gouache on board
9 x 7 in.
Not signed
This piece is a study for Paul's famous cover for the December 1939 issue of Science Fiction.
FRANK R. PAUL (American, 1884-1963)
Science Fiction, pulp illustration
Mixed media and airbrush on board
16 x 13 in.
Signed lower right
Here is one of the most terrifying and blood-chilling "alien abduction" scenes you'll ever experience, drawn by the grand master of science fiction artists. Frank R. Paul was the Promethean talent who blazed a trail for all that followed in the art of speculative fiction -- from his sublime, star-studded Amazing Stories pulp covers to his unforgettable, incendiary comic book classic featuring a red-hot Human Torch burning though a bank vault door on the cover of Marvel Comics #1. As his fellow science fiction legends have enthused, "Paul remains the undisputed king of the pulp artists" (Sir Arthur C. Clarke), and "Paul's fantastic covers for Amazing Stories changed my life forever." (Ray Bradbury). Once seen, this haunting image is nearly impossible to forget.
Science Fiction, pulp illustration
Mixed media and airbrush on board
16 x 13 in.
Signed lower right
Here is one of the most terrifying and blood-chilling "alien abduction" scenes you'll ever experience, drawn by the grand master of science fiction artists. Frank R. Paul was the Promethean talent who blazed a trail for all that followed in the art of speculative fiction -- from his sublime, star-studded Amazing Stories pulp covers to his unforgettable, incendiary comic book classic featuring a red-hot Human Torch burning though a bank vault door on the cover of Marvel Comics #1. As his fellow science fiction legends have enthused, "Paul remains the undisputed king of the pulp artists" (Sir Arthur C. Clarke), and "Paul's fantastic covers for Amazing Stories changed my life forever." (Ray Bradbury). Once seen, this haunting image is nearly impossible to forget.
ROBERT PEAK (American, 1927-1992)
President James E. Carter Jr., Time magazine illustration, 1977
Mixed media on paper
30 x 22 in.
Signed lower right
President James E. Carter Jr., Time magazine illustration, 1977
Mixed media on paper
30 x 22 in.
Signed lower right
ROBERT PEAK (American, 1927-1992)
Baltimore Colts, Sports Illustrated magazine illustration, 1963
Acrylic on board
18.5 x 30 in.
Not signed
Baltimore Colts, Sports Illustrated magazine illustration, 1963
Acrylic on board
18.5 x 30 in.
Not signed
ROBERT PEAK (American, 1927-1992)
Esquire
Acrylic on board
23 x 19 in.
Signed lower right
Esquire
Acrylic on board
23 x 19 in.
Signed lower right
GEORGE PETTY (American, 1894-1975)
Drum Majorette
Watercolor on board
24 x 18 in. window
Signed center left
From the Estate of Charles Martignette.
Drum Majorette
Watercolor on board
24 x 18 in. window
Signed center left
From the Estate of Charles Martignette.
GEORGE PETTY (American, 1894-1975)
Esky with Two Girls in Lavender, Esquire illustration
Watercolor on board
26 x 19.5 in.
Signed lower left
From the Estate of Charles Martignette.
Esky with Two Girls in Lavender, Esquire illustration
Watercolor on board
26 x 19.5 in.
Signed lower left
From the Estate of Charles Martignette.
GEORGE PETTY (American, 1894-1975)
Blue Kerchief, Esquire calendar illustration, December 1956
Watercolor on board
13 x 15 in.
Signed lower left
This painting was also reproduced as figure 601 in The Great American Pin-up by Charles G. Martignette and Louis K. Meisel, Taschen, 1996.
From the Estate of Charles Martignette.
Blue Kerchief, Esquire calendar illustration, December 1956
Watercolor on board
13 x 15 in.
Signed lower left
This painting was also reproduced as figure 601 in The Great American Pin-up by Charles G. Martignette and Louis K. Meisel, Taschen, 1996.
From the Estate of Charles Martignette.
GEORGE PETTY (American, 1894-1975)
Rigid Tool calendar illustration
Mixed media on board
19.5 x 15.5 in.
Signed upper right
"A spindizzy going sour makes the galaxy's most unnerving noise."
From the Estate of Charles Martignette.
Rigid Tool calendar illustration
Mixed media on board
19.5 x 15.5 in.
Signed upper right
"A spindizzy going sour makes the galaxy's most unnerving noise."
From the Estate of Charles Martignette.
Designed by GEORGE PETTY (American, 1894-1975)
Nash Ambassador Sedan,.hood ornament, 1954
Chrome plated metal
12.5 x 6.5 x 4.5 in.
Stamped
Nash Ambassador Sedan,.hood ornament, 1954
Chrome plated metal
12.5 x 6.5 x 4.5 in.
Stamped
Designed by GEORGE PETTY (American, 1894-1975)
Nash Ambassador Sedan, hood ornament, 1954
Chrome plated metal
10.5 x 6.5 x 3 in.
Stamped
Nash Ambassador Sedan, hood ornament, 1954
Chrome plated metal
10.5 x 6.5 x 3 in.
Stamped
Designed by GEORGE PETTY (American, 1894-1975)
Nash Rambler, hood ornament, 1951
Chrome plated metal
13.5 x 7 in.
Stamped
Nash Rambler, hood ornament, 1951
Chrome plated metal
13.5 x 7 in.
Stamped
BARYE PHILLIPS (American, 1924-1969)
Satan is a Woman, paperback cover
Oil on board
15 x 11 in.
Signed lower right
This illustration appeared on the cover of Gil Brewer's novel, Satan is a Woman, Gold Medal Books #169, 1951.
"She carried Hell in her heart."
From the Estate of Charles Martignette.
Satan is a Woman, paperback cover
Oil on board
15 x 11 in.
Signed lower right
This illustration appeared on the cover of Gil Brewer's novel, Satan is a Woman, Gold Medal Books #169, 1951.
"She carried Hell in her heart."
From the Estate of Charles Martignette.
JOHN PIKE (American, 1911-1979)
Collier's Weekly illustration
Gouache on paper laid on board
19 x 27.5 in.
Signed lower left
Inscribed lower left: To Dr. Joe -- who knows what I was trying to do --
Collier's Weekly illustration
Gouache on paper laid on board
19 x 27.5 in.
Signed lower left
Inscribed lower left: To Dr. Joe -- who knows what I was trying to do --
BARNETT PLOTKIN (American, 1932-2003)
James Bond paperback cover, c. 1981-82
Acrylic on board
30 x 20 in.
Signed lower left
James Bond paperback cover, c. 1981-82
Acrylic on board
30 x 20 in.
Signed lower left
WILLY POGANY (Hungarian-American, 1882-1955)
Nautical Scene
Mixed media on board
18 x 14 in.
Signed lower right
From the Estate of John McLaughlin.
Nautical Scene
Mixed media on board
18 x 14 in.
Signed lower right
From the Estate of John McLaughlin.
WILLY POGANY (Hungarian-American, 1882-1955)
Ulysses and Sirens
Oil on board
22 x 16 in.
Initialed lower left
From the Estate of John McLaughlin.
Ulysses and Sirens
Oil on board
22 x 16 in.
Initialed lower left
From the Estate of John McLaughlin.
WILLY POGANY (Hungarian-American, 1882-1955)
Story illustration
Ink on paper
17.5 x 5.25 in.
Not signed
From the Estate of John McLaughlin.
Story illustration
Ink on paper
17.5 x 5.25 in.
Not signed
From the Estate of John McLaughlin.
WILLY POGANY (Hungarian-American, 1882-1955)
Falconer and Archer illustrations
Watercolor and ink on paper
10 x 6.75 in.
Not signed
Falconer and Archer illustrations
Watercolor and ink on paper
10 x 6.75 in.
Not signed
WILLY POGANY (Hungarian-American, 1882-1955)
Battle scene
Watercolor on board
12 x 13 in.
Signed lower left
Battle scene
Watercolor on board
12 x 13 in.
Signed lower left
WILLY POGANY (Hungarian-American, 1882-1955)
American Weekly cover illustration, 1949
Watercolor on paper
23 x 18 in.
Signed lower right
American Weekly cover illustration, 1949
Watercolor on paper
23 x 18 in.
Signed lower right
WILLY POGANY (Hungarian-American, 1882-1955)
Woman with Swan
Watercolor and ink on board
11 x 9 in.
Not signed
From the Estate of John McLaughlin.
Woman with Swan
Watercolor and ink on board
11 x 9 in.
Not signed
From the Estate of John McLaughlin.
HANK PORTER (American, 1900-1951)
New Tales from Old Mother Goose, Good Housekeeping cartoon illustration, May, 1944
Mixed media on board
19.75 x 12.25 in.
Not signed
This illustration was reproduced on page 348 of Walt Disney's Mickey and the Gang by David Gerstein, Gemstone Publishing, 2005.
New Tales from Old Mother Goose, Good Housekeeping cartoon illustration, May, 1944
Mixed media on board
19.75 x 12.25 in.
Not signed
This illustration was reproduced on page 348 of Walt Disney's Mickey and the Gang by David Gerstein, Gemstone Publishing, 2005.
HANK PORTER (American, 1900-1951)
Pluto at the Zoo, Good Housekeeping cartoon illustration, July 1942
Mixed media on board
27.25 x 17.25 in.
Not signed
This illustration was reproduced on page 305 of Walt Disney's Mickey and the Gang by David Gerstein, Gemstone Publishing, 2005.
Pluto at the Zoo, Good Housekeeping cartoon illustration, July 1942
Mixed media on board
27.25 x 17.25 in.
Not signed
This illustration was reproduced on page 305 of Walt Disney's Mickey and the Gang by David Gerstein, Gemstone Publishing, 2005.
HANK PORTER (American, 1900-1951)
Victory Through Air Power, Good Housekeeping cartoon illustration, July 1943
Mixed media on board
22 x 13.5 in.
Not signed
This illustration was reproduced on page 333 of Walt Disney's Mickey and the Gang by David Gerstein, Gemstone Publishing, 2005.
Victory Through Air Power, Good Housekeeping cartoon illustration, July 1943
Mixed media on board
22 x 13.5 in.
Not signed
This illustration was reproduced on page 333 of Walt Disney's Mickey and the Gang by David Gerstein, Gemstone Publishing, 2005.
HANK PORTER (American, 1900-1951)
New Tales from Old Mother Goose, Good Housekeeping cartoon illustration, April 1944
Mixed media on board
20 x 12.25 in.
Not signed
This illustration was reproduced on page 347 of Walt Disney's Mickey and the Gang by David Gerstein, Gemstone Publishing, 2005.
New Tales from Old Mother Goose, Good Housekeeping cartoon illustration, April 1944
Mixed media on board
20 x 12.25 in.
Not signed
This illustration was reproduced on page 347 of Walt Disney's Mickey and the Gang by David Gerstein, Gemstone Publishing, 2005.
HOWARD PURCELL (American, 1918-1981)
Wild Body, paperback cover, 1953
Gouache on board
25.5 x 18 in.
Not signed
This illustration appeared on the cover of Manning Clay's novel, Wild Body, Unibook #53, 1953.
"The intimate story of a modern Salome - who tried to shed the seventh veil..."
From the Estate of Charles Martignette.
Wild Body, paperback cover, 1953
Gouache on board
25.5 x 18 in.
Not signed
This illustration appeared on the cover of Manning Clay's novel, Wild Body, Unibook #53, 1953.
"The intimate story of a modern Salome - who tried to shed the seventh veil..."
From the Estate of Charles Martignette.
PAUL RADER (American, b. 1906)
The Easy Way, paperback cover, 1964
Gouache on board
16.5 x 9.5 in.
Signed lower left
This illustration appeared on the cover of Dallas Mayo's novel, The Easy Way, Midwood #32-421, 1964.
"Maybe it was time to play follow the leader and date one of her roommate's strange, but obviously generous female friends?"
From the Estate of Charles Martignette.
The Easy Way, paperback cover, 1964
Gouache on board
16.5 x 9.5 in.
Signed lower left
This illustration appeared on the cover of Dallas Mayo's novel, The Easy Way, Midwood #32-421, 1964.
"Maybe it was time to play follow the leader and date one of her roommate's strange, but obviously generous female friends?"
From the Estate of Charles Martignette.
HENRY PATRICK RALEIGH (American, 1880-1944)
Hide in the Dark, 1929
Watercolor on board
13 x 16 in.
Signed lower right
From the Estate of Charles Martignette.
Hide in the Dark, 1929
Watercolor on board
13 x 16 in.
Signed lower right
From the Estate of Charles Martignette.
HENRY PATRICK RALEIGH (American, 1880-1944)
Theater Dressing Room
Mixed media on board
14 x 28 in.
Signed lower right
From the Estate of Charles Martignette.
Theater Dressing Room
Mixed media on board
14 x 28 in.
Signed lower right
From the Estate of Charles Martignette.
HENRY PATRICK RALEIGH (American, 1880-1944)
View from the Window, 1929
Mixed media on paper
12.5 x 11 in.
Signed lower left
From the Estate of Charles Martignette.
View from the Window, 1929
Mixed media on paper
12.5 x 11 in.
Signed lower left
From the Estate of Charles Martignette.
BILL RANDALL (American, b. 1911)
Flooded Bathtub
Gouache on board
23 x 17 in.
Signed lower right
From the Estate of Charles Martignette.
Flooded Bathtub
Gouache on board
23 x 17 in.
Signed lower right
From the Estate of Charles Martignette.
JOSEPH RICHARDS (American, 1921-2007)
Fantastic Universe, paperback digest cover, January 1954
Oil on board
12 x 8 in.
Signed lower right
Fantastic Universe, paperback digest cover, January 1954
Oil on board
12 x 8 in.
Signed lower right
ROBERT RIGGS (American, 1896-1970)
Ringing of the Bell
Oil on panel
23 x 10.5 in.
Initialed lower right
Ringing of the Bell
Oil on panel
23 x 10.5 in.
Initialed lower right
WILLIAM HEATH ROBINSON (British, 1872-1944)
Portrait of a Monk
Mixed media on board
23 x 16 in.
Not signed
Portrait of a Monk
Mixed media on board
23 x 16 in.
Not signed
NORMAN ROCKWELL (American, 1894-1978)
Hanging the Wreath, 1974, Franklin Mint silver plate illustration study, with a photo of Norman Rockwell at the drawing board, two reference photos, and the issued Franklin Mint plate
Graphite on paper
Image area: 7.5 in. diameter, overall paper size: 9.75 x 8.5 in.
Signed lower right
One of the Franklin Mint Christmas Plates was heralded with this fitting observation: "Norman Rockwell, one of the most famous artists of our time, has just created his first Christmas Plate. He is regarded by many knowledgeable critics as the finest American artist since Remington. Thomas Buechner, director of the Brooklyn Museum has said, 'When this last half-century is explored by the future, a few works will continue to communicate with the same immediacy and veracity they have today. I believe Mr. Rockwell's will be among them.'"
PROVENANCE:
Collection of Mr. Donald Walton.
Hanging the Wreath, 1974, Franklin Mint silver plate illustration study, with a photo of Norman Rockwell at the drawing board, two reference photos, and the issued Franklin Mint plate
Graphite on paper
Image area: 7.5 in. diameter, overall paper size: 9.75 x 8.5 in.
Signed lower right
One of the Franklin Mint Christmas Plates was heralded with this fitting observation: "Norman Rockwell, one of the most famous artists of our time, has just created his first Christmas Plate. He is regarded by many knowledgeable critics as the finest American artist since Remington. Thomas Buechner, director of the Brooklyn Museum has said, 'When this last half-century is explored by the future, a few works will continue to communicate with the same immediacy and veracity they have today. I believe Mr. Rockwell's will be among them.'"
PROVENANCE:
Collection of Mr. Donald Walton.
LLOYD NORMAN ROGNAN (American, 1923-2005)
Hula Dancer
Oil on canvas
34.5 x 26 in.
Signed lower right
From the Estate of John McLaughlin.
Hula Dancer
Oil on canvas
34.5 x 26 in.
Signed lower right
From the Estate of John McLaughlin.
ALEXANDER SHARPE ROSS (American, 1908-1990)
The Conversation
Watercolor on board
15 x 10.5 in.
Signed lower left
From the Estate of Charles Martignette.
The Conversation
Watercolor on board
15 x 10.5 in.
Signed lower left
From the Estate of Charles Martignette.
ALEXANDER SHARPE ROSS (American, 1908-1990)
A Hectic Morning
Gouache on board
20.5 x 19.5 in.
Signed lower left
From the Estate of Charles Martignette.
A Hectic Morning
Gouache on board
20.5 x 19.5 in.
Signed lower left
From the Estate of Charles Martignette.
GEORGE ROZEN (American, 1895-1974)
Super Detective pulp cover, May 1947
Oil on canvas
23 x 16 in.
Signed lower right
From the Estate of Charles Martignette.
Super Detective pulp cover, May 1947
Oil on canvas
23 x 16 in.
Signed lower right
From the Estate of Charles Martignette.
GEORGE ROZEN (American, 1895-1974)
Argosy Weekly, pulp cover, July 30, 1938
Oil on board
25 x 21 in.
Signed lower left
From the Estate of Charles Martignette.
Argosy Weekly, pulp cover, July 30, 1938
Oil on board
25 x 21 in.
Signed lower left
From the Estate of Charles Martignette.
GEORGE ROZEN (American, 1895-1974)
War pulp cover, c. 1940s
Oil on canvas
29 x 20 in.
Signed lower left
From the Estate of Charles Martignette.
War pulp cover, c. 1940s
Oil on canvas
29 x 20 in.
Signed lower left
From the Estate of Charles Martignette.
GEORGE ROZEN (American, 1895-1974)
Jibaro Death, Shadow pulp cover, September 15, 1936
Oil on canvas
37 x 28 in.
Initialed lower right
Jibaro Death, Shadow pulp cover, September 15, 1936
Oil on canvas
37 x 28 in.
Initialed lower right
EDWARD RUNCI (American, 1921-1985)
Hidden Treasures, 1949
Oil on canvas
30 x 24 in.
Signed lower left
This painting was reproduced as figure 629 in The Great American Pin-Up by Charles G. Martignette and Louis K. Meisel, Taschen, 1996, and also in Pin-up Poster Book The Ed Runci Collection by Charles G. Martignette and Louis K. Meisel, Collectors Press, 1997.
From the Estate of Charles Martignette.
Hidden Treasures, 1949
Oil on canvas
30 x 24 in.
Signed lower left
This painting was reproduced as figure 629 in The Great American Pin-Up by Charles G. Martignette and Louis K. Meisel, Taschen, 1996, and also in Pin-up Poster Book The Ed Runci Collection by Charles G. Martignette and Louis K. Meisel, Collectors Press, 1997.
From the Estate of Charles Martignette.
EDWARD RUNCI (American, 1921-1985)
Fall Football Fever, Nesbitt's calendar ad, 1956
Oil on canvas
15.5 x 15 in.
Not signed
This illustration is included in Charles Martignette and Louis Meisel's, Pin Up Poster Book: The Edward Runci Collection, page 7. A copy of the book is included with this lot.
Fall Football Fever, Nesbitt's calendar ad, 1956
Oil on canvas
15.5 x 15 in.
Not signed
This illustration is included in Charles Martignette and Louis Meisel's, Pin Up Poster Book: The Edward Runci Collection, page 7. A copy of the book is included with this lot.
TOM RYAN (American, b. 1922)
Shooter, paperback cover
Oil on board
25.5 x 17.5 in.
Not signed
Shooter, paperback cover
Oil on board
25.5 x 17.5 in.
Not signed
ARTHUR SARON SARNOFF (American, 1912-2000)
Supervised and Unsupervised
Gouache on board
19 x 21.5 in.
Signed lower left
From the Estate of Charles Martignette.
Supervised and Unsupervised
Gouache on board
19 x 21.5 in.
Signed lower left
From the Estate of Charles Martignette.
ARTHUR SARON SARNOFF (American, 1912-2000)
Steeple Chase
Oil on canvas
24 x 36 in.
Signed lower left
From the Estate of Charles Martignette.
Steeple Chase
Oil on canvas
24 x 36 in.
Signed lower left
From the Estate of Charles Martignette.
ARTHUR SARON SARNOFF (American, 1912-2000)
Nude
Oil on canvas
39 x 29.5 in.
Signed lower left
Nude
Oil on canvas
39 x 29.5 in.
Signed lower left
NORMAN SAUNDERS (American, 1907-1989)
Western Short Stories, pulp cover, February 1953
Oil on board
18.75 x 17 in.
Not signed
Western Short Stories, pulp cover, February 1953
Oil on board
18.75 x 17 in.
Not signed
NORMAN SAUNDERS (American, 1907-1989)
The Ones, Marvel Science cover, May 1951
Oil on board
18 x 11.5 in.
Not signed
This piece is framed alongside copies of Marvel Science Stories and Amazing Stories pulps.
From the Estate of John McLaughlin.
The Ones, Marvel Science cover, May 1951
Oil on board
18 x 11.5 in.
Not signed
This piece is framed alongside copies of Marvel Science Stories and Amazing Stories pulps.
From the Estate of John McLaughlin.
FRANK EARLE SCHOONOVER (American, 1877-1972)
Sketch for The Funeral Procession, 1905
Oil on board
12 x 7.5 in.
Signed lower right
This piece is listed as #236sb in the Frank Schoonover Catalogue Raisonné. It is a sketch for #236, The Funeral Procession, 1905; McClure's Magazine.
Sketch for The Funeral Procession, 1905
Oil on board
12 x 7.5 in.
Signed lower right
This piece is listed as #236sb in the Frank Schoonover Catalogue Raisonné. It is a sketch for #236, The Funeral Procession, 1905; McClure's Magazine.
AMOS SEWELL (American, 1901-1983)
Gauge Shotgun, Saturday Evening Post illustration
Oil on board
20.5 x 29 in.
Signed lower right
Gauge Shotgun, Saturday Evening Post illustration
Oil on board
20.5 x 29 in.
Signed lower right
ROBERT OLIVER SKEMP (American, 1910-1984)
The Administrative Assistant
Oil on canvas
36 x 28 in.
Signed lower right
This painting was reproduced as figure 888 in The Great American Pin-Up by Charles G. Martignette and Louis K. Meisel, Taschen, 1996.
From the Estate of Charles Martignette.
The Administrative Assistant
Oil on canvas
36 x 28 in.
Signed lower right
This painting was reproduced as figure 888 in The Great American Pin-Up by Charles G. Martignette and Louis K. Meisel, Taschen, 1996.
From the Estate of Charles Martignette.
MALCOLM SMITH (American, 20th Century)
Space on My Hands, book cover, 1951
Gouache and mixed media on board
13.5 x 10.75 in.
Not signed
This illustration appeared on the cover of Fredric Brown's book, Space on My Hands, Shasta Books, 1951.
From the Estate of John McLaughlin.
Space on My Hands, book cover, 1951
Gouache and mixed media on board
13.5 x 10.75 in.
Not signed
This illustration appeared on the cover of Fredric Brown's book, Space on My Hands, Shasta Books, 1951.
From the Estate of John McLaughlin.
WILLIAM FULTON SOARE (American, 1896-1940)
Menace pulp cover
Oil on canvas
23 x 17 in.
Not signed
From the Estate of Charles Martignette.
Menace pulp cover
Oil on canvas
23 x 17 in.
Not signed
From the Estate of Charles Martignette.
HAJIME SORAYAMA (Japanese, b. 1947)
Hot Box
Mixed media on board
19 x 14 in.
Signed lower left
From the Estate of Charles Martignette.
Hot Box
Mixed media on board
19 x 14 in.
Signed lower left
From the Estate of Charles Martignette.
HAJIME SORAYAMA (Japanese, b. 1947)
Pin-Up in Leather
Mixed media on board
28 x 20 in.
Signed lower right
From the Estate of Charles Martignette.
Pin-Up in Leather
Mixed media on board
28 x 20 in.
Signed lower right
From the Estate of Charles Martignette.
HENRY JAMES SOULEN (American, 1888-1965)
Chinese Parade, Saturday Evening Post illustration
Oil on board
13.5 x 29.5 in.
Signed lower right
From the Estate of Charles Martignette.
Chinese Parade, Saturday Evening Post illustration
Oil on board
13.5 x 29.5 in.
Signed lower right
From the Estate of Charles Martignette.
HENRY JAMES SOULEN (American, 1888-1965)
A Pilgrimage to Palestine, 1927
Oil on board
11 x 16 in.
Signed lower right
From the Estate of Charles Martignette.
A Pilgrimage to Palestine, 1927
Oil on board
11 x 16 in.
Signed lower right
From the Estate of Charles Martignette.
ROY FREDERICK SPRETER (American, 1899-1967)
Asleep on a Train
Oil on canvas
24 x 24 in.
Signed lower left
From the Estate of Charles Martignette.
Asleep on a Train
Oil on canvas
24 x 24 in.
Signed lower left
From the Estate of Charles Martignette.
C. CLYDE SQUIRES (American, 1883-1970)
Sword Fight, story illustration
Oil on board
18 x 27 in.
Signed lower right
From the Estate of Charles Martignette.
Sword Fight, story illustration
Oil on board
18 x 27 in.
Signed lower right
From the Estate of Charles Martignette.
J. ALLEN ST. JOHN (American, 1872-1957)
Perils of Dragonia title page illustration, Fantastic Adventures pulp magazine, April 1949
Mixed media on paper
13 x 18 in.
Signed upper left
This piece is the title page illustration for Mollie Claire's "Perils of Dragonia," found in the April 1949 issue of Fantastic Adventures, page 114.
From the Estate of John McLaughlin.
Perils of Dragonia title page illustration, Fantastic Adventures pulp magazine, April 1949
Mixed media on paper
13 x 18 in.
Signed upper left
This piece is the title page illustration for Mollie Claire's "Perils of Dragonia," found in the April 1949 issue of Fantastic Adventures, page 114.
From the Estate of John McLaughlin.
ALICE BARBER STEPHENS (American, 1858-1932)
The Bear Hunter, 1896
Oil on canvas
23.5 x 15 in.
Signed lower right
From the Estate of Charles Martignette.
The Bear Hunter, 1896
Oil on canvas
23.5 x 15 in.
Signed lower right
From the Estate of Charles Martignette.
MAXINE STEVENS (MAXINE SUNDERMAN RUNCI) (American, 20th Century)
A Pair of Winners, 1950
Oil on canvas
25 x 21 in.
Signed lower right
Edward Runci teamed with his wife (who used the name "Maxine Stevens") to paint nine glamour images for the Brown and Bigelow calendar company. This painting was reproduced as figure 625 of The Great American Pin-Up by Charles G. Martignette and Louis K. Meisel, Taschen, 1996, and also in Pin-Up Poster Book The Ed Runci Collection by Charles G. Martignette and Louis K. Meisel, Collectors Press, 1997.
From the Estate of Charles Martignette.
A Pair of Winners, 1950
Oil on canvas
25 x 21 in.
Signed lower right
Edward Runci teamed with his wife (who used the name "Maxine Stevens") to paint nine glamour images for the Brown and Bigelow calendar company. This painting was reproduced as figure 625 of The Great American Pin-Up by Charles G. Martignette and Louis K. Meisel, Taschen, 1996, and also in Pin-Up Poster Book The Ed Runci Collection by Charles G. Martignette and Louis K. Meisel, Collectors Press, 1997.
From the Estate of Charles Martignette.
MAXINE STEVENS (MAXINE SUNDERMAN RUNCI) (American, 20th Century)
At the Beach
Oil on canvas
26 x 22 in.
Signed lower right
At the Beach
Oil on canvas
26 x 22 in.
Signed lower right
FRANK STICK (American, 1884-1966)
Big Game Hunters
Oil on canvas
25 x 18 in.
Signed lower left
From the Estate of Charles Martignette.
Big Game Hunters
Oil on canvas
25 x 18 in.
Signed lower left
From the Estate of Charles Martignette.
HERBERT MORTON STOOPS (American, 1888-1948)
Watching Over Them, Brown & Bigelow illustration
Oil on canvas
36 x 27 in.
Signed lower right
From the Estate of Charles Martignette.
Watching Over Them, Brown & Bigelow illustration
Oil on canvas
36 x 27 in.
Signed lower right
From the Estate of Charles Martignette.
HERBERT MORTON STOOPS (American, 1888-1948)
Meeting on the Trail
Oil on canvas
32 x 28 in.
Not signed
From the Estate of Charles Martignette.
Meeting on the Trail
Oil on canvas
32 x 28 in.
Not signed
From the Estate of Charles Martignette.
RAYMOND JAMES STUART (American, b. 1882)
Car Approaching, 1939
Oil on canvas
32 x 24 in.
Signed lower left
From the Estate of Charles Martignette.
Car Approaching, 1939
Oil on canvas
32 x 24 in.
Signed lower left
From the Estate of Charles Martignette.
HADDON HUBBARD SUNDBLOM (American, 1899-1976)
Santa and the New Refrigerator
Oil on canvas
24.5 x 30 in.
Signed lower right
From the Estate of Charles Martignette.
Santa and the New Refrigerator
Oil on canvas
24.5 x 30 in.
Signed lower right
From the Estate of Charles Martignette.
HADDON HUBBARD SUNDBLOM (American, 1899-1976)
Candlelight Rendezvous
Oil on canvas
24 x 27 in.
Signed lower left
From the Estate of Charles Martignette.
Candlelight Rendezvous
Oil on canvas
24 x 27 in.
Signed lower left
From the Estate of Charles Martignette.
PAUL SWAN (American, 1884-1972)
Water Nymph, 1907
Oil on board
27 x 15 in.
Signed lower left
From the Estate of Charles Martignette.
Water Nymph, 1907
Oil on board
27 x 15 in.
Signed lower left
From the Estate of Charles Martignette.
ARTHUR SZYK (American, 1894-1951)
The Monk, Canterbury Tales, 1945
Gouache on paper
6.5 x 5.25 in.
Signed lower right
From the Estate of John McLaughlin.
The Monk, Canterbury Tales, 1945
Gouache on paper
6.5 x 5.25 in.
Signed lower right
From the Estate of John McLaughlin.
ARTHUR SZYK (American, 1894-1951)
The Canon's Yeoman, Canterbury Tales, 1945
Gouache on paper
6.5 x 4.75 in.
Signed lower right
From the Estate of John McLaughlin.
The Canon's Yeoman, Canterbury Tales, 1945
Gouache on paper
6.5 x 4.75 in.
Signed lower right
From the Estate of John McLaughlin.
ARTHUR SZYK (American, 1894-1951)
The Parson, Canterbury Tales
Gouache on paper
6.75 x 5 in.
Signed lower right
From the Estate of John McLaughlin.
The Parson, Canterbury Tales
Gouache on paper
6.75 x 5 in.
Signed lower right
From the Estate of John McLaughlin.
HERBERT TAUSS (American, 1929-2001)
Sailor's Weekend, paperback digest cover, 1952
Oil on board
22.5 x 19.5 in.
Signed lower right
This illustration appeared on the cover of Whit Harrison's (pen name of Harry Whittington) digest novel, Sailor's Weekend, Venus Books #166, 1952.
"A vivid story of lonely men and friendly women."
From the Estate of Charles Martignette.
Sailor's Weekend, paperback digest cover, 1952
Oil on board
22.5 x 19.5 in.
Signed lower right
This illustration appeared on the cover of Whit Harrison's (pen name of Harry Whittington) digest novel, Sailor's Weekend, Venus Books #166, 1952.
"A vivid story of lonely men and friendly women."
From the Estate of Charles Martignette.
HERBERT TAUSS (American, 1929-2001)
Street of the Blues, paperback cover, 1952
Oil on board
26 x 18.5 in.
Signed lower left
This illustration appeared on the cover of Kate Nickerson's novel, Street of the Blues, Original Books #729, 1952.
"The story of a girl's journey into evil."
From the Estate of Charles Martignette.
Street of the Blues, paperback cover, 1952
Oil on board
26 x 18.5 in.
Signed lower left
This illustration appeared on the cover of Kate Nickerson's novel, Street of the Blues, Original Books #729, 1952.
"The story of a girl's journey into evil."
From the Estate of Charles Martignette.
VICTOR TCHETCHET (American, 1891-1974)
Eastern Beauty
Pastel on paper
24 x 19 in.
Signed lower left
Eastern Beauty
Pastel on paper
24 x 19 in.
Signed lower left
SAUL TEPPER (American, 1899-1987)
Winter Sun, Collier's illustration, July 7, 1951
Oil on board
12 x 12 in.
Signed upper left
This illustration appeared in Charles Hall Thompson's short story, Winter Sun.
From the Estate of Charles Martignette.
Winter Sun, Collier's illustration, July 7, 1951
Oil on board
12 x 12 in.
Signed upper left
This illustration appeared in Charles Hall Thompson's short story, Winter Sun.
From the Estate of Charles Martignette.
SAUL TEPPER (American, 1899-1987)
Wary Soldiers
Oil on canvas
26 x 40 in.
Signed lower left
From the Estate of Charles Martignette.
Wary Soldiers
Oil on canvas
26 x 40 in.
Signed lower left
From the Estate of Charles Martignette.
JERRY T. N. THOMPSON (American, 20th Century)
Want to See Me Swing My Baton, Studio Sketches calendar illustration, September 1952
Oil and pencil on board
26 x 20 in.
Signed lower center
This wonderful image was sold as a single one sheet 'hanger' calendar. Entitled Want to See me Swing my Baton, this image of a majorette was Thompson's most popular image and one of the company's best money makers. More than a million matchbooks with this picture were sold to advertisers who wanted their products or business associated with its all-American baton girl.
This painting was reproduced as figure 649 in The Great American Pin-Up by Charles G. Martignette and Louis K. Meisel, Taschen Books, 1996.
From the Estate of Charles Martignette.
Want to See Me Swing My Baton, Studio Sketches calendar illustration, September 1952
Oil and pencil on board
26 x 20 in.
Signed lower center
This wonderful image was sold as a single one sheet 'hanger' calendar. Entitled Want to See me Swing my Baton, this image of a majorette was Thompson's most popular image and one of the company's best money makers. More than a million matchbooks with this picture were sold to advertisers who wanted their products or business associated with its all-American baton girl.
This painting was reproduced as figure 649 in The Great American Pin-Up by Charles G. Martignette and Louis K. Meisel, Taschen Books, 1996.
From the Estate of Charles Martignette.
LESLIE THRASHER (American, 1889-1936)
Liberty magazine cover, August 29, 1931
Oil on canvas
17.5 x 16 in.
Signed lower left
From the Estate of Charles Martignette.
Liberty magazine cover, August 29, 1931
Oil on canvas
17.5 x 16 in.
Signed lower left
From the Estate of Charles Martignette.
LESLIE THRASHER (American, 1889-1936)
Trouble at the Garage
Oil on canvas
28 x 22 in.
Signed lower right
From the Estate of Charles Martignette
Trouble at the Garage
Oil on canvas
28 x 22 in.
Signed lower right
From the Estate of Charles Martignette
GEORGE TIMOTHY TOBIN (American, 1864-1956)
Collier's cover, November 10, 1928
Oil on board
19 x 15.5 in.
Signed lower right
From the Estate of Charles Martignette.
Collier's cover, November 10, 1928
Oil on board
19 x 15.5 in.
Signed lower right
From the Estate of Charles Martignette.
RICO TOMASO (American, 1898-1985)
Star Light, Star Bright
Oil on canvas
34 x 28 in.
Signed lower right
This illustration was used for Dorothy Thomas's story, Star Light, Star Bright, featured in Ladies' Home Journal, February 1940, page 17.
Star Light, Star Bright
Oil on canvas
34 x 28 in.
Signed lower right
This illustration was used for Dorothy Thomas's story, Star Light, Star Bright, featured in Ladies' Home Journal, February 1940, page 17.
ENRICH TORRES (Enric Torres-Prat)
(Spanish, 1939)
Don't Look Behind You, paperback cover, c. 1970
Oil on canvas laid on board
23 x 14 in.
Signed lower right
This illustration appeared on the cover of Margaret Erskine's novel, Don't Look Behind You, Ace Books #15900, c. 1970.
"Innocent, sensitive, she was made a victim by a chance encounter with love and death."
(Spanish, 1939)
Don't Look Behind You, paperback cover, c. 1970
Oil on canvas laid on board
23 x 14 in.
Signed lower right
This illustration appeared on the cover of Margaret Erskine's novel, Don't Look Behind You, Ace Books #15900, c. 1970.
"Innocent, sensitive, she was made a victim by a chance encounter with love and death."
THORTON UTZ (American, 1914-1999)
Train in the Desert
Gouache on board
19.5 x 19.5 in.
Signed lower center
From the Estate of Charles Martignette.
Train in the Desert
Gouache on board
19.5 x 19.5 in.
Signed lower center
From the Estate of Charles Martignette.
BORIS VALLEJO (American, b. 1941)
National Lampoon's European Vacation, 1985
Oil on board
37 x 25 in.
Signed lower left
National Lampoon's European Vacation, original one-sheet movie poster illustration.
National Lampoon's European Vacation, 1985
Oil on board
37 x 25 in.
Signed lower left
National Lampoon's European Vacation, original one-sheet movie poster illustration.
ALBERTO VARGAS (American, 1896-1982)
Song for a Guitar, preliminary study
Mixed media on vellum
18 x 29 in.
Not signed
This is a preliminary study for the finished illustration that appeared in the October 1942 issue of Esquire magazine.
This piece was reproduced as figure 698 of The Great American Pin-Up by Charles G. Martignette and Louis K. Meisel, Taschen, 1996.
From the Estate of Charles Martignette.
Song for a Guitar, preliminary study
Mixed media on vellum
18 x 29 in.
Not signed
This is a preliminary study for the finished illustration that appeared in the October 1942 issue of Esquire magazine.
This piece was reproduced as figure 698 of The Great American Pin-Up by Charles G. Martignette and Louis K. Meisel, Taschen, 1996.
From the Estate of Charles Martignette.
ALBERTO VARGAS (American, 1896-1982)
Lighting Up, 1927
Mixed media on board
34 x 16 in.
Signed lower right
From the Estate of Charles Martignette.
Lighting Up, 1927
Mixed media on board
34 x 16 in.
Signed lower right
From the Estate of Charles Martignette.
ALBERTO VARGAS (American, 1896-1982)
Pin-Up in Jewels, 1950
Watercolor on board
19 x 29 in.
Signed lower right
From the Estate of Charles Martignette.
Pin-Up in Jewels, 1950
Watercolor on board
19 x 29 in.
Signed lower right
From the Estate of Charles Martignette.
ALBERTO VARGAS (American, 1896-1982)
Pink Sash
Watercolor on board
24 x 19 in.
Signed lower right
From the Estate of Charles Martignette.
Pink Sash
Watercolor on board
24 x 19 in.
Signed lower right
From the Estate of Charles Martignette.
ALBERTO VARGAS (American, 1896-1982)
Varga Girl, Esquire calendar illustration, February 1946
Watercolor on board
28 x 22 in.
Not signed
From the Estate of Charles Martignette.
Varga Girl, Esquire calendar illustration, February 1946
Watercolor on board
28 x 22 in.
Not signed
From the Estate of Charles Martignette.
ALBERTO VARGAS (American, 1896-1982)
Ziegfeld Girl with Angel
Mixed media on board
22.5 x 19.5 in.
Signed lower right
Inscribed lower center: To Bill, Sincerely Alberto Vargas
Ziegfeld Girl with Angel
Mixed media on board
22.5 x 19.5 in.
Signed lower right
Inscribed lower center: To Bill, Sincerely Alberto Vargas
BILL WARD (American, 1919-1998)
Men's magazine cartoon illustration, 1955
Mixed media on paper
23 x 15.5 in.
Signed lower right
"If you think this wind will affect your game -- think what it will do to mine."
From the Estate of Charles Martignette.
Men's magazine cartoon illustration, 1955
Mixed media on paper
23 x 15.5 in.
Signed lower right
"If you think this wind will affect your game -- think what it will do to mine."
From the Estate of Charles Martignette.
BILL WARD (American, 1919-1998)
Men's magazine cartoon illustration, 1957
Mixed media on paper
27.5 x 14 in.
Signed lower right
"No, no Rose -- that isn't why I won't introduce you to my parents -- I just don't trust my father."
From the Estate of Charles Martignette.
Men's magazine cartoon illustration, 1957
Mixed media on paper
27.5 x 14 in.
Signed lower right
"No, no Rose -- that isn't why I won't introduce you to my parents -- I just don't trust my father."
From the Estate of Charles Martignette.
BILL WARD (American, 1919-1998)
Men's magazine cartoon illustration, 1957
Mixed media on paper
23 x 15.5 in.
Signed lower center
"You're quite right my dear -- she does look pretty bare."
From the Estate of Charles Martignette.
Men's magazine cartoon illustration, 1957
Mixed media on paper
23 x 15.5 in.
Signed lower center
"You're quite right my dear -- she does look pretty bare."
From the Estate of Charles Martignette.
BILL WARD (American, 1919-1998)
Men's magazine cartoon illustration, 1958
Mixed media on paper
23 x 15.5 in.
Not signed
From the Estate of Charles Martignette.
Men's magazine cartoon illustration, 1958
Mixed media on paper
23 x 15.5 in.
Not signed
From the Estate of Charles Martignette.
EDMUND F. WARD (American, 1892-1991)
St. Valentine's Day Massacre
Oil on canvas
38.25 x 28 in.
Signed lower left
St. Valentine's Day Massacre
Oil on canvas
38.25 x 28 in.
Signed lower left
EDMUND F. WARD (American, 1892-1991)
At Sea
Oil on canvas
20.5 x 34 in.
Signed lower right
At Sea
Oil on canvas
20.5 x 34 in.
Signed lower right
EDMUND F. WARD (American, 1892-1991)
A Moment of Rest
Oil on canvas
40 x 33 in.
Signed lower right
From the Estate of Charles Martignette.
A Moment of Rest
Oil on canvas
40 x 33 in.
Signed lower right
From the Estate of Charles Martignette.
HUGH JOSEPH WARD (American, 1909-1945)
The Evil Flame, Spicy Mystery Stories pulp cover, August 1936
Oil on canvas
28.5 x 19.5 in.
Signed lower right
This is not only the most important Ward pulp cover we've ever offered -- it's one of the absolute best pulp covers that exists, by any artist. Iconic is the adjective that best sums up the entire over-the-top approach that pulps are now celebrated for. As pulp art historian Robert Lesser so vividly recounted about the Ward approach in his book, Pulp Art, Gramercy Books, 1997, "One day in April 1942 Mayor la Guardia spied an unusual Spicy mystery on the newsstand and exploded in instant rage. He ruled on the spot: 'No more Spicy pulps in this city.' H. J. Ward was the cover artist and it was one of his most daring: sexual tension, violence in action, a beautiful woman, all painted with aggressive brushwork to create a cover that couldn't fail to catch the eye."
From the Estate of John McLaughlin.
The Evil Flame, Spicy Mystery Stories pulp cover, August 1936
Oil on canvas
28.5 x 19.5 in.
Signed lower right
This is not only the most important Ward pulp cover we've ever offered -- it's one of the absolute best pulp covers that exists, by any artist. Iconic is the adjective that best sums up the entire over-the-top approach that pulps are now celebrated for. As pulp art historian Robert Lesser so vividly recounted about the Ward approach in his book, Pulp Art, Gramercy Books, 1997, "One day in April 1942 Mayor la Guardia spied an unusual Spicy mystery on the newsstand and exploded in instant rage. He ruled on the spot: 'No more Spicy pulps in this city.' H. J. Ward was the cover artist and it was one of his most daring: sexual tension, violence in action, a beautiful woman, all painted with aggressive brushwork to create a cover that couldn't fail to catch the eye."
From the Estate of John McLaughlin.
HUGH JOSEPH WARD (American, 1909-1945)
Super Detective, pulp cover, November 1942
Oil on canvas
30 x 21 in.
Not signed
From the Estate of Charles Martignette.
Super Detective, pulp cover, November 1942
Oil on canvas
30 x 21 in.
Not signed
From the Estate of Charles Martignette.
MORGAN WEISTLING (American, 20th Century)
Leave It to Beaver, 1997
Oil on board
20 x 20 in.
Signed lower right
From the Estate of Charles Martignette.
Leave It to Beaver, 1997
Oil on board
20 x 20 in.
Signed lower right
From the Estate of Charles Martignette.
JON WHITCOMB (American, 1906-1988)
I Think I Love You
Oil on canvas
20 x 22 in.
Signed lower left
From the Estate of Charles Martignette.
I Think I Love You
Oil on canvas
20 x 22 in.
Signed lower left
From the Estate of Charles Martignette.
COBY WHITMORE (American, 1913-1988)
Sincerely, Willis Wade, Part I, November 1954
Oil on canvas
29.5 x 29.5 in.
Signed lower right
From the Estate of Charles Martignette.
Sincerely, Willis Wade, Part I, November 1954
Oil on canvas
29.5 x 29.5 in.
Signed lower right
From the Estate of Charles Martignette.
COBY WHITMORE (American, 1913-1988)
Going Places with the Light Refreshment, Pepsi-Cola ad illustration, 1957
Gouache on board
22.5 x 11.5 in.
Signed lower right
From the Estate of Charles Martignette.
Going Places with the Light Refreshment, Pepsi-Cola ad illustration, 1957
Gouache on board
22.5 x 11.5 in.
Signed lower right
From the Estate of Charles Martignette.
J. WALTER WILKINSON (American, 1892-1988)
Grapette Soda, 1944
Oil on canvas
18 x 38 in.
Signed lower right
Grapette Soda, 1944
Oil on canvas
18 x 38 in.
Signed lower right
FRITZ WILLIS (American, 1907-1979)
At the Beach
Gouache on board
27 x 19 in.
Signed lower right
From the Estate of Charles Martignette.
At the Beach
Gouache on board
27 x 19 in.
Signed lower right
From the Estate of Charles Martignette.
FRITZ WILLIS (American, 1907-1979)
Seated Brunette, Artist Sketch Book illustration, March 1967
Oil on board
20 x 16 in.
Signed lower left
This painting was reproduced as figure 731 in The Great American Pin-Up by Charles G. Martignette and Louis K. Meisel, Taschen, 1996.
From the Estate of Charles Martignette.
Seated Brunette, Artist Sketch Book illustration, March 1967
Oil on board
20 x 16 in.
Signed lower left
This painting was reproduced as figure 731 in The Great American Pin-Up by Charles G. Martignette and Louis K. Meisel, Taschen, 1996.
From the Estate of Charles Martignette.
REVERE F. WISTEHUFF (American, 1900-1971)
For Victory the Navy Calls
Oil on canvas
30 x 22 in.
Signed lower right
From the Estate of Charles Martignette.
For Victory the Navy Calls
Oil on canvas
30 x 22 in.
Signed lower right
From the Estate of Charles Martignette.
TED WITHERS (American, 1896-1964)
Tiddlywinks, Prescription by Withers calendar pin-up illustration
Oil and graphite on board
26.5 x 19 in.
Signed lower right
A tearsheet of the printed calendar illustration is included with this lot.
From the Estate of Charles Martignette.
Tiddlywinks, Prescription by Withers calendar pin-up illustration
Oil and graphite on board
26.5 x 19 in.
Signed lower right
A tearsheet of the printed calendar illustration is included with this lot.
From the Estate of Charles Martignette.
TED WITHERS (American, 1896-1964)
Pin-Up with Glasses
Oil and graphite on board
28 x 19.5 in.
Signed lower right
From the Estate of Charles Martignette.
Pin-Up with Glasses
Oil and graphite on board
28 x 19.5 in.
Signed lower right
From the Estate of Charles Martignette.
RICK GRIFFIN (American, 1944-1991)
Steer Skull Over Monument Valley and Southwest Desert
Spray paint on board
18 x 11.5 in.
Not signed
After traveling in Monument valley and the Southwest Rick enthusiastically began incorporating various interpretations into his art. The buffalo or bison skull can be identified by the shape of the head and the horns as a classic Southwestern desert icon. For many years wild bison's provided a key food source and hides for the American Indian people. Dried buffalo skulls were plentiful and the Indians used them in ceremonial dances, especially the Sun Dance. When cowboys came along they too hunted bison.
Whenever Rick visited the Southwest, he would see dried and sun bleached buffalo skulls hanging on walls in roadside dinners and in trading posts. All these images were of influence and this airbrush on board piece was created following a spirited journey.
PROVENANCE:
Acquired from the Rick Griffin Estate.
From the Collection of Peter Golding.
Steer Skull Over Monument Valley and Southwest Desert
Spray paint on board
18 x 11.5 in.
Not signed
After traveling in Monument valley and the Southwest Rick enthusiastically began incorporating various interpretations into his art. The buffalo or bison skull can be identified by the shape of the head and the horns as a classic Southwestern desert icon. For many years wild bison's provided a key food source and hides for the American Indian people. Dried buffalo skulls were plentiful and the Indians used them in ceremonial dances, especially the Sun Dance. When cowboys came along they too hunted bison.
Whenever Rick visited the Southwest, he would see dried and sun bleached buffalo skulls hanging on walls in roadside dinners and in trading posts. All these images were of influence and this airbrush on board piece was created following a spirited journey.
PROVENANCE:
Acquired from the Rick Griffin Estate.
From the Collection of Peter Golding.
Mainstream Illustration
RICK GRIFFIN (American, 1944-1991)
Surfer on the Grid, T-Shirt Artwork for Surf magazine.
Marker on grid paper
15.5 x 21.5 in.
Not signed
PROVENANCE:
Acquired from the Rick Griffin Estate.
From the Collection of Peter Golding.
Surfer on the Grid, T-Shirt Artwork for Surf magazine.
Marker on grid paper
15.5 x 21.5 in.
Not signed
PROVENANCE:
Acquired from the Rick Griffin Estate.
From the Collection of Peter Golding.
Paintings
RICK GRIFFIN (American, 1944-1991)
Grateful Dead 15th Anniversary 1965-1980 - GD Skull and Cross Bones Over Heart Design, Reckoning Album, 1981
Oil on board, with airbrush overpainting
16.5 x 12.5 in.
Not signed
This vividly colored airbrush painting is the artist's alternate version, in blue, of the image used on the Grateful Dead brochure also included in this lot. An almost identical image on a white ground was also used as the front cover art for the 1981 Grateful Dead record titled Reckoning, also included. Rick contemplated the title Reckoning and came up with an image which combined a pirate's skull and crossbones, the Sacred Heart, and the flaming phoenix, to represent rebirth after death.
In previous times Rick used each of these images individually in other art creations, but this was the first time he combined all three of these symbolic images into one central image. The piece features the stylized 'GD' initials linked to the skull and crossbones with a central image of a phoenix rising from a rose-garland heart.
A Reckoning LP Album and a 15th Anniversary concert program from Radio City 1980, are included with this lot.
PROVENANCE:
Acquired from the Rick Griffin Estate.
From the Collection of Peter Golding.
Grateful Dead 15th Anniversary 1965-1980 - GD Skull and Cross Bones Over Heart Design, Reckoning Album, 1981
Oil on board, with airbrush overpainting
16.5 x 12.5 in.
Not signed
This vividly colored airbrush painting is the artist's alternate version, in blue, of the image used on the Grateful Dead brochure also included in this lot. An almost identical image on a white ground was also used as the front cover art for the 1981 Grateful Dead record titled Reckoning, also included. Rick contemplated the title Reckoning and came up with an image which combined a pirate's skull and crossbones, the Sacred Heart, and the flaming phoenix, to represent rebirth after death.
In previous times Rick used each of these images individually in other art creations, but this was the first time he combined all three of these symbolic images into one central image. The piece features the stylized 'GD' initials linked to the skull and crossbones with a central image of a phoenix rising from a rose-garland heart.
A Reckoning LP Album and a 15th Anniversary concert program from Radio City 1980, are included with this lot.
PROVENANCE:
Acquired from the Rick Griffin Estate.
From the Collection of Peter Golding.
RICK GRIFFIN (American, 1944-1991)
"Grateful Dead So Far," VHS box cover art logo, c. 1987
Pencil on vellum
13 x 13 in.
Not signed
Whenever Rick Griffin got a lettering job he started from scratch and actually drew the letters in the same way he would draw a picture of an object. He avoided using prepackaged type fonts. In fact, he treated the letters as an equally important work of art, and sometimes he eliminated all imagery and made the lettering stand as a work of art in its own right as a Rick Griffin calligraphic work of art. It shows his fluid pencil lines and unique design approach. Each letter is individually designed and carefully drawn so that when finished, all the letters would flow together to form a unique interwoven overall design. This lot is a pencil drawing created when Rick was developing ideas for cover art to advertise the Grateful Dead - So Far which came out in film and VHS formats and reflects the final one used. It was released in September of 1987. Produced by Jerry Garcia et al.
PROVENANCE:
Acquired from the Rick Griffin Estate.
From the Collection of Peter Golding.
"Grateful Dead So Far," VHS box cover art logo, c. 1987
Pencil on vellum
13 x 13 in.
Not signed
Whenever Rick Griffin got a lettering job he started from scratch and actually drew the letters in the same way he would draw a picture of an object. He avoided using prepackaged type fonts. In fact, he treated the letters as an equally important work of art, and sometimes he eliminated all imagery and made the lettering stand as a work of art in its own right as a Rick Griffin calligraphic work of art. It shows his fluid pencil lines and unique design approach. Each letter is individually designed and carefully drawn so that when finished, all the letters would flow together to form a unique interwoven overall design. This lot is a pencil drawing created when Rick was developing ideas for cover art to advertise the Grateful Dead - So Far which came out in film and VHS formats and reflects the final one used. It was released in September of 1987. Produced by Jerry Garcia et al.
PROVENANCE:
Acquired from the Rick Griffin Estate.
From the Collection of Peter Golding.
RICK GRIFFIN (American, 1944-1991)
Grateful Dead logo
Marker on vellum
7.75 x 15 in.
Not signed
Rick Griffin was constantly experimenting with interesting letter shapes to make logo words readable but in a different format, especially for his major client the Grateful Dead. He was also often working out ways to make letters look like they were three dimensional. This lot is a good example of Griffin's calligraphy in early stages of development thus close to his original thoughts.
PROVENANCE:
Acquired from the Rick Griffin Estate.
From the Collection of Peter Golding.
Grateful Dead logo
Marker on vellum
7.75 x 15 in.
Not signed
Rick Griffin was constantly experimenting with interesting letter shapes to make logo words readable but in a different format, especially for his major client the Grateful Dead. He was also often working out ways to make letters look like they were three dimensional. This lot is a good example of Griffin's calligraphy in early stages of development thus close to his original thoughts.
PROVENANCE:
Acquired from the Rick Griffin Estate.
From the Collection of Peter Golding.
RICK GRIFFIN (American, 1944-1991)
Grateful Dead "What a Long Strange Trip"
Mixed media on paper
21 x 18.5 in.
Not signed
Rick Griffin wanted to put the time tested Grateful Dead skeleton image into a completely new setting. The record title dictated that setting. He painted a frontal view of the skeleton for the front cover and a backside view of the skeleton for the back cover. In the frontal view the skeleton is obviously facing an incredibly bright light.
This stencil art piece is a very carefully rendered and airbrushed piece of art which shows the lighting effect he was seeking and also captures the demeanor of the skeleton's face looking up. It's probable this was the study he relied upon when executing the final painting for the front cover. The two bones included in this lot is a drawing of two bones as Rick always had a few small bones lying around his studio. Sometimes he found bleached bones on the beach others were from desert treks and still others were simply old bones left over that he used whenever he needed reference for art. These bones were used as reference for several different skull and cross bones designs he created for Grateful Dead projects and most likely when he was working on the What A Long Strange Trip It's Been.
A companion 26 x 21 in. pencil on paper drawing of two leg bones is included with this lot.
PROVENANCE:
Acquired from the Rick Griffin Estate.
From the Collection of Peter Golding.
Grateful Dead "What a Long Strange Trip"
Mixed media on paper
21 x 18.5 in.
Not signed
Rick Griffin wanted to put the time tested Grateful Dead skeleton image into a completely new setting. The record title dictated that setting. He painted a frontal view of the skeleton for the front cover and a backside view of the skeleton for the back cover. In the frontal view the skeleton is obviously facing an incredibly bright light.
This stencil art piece is a very carefully rendered and airbrushed piece of art which shows the lighting effect he was seeking and also captures the demeanor of the skeleton's face looking up. It's probable this was the study he relied upon when executing the final painting for the front cover. The two bones included in this lot is a drawing of two bones as Rick always had a few small bones lying around his studio. Sometimes he found bleached bones on the beach others were from desert treks and still others were simply old bones left over that he used whenever he needed reference for art. These bones were used as reference for several different skull and cross bones designs he created for Grateful Dead projects and most likely when he was working on the What A Long Strange Trip It's Been.
A companion 26 x 21 in. pencil on paper drawing of two leg bones is included with this lot.
PROVENANCE:
Acquired from the Rick Griffin Estate.
From the Collection of Peter Golding.
RICK GRIFFIN (American, 1944-1991)
Relix Magazine, Grateful Dead in Egypt
Mixed media on paper
16 x 12 in.
Not signed
In September of 1978 the Grateful Dead played a series of concerts in Egypt at the foot of the Great Pyramid and next to the Sphinx in Cairo. Whilst Rick was working on illustrations for the Gospel of John, the Treasures of Tutankhamen featuring antiquities from King Tut's tomb were being exhibited at the Los Angeles County Museum, Feb. to June 1978, which further inspired Griffin's interest in Egyptian art.
Relix is a very popular publication among Deadheads. It was a magazine which focused on discussing the many bootleg recordings of Grateful Dead concerts and art work produced for the band.
Rick's design and imagery revolve around the narrative scene of an excavation. The figures in the foreground excavating the box were derived from vintage photographs taken in the early 1920s when archaeologist Howard Carter discovered and unearthed the tomb of Tutankhamen.
This artwork is a working stat over painted by Rick to be developed for printing on the cover of Relix magazine. The magazine issue was to commemorate the three nights that the Grateful Dead played at the Sound and Light Theater in Cairo. These shows were scheduled as an opportunity for the band to play in a very exotic environment and to an audience which was largely made up of local Egyptian people that had no idea who the Grateful Dead were. In the book Garcia author Blair Jackson states that no other rock and roll band had ever played this venue and on the final night the band played under the eclipse of a full moon.
PROVENANCE:
Acquired from the Rick Griffin Estate.
From the Collection of Peter Golding.
Relix Magazine, Grateful Dead in Egypt
Mixed media on paper
16 x 12 in.
Not signed
In September of 1978 the Grateful Dead played a series of concerts in Egypt at the foot of the Great Pyramid and next to the Sphinx in Cairo. Whilst Rick was working on illustrations for the Gospel of John, the Treasures of Tutankhamen featuring antiquities from King Tut's tomb were being exhibited at the Los Angeles County Museum, Feb. to June 1978, which further inspired Griffin's interest in Egyptian art.
Relix is a very popular publication among Deadheads. It was a magazine which focused on discussing the many bootleg recordings of Grateful Dead concerts and art work produced for the band.
Rick's design and imagery revolve around the narrative scene of an excavation. The figures in the foreground excavating the box were derived from vintage photographs taken in the early 1920s when archaeologist Howard Carter discovered and unearthed the tomb of Tutankhamen.
This artwork is a working stat over painted by Rick to be developed for printing on the cover of Relix magazine. The magazine issue was to commemorate the three nights that the Grateful Dead played at the Sound and Light Theater in Cairo. These shows were scheduled as an opportunity for the band to play in a very exotic environment and to an audience which was largely made up of local Egyptian people that had no idea who the Grateful Dead were. In the book Garcia author Blair Jackson states that no other rock and roll band had ever played this venue and on the final night the band played under the eclipse of a full moon.
PROVENANCE:
Acquired from the Rick Griffin Estate.
From the Collection of Peter Golding.
RICK GRIFFIN (American, 1944-1991)
Grateful Dead - 20th Anniversary, 1965-1985, American Revolutionary Minuteman, c. 1985
Pencil and blue pencil on vellum
14 x 12.5 in.
Not signed
Rick was commissioned to create some patriotic looking Grateful Dead art to promote this important event. Rick got enthused about the idea and began exploring various ideas from historic American inspirational themes.
As the Grateful Dead Twenty Years So Far project progressed Rick came up with an image of a single Minuteman soldier in front of a waving American flag. This sketch in graphite and colored pencil was based on a famous statue of a Minuteman soldier. Rick located a picture of this sculpture and created this sketch based on that picture of the sculpture. This art was chosen the band approved it and the image went into production. A large banner was produced of this image which was hung behind the band when they played at shows. A poster was produced to commemorate the band having played continually for 20 years. A flyer featuring the image with 20th Century Rag by Robert Hunter on the reverse was distributed at the 1985 Greek Theatre concerts and is inset in the lot piece.
PROVENANCE:
Acquired from the Rick Griffin Estate.
From the Collection of Peter Golding.
Grateful Dead - 20th Anniversary, 1965-1985, American Revolutionary Minuteman, c. 1985
Pencil and blue pencil on vellum
14 x 12.5 in.
Not signed
Rick was commissioned to create some patriotic looking Grateful Dead art to promote this important event. Rick got enthused about the idea and began exploring various ideas from historic American inspirational themes.
As the Grateful Dead Twenty Years So Far project progressed Rick came up with an image of a single Minuteman soldier in front of a waving American flag. This sketch in graphite and colored pencil was based on a famous statue of a Minuteman soldier. Rick located a picture of this sculpture and created this sketch based on that picture of the sculpture. This art was chosen the band approved it and the image went into production. A large banner was produced of this image which was hung behind the band when they played at shows. A poster was produced to commemorate the band having played continually for 20 years. A flyer featuring the image with 20th Century Rag by Robert Hunter on the reverse was distributed at the 1985 Greek Theatre concerts and is inset in the lot piece.
PROVENANCE:
Acquired from the Rick Griffin Estate.
From the Collection of Peter Golding.
RICK GRIFFIN (American, 1944-1991)
Grateful Dead 20th Anniversary, 1965-1985, the Stars and Stripes
Colored pencil on vellum
14 x 13 in.
Not signed
For this landmark project, Rick Griffin was commissioned to create some patriotic looking Grateful Dead art to promote the occasion. Griffin explored several ideas based on historic American inspirational themes.
PROVENANCE:
Acquired from the Rick Griffin Estate.
From the Collection of Peter Golding.
Grateful Dead 20th Anniversary, 1965-1985, the Stars and Stripes
Colored pencil on vellum
14 x 13 in.
Not signed
For this landmark project, Rick Griffin was commissioned to create some patriotic looking Grateful Dead art to promote the occasion. Griffin explored several ideas based on historic American inspirational themes.
PROVENANCE:
Acquired from the Rick Griffin Estate.
From the Collection of Peter Golding.
RICK GRIFFIN (American, 1944-1991)
The Jester as a Skeleton Puppeteer
Mixed media on paper
13.5 x 9 in.
Not signed
This unique piece is most likely a concept piece for the Grateful Dead. The Jester is a famous identity of theirs as established by Stanley Mouse for their famous 1973 Song Book cover and by Griffin for other projects.
From the Collection of Peter Golding.
The Jester as a Skeleton Puppeteer
Mixed media on paper
13.5 x 9 in.
Not signed
This unique piece is most likely a concept piece for the Grateful Dead. The Jester is a famous identity of theirs as established by Stanley Mouse for their famous 1973 Song Book cover and by Griffin for other projects.
From the Collection of Peter Golding.
Mainstream Illustration
RICK GRIFFIN (American, 1944-1991)
Personal sketch book, 16 sketches for Conversations With the Dead, 1990
Graphite and pencil on paper
16 x 14 in.
Not signed
In the 1980s Rick Griffin began buying drawing books which he would fill with drawings. Not many of these books survived due to a fire and a move which Rick made in the late 1980s. It is rare to see a complete drawing book filled with his pencil and ink drawings, especially related to one project.
The Rick Griffin drawing/sketch book in this auction is from 1990 when he was developing art ideas for a book cover to be used for the David Gans book, The Grateful Dead Interview Book -- Conversations with the Dead.
Griffin's many drawings (16 marvelous sketches) in this 17-page sketch book show the way ideas evolved when he was working on a project during this period. From these sketches it's apparent that Rick was considering various images relating to Shakespeare's Hamlet.
Specifically he was playing on the scene where Hamlet is holding the skull of Yorick (a dead court jester) as he reflects on effects and consequences of death. Rick creates views of this scene from a number of different angles, with a number of different lighting schemes. Some of the sketches also include his ideas of what the lettering was going to look like and how it might relate to the figural images. For the final art, Rick settled on a large hand holding a classic Grateful Dead skull and rose image.
A copy of the David Gans book is included with this lot.
PROVENANCE:
Acquired from the Rick Griffin Estate.
From the Collection of Peter Golding.
Personal sketch book, 16 sketches for Conversations With the Dead, 1990
Graphite and pencil on paper
16 x 14 in.
Not signed
In the 1980s Rick Griffin began buying drawing books which he would fill with drawings. Not many of these books survived due to a fire and a move which Rick made in the late 1980s. It is rare to see a complete drawing book filled with his pencil and ink drawings, especially related to one project.
The Rick Griffin drawing/sketch book in this auction is from 1990 when he was developing art ideas for a book cover to be used for the David Gans book, The Grateful Dead Interview Book -- Conversations with the Dead.
Griffin's many drawings (16 marvelous sketches) in this 17-page sketch book show the way ideas evolved when he was working on a project during this period. From these sketches it's apparent that Rick was considering various images relating to Shakespeare's Hamlet.
Specifically he was playing on the scene where Hamlet is holding the skull of Yorick (a dead court jester) as he reflects on effects and consequences of death. Rick creates views of this scene from a number of different angles, with a number of different lighting schemes. Some of the sketches also include his ideas of what the lettering was going to look like and how it might relate to the figural images. For the final art, Rick settled on a large hand holding a classic Grateful Dead skull and rose image.
A copy of the David Gans book is included with this lot.
PROVENANCE:
Acquired from the Rick Griffin Estate.
From the Collection of Peter Golding.
Paintings
RICK GRIFFIN (American, 1944-1991)
Grateful Dead Skeleton & Top Hat Master of Ceremonies, 25th Anniversary Without a Net Tour, 1990
Gouache on celluloid
23 x 17.5 in.
Not signed
In the fall of 1990 the Grateful Dead played the European leg of their Without A Net tour, which included concerts in England, Sweden, Germany and France.
Rick was excited about the project and produced a visual tour package which consisted of one piece of art for a tour poster, another piece for a program cover, and a third piece which was used for the album cover when the live recordings of the concerts was released.
This piece, originally for the program cover, is painted gouache on celluloid, and set in a black mount and wide silver frame.
The program cover eventually featured a more modest version with the skeleton dressed up in a top hat and tuxedo to serve as the Master of Ceremonies for the festivities, and with a blue spotlight. A copy is included in this lot.
This image became very popular, and later it also ended up being printed on metal signs, originally distributed by Sony. The lettering on this art is a remarkable example of Rick Griffin's unique calligraphy, especially combined with his Grateful Dead's top hatted skeleton head, and the spotlight circle behind.
In the final painting, shown on the program cover, the lettering, possibly as finally requested, is not anywhere near as adventuresome and innovative as the lettering and art in this lot. The rendering of the skull is also noteworthy, and conveys Rick's non-conformist art in a more abstract direction, after having been at the forefront of the Dead's art for over two decades.
A metal sign and program book are included with this lot.
PROVENANCE:
Acquired directly from the artist.
From the Collection of Peter Golding.
Grateful Dead Skeleton & Top Hat Master of Ceremonies, 25th Anniversary Without a Net Tour, 1990
Gouache on celluloid
23 x 17.5 in.
Not signed
In the fall of 1990 the Grateful Dead played the European leg of their Without A Net tour, which included concerts in England, Sweden, Germany and France.
Rick was excited about the project and produced a visual tour package which consisted of one piece of art for a tour poster, another piece for a program cover, and a third piece which was used for the album cover when the live recordings of the concerts was released.
This piece, originally for the program cover, is painted gouache on celluloid, and set in a black mount and wide silver frame.
The program cover eventually featured a more modest version with the skeleton dressed up in a top hat and tuxedo to serve as the Master of Ceremonies for the festivities, and with a blue spotlight. A copy is included in this lot.
This image became very popular, and later it also ended up being printed on metal signs, originally distributed by Sony. The lettering on this art is a remarkable example of Rick Griffin's unique calligraphy, especially combined with his Grateful Dead's top hatted skeleton head, and the spotlight circle behind.
In the final painting, shown on the program cover, the lettering, possibly as finally requested, is not anywhere near as adventuresome and innovative as the lettering and art in this lot. The rendering of the skull is also noteworthy, and conveys Rick's non-conformist art in a more abstract direction, after having been at the forefront of the Dead's art for over two decades.
A metal sign and program book are included with this lot.
PROVENANCE:
Acquired directly from the artist.
From the Collection of Peter Golding.
RICK GRIFFIN (American, 1944-1991)
Grateful Dead 25th Anniversary, GD/25 Lettering + Red Robed Skeleton/ Grim Reaper with Guitar
Gouache on layered celluloid
22 x 16 in.
Signed lower right
In 1990, the Grateful Dead celebrated twenty five years of playing together as a band and released the Built to Last record to celebrate this event. At this time Rick was called upon to create art to help promote the band and the live concerts they were planning to play. In this instance he took the letter "G" and designed it in a way that it could form the left side of a circle, and the letter "D" to form the right side of the circle. This was an ingenious idea. Then he floated the number "2" over the "G" and the number "5" over the "D." This is another unconventional, bold move, but it works amazingly well. Then in the gap left between the numbers and letters he inserts the triumphant, red robed skeleton thrusting the guitar out of the circular boundaries of the art, while holding the grim reaper blade with his other hand. The painting offers a unique version of this classic Grateful Dead image, well set in its wide silver wood frame.
Although it was done at the same time as the other Without A Net poster designs and album cover, this piece stands out as uniquely different from these other works. Rick Griffin may very well be the most celebrated psychedelic artist to have been associated with the San Francisco psychedelic poster scene of the 1960s. The Grateful Dead may very well be the most celebrated psychedelic rock band to have been associated with the San Francisco psychedelic hippie movement. This lot provides the opportunity to purchase a major piece of rock and roll history which is directly linked to both of these culturally important figures.
PROVENANCE:
Acquired from the Rick Griffin Estate.
From the Collection of Peter Golding.
Grateful Dead 25th Anniversary, GD/25 Lettering + Red Robed Skeleton/ Grim Reaper with Guitar
Gouache on layered celluloid
22 x 16 in.
Signed lower right
In 1990, the Grateful Dead celebrated twenty five years of playing together as a band and released the Built to Last record to celebrate this event. At this time Rick was called upon to create art to help promote the band and the live concerts they were planning to play. In this instance he took the letter "G" and designed it in a way that it could form the left side of a circle, and the letter "D" to form the right side of the circle. This was an ingenious idea. Then he floated the number "2" over the "G" and the number "5" over the "D." This is another unconventional, bold move, but it works amazingly well. Then in the gap left between the numbers and letters he inserts the triumphant, red robed skeleton thrusting the guitar out of the circular boundaries of the art, while holding the grim reaper blade with his other hand. The painting offers a unique version of this classic Grateful Dead image, well set in its wide silver wood frame.
Although it was done at the same time as the other Without A Net poster designs and album cover, this piece stands out as uniquely different from these other works. Rick Griffin may very well be the most celebrated psychedelic artist to have been associated with the San Francisco psychedelic poster scene of the 1960s. The Grateful Dead may very well be the most celebrated psychedelic rock band to have been associated with the San Francisco psychedelic hippie movement. This lot provides the opportunity to purchase a major piece of rock and roll history which is directly linked to both of these culturally important figures.
PROVENANCE:
Acquired from the Rick Griffin Estate.
From the Collection of Peter Golding.
RICK GRIFFIN (American, 1944-1991)
Bob Dylan "Down in the Groove"
Graphite on vellum
12.5 x 12.5 in.
Not signed
In 1987 Rick was contacted by Bob Dylan's people who asked Rick to produce some preliminary studies for possible use on a Dylan record album cover. At first he was informed that the album was going to be titled Sheep in Wolves Clothing. He was then given the impression they wanted something with a mysterious Southwestern vibe. After a number of ideas were not deemed suitable, Rick decided to move forward and carry an idea through to the finish and then propose it as his final submission.
After working out the concept he produced this graphite drawing. He depicts Dylan playing his guitar and harmonica while riding backwards on a horse. The scenery is clearly Southwestern and in the sky, in a dreamlike cloud, is a reclining female figure, reminiscent of the figure in Rick's classic psychedelic painting Pacific Vibrations. Some speculate that the title could have then been planned as Down in the Grove to which Rick's drawing could relate!
This Dylan album project (as typical of the then music industry) went through a number of musical changes and delays and after a period of time it was decided that they were going to go in a different direction and not have art work on the cover at all. Ultimately the album was titled Down in the Groove and featured a photograph of Dylan on the cover.
PROVENANCE:
Acquired from the Rick Griffin Estate.
From the Collection of Peter Golding.
Bob Dylan "Down in the Groove"
Graphite on vellum
12.5 x 12.5 in.
Not signed
In 1987 Rick was contacted by Bob Dylan's people who asked Rick to produce some preliminary studies for possible use on a Dylan record album cover. At first he was informed that the album was going to be titled Sheep in Wolves Clothing. He was then given the impression they wanted something with a mysterious Southwestern vibe. After a number of ideas were not deemed suitable, Rick decided to move forward and carry an idea through to the finish and then propose it as his final submission.
After working out the concept he produced this graphite drawing. He depicts Dylan playing his guitar and harmonica while riding backwards on a horse. The scenery is clearly Southwestern and in the sky, in a dreamlike cloud, is a reclining female figure, reminiscent of the figure in Rick's classic psychedelic painting Pacific Vibrations. Some speculate that the title could have then been planned as Down in the Grove to which Rick's drawing could relate!
This Dylan album project (as typical of the then music industry) went through a number of musical changes and delays and after a period of time it was decided that they were going to go in a different direction and not have art work on the cover at all. Ultimately the album was titled Down in the Groove and featured a photograph of Dylan on the cover.
PROVENANCE:
Acquired from the Rick Griffin Estate.
From the Collection of Peter Golding.
RICK GRIFFIN (American, 1944-1991)
Commission for Cutter Trucks Co., Skateboarders ad
Marker on vellum
10.5 x 13.25 in.
Not signed
This piece was done as part of a series of pieces for Cutter Trucks ads including some that appeared in Thrasher Magazine. The "truck" is the assembly on the underside of the skateboard to which the wheels are fixed.
PROVENANCE:
Acquired from the Rick Griffin Estate.
From the Collection of Peter Golding.
Commission for Cutter Trucks Co., Skateboarders ad
Marker on vellum
10.5 x 13.25 in.
Not signed
This piece was done as part of a series of pieces for Cutter Trucks ads including some that appeared in Thrasher Magazine. The "truck" is the assembly on the underside of the skateboard to which the wheels are fixed.
PROVENANCE:
Acquired from the Rick Griffin Estate.
From the Collection of Peter Golding.
RICK GRIFFIN (American, 1944-1991)
Cutter Trucks ad illustration design
Mixed media on paper
14 x 6 in.
Not signed
This design for the final ad has Rick Griffin's famous Hopi mask using an anvil and hammer to forge steel, blessing the process.
PROVENANCE:
Acquired from the Rick Griffin Estate.
From the Collection of Peter Golding.
Cutter Trucks ad illustration design
Mixed media on paper
14 x 6 in.
Not signed
This design for the final ad has Rick Griffin's famous Hopi mask using an anvil and hammer to forge steel, blessing the process.
PROVENANCE:
Acquired from the Rick Griffin Estate.
From the Collection of Peter Golding.
Mainstream Illustration
RICK GRIFFIN (American, 1944-1991)
A Gathering of the Tribes, c. 1990
Pencil and marker on vellum
14 x 15 in.
Not signed
In 1990 Ian Astbury from the Cult band and Bill Graham of Bill Graham Productions organized two music events called A Gathering of the Tribes in California in Mountain View and Costa Mesa to raise money for Native American causes. Rick created his well known poster in 1967 for an event in Golden Gate Park by the same name and was then asked to produce art for the 1990 event.
The working artwork includes detailed renderings of American Indian artifacts, electric guitars, and in the center are several petroglyph style hand prints, of the sort commonly produced by American Indians and found on cave walls throughout the Southwest.
PROVENANCE:
Acquired from the Rick Griffin Estate.
From the Collection of Peter Golding.
A Gathering of the Tribes, c. 1990
Pencil and marker on vellum
14 x 15 in.
Not signed
In 1990 Ian Astbury from the Cult band and Bill Graham of Bill Graham Productions organized two music events called A Gathering of the Tribes in California in Mountain View and Costa Mesa to raise money for Native American causes. Rick created his well known poster in 1967 for an event in Golden Gate Park by the same name and was then asked to produce art for the 1990 event.
The working artwork includes detailed renderings of American Indian artifacts, electric guitars, and in the center are several petroglyph style hand prints, of the sort commonly produced by American Indians and found on cave walls throughout the Southwest.
PROVENANCE:
Acquired from the Rick Griffin Estate.
From the Collection of Peter Golding.
Paintings
RICK GRIFFIN (American, 1944-1991)
The Winged Eyeball #7/35, c. 1976
Spray enamel on board
19 x 14 in.
Signed lower right
Following his visit to London England in 1976 and his Show at The Roundhouse, Rick decided to try using spray can paint method he had seen during his visit to produce a series of paintings. Each of the paintings in this series features similar images, but no two are identical.
The image features his inspirational Winged Eyeball and Rick's version of a Southwestern American Indian Sun Face, both iconic Griffin images. The paint is thick and the colors quite vivid due to the fact they were painted with enamel paint, similar to auto shop paint used for painting cars. Rick did a masterful job of painting these and in the end each of them ended up being an amazing original work of art. This piece numbered 7/35 and signed by the artist is one of these spray painted enamel works on board.
PROVENANCE:
Acquired from the Rick Griffin Estate.
From the Collection of Peter Golding.
The Winged Eyeball #7/35, c. 1976
Spray enamel on board
19 x 14 in.
Signed lower right
Following his visit to London England in 1976 and his Show at The Roundhouse, Rick decided to try using spray can paint method he had seen during his visit to produce a series of paintings. Each of the paintings in this series features similar images, but no two are identical.
The image features his inspirational Winged Eyeball and Rick's version of a Southwestern American Indian Sun Face, both iconic Griffin images. The paint is thick and the colors quite vivid due to the fact they were painted with enamel paint, similar to auto shop paint used for painting cars. Rick did a masterful job of painting these and in the end each of them ended up being an amazing original work of art. This piece numbered 7/35 and signed by the artist is one of these spray painted enamel works on board.
PROVENANCE:
Acquired from the Rick Griffin Estate.
From the Collection of Peter Golding.
Mainstream Illustration
RICK GRIFFIN (American, 1944-1991)
"Dirty Duck" Final Artwork for the Adult Cult Classic Film, VHS Box, and Poster
Hand painted artwork over final artwork photographic print
19.5 x 23.5 in.
Signed in the print, lower right
As noted on its wikipedia entry, "After the release and success of Fritz the Cat, several animated films meant for adults rather than children enjoyed success. Fritz, a film based on a character created underground comix creator R. Crumb, was the first animated movie to receive an "X" rating in the US. Charles Swenson developed Down and Dirty Duck as a project for former Mothers of Invention band members Mark Volman and Howard Kaylan (Flo & Eddy). Although the film was promoted as an X-rated animated film, New World Pictures had not actually submitted it to the Motion Picture Association of America. The film was also promoted as Dirty Duck, although the title on the film itself reads Down and Dirty Duck."
A VHS tape and box featuring the art are included with this lot.
PROVENANCE:
Acquired from the Rick Griffin Estate.
From the Collection of Peter Golding.
"Dirty Duck" Final Artwork for the Adult Cult Classic Film, VHS Box, and Poster
Hand painted artwork over final artwork photographic print
19.5 x 23.5 in.
Signed in the print, lower right
As noted on its wikipedia entry, "After the release and success of Fritz the Cat, several animated films meant for adults rather than children enjoyed success. Fritz, a film based on a character created underground comix creator R. Crumb, was the first animated movie to receive an "X" rating in the US. Charles Swenson developed Down and Dirty Duck as a project for former Mothers of Invention band members Mark Volman and Howard Kaylan (Flo & Eddy). Although the film was promoted as an X-rated animated film, New World Pictures had not actually submitted it to the Motion Picture Association of America. The film was also promoted as Dirty Duck, although the title on the film itself reads Down and Dirty Duck."
A VHS tape and box featuring the art are included with this lot.
PROVENANCE:
Acquired from the Rick Griffin Estate.
From the Collection of Peter Golding.
RICK GRIFFIN (American, 1944-1991)
The Beatles Illustrated Lyrics "Why Don't We Do It In The Road"
Production piece film
17.5 x 11.5 in.
Not signed
In 1969 Rick was commissioned by Alan Aldridge to contribute to his book project titled The Beatles Illustrated Song Book along with other artists in addition to himself illustrating their lyrics. Rick's choice of song to illustrate was Why Don't We Do It In The Road? which he produced in black and white, with beetles playing guitars, and amazing imagery in a comic book layout form following the words of the song.
A few years later, one of the panels from this work, which features a screaming beetle, was blown up to near poster size. The plan was to use this image as the center piece for a Pink Floyd concert poster. Some inquiries were made regarding dates where the band would be playing in America, but unfortunately the image was deemed too intense for general publicity purposes, so the project did not get developed. This image on printer's film is the negative of the inked beetle.
A hardback first American edition of the book is included in the lot.
PROVENANCE:
Acquired from the Rick Griffin Estate.
From the Collection of Peter Golding.
The Beatles Illustrated Lyrics "Why Don't We Do It In The Road"
Production piece film
17.5 x 11.5 in.
Not signed
In 1969 Rick was commissioned by Alan Aldridge to contribute to his book project titled The Beatles Illustrated Song Book along with other artists in addition to himself illustrating their lyrics. Rick's choice of song to illustrate was Why Don't We Do It In The Road? which he produced in black and white, with beetles playing guitars, and amazing imagery in a comic book layout form following the words of the song.
A few years later, one of the panels from this work, which features a screaming beetle, was blown up to near poster size. The plan was to use this image as the center piece for a Pink Floyd concert poster. Some inquiries were made regarding dates where the band would be playing in America, but unfortunately the image was deemed too intense for general publicity purposes, so the project did not get developed. This image on printer's film is the negative of the inked beetle.
A hardback first American edition of the book is included in the lot.
PROVENANCE:
Acquired from the Rick Griffin Estate.
From the Collection of Peter Golding.
Paintings
RICK GRIFFIN (American, 1944-1991)
Constructing a Skateboard, Skateboarder magazine illustration
Ink on paper
7 x 4 in.
Signed lower right
In addition to cartooning and surfing, Rick Griffin was also passionate about hot rods and motorcycles, and his decorations for them were some of his earliest professional work. This illustration was marked in the upper right, in blue pencil by the artist, "constructing a skateboard," a fitting caption for Rick's humorous take on the piece.
PROVENANCE:
Acquired from the Rick Griffin Estate.
From the Collection of Peter Golding.
Constructing a Skateboard, Skateboarder magazine illustration
Ink on paper
7 x 4 in.
Signed lower right
In addition to cartooning and surfing, Rick Griffin was also passionate about hot rods and motorcycles, and his decorations for them were some of his earliest professional work. This illustration was marked in the upper right, in blue pencil by the artist, "constructing a skateboard," a fitting caption for Rick's humorous take on the piece.
PROVENANCE:
Acquired from the Rick Griffin Estate.
From the Collection of Peter Golding.
RICK GRIFFIN (American, 1944-1991)
Murphy, Peru World Surfing Contest Bound, Surfer magazine illustration
Ink on paper
2 x 7 in.
Signed lower right
Five surfers and their pilot are off to Peru for "The World Surfing Contest," and Rick animates this uproarious scene with his humorous engine sound effect of "spruckety, puck, puck, etc." After leaving high school, Rick became a staff artist for Surfer Magazine. During his stint at Surfer, Rick created the character of Murphy, whose impact on the surf scene was immense. Adopted by many as a mascot, the little Gremlin, (thought by some to be a personification of Rick), soon became integral to the Californian surf scene. Rick parted company with Surfer in 1964.
PROVENANCE:
Acquired from the Rick Griffin Estate.
From the Collection of Peter Golding.
Murphy, Peru World Surfing Contest Bound, Surfer magazine illustration
Ink on paper
2 x 7 in.
Signed lower right
Five surfers and their pilot are off to Peru for "The World Surfing Contest," and Rick animates this uproarious scene with his humorous engine sound effect of "spruckety, puck, puck, etc." After leaving high school, Rick became a staff artist for Surfer Magazine. During his stint at Surfer, Rick created the character of Murphy, whose impact on the surf scene was immense. Adopted by many as a mascot, the little Gremlin, (thought by some to be a personification of Rick), soon became integral to the Californian surf scene. Rick parted company with Surfer in 1964.
PROVENANCE:
Acquired from the Rick Griffin Estate.
From the Collection of Peter Golding.
RICK GRIFFIN (American, 1944-1991)
Willy PV 29, Surfer magazine illustration
Ink on paper
2 x 7 in.
Not signed
Rick Griffin was taught to surf by Randy Nauert at the age of 14 at Torrance Beach. The pair first met at Alexander Flemming Jr. High, and were lifelong friends, Rick created much of the artwork for Randy's future surf band, the Challengers.
PROVENANCE:
Acquired from the Rick Griffin Estate.
From the Collection of Peter Golding.
Willy PV 29, Surfer magazine illustration
Ink on paper
2 x 7 in.
Not signed
Rick Griffin was taught to surf by Randy Nauert at the age of 14 at Torrance Beach. The pair first met at Alexander Flemming Jr. High, and were lifelong friends, Rick created much of the artwork for Randy's future surf band, the Challengers.
PROVENANCE:
Acquired from the Rick Griffin Estate.
From the Collection of Peter Golding.
RICK GRIFFIN (American, 1944-1991)
Murphy, Olympic Skateboarder, Skateboarder magazine illustration
Ink on paper
5.5 x 4.5 in.
Signed lower right
In high school in the '50s, Rick Griffin copied images from Mad magazine and then created his own type of surf doodles. Rick's friends would pay him for an original piece drawn on their shirts. Rick has hand written the word "Future" at the lower left in blue pencil, perhaps predicting a new way to carry the Olympic torch across the land.
PROVENANCE:
Acquired from the Rick Griffin Estate.
From the Collection of Peter Golding.
Murphy, Olympic Skateboarder, Skateboarder magazine illustration
Ink on paper
5.5 x 4.5 in.
Signed lower right
In high school in the '50s, Rick Griffin copied images from Mad magazine and then created his own type of surf doodles. Rick's friends would pay him for an original piece drawn on their shirts. Rick has hand written the word "Future" at the lower left in blue pencil, perhaps predicting a new way to carry the Olympic torch across the land.
PROVENANCE:
Acquired from the Rick Griffin Estate.
From the Collection of Peter Golding.
RICK GRIFFIN (American, 1944-1991)
Tales from the Tube #1, c. 1973
Production process film
16 x 12 in.
Not signed
One of the most important artists to emerge from the 1960s was Rick Griffin, and this historic piece, originally featured as a pull-out in Surfer magazine, February 1972, was used to produce one of his most famous and iconic magazine covers. Rick Griffin may be considered the psychedelic poster/comix artist. His shamanistic work can be found gracing the covers of numerous Rock and Surf Records,as well as some astounding concert posters After working as an artist for Surfer magazine in the early '60s he moved from Southern California to San Francisco. There he discovered hippies, drugs, and Bill Graham. He quickly became celebrated for his rock concert posters that featured beetles and surfing eyeballs. This production process film for the underground comix cover scene brings the best of those worlds together, combining psychedelia with surfing.
PROVENANCE:
Acquired from the Rick Griffin Estate.
From the Collection of Peter Golding.
Tales from the Tube #1, c. 1973
Production process film
16 x 12 in.
Not signed
One of the most important artists to emerge from the 1960s was Rick Griffin, and this historic piece, originally featured as a pull-out in Surfer magazine, February 1972, was used to produce one of his most famous and iconic magazine covers. Rick Griffin may be considered the psychedelic poster/comix artist. His shamanistic work can be found gracing the covers of numerous Rock and Surf Records,as well as some astounding concert posters After working as an artist for Surfer magazine in the early '60s he moved from Southern California to San Francisco. There he discovered hippies, drugs, and Bill Graham. He quickly became celebrated for his rock concert posters that featured beetles and surfing eyeballs. This production process film for the underground comix cover scene brings the best of those worlds together, combining psychedelia with surfing.
PROVENANCE:
Acquired from the Rick Griffin Estate.
From the Collection of Peter Golding.
RICK GRIFFIN (American, 1944-1991)
Aerosmith and Skid Row "Pump World Tour" Pin-Up Art Legs for Poster, 1989
Ink on paper
10.5 x 7.5 in.
Aerosmith's 1989 record release titled Pump was somewhat of a breakthrough for this American rock and roll band. Aerosmith then went on a very successful extended tour of twelve months as a follow up to this record release. Rick Griffin was asked to produce a poster image which could be used to promote concert dates.
Through the years Aerosmith has used a band name logo with swirly lettering and wings coming out of the sides. This basic design was derived from aviation pins which were popular in the U.S. Air Force during World War II. For Rick's poster he reworked the logo and amped up the lettering and wings to look liquefied. He further developed the World War II era theme by incorporating a woman's legs with seductive black silk stockings and garters. This image is reminiscent of pin up girl art and specifically by the type of art which was produced for World War II American aviators.
He used an inking process to render the legs of the woman and this piece is a black and white ink study of the pin up girl's legs. This is a bold work of art in its own right and shows a bit more of the figure with a dress blowing up which is reminiscent of the famous Marilyn Monroe photos and the well known scene in the post-war movie classic, The Seven Year Itch.
PROVENANCE:
Acquired from the Rick Griffin Estate.
From the Collection of Peter Golding.
Aerosmith and Skid Row "Pump World Tour" Pin-Up Art Legs for Poster, 1989
Ink on paper
10.5 x 7.5 in.
Aerosmith's 1989 record release titled Pump was somewhat of a breakthrough for this American rock and roll band. Aerosmith then went on a very successful extended tour of twelve months as a follow up to this record release. Rick Griffin was asked to produce a poster image which could be used to promote concert dates.
Through the years Aerosmith has used a band name logo with swirly lettering and wings coming out of the sides. This basic design was derived from aviation pins which were popular in the U.S. Air Force during World War II. For Rick's poster he reworked the logo and amped up the lettering and wings to look liquefied. He further developed the World War II era theme by incorporating a woman's legs with seductive black silk stockings and garters. This image is reminiscent of pin up girl art and specifically by the type of art which was produced for World War II American aviators.
He used an inking process to render the legs of the woman and this piece is a black and white ink study of the pin up girl's legs. This is a bold work of art in its own right and shows a bit more of the figure with a dress blowing up which is reminiscent of the famous Marilyn Monroe photos and the well known scene in the post-war movie classic, The Seven Year Itch.
PROVENANCE:
Acquired from the Rick Griffin Estate.
From the Collection of Peter Golding.
Mainstream Illustration
RICK GRIFFIN (American, 1944-1991)
The Gospel of John Chapter 15:3-4 The Vineyard
Ink on paper
6.5 x 7.25 in.
Not signed
In the mid 1970s Chuck Fromm from Calvary Chapel and Ministry Resource Center hired Rick to create art for an illustrated version of the Gospel of John. This project lasted nearly five years and ultimately defined a major period in the development of Griffin as an artist. Pastor Chuck Smith wrote a paraphrased version of this New Testament Gospel, which is known for its emphasis on the love of God and focus on the deity of Jesus Christ. The first edition of this project was a large tabloid paper version. It was then redesigned in a booklet format and distributed world-wide and went into many printings. In 2008, an art book hard back version was released and it is included in this lot.
PROVENANCE:
Acquired from the Rick Griffin Estate.
From the Collection of Peter Golding.
The Gospel of John Chapter 15:3-4 The Vineyard
Ink on paper
6.5 x 7.25 in.
Not signed
In the mid 1970s Chuck Fromm from Calvary Chapel and Ministry Resource Center hired Rick to create art for an illustrated version of the Gospel of John. This project lasted nearly five years and ultimately defined a major period in the development of Griffin as an artist. Pastor Chuck Smith wrote a paraphrased version of this New Testament Gospel, which is known for its emphasis on the love of God and focus on the deity of Jesus Christ. The first edition of this project was a large tabloid paper version. It was then redesigned in a booklet format and distributed world-wide and went into many printings. In 2008, an art book hard back version was released and it is included in this lot.
PROVENANCE:
Acquired from the Rick Griffin Estate.
From the Collection of Peter Golding.
RICK GRIFFIN (American, 1944-1991)
"Wait My Heart Still Beats" La Luz De Jesus Gallery for Stanislav Szukalski Show, May 1989
Ink and pencil on paper
16 x 23.5 in.
Not signed
This piece spotlights Rick Griffin's hallmark, large size creative lettering that beautifully evokes the theme of this art show.
PROVENANCE:
Acquired from the Rick Griffin Estate.
From the Collection of Peter Golding.
"Wait My Heart Still Beats" La Luz De Jesus Gallery for Stanislav Szukalski Show, May 1989
Ink and pencil on paper
16 x 23.5 in.
Not signed
This piece spotlights Rick Griffin's hallmark, large size creative lettering that beautifully evokes the theme of this art show.
PROVENANCE:
Acquired from the Rick Griffin Estate.
From the Collection of Peter Golding.
RICK GRIFFIN (American, 1944-1991)
Kerry Livgren "Time Line" LP Album
Ink on paper
13 x 13 in.
This art was created for Kerry Livgren's religiously inspired album which remains highly acclaimed to this day. This piece represents a combination of Kerry Livgren and Rick Griffin's religious expressions in music and art -- note Jesus' profile in the clouds and mountains.
Also included in this lot are a profile of Jesus and a copy of the album.
PROVENANCE:
Acquired from the Rick Griffin Estate.
From the Collection of Peter Golding.
Kerry Livgren "Time Line" LP Album
Ink on paper
13 x 13 in.
This art was created for Kerry Livgren's religiously inspired album which remains highly acclaimed to this day. This piece represents a combination of Kerry Livgren and Rick Griffin's religious expressions in music and art -- note Jesus' profile in the clouds and mountains.
Also included in this lot are a profile of Jesus and a copy of the album.
PROVENANCE:
Acquired from the Rick Griffin Estate.
From the Collection of Peter Golding.
GARY GRIMSHAW (American, 20th Century)
Summer of Love, Anniversary Celebration Golden Gate Park, San Francisco, 1997
Ink on board
19 x 12.5 in.
Signed in block letters lower left
Grimshaw was the primary poster and light show artist for Detroit's psychedelic Grande Ballroom from 1966 to 1969. During that period he also created art for Detroit's notorious rock and roll band, the MC5.
Also included with this lot are five film production overlays used to create the color for the printed poster.
PROVENANCE:
Acquired directly from the artist.
From the Collection of Peter Golding.
Summer of Love, Anniversary Celebration Golden Gate Park, San Francisco, 1997
Ink on board
19 x 12.5 in.
Signed in block letters lower left
Grimshaw was the primary poster and light show artist for Detroit's psychedelic Grande Ballroom from 1966 to 1969. During that period he also created art for Detroit's notorious rock and roll band, the MC5.
Also included with this lot are five film production overlays used to create the color for the printed poster.
PROVENANCE:
Acquired directly from the artist.
From the Collection of Peter Golding.
Paintings
GARY GRIMSHAW (American, 20th Century)
Pinball Alley, Ann Arbor Michigan, final artwork
Ink on paper
21 x 16 in.
Signed lower center
Garry Grimshaw is widely regarded as the finest psychedelic artist in the US outside of San Francisco, and he was very much involved in the active music scene and venues in the state of Michigan.
Also included with this lot are six film production overlays used to create the color for the printed poster.
PROVENANCE:
Acquired directly from the artist.
From the Collection of Peter Golding.
Pinball Alley, Ann Arbor Michigan, final artwork
Ink on paper
21 x 16 in.
Signed lower center
Garry Grimshaw is widely regarded as the finest psychedelic artist in the US outside of San Francisco, and he was very much involved in the active music scene and venues in the state of Michigan.
Also included with this lot are six film production overlays used to create the color for the printed poster.
PROVENANCE:
Acquired directly from the artist.
From the Collection of Peter Golding.
GARY GRIMSHAW (American, 20th Century)
Joe Walsh and Special Guest Bob Seger, Walker Sports Arena, Muskegon, Michigan, final artwork
Ink on paper, with production process film
22.5 x 17.5 in.
Signed in block letters, right center
Gary Grimshaw art directed the Ann Arbor Blues & Jazz Festival in 1972 and 1973. In the early '70s he returned to his hometown Detroit and concentrated on its thriving rock and roll scene. For the next 14 years he produced posters, recording packages, logos, and graphics for all of the major promoters, and dozens of bands and clubs.
PROVENANCE:
Acquired directly from the artist.
From the Collection of Peter Golding.
Joe Walsh and Special Guest Bob Seger, Walker Sports Arena, Muskegon, Michigan, final artwork
Ink on paper, with production process film
22.5 x 17.5 in.
Signed in block letters, right center
Gary Grimshaw art directed the Ann Arbor Blues & Jazz Festival in 1972 and 1973. In the early '70s he returned to his hometown Detroit and concentrated on its thriving rock and roll scene. For the next 14 years he produced posters, recording packages, logos, and graphics for all of the major promoters, and dozens of bands and clubs.
PROVENANCE:
Acquired directly from the artist.
From the Collection of Peter Golding.
Mainstream Illustration
ALTON KELLEY (American, 20th Century)
Flying Eyeball , preliminary T-Shirt or LP album design
Pencil on vellum
13.5 x 13.5 in.
Signed lower right
Flying Eyeball , preliminary T-Shirt or LP album design
Pencil on vellum
13.5 x 13.5 in.
Signed lower right
ALTON KELLEY (American, 20th Century)
Meet the Rockabyes, final artwork
Acrylic on board
24 x 24 in.
Signed lower right
The late Alton Kelley was a designer whose inventive psychedelic posters came to epitomize the Haight-Ashbury hippie movement of the late 1960s. Kelley was a prominent figure in the Haight-Ashbury hippie community and, with his collaborator, Stanley Mouse, the two captured the mood of the era in psychedelic playbills, posters, and album covers, some of which, such as the "skull and roses" poster created for the Grateful Dead, became signature images for the bands they promoted.
Kelley, as he was affectionate called, and a close friend of Rick Griffin, was a major influence in rock and roll art, renowned for his amazing airbrushing techniques, of which he was a master, as well as his passion for framing, when the opportunity was offered. He was a gentle man, or as many would say, a "gentleman of the 'brush." This is a rare opportunity to acquire an original painting by this renowned artist.
This amazing airbrush painting, inspired by American fairground art, was developed as a logo and title commission for Meet the Rockabyes, an "Animal character band voiced by legendary rock stars," in the early '80s.
The Rockabyes are voiced by legendary rock , including Maria Muldaur and Marty Balin of Jefferson Starship fame, with musical support from Huey Lewis and Pete Sears, among many others.
The Rockabyes are currently today appearing, under the same CEO leadership, and logo, of this Kelley art piece.
The handsome golf fluted framing was also done by by Kelley, and the reverse of the piece is inscribed to his wife and signed, "Merry Christmas Marguerite, Love Kelley."
PROVENANCE:
Acquired directly from the artist.
From the Collection of Peter Golding.
Meet the Rockabyes, final artwork
Acrylic on board
24 x 24 in.
Signed lower right
The late Alton Kelley was a designer whose inventive psychedelic posters came to epitomize the Haight-Ashbury hippie movement of the late 1960s. Kelley was a prominent figure in the Haight-Ashbury hippie community and, with his collaborator, Stanley Mouse, the two captured the mood of the era in psychedelic playbills, posters, and album covers, some of which, such as the "skull and roses" poster created for the Grateful Dead, became signature images for the bands they promoted.
Kelley, as he was affectionate called, and a close friend of Rick Griffin, was a major influence in rock and roll art, renowned for his amazing airbrushing techniques, of which he was a master, as well as his passion for framing, when the opportunity was offered. He was a gentle man, or as many would say, a "gentleman of the 'brush." This is a rare opportunity to acquire an original painting by this renowned artist.
This amazing airbrush painting, inspired by American fairground art, was developed as a logo and title commission for Meet the Rockabyes, an "Animal character band voiced by legendary rock stars," in the early '80s.
The Rockabyes are voiced by legendary rock , including Maria Muldaur and Marty Balin of Jefferson Starship fame, with musical support from Huey Lewis and Pete Sears, among many others.
The Rockabyes are currently today appearing, under the same CEO leadership, and logo, of this Kelley art piece.
The handsome golf fluted framing was also done by by Kelley, and the reverse of the piece is inscribed to his wife and signed, "Merry Christmas Marguerite, Love Kelley."
PROVENANCE:
Acquired directly from the artist.
From the Collection of Peter Golding.
Paintings
ALTON KELLEY (American, 20th Century)
Untitled, 1967
Collage with pressed flowers and paper
4 x 5 in.
Signed verso
This piece is one of Alton Kelley's infamous "roach paper" collages, which were featured in several illustrations in the art book, Mouse and Kelly, Dell Books, 1979.
Untitled, 1967
Collage with pressed flowers and paper
4 x 5 in.
Signed verso
This piece is one of Alton Kelley's infamous "roach paper" collages, which were featured in several illustrations in the art book, Mouse and Kelly, Dell Books, 1979.
DENNIS LARKINS (American, 20th Century)
Frog on Grateful Dead Steal Your Face logo, Mountainaire Music Festival, Calveras County Fairground
Ink on paper
16.5 x 13.5 in.
Initialed lower right
Dennis Larkins produced sets for many famous bands at that the time including the Rolling Stones, Led Zeplin, Fleetwood Mac, the Eagles -- and of course, the Grateful Dead.
PROVENANCE:
Acquired directly from the artist.
From the Collection of Peter Golding.
Frog on Grateful Dead Steal Your Face logo, Mountainaire Music Festival, Calveras County Fairground
Ink on paper
16.5 x 13.5 in.
Initialed lower right
Dennis Larkins produced sets for many famous bands at that the time including the Rolling Stones, Led Zeplin, Fleetwood Mac, the Eagles -- and of course, the Grateful Dead.
PROVENANCE:
Acquired directly from the artist.
From the Collection of Peter Golding.
Mainstream Illustration
DENNIS LARKINS (American, 20th Century)
The Downs at Santé Fe, final artwork, 1983
Ink on paper
12 x 12 in.
Signed lower right
Dennis Larkins began his career in the early '70s as a scenic artist at the San Francisco Opera. During this time he became involved in the rock music scene, especially working for promoter Bill Graham.
The Southwest Native American culture inspired this design for the Grateful Dead poster and other related art for this event.
A copy of the printed poster is included with this lot.
PROVENANCE:
Acquired directly from the artist.
From the Collection of Peter Golding.
The Downs at Santé Fe, final artwork, 1983
Ink on paper
12 x 12 in.
Signed lower right
Dennis Larkins began his career in the early '70s as a scenic artist at the San Francisco Opera. During this time he became involved in the rock music scene, especially working for promoter Bill Graham.
The Southwest Native American culture inspired this design for the Grateful Dead poster and other related art for this event.
A copy of the printed poster is included with this lot.
PROVENANCE:
Acquired directly from the artist.
From the Collection of Peter Golding.
Paintings
DENNIS LARKINS (American, 20th Century)
The Who at Bill Graham's "Day on the Green" D. O. G., Oakland Coliseum California, 1983
Ink on paper
10.5 x 12.5 in.
Signed lower right
Through the '70s and '80s, Dennis Larkins was largely responsible for the development of coliseum-scale concert stage sets for Bay Area venues such as Oakland stadium, which hosted Bill Graham's popular "Day On the Green" (DOG) events.
This lot is a rendition by Denis Larkins of the Who as DOGs. (Day On the Green). The DOG designs were commissioned by concert promoter Bill Graham to be printed onto T-Shirts. They were offered as his personal gift to the band and backstage crew only, and were not for general sale.
This lot includes additional two working artwork pencil drawings, plus a photocopy of a great related handwritten letter to Dennis Larkin's collaborator Peter Barsotti about this artwork.
PROVENANCE:
Acquired directly from the artist.
From the Collection of Peter Golding.
The Who at Bill Graham's "Day on the Green" D. O. G., Oakland Coliseum California, 1983
Ink on paper
10.5 x 12.5 in.
Signed lower right
Through the '70s and '80s, Dennis Larkins was largely responsible for the development of coliseum-scale concert stage sets for Bay Area venues such as Oakland stadium, which hosted Bill Graham's popular "Day On the Green" (DOG) events.
This lot is a rendition by Denis Larkins of the Who as DOGs. (Day On the Green). The DOG designs were commissioned by concert promoter Bill Graham to be printed onto T-Shirts. They were offered as his personal gift to the band and backstage crew only, and were not for general sale.
This lot includes additional two working artwork pencil drawings, plus a photocopy of a great related handwritten letter to Dennis Larkin's collaborator Peter Barsotti about this artwork.
PROVENANCE:
Acquired directly from the artist.
From the Collection of Peter Golding.
Mainstream Illustration
DENNIS LARKINS (American, 20th Century)
Wham! at Bill Graham's "Day on the Green" D. O. G., Oakland Coliseum California
Ink on paper
14.5 x 17 in.
Signed lower right
This lot is a rendition by Denis Larkins of Wham! as DOGs. (Day On the Green). The DOG designs were commissioned by concert promoter Bill Graham to be printed onto T-Shirts. They were offered as his personal gift to the band and backstage crew only, and were not for general sale.
This lot includes the printing pellon, and related final long-sleeved sweatshirt (still new).
PROVENANCE:
Acquired directly from the artist.
From the Collection of Peter Golding.
Wham! at Bill Graham's "Day on the Green" D. O. G., Oakland Coliseum California
Ink on paper
14.5 x 17 in.
Signed lower right
This lot is a rendition by Denis Larkins of Wham! as DOGs. (Day On the Green). The DOG designs were commissioned by concert promoter Bill Graham to be printed onto T-Shirts. They were offered as his personal gift to the band and backstage crew only, and were not for general sale.
This lot includes the printing pellon, and related final long-sleeved sweatshirt (still new).
PROVENANCE:
Acquired directly from the artist.
From the Collection of Peter Golding.
Paintings
DENNIS LARKINS (American, 20th Century)
The Police at Bill Graham's "Day on the Green" D. O. G., Oakland Coliseum California, 1983
Ink on paper
12.5 x 16 in.
Signed lower right
This lot is a rendition by Denis Larkins of the Police as DOGs. (Day On the Green). The DOG designs were commissioned by concert promoter Bill Graham to be printed onto T-Shirts. They were offered as his personal gift to the band and backstage crew only, and were not for general sale.
This lot includes the related T-shirt (still new), based on the drawing.
PROVENANCE:
Acquired directly from the artist.
From the Collection of Peter Golding.
The Police at Bill Graham's "Day on the Green" D. O. G., Oakland Coliseum California, 1983
Ink on paper
12.5 x 16 in.
Signed lower right
This lot is a rendition by Denis Larkins of the Police as DOGs. (Day On the Green). The DOG designs were commissioned by concert promoter Bill Graham to be printed onto T-Shirts. They were offered as his personal gift to the band and backstage crew only, and were not for general sale.
This lot includes the related T-shirt (still new), based on the drawing.
PROVENANCE:
Acquired directly from the artist.
From the Collection of Peter Golding.
DENNIS LARKINS (American, 20th Century)
New Kids on the Block at Bill Graham's "Day on the Green" D. O. G., Oakland Coliseum California
Ink on paper
20 x 16.5 in.
Signed lower right
This lot is a rendition by Denis Larkins of the New Kids on the Block as DOGs. (Day On the Green). The DOG designs were commissioned by concert promoter Bill Graham to be printed onto T-Shirts. They were offered as his personal gift to the band and backstage crew only, and were not for general sale.
This lot includes the related final T-shirt (still new), based on the drawing.
PROVENANCE:
Acquired directly from the artist.
From the Collection of Peter Golding.
New Kids on the Block at Bill Graham's "Day on the Green" D. O. G., Oakland Coliseum California
Ink on paper
20 x 16.5 in.
Signed lower right
This lot is a rendition by Denis Larkins of the New Kids on the Block as DOGs. (Day On the Green). The DOG designs were commissioned by concert promoter Bill Graham to be printed onto T-Shirts. They were offered as his personal gift to the band and backstage crew only, and were not for general sale.
This lot includes the related final T-shirt (still new), based on the drawing.
PROVENANCE:
Acquired directly from the artist.
From the Collection of Peter Golding.
DENNIS LARKINS (American, 20th Century)
Metallica at Bill Graham's "Day on the Green" D. O. G., Oakland Coliseum California
Ink on paper
19 x 13.5 in.
Signed lower right
This lot is a rendition by Denis Larkins of Metallica as DOGs. (Day On the Green). The DOG designs were commissioned by concert promoter Bill Graham to be printed onto T-Shirts. They were offered as his personal gift to the band and backstage crew only, and were not for general sale.
This lot includes the printing pellon, and related final T-shirt (still new) featuring this drawing.
PROVENANCE:
Acquired directly from the artist.
From the Collection of Peter Golding.
Metallica at Bill Graham's "Day on the Green" D. O. G., Oakland Coliseum California
Ink on paper
19 x 13.5 in.
Signed lower right
This lot is a rendition by Denis Larkins of Metallica as DOGs. (Day On the Green). The DOG designs were commissioned by concert promoter Bill Graham to be printed onto T-Shirts. They were offered as his personal gift to the band and backstage crew only, and were not for general sale.
This lot includes the printing pellon, and related final T-shirt (still new) featuring this drawing.
PROVENANCE:
Acquired directly from the artist.
From the Collection of Peter Golding.
DENNIS LARKINS (American, 20th Century)
Guns and Roses at Bill Graham's "Day on the Green" D. O. G., Oakland Coliseum California, 1992
Ink on paper
18 x 14 in.
Signed lower center
This lot is a rendition by Denis Larkins of Guns and Roses as DOGs. (Day On the Green). The DOG designs were commissioned by concert promoter Bill Graham to be printed onto T-Shirts. They were offered as his personal gift to the band and backstage crew only, and were not for general sale.
A T-shirt featuring the design is included with this lot.
PROVENANCE:
Acquired directly from the artist.
From the Collection of Peter Golding.
Guns and Roses at Bill Graham's "Day on the Green" D. O. G., Oakland Coliseum California, 1992
Ink on paper
18 x 14 in.
Signed lower center
This lot is a rendition by Denis Larkins of Guns and Roses as DOGs. (Day On the Green). The DOG designs were commissioned by concert promoter Bill Graham to be printed onto T-Shirts. They were offered as his personal gift to the band and backstage crew only, and were not for general sale.
A T-shirt featuring the design is included with this lot.
PROVENANCE:
Acquired directly from the artist.
From the Collection of Peter Golding.
STANLEY MOUSE (American, b. 1940) and ALTON KELLEY (American 1940-2008)
The Grateful Dead Skeleton and Roses with "Running Mouse" serigraphy stamp
Hand colored print
23 x 17 in.
Signed by Mouse and Kelly in the lower border
This "Skull and Roses" image was originally from a 1913 illustration by Edmund J. Sullivan in an edition of the Rubaiyat of Omar Khayyam. San Francisco psychedelic poster artists Stanley Mouse and Alton Kelley adapted the image, and then incorporated it into a colorful poster in 1966 to advertise the Grateful Dead and Oxford Circle who were playing at the Avalon Ballroom in San Francisco. It was instantly recognized as a classic Grateful Dead poster and may very well be the most well known San Francisco psychedelic poster.
It was this image which firmly established the skeleton and roses as an icon for this band and set the standard for all future Grateful Dead related works of art. This particular hand colored print of the famous image is signed by both Stanley Mouse and the late Alton Kelley, and it has been uniquely framed by Alton Kelley in a multi-layered walnut frame with gold/bronze metallic insets.
PROVENANCE:
Acquired directly from the artist.
From the Collection of Peter Golding.
The Grateful Dead Skeleton and Roses with "Running Mouse" serigraphy stamp
Hand colored print
23 x 17 in.
Signed by Mouse and Kelly in the lower border
This "Skull and Roses" image was originally from a 1913 illustration by Edmund J. Sullivan in an edition of the Rubaiyat of Omar Khayyam. San Francisco psychedelic poster artists Stanley Mouse and Alton Kelley adapted the image, and then incorporated it into a colorful poster in 1966 to advertise the Grateful Dead and Oxford Circle who were playing at the Avalon Ballroom in San Francisco. It was instantly recognized as a classic Grateful Dead poster and may very well be the most well known San Francisco psychedelic poster.
It was this image which firmly established the skeleton and roses as an icon for this band and set the standard for all future Grateful Dead related works of art. This particular hand colored print of the famous image is signed by both Stanley Mouse and the late Alton Kelley, and it has been uniquely framed by Alton Kelley in a multi-layered walnut frame with gold/bronze metallic insets.
PROVENANCE:
Acquired directly from the artist.
From the Collection of Peter Golding.
Mainstream Illustration
STANLEY MOUSE (American, b. 1940)
The Graphic Works of Stanley Mouse, The Detroit Institute of Arts, 1970
Rare blueprint style exhibition poster
16.5 x 21 in.
Signed lower right
In the early sixties Stanley Mouse was highly regarded as a hot rod artist and "nut" before he turned his hand to rock posters, often using techniques he acquired on the road and circuit. Stanley Mouse also originated the infamous hot rod series, "Monster Weirdo," a collection of airbrushed T-shirts and posters.
Mouse had become fascinated by the "Weirdo Hot Rod" art movement that had begun in California a decade earlier. He was, predictably, a car "nut" during his formative art school years in Detroit and began a lucrative T-shirt painting business having developed skills by airbrush painting T-shirts at custom car shows related to the hot rod and custom car industry, with inspiration provided by such industry icons as George Barris, and "Big Daddy" Roth.
As Stanley grew up in Detroit, Michigan, the homage of an important exhibition in the town of the American motor was a great tribute to him and his art. This blueprint-style poster echoes its inspiration.
This piece is framed with a special multi-layered gold contemporary gold framing with blue inset and mount (matting) by the late artist, Alton Kelley.
PROVENANCE:
Acquired directly from the artist.
From the Collection of Peter Golding.
The Graphic Works of Stanley Mouse, The Detroit Institute of Arts, 1970
Rare blueprint style exhibition poster
16.5 x 21 in.
Signed lower right
In the early sixties Stanley Mouse was highly regarded as a hot rod artist and "nut" before he turned his hand to rock posters, often using techniques he acquired on the road and circuit. Stanley Mouse also originated the infamous hot rod series, "Monster Weirdo," a collection of airbrushed T-shirts and posters.
Mouse had become fascinated by the "Weirdo Hot Rod" art movement that had begun in California a decade earlier. He was, predictably, a car "nut" during his formative art school years in Detroit and began a lucrative T-shirt painting business having developed skills by airbrush painting T-shirts at custom car shows related to the hot rod and custom car industry, with inspiration provided by such industry icons as George Barris, and "Big Daddy" Roth.
As Stanley grew up in Detroit, Michigan, the homage of an important exhibition in the town of the American motor was a great tribute to him and his art. This blueprint-style poster echoes its inspiration.
This piece is framed with a special multi-layered gold contemporary gold framing with blue inset and mount (matting) by the late artist, Alton Kelley.
PROVENANCE:
Acquired directly from the artist.
From the Collection of Peter Golding.
STANLEY MOUSE (American, b. 1940)
Mouse Studio Logo, 1985
Acrylic on board
21 x 16.5 in.
Signed lower right
World-famous for his posters and album cover art, Stanley Mouse "drew the face on rock music." Mouse is responsible for influencing the look of some of the most famous bands in rock and roll history, including the Beatles, Eric Clapton, Janis Joplin, Led Zeppelin, Jimi Hendrix, and of course, anyone who knows of the Grateful Dead has seen artwork by Stanley Mouse. In addition, Mouse has created some of the most well known posters of all time for famous rock bands, including a Grammy-winning piece for the Steve Miller Band, and concerts at the Fillmore Auditorium and Avalon Ballroom.
This Mouse Studio logo of Stanley's represents his important contribution as one of the greatest American poster artists of the era as well as his life long association with the late Alton Kelly, the most famous duo in American rock and roll art.
This delightful image is framed in an amazing Alton Kelley five-layered frame, with a combination of carved gold and inlaid polished mat.
A copy of a business card featuring the logo, and an autographed hard back copy of Freehand: The Art of Stanley Mouse are included with this lot.
PROVENANCE:
Acquired directly from the artist.
From the Collection of Peter Golding.
Mouse Studio Logo, 1985
Acrylic on board
21 x 16.5 in.
Signed lower right
World-famous for his posters and album cover art, Stanley Mouse "drew the face on rock music." Mouse is responsible for influencing the look of some of the most famous bands in rock and roll history, including the Beatles, Eric Clapton, Janis Joplin, Led Zeppelin, Jimi Hendrix, and of course, anyone who knows of the Grateful Dead has seen artwork by Stanley Mouse. In addition, Mouse has created some of the most well known posters of all time for famous rock bands, including a Grammy-winning piece for the Steve Miller Band, and concerts at the Fillmore Auditorium and Avalon Ballroom.
This Mouse Studio logo of Stanley's represents his important contribution as one of the greatest American poster artists of the era as well as his life long association with the late Alton Kelly, the most famous duo in American rock and roll art.
This delightful image is framed in an amazing Alton Kelley five-layered frame, with a combination of carved gold and inlaid polished mat.
A copy of a business card featuring the logo, and an autographed hard back copy of Freehand: The Art of Stanley Mouse are included with this lot.
PROVENANCE:
Acquired directly from the artist.
From the Collection of Peter Golding.
Paintings
DAVID SINGER (American, 20th Century)
Bill Graham's Original Hand Written Instructions for BG 221, 1970
Ink on paper, framed with final handbill
10.5 x 8 in.
Not signed
Bill Graham collaborated well with David Singer and would sometimes give his hand written layout schemes to Singer to work from for posters and their corresponding handbills for his concerts. These schemes would indicate the band or performer details with relevant dates and order of billing as well as lettering importance. This unique piece for Fillmore West 1970: Butterfield Blues Band, Savoy Brown, and Keith Relf's Renaissance demonstrates Singer's artistic interpretation in his own identifiable style, as well as his close understanding of Bill Graham's instructions.
Singer showed some of his early work to Bill Graham who was looking for a new style for his poster designs, and the promoter was impressed enough to offer Singer a commission on the spot.
PROVENANCE:
Acquired directly from the artist.
From the Collection of Peter Golding.
Bill Graham's Original Hand Written Instructions for BG 221, 1970
Ink on paper, framed with final handbill
10.5 x 8 in.
Not signed
Bill Graham collaborated well with David Singer and would sometimes give his hand written layout schemes to Singer to work from for posters and their corresponding handbills for his concerts. These schemes would indicate the band or performer details with relevant dates and order of billing as well as lettering importance. This unique piece for Fillmore West 1970: Butterfield Blues Band, Savoy Brown, and Keith Relf's Renaissance demonstrates Singer's artistic interpretation in his own identifiable style, as well as his close understanding of Bill Graham's instructions.
Singer showed some of his early work to Bill Graham who was looking for a new style for his poster designs, and the promoter was impressed enough to offer Singer a commission on the spot.
PROVENANCE:
Acquired directly from the artist.
From the Collection of Peter Golding.
DAVID SINGER (American, 20th Century)
Bill Graham's Original Hand Written Instructions for BG 232, 1970
Ink on paper, framed with final handbill
9 x 6.5 in.
Not signed
David Singer was one the most prolific San Francisco poster artists of the late 1960s and early 1970s, creating 66 concert posters for rock promoter Bill Graham between 1969 and 1971.
Bill Graham collaborated well with David Singer and would sometimes give his hand written layout schemes to Singer to work from for posters and their corresponding handbills for his concerts. These schemes would indicate the band or performer details with relevant dates and order of billing as well as lettering importance. This unique piece for Fillmore West 1970, Lee Michaels, Small Faces with Rod Stewart, Catfish, and Shorty with Georgie Fame demonstrates Singer's artistic interpretation in his own identifiable style, as well as his close understanding of Bill Graham's instructions.
PROVENANCE:
Acquired directly from the artist.
From the Collection of Peter Golding.
Bill Graham's Original Hand Written Instructions for BG 232, 1970
Ink on paper, framed with final handbill
9 x 6.5 in.
Not signed
David Singer was one the most prolific San Francisco poster artists of the late 1960s and early 1970s, creating 66 concert posters for rock promoter Bill Graham between 1969 and 1971.
Bill Graham collaborated well with David Singer and would sometimes give his hand written layout schemes to Singer to work from for posters and their corresponding handbills for his concerts. These schemes would indicate the band or performer details with relevant dates and order of billing as well as lettering importance. This unique piece for Fillmore West 1970, Lee Michaels, Small Faces with Rod Stewart, Catfish, and Shorty with Georgie Fame demonstrates Singer's artistic interpretation in his own identifiable style, as well as his close understanding of Bill Graham's instructions.
PROVENANCE:
Acquired directly from the artist.
From the Collection of Peter Golding.
DAVID SINGER (American, 20th Century)
Bill Graham's Original Hand Written Instructions for BG 241, 1970
Ink on paper, framed with final handbill
9 x 6.5 in.
Not signed
David Singer's polished presentation and readable style, as well as his convivial working approach, resulted in him designing 66 posters for Bill Graham's Fillmore West and Winterland, more than any other artist.
Bill Graham collaborated well with David Singer and would sometimes give his hand written layout schemes to Singer to work from for posters and their corresponding handbills for his concerts. These schemes would indicate the band or performer details with relevant dates and order of billing as well as lettering importance. This unique piece for Fillmore West 1970, Traffic with Stevie Winwood, Chris Wood and Jim Capaldi, John Hammond, and Lam demonstrates Singer's artistic interpretation in his own identifiable style, as well as his close understanding of Bill Graham's instructions.
PROVENANCE:
Acquired directly from the artist.
From the Collection of Peter Golding.
Bill Graham's Original Hand Written Instructions for BG 241, 1970
Ink on paper, framed with final handbill
9 x 6.5 in.
Not signed
David Singer's polished presentation and readable style, as well as his convivial working approach, resulted in him designing 66 posters for Bill Graham's Fillmore West and Winterland, more than any other artist.
Bill Graham collaborated well with David Singer and would sometimes give his hand written layout schemes to Singer to work from for posters and their corresponding handbills for his concerts. These schemes would indicate the band or performer details with relevant dates and order of billing as well as lettering importance. This unique piece for Fillmore West 1970, Traffic with Stevie Winwood, Chris Wood and Jim Capaldi, John Hammond, and Lam demonstrates Singer's artistic interpretation in his own identifiable style, as well as his close understanding of Bill Graham's instructions.
PROVENANCE:
Acquired directly from the artist.
From the Collection of Peter Golding.
DAVID SINGER (American, 20th Century)
Bill Graham's Original Hand Written Instructions for BG 244, 1970
Ink on paper, framed with final handbill
10.5 x 8 in.
Not signed
David Singer's involvement with poster design began with his interest in photomontage/collage -- creating images from material collected from magazines and newspapers.
Bill Graham collaborated well with David Singer and would sometimes give his hand written layout schemes to Singer to work from for posters and their corresponding handbills for his concerts. These schemes would indicate the band or performer details with relevant dates and order of billing as well as lettering importance. This unique piece for Fillmore West 1970, Lee Michaels, Cold Blood, Bretheren, Ten Years After, Cactus, and Toe Fat demonstrates Singer's artistic interpretation in his own identifiable style, as well as his close understanding of Bill Graham's instructions.
PROVENANCE:
Acquired directly from the artist.
From the Collection of Peter Golding.
Bill Graham's Original Hand Written Instructions for BG 244, 1970
Ink on paper, framed with final handbill
10.5 x 8 in.
Not signed
David Singer's involvement with poster design began with his interest in photomontage/collage -- creating images from material collected from magazines and newspapers.
Bill Graham collaborated well with David Singer and would sometimes give his hand written layout schemes to Singer to work from for posters and their corresponding handbills for his concerts. These schemes would indicate the band or performer details with relevant dates and order of billing as well as lettering importance. This unique piece for Fillmore West 1970, Lee Michaels, Cold Blood, Bretheren, Ten Years After, Cactus, and Toe Fat demonstrates Singer's artistic interpretation in his own identifiable style, as well as his close understanding of Bill Graham's instructions.
PROVENANCE:
Acquired directly from the artist.
From the Collection of Peter Golding.
Mainstream Illustration
DAVID SINGER (American, 20th Century)
BG #229 - Joe Cocker Mad Dogs & Englishmen, Van Morrison, the Stoneman, Bill Graham Presents, Fillmore West & Winterland, final artwork, 1970
Photomontage and mixed media on paper
14 x 22 in.
Signed twice lower right
David Singer was one the most prolific San Francisco poster artists of the late 1960s and early 1970s, creating 66 concert posters for rock promoter Bill Graham between 1969 and 1971. Singer's involvement with poster design began with his interest in collage, making images of pictures collected from magazines and newspapers. He showed some of his early work to Bill Graham who was looking for a new style for his poster designs who was impressed enough to offer him a commission on the spot. David Singer's polished presentation and readable style, as well as his convivial working approach resulted in him designing 67 posters for Bill Graham's Fillmore West and Winterland, more than any other artist.
This is the actual original ort from Singer for BG 229 and was specially framed by Alton Kelley as unique art piece and record of the time. Bill Graham liked English acts, and Joe Cocker and Van Morrison were on tour in the USA. These Fillmore East and Winterland shows were in April 1970, and the title Live album by Joe Cocker was released in August 1970, having been Recorded March 27-28, 1970, at Graham's Fillmore East, New York for A&M records. It was produced by Denny Cordell and Leon Russell
This piece has been framed with unique multi-layered framing by Alton Kelley, with metallic finished, carved old gold, with wide embossed edging, and set in a fabric mount/ matting.
PROVENANCE:
Acquired directly from the artist.
From the Collection of Peter Golding.
BG #229 - Joe Cocker Mad Dogs & Englishmen, Van Morrison, the Stoneman, Bill Graham Presents, Fillmore West & Winterland, final artwork, 1970
Photomontage and mixed media on paper
14 x 22 in.
Signed twice lower right
David Singer was one the most prolific San Francisco poster artists of the late 1960s and early 1970s, creating 66 concert posters for rock promoter Bill Graham between 1969 and 1971. Singer's involvement with poster design began with his interest in collage, making images of pictures collected from magazines and newspapers. He showed some of his early work to Bill Graham who was looking for a new style for his poster designs who was impressed enough to offer him a commission on the spot. David Singer's polished presentation and readable style, as well as his convivial working approach resulted in him designing 67 posters for Bill Graham's Fillmore West and Winterland, more than any other artist.
This is the actual original ort from Singer for BG 229 and was specially framed by Alton Kelley as unique art piece and record of the time. Bill Graham liked English acts, and Joe Cocker and Van Morrison were on tour in the USA. These Fillmore East and Winterland shows were in April 1970, and the title Live album by Joe Cocker was released in August 1970, having been Recorded March 27-28, 1970, at Graham's Fillmore East, New York for A&M records. It was produced by Denny Cordell and Leon Russell
This piece has been framed with unique multi-layered framing by Alton Kelley, with metallic finished, carved old gold, with wide embossed edging, and set in a fabric mount/ matting.
PROVENANCE:
Acquired directly from the artist.
From the Collection of Peter Golding.
Paintings
RANDY TUTEN (American, 20th Century-)
Sly and the Family Stone -- Civic Auditorium, San Francisco, final artwork
Ink and applied lettering on paper
15 x 13 in.
Signed lower right
This is a special framed piece featuring Sly and the Family Stone, the American rock, funk, and soul band from San Francisco, California. Active from 1966-1983, the band was pivotal in the development of soul, funk, and psychedelic music. Headed by singer, songwriter, record producer, and multi-instrumentalist Sly Stone, and containing several of his family members and friends, the band was the first major American rock band to have an "integrated, multi-gender" line-up.
PROVENANCE:
Acquired directly from the artist.
From the Collection of Peter Golding.
Sly and the Family Stone -- Civic Auditorium, San Francisco, final artwork
Ink and applied lettering on paper
15 x 13 in.
Signed lower right
This is a special framed piece featuring Sly and the Family Stone, the American rock, funk, and soul band from San Francisco, California. Active from 1966-1983, the band was pivotal in the development of soul, funk, and psychedelic music. Headed by singer, songwriter, record producer, and multi-instrumentalist Sly Stone, and containing several of his family members and friends, the band was the first major American rock band to have an "integrated, multi-gender" line-up.
PROVENANCE:
Acquired directly from the artist.
From the Collection of Peter Golding.
RANDY TUTEN (American, 20th Century)
Dolly Parton, Stockton Memorial Auditorium, California, final artwork
Ink on board
15.5 x 10 in.
Signed lower right
Randy Tuten has created posters and advertising for nearly every celebrated band and/or musicians in the world including the Doors, Bob Dylan, Led Zeppelin, the Rolling Stones, the Grateful Dead, Pink Floyd, Bob Marley, and Johnny Cash.
PROVENANCE:
Acquired directly from the artist.
From the Collection of Peter Golding.
Dolly Parton, Stockton Memorial Auditorium, California, final artwork
Ink on board
15.5 x 10 in.
Signed lower right
Randy Tuten has created posters and advertising for nearly every celebrated band and/or musicians in the world including the Doors, Bob Dylan, Led Zeppelin, the Rolling Stones, the Grateful Dead, Pink Floyd, Bob Marley, and Johnny Cash.
PROVENANCE:
Acquired directly from the artist.
From the Collection of Peter Golding.
RANDY TUTEN (American, 20th Century)
Art Garfunkel, Bill Graham Presents, Berkeley Community Theatre, final artwork
Ink on board with overlay and marker printing instructions
10 x 6.5 in.
Signed lower center
Like his long time friend, artist Rick Griffin, Randy Tuten has truly developed the craft of lettering into an art form, and he has carefully studied both commercial hand lettering and calligraphy.
PROVENANCE:
Acquired directly from the artist.
From the Collection of Peter Golding.
Art Garfunkel, Bill Graham Presents, Berkeley Community Theatre, final artwork
Ink on board with overlay and marker printing instructions
10 x 6.5 in.
Signed lower center
Like his long time friend, artist Rick Griffin, Randy Tuten has truly developed the craft of lettering into an art form, and he has carefully studied both commercial hand lettering and calligraphy.
PROVENANCE:
Acquired directly from the artist.
From the Collection of Peter Golding.
RANDY TUTEN (American, 20th Century)
Kris Kristofferson-Rita Coolidge, Bill Graham Presents, Greek Theatre, U. C. Berkeley, final art
Ink on board with marker printing instructions
8.5 x 5.5 in.
Signed lower right
Bill Graham recognized Randy Tuten's talent and for many years, the promoter kept Tuten busy designing a series of outstanding custom lettered newspaper and trade paper ads.
PROVENANCE:
Acquired directly from the artist.
From the Collection of Peter Golding.
Kris Kristofferson-Rita Coolidge, Bill Graham Presents, Greek Theatre, U. C. Berkeley, final art
Ink on board with marker printing instructions
8.5 x 5.5 in.
Signed lower right
Bill Graham recognized Randy Tuten's talent and for many years, the promoter kept Tuten busy designing a series of outstanding custom lettered newspaper and trade paper ads.
PROVENANCE:
Acquired directly from the artist.
From the Collection of Peter Golding.
RANDY TUTEN (American, 20th Century)
Al Jarreau, Roy Ayres, Larry Carlton, Bill Graham Presents, final artwork
Ink on board, with marker printing instructions
10.5 x 7 in.
Signed lower center
Randy Tuten's designs were very carefully designed listings naming many popular and musically important bands, and they now represent a major record of rock and roll, and American music history.
PROVENANCE:
Acquired directly from the artist.
From the Collection of Peter Golding.
Al Jarreau, Roy Ayres, Larry Carlton, Bill Graham Presents, final artwork
Ink on board, with marker printing instructions
10.5 x 7 in.
Signed lower center
Randy Tuten's designs were very carefully designed listings naming many popular and musically important bands, and they now represent a major record of rock and roll, and American music history.
PROVENANCE:
Acquired directly from the artist.
From the Collection of Peter Golding.
RANDY TUTEN (American, 20th Century)
Quincy Jones, Jimmie JJ Walker, Bill Graham Presents, Paramount Theatre, Oakland California, final artwork
Ink on board, with marker printing instructions
8.5 x 5.5 in.
Signed lower center
PROVENANCE:
Acquired directly from the artist.
From the Collection of Peter Golding.
Quincy Jones, Jimmie JJ Walker, Bill Graham Presents, Paramount Theatre, Oakland California, final artwork
Ink on board, with marker printing instructions
8.5 x 5.5 in.
Signed lower center
PROVENANCE:
Acquired directly from the artist.
From the Collection of Peter Golding.
RANDY TUTEN (American, 20th Century)
The Doors, One Night Only, Madison Square Garden Commemorative Poster, final artwork
Pencil and ink on vellum
23 x 15 in.
Signed lower center
On January 24, 1969, the Doors performed their first show at Madison Square Garden. They played one show at 8:30 PM to 20,000 people, a sellout.
The Doors were at their peak of their popularity amongst their audience. The Madison Square Garden concert was one of the biggest concerts that the Doors had ever performed, and is seen as landmark in their musical career.
Randy was specially commissioned to design this commemorative poster in 1997, also sponsored by the Doors Estate, in homage to the Doors, and that milestone event in their history.
PROVENANCE:
Acquired directly from the artist.
From the Collection of Peter Golding.
The Doors, One Night Only, Madison Square Garden Commemorative Poster, final artwork
Pencil and ink on vellum
23 x 15 in.
Signed lower center
On January 24, 1969, the Doors performed their first show at Madison Square Garden. They played one show at 8:30 PM to 20,000 people, a sellout.
The Doors were at their peak of their popularity amongst their audience. The Madison Square Garden concert was one of the biggest concerts that the Doors had ever performed, and is seen as landmark in their musical career.
Randy was specially commissioned to design this commemorative poster in 1997, also sponsored by the Doors Estate, in homage to the Doors, and that milestone event in their history.
PROVENANCE:
Acquired directly from the artist.
From the Collection of Peter Golding.
RANDY TUTEN (American, 20th Century)
An Evening with Bruce Springsteen and the E Street Band, Bill Graham Presents, Paramount Theatre O, 1976
Mixed media, with lettering and paste-up on board
8.5 x 5.5 in.
Signed lower center
Randy Tuten's distinctive concert strip display ads were published in a variety of different printed forms, and became easily recognizable to those attending concerts.
PROVENANCE:
Acquired directly from the artist.
From the Collection of Peter Golding.
An Evening with Bruce Springsteen and the E Street Band, Bill Graham Presents, Paramount Theatre O, 1976
Mixed media, with lettering and paste-up on board
8.5 x 5.5 in.
Signed lower center
Randy Tuten's distinctive concert strip display ads were published in a variety of different printed forms, and became easily recognizable to those attending concerts.
PROVENANCE:
Acquired directly from the artist.
From the Collection of Peter Golding.
Session 2
ROBERT KENNEDY ABBETT (American, b. 1926)
Freedom Observed, paperback cover
Gouache on board
11.5 x 8 in.
Signed lower center
Freedom Observed, paperback cover
Gouache on board
11.5 x 8 in.
Signed lower center
ROBERT KENNEDY ABBETT (American, b. 1926)
Hunter at Large, paperback cover, 1963
Gouache on board
15 x 11.5 in.
Signed lower left
This illustration appeared on the cover of Thomas Dewey's novel, Hunter at Large, Perma Books #M-427, 1963.
Hunter at Large, paperback cover, 1963
Gouache on board
15 x 11.5 in.
Signed lower left
This illustration appeared on the cover of Thomas Dewey's novel, Hunter at Large, Perma Books #M-427, 1963.
ROBERT KENNEDY ABBETT (American, b. 1926)
Portrait of a Young Woman
Oil on canvas
20 x 20 in.
Signed lower right
Portrait of a Young Woman
Oil on canvas
20 x 20 in.
Signed lower right
JACOB BATES ABBOTT (American, 1895-1950)
Fish and Swallowtail
Gouache on board
16.5 x 12.5 in.
Signed center right
Fish and Swallowtail
Gouache on board
16.5 x 12.5 in.
Signed center right
ADRIAN (ADRIAN GREENBERG) (American, 1903-1959)
Three Regional Costume Sketches, Group of 3
Mixed media on board
20 x 15 in.
Peasant Fantasy costume design, signed lower right
Woman in green skirt, costume design, signed lower right
Woman in pink skirt, costume design, not signed
Three Regional Costume Sketches, Group of 3
Mixed media on board
20 x 15 in.
Peasant Fantasy costume design, signed lower right
Woman in green skirt, costume design, signed lower right
Woman in pink skirt, costume design, not signed
ADRIAN (ADRIAN GREENBERG) (American, 1903-1959)
Fashion Illustration
Graphite and watercolor on paper
23.75 x 18 in.
Signed lower right
Fashion Illustration
Graphite and watercolor on paper
23.75 x 18 in.
Signed lower right
AMERICAN ARTIST (20th Century)
Paperback cover
Oil on board
21 x 15.5 in.
Not signed
From the Estate of Charles Martignette.
Paperback cover
Oil on board
21 x 15.5 in.
Not signed
From the Estate of Charles Martignette.
AMERICAN ARTIST (20th Century)
Cigarette ad illustration
Oil on canvas
21.5 x 20 in.
Not signed
From the Estate of Charles Martignette.
Cigarette ad illustration
Oil on canvas
21.5 x 20 in.
Not signed
From the Estate of Charles Martignette.
AMERICAN ARTIST (20th Century)
Portrait of a Woman
Oil on canvas
23.75 x 20.5 in.
Not signed
From the Estate of Charles Martignette.
Portrait of a Woman
Oil on canvas
23.75 x 20.5 in.
Not signed
From the Estate of Charles Martignette.
AMERICAN ARTIST (20th Century)
A Missing Tooth
Oil on canvas
14.25 x 12.25 in.
Not signed
From the Estate of Charles Martignette.
A Missing Tooth
Oil on canvas
14.25 x 12.25 in.
Not signed
From the Estate of Charles Martignette.
AMERICAN ARTIST (20th Century)
Scene of the Crime
Oil on canvas
28 x 38 in.
Signed lower right
From the Estate of Charles Martignette.
Scene of the Crime
Oil on canvas
28 x 38 in.
Signed lower right
From the Estate of Charles Martignette.
AMERICAN ARTIST (20th Century)
Skating Rink, Playboy illustration
Gouache on board
8 x 18 in.
Not signed
From the Estate of Charles Martignette.
Skating Rink, Playboy illustration
Gouache on board
8 x 18 in.
Not signed
From the Estate of Charles Martignette.
AMERICAN ARTIST (20th Century)
Sinking Ship, Saturday Evening Post illustration, 1933
Oil on canvas
14 x 24 in.
Signed illegibly center right
From the Estate of Charles Martignette.
Sinking Ship, Saturday Evening Post illustration, 1933
Oil on canvas
14 x 24 in.
Signed illegibly center right
From the Estate of Charles Martignette.
AMERICAN ARTIST (20th Century)
Portrait of a Pirate
Oil on canvas
24 x 18 in.
Not signed
From the Estate of Charles Martignette.
Portrait of a Pirate
Oil on canvas
24 x 18 in.
Not signed
From the Estate of Charles Martignette.
AMERICAN ARTIST (20th Century)
Portrait of a Young Boy
Oil on canvas
20 x 18 in.
Not signed
From the Estate of Charles Martignette.
Portrait of a Young Boy
Oil on canvas
20 x 18 in.
Not signed
From the Estate of Charles Martignette.
AMERICAN ARTIST (20th Century)
History Comes Alive
Charcoal on paper
21.5 x 27.5 in.
Not signed
From the Estate of Charles Martignette.
History Comes Alive
Charcoal on paper
21.5 x 27.5 in.
Not signed
From the Estate of Charles Martignette.
AMERICAN ARTIST (20th Century)
Nude with Porsche, men's magazine illustration
Mixed media of board
16 x 31.5 in.
Not signed
From the Estate of Charles Martignette.
Nude with Porsche, men's magazine illustration
Mixed media of board
16 x 31.5 in.
Not signed
From the Estate of Charles Martignette.
AMERICAN ARTIST (20th Century)
1959 Bonneville Two Door Hard Top ad illustration, c. 1959
Gouache on board
10 x 22 in.
Not signed
The Bonneville car is a pasted-on art element.
From the Estate of Charles Martignette.
1959 Bonneville Two Door Hard Top ad illustration, c. 1959
Gouache on board
10 x 22 in.
Not signed
The Bonneville car is a pasted-on art element.
From the Estate of Charles Martignette.
AMERICAN ARTIST (20th Century)
Lincoln Motors 1938 Zephyr V-12 Four Door Sedan ad illustration, c. 1938
Mixed media on board
13.5 x 20 in.
Not signed
From the Estate of Charles Martignette.
Lincoln Motors 1938 Zephyr V-12 Four Door Sedan ad illustration, c. 1938
Mixed media on board
13.5 x 20 in.
Not signed
From the Estate of Charles Martignette.
AMERICAN ARTIST (20th Century)
1963 Ford Fairlane Squire ad illustration
Gouache on board
8 x 24 in.
Not signed
From the Estate of Charles Martignette.
1963 Ford Fairlane Squire ad illustration
Gouache on board
8 x 24 in.
Not signed
From the Estate of Charles Martignette.
AMERICAN ARTIST (20th Century)
Erotic magazine illustration
Mixed media on board
15.5 x 22 in.
Not signed
From the Estate of Charles Martignette.
Erotic magazine illustration
Mixed media on board
15.5 x 22 in.
Not signed
From the Estate of Charles Martignette.
AMERICAN ARTIST (20th Century)
The Big Fake, paperback cover, 1953
Oil on board
17.5 x 13.5 in.
Signed indistinctly lower left
This illustration appeared on the cover of Murray Forbes' novel, The Big Fake, Pyramid Book #97, 1953.
From the Estate of Charles Martignette.
The Big Fake, paperback cover, 1953
Oil on board
17.5 x 13.5 in.
Signed indistinctly lower left
This illustration appeared on the cover of Murray Forbes' novel, The Big Fake, Pyramid Book #97, 1953.
From the Estate of Charles Martignette.
AMERICAN ARTIST (20th Century)
A Good Catch
Oil on canvas
26 x 46 in.
Not signed
From the Estate of Charles Martignette.
A Good Catch
Oil on canvas
26 x 46 in.
Not signed
From the Estate of Charles Martignette.
AMERICAN ARTIST (20th Century)
Girl Singer, paperback cover, 1961
Watercolor and ink on paper
19.5 x 12 in.
Not signed
This illustration appeared on the cover of Deborah Ishion's novel, Girl Singer, Avon Books #T-503, 1961.
"The shattering story of Anna Lou from Pennsylvania, who suddenly found herself on top of the hit parade."
From the Estate of Charles Martignette.
Girl Singer, paperback cover, 1961
Watercolor and ink on paper
19.5 x 12 in.
Not signed
This illustration appeared on the cover of Deborah Ishion's novel, Girl Singer, Avon Books #T-503, 1961.
"The shattering story of Anna Lou from Pennsylvania, who suddenly found herself on top of the hit parade."
From the Estate of Charles Martignette.
AMERICAN ARTIST (20th Century)
Out in Space
Oil on board
15 x 9 in.
Not signed
From the Estate of Charles Martignette.
Out in Space
Oil on board
15 x 9 in.
Not signed
From the Estate of Charles Martignette.
AMERICAN ARTIST (20th Century)
Men's magazine illustration
Mixed media on board
15 x 21 in.
Not signed
From the Estate of Charles Martignette.
Men's magazine illustration
Mixed media on board
15 x 21 in.
Not signed
From the Estate of Charles Martignette.
AMERICAN ARTIST (20th Century)
Admiring the Hood Ornament, car ad illustration
Oil on canvas
11 x 16.5 in.
Not signed
From the Estate of Charles Martignette.
Admiring the Hood Ornament, car ad illustration
Oil on canvas
11 x 16.5 in.
Not signed
From the Estate of Charles Martignette.
AMERICAN ARTIST (20th Century)
Prize Pupil, paperback cover, 1966
Gouache on board
18 x 10.5 in.
Not signed
This illustration appeared on the cover of Amy Harris' novel, Prize Pupil, Midwood #33-654, 1966.
From the Estate of Charles Martignette.
Prize Pupil, paperback cover, 1966
Gouache on board
18 x 10.5 in.
Not signed
This illustration appeared on the cover of Amy Harris' novel, Prize Pupil, Midwood #33-654, 1966.
From the Estate of Charles Martignette.
AMERICAN ARTIST (20th Century)
Schlitz Beer, ad illustration
Oil on canvas
28 x 22 in.
Not signed
From the Estate of Charles Martignette.
Schlitz Beer, ad illustration
Oil on canvas
28 x 22 in.
Not signed
From the Estate of Charles Martignette.
AMERICAN ARTIST (20th Century)
Cafe Royale - Monte Carlo
Oil on board
24 x 36 in.
Signed illegibly, lower right
From the Estate of Charles Martignette.
Cafe Royale - Monte Carlo
Oil on board
24 x 36 in.
Signed illegibly, lower right
From the Estate of Charles Martignette.
AMERICAN ARTIST (20th Century)
Ad illustration
Oil on canvas
27 x 19 in.
Not signed
From the Estate of Charles Martignette.
Ad illustration
Oil on canvas
27 x 19 in.
Not signed
From the Estate of Charles Martignette.
AMERICAN ARTIST (20th Century)
A Starry Night
Watercolor and ink on board
9 x 22 in.
Not signed
From the Estate of Charles Martignette.
A Starry Night
Watercolor and ink on board
9 x 22 in.
Not signed
From the Estate of Charles Martignette.
AMERICAN ARTIST (20th Century)
Keystone Moviegraph and Radioptican ad illustration
Gouache on board
20 x 13 in.
Not signed
From the Estate of Charles Martignette.
Keystone Moviegraph and Radioptican ad illustration
Gouache on board
20 x 13 in.
Not signed
From the Estate of Charles Martignette.
AMERICAN ARTIST (20th Century)
Photo on the Donkey
Lithograph
24 x 18 in.
Not signed
From the Estate of Charles Martignette.
Photo on the Donkey
Lithograph
24 x 18 in.
Not signed
From the Estate of Charles Martignette.
AMERICAN ARTIST (20th Century)
Four Vintage Burlesque Movie Posters
Prints on board
60 x 40 in.
Not signed
Girl with an Itch
Fascinating Venus
Pin Down Girl
Varietease
From the Estate of Charles Martignette.
Four Vintage Burlesque Movie Posters
Prints on board
60 x 40 in.
Not signed
Girl with an Itch
Fascinating Venus
Pin Down Girl
Varietease
From the Estate of Charles Martignette.
AMERICAN ARTIST (20th Century)
Dreaming of a Better Life
Oil on canvas
29 x 20 in.
Initialed lower left
From the Estate of Charles Martignette.
Dreaming of a Better Life
Oil on canvas
29 x 20 in.
Initialed lower left
From the Estate of Charles Martignette.
AMERICAN ARTIST (20th Century)
Live Fast, Die Young, movie poster
41 x 27 in.
Not signed
From the Estate of Charles Martignette.
Live Fast, Die Young, movie poster
41 x 27 in.
Not signed
From the Estate of Charles Martignette.
AMERICAN ARTIST (20th Century)
Western pulp cover, c. 1950s
Oil on board
19.5 x 18 in.
Not signed
Western pulp cover, c. 1950s
Oil on board
19.5 x 18 in.
Not signed
AMERICAN ARTIST (20th Century)
Babe in the Woods
Oil on board
17.5 x 15 in.
Not signed
Babe in the Woods
Oil on board
17.5 x 15 in.
Not signed
AMERICAN ARTIST (20th Century)
Glamour Blonde with Yellow Flower
Oil on canvas
28 x 22 in.
Not signed
Glamour Blonde with Yellow Flower
Oil on canvas
28 x 22 in.
Not signed
AMERICAN ARTIST (20th Century)
The Weigh-In
Oil on canvas
30 x 23 in.
Not signed
The Weigh-In
Oil on canvas
30 x 23 in.
Not signed
AMERICAN ARTIST (20th Century)
Pin-Up at the Mailbox
Oil canvas
28 x 20 in.
Not signed
Pin-Up at the Mailbox
Oil canvas
28 x 20 in.
Not signed
AMERICAN ARTIST (20th Century)
At the Pier
Oil on canvas
26 x 19 in.
Not signed
At the Pier
Oil on canvas
26 x 19 in.
Not signed
AMERICAN ARTIST (20th Century)
A Puzzling Paradox
Oil on board
21.5 x 15.5 in.
Not signed
A Puzzling Paradox
Oil on board
21.5 x 15.5 in.
Not signed
AMERICAN ARTIST (20th Century)
Cocktails with the Captain
Gouache on board
22 x 11 in.
Not signed
Cocktails with the Captain
Gouache on board
22 x 11 in.
Not signed
AMERICAN ARTIST (20th Century)
Talking to Teddy
Oil on canvas
28 x 20 in.
Not signed
Talking to Teddy
Oil on canvas
28 x 20 in.
Not signed
AMERICAN ARTIST (20th Century)
Assignment in Guiana, paperback cover
Gouache on paper
11.75 x 8 in.
Not signed
This illustration appeared on the cover of George Harmon Coxe's novel, Assignment in Guiana, Dell Mapback #321, 1949.
"A blonde, a brunette, and 3 murders..."
Included with this lot is a copy of the paperback novel.
Assignment in Guiana, paperback cover
Gouache on paper
11.75 x 8 in.
Not signed
This illustration appeared on the cover of George Harmon Coxe's novel, Assignment in Guiana, Dell Mapback #321, 1949.
"A blonde, a brunette, and 3 murders..."
Included with this lot is a copy of the paperback novel.
AMERICAN ARTIST (20th Century)
The Blue Knight, paperback cover
Oil on board
16 x 7.5 in.
Not signed
This illustration appeared on the cover of Joseph Wambaugh's novel, The Blue Knight, Dell, 1973.
Included with this lot is a copy of the paperback novel.
The Blue Knight, paperback cover
Oil on board
16 x 7.5 in.
Not signed
This illustration appeared on the cover of Joseph Wambaugh's novel, The Blue Knight, Dell, 1973.
Included with this lot is a copy of the paperback novel.
AMERICAN ARTIST (20th Century)
Cosmopolitan magazine illustration, 1927
Charcoal on board
18.5 x 16.5 in.
Signed lower left
Cosmopolitan magazine illustration, 1927
Charcoal on board
18.5 x 16.5 in.
Signed lower left
KIRCHNER (American 20th Century)
Crime pulp illustration
Mixed media on paper
10.5 x 9.9 in.
Initialed lower left
This rousing pulp illustration from an unidentified title showcases what pulp art collector/historian Robert Lesser has termed the three "V"s -- villain, victim, and victor.
Crime pulp illustration
Mixed media on paper
10.5 x 9.9 in.
Initialed lower left
This rousing pulp illustration from an unidentified title showcases what pulp art collector/historian Robert Lesser has termed the three "V"s -- villain, victim, and victor.
BRITISH ARTIST (20th Century)
It's Murder, paperback cover
Gouache on board
17 x 12.25 in.
Not signed
It's Murder, paperback cover
Gouache on board
17 x 12.25 in.
Not signed
BRITISH ARTIST (20th Century)
The Devil's Legion, paperback cover
Mixed media on board
10.5 x 8 in.
Not signed
From the Estate of John McLaughlin.
The Devil's Legion, paperback cover
Mixed media on board
10.5 x 8 in.
Not signed
From the Estate of John McLaughlin.
AMERICAN ARTIST (20th Century)
The Attack
Gouache on board
14 x 20.5 in.
Signed lower right
From the Estate of John McLaughlin.
The Attack
Gouache on board
14 x 20.5 in.
Signed lower right
From the Estate of John McLaughlin.
AMERICAN ARTIST (20th Century)
Fighting Blood, cover art
Pen and ink on board
11.5 x 10 in.
Not signed
From the Estate of John McLaughlin.
Fighting Blood, cover art
Pen and ink on board
11.5 x 10 in.
Not signed
From the Estate of John McLaughlin.
SCOTT GLADDEN (American, 20th Century-)
Star Attraction, paperback cover
Oil on canvas
25.5 x 34.5 in.
Signed lower central
From the Estate of John McLaughlin.
Star Attraction, paperback cover
Oil on canvas
25.5 x 34.5 in.
Signed lower central
From the Estate of John McLaughlin.
BRITISH ARTIST (20th Century)
The Rattenbury Mystery, paperback cover
Watercolor on board
11 x 8.25 in.
Signed lower left
From the Estate of John McLaughlin.
The Rattenbury Mystery, paperback cover
Watercolor on board
11 x 8.25 in.
Signed lower left
From the Estate of John McLaughlin.
AMERICAN ARTIST (20th Century)
Uncle Wiggily Bread
Ink on board
10 x 8 in.
Not signed
From the Estate of John McLaughlin.
Uncle Wiggily Bread
Ink on board
10 x 8 in.
Not signed
From the Estate of John McLaughlin.
BRITISH ARTIST (20th Century)
Trial of Love, paperback cover
Gouache on board
11 x 8 in.
Not signed
From the Estate of John McLaughlin.
Trial of Love, paperback cover
Gouache on board
11 x 8 in.
Not signed
From the Estate of John McLaughlin.
AMERICAN ARTIST (20th Century)
Sagittarius
Watercolor on board
19 x 14 in.
Not signed
From the Estate of John McLaughlin.
Sagittarius
Watercolor on board
19 x 14 in.
Not signed
From the Estate of John McLaughlin.
HARRY ANDERSON (American, 1906-1996)
Kissing Couple
Gouache on board
18 x 18 in.
Signed lower right
From the Estate of Charles Martignette.
Kissing Couple
Gouache on board
18 x 18 in.
Signed lower right
From the Estate of Charles Martignette.
LYMAN ANDERSON (American, 1907-1993)
Underworld pulp cover, c. 1933
Oil on canvas
21.5 x 20.5 in.
Signed center left
From the Estate of Charles Martignette.
Underworld pulp cover, c. 1933
Oil on canvas
21.5 x 20.5 in.
Signed center left
From the Estate of Charles Martignette.
AMERICAN ARTIST (20th Century)
Nightmare
Ink on paper
9.5 x 7.25 in.
Signed lower right
Illustration for a text by science-fiction author Poul Anderson, who has signed the artwork.
From the Estate of John McLaughlin.
Nightmare
Ink on paper
9.5 x 7.25 in.
Signed lower right
Illustration for a text by science-fiction author Poul Anderson, who has signed the artwork.
From the Estate of John McLaughlin.
VICTOR COLEMAN ANDERSON (American, 1882-1937)
Springtime, story illustration
Charcoal on board
15.25 x 13.25 in.
Signed lower left
From the Estate of Charles Martignette.
Springtime, story illustration
Charcoal on board
15.25 x 13.25 in.
Signed lower left
From the Estate of Charles Martignette.
ANONYMOUS (20th Century)
Het Geheim Der Gele Narcissen (The Devil's Daffodil), Belgian one-sheet movie poster illustration
Gouache on paper
11 x 18.5 in.
Not signed
Het Geheim Der Gele Narcissen (The Devil's Daffodil), Belgian one-sheet movie poster illustration
Gouache on paper
11 x 18.5 in.
Not signed
ANONYMOUS (20th Century)
Audrey Rose, Belgian one-sheet movie poster illustration
Mixed media on board
15 x 11 in.
Not signed
Audrey Rose, Belgian one-sheet movie poster illustration
Mixed media on board
15 x 11 in.
Not signed
ANONYMOUS (20th Century)
L'Age de Cristal (Logan's Run), Belgian one-sheet movie poster illustration
Mixed media on board
15.5 x 11.5 in.
Not signed
L'Age de Cristal (Logan's Run), Belgian one-sheet movie poster illustration
Mixed media on board
15.5 x 11.5 in.
Not signed
ANONYMOUS (20th Century)
Horror Hotel, Belgian one-sheet movie poster illustration
Gouache and mixed media on board
11.5 x 8.25 in.
Not signed
Horror Hotel, Belgian one-sheet movie poster illustration
Gouache and mixed media on board
11.5 x 8.25 in.
Not signed
PETER ARNO (American, 1904-1968)
Cartoon illustration
Ink on board
13 x 8 in.
Signed lower left
Cartoon illustration
Ink on board
13 x 8 in.
Signed lower left
JAMES ARTHUR (American, 20th Century)
Among the Water Lilies, c. 1921
Oil on photograph and board
20 x 16 in.
Not signed
Among the Water Lilies, c. 1921
Oil on photograph and board
20 x 16 in.
Not signed
EDMUND M. ASHE (American, 1867-1941)
Hearts Insurgent, Harper's Monthly illustration
Gouache and pencil on board
17.5 x 14 in. window
Signed lower right
Inscribed on verso: Hearts Insurgent/ Ch. 10 p. 77/ "Then she sent out a cry, after any for help."
Hearts Insurgent, Harper's Monthly illustration
Gouache and pencil on board
17.5 x 14 in. window
Signed lower right
Inscribed on verso: Hearts Insurgent/ Ch. 10 p. 77/ "Then she sent out a cry, after any for help."
STEVE BAGINSKI (American, 20th Century)
Liberty Enlightening the World,
Acrylic on board
29 x 38.5 in.
Not signed
From the Estate of Charles Martignette.
Liberty Enlightening the World,
Acrylic on board
29 x 38.5 in.
Not signed
From the Estate of Charles Martignette.
RON BALABAN (American, 20th Century)
Buick Century
Oil on canvas
24 x 36 in.
Signed lower right
From the Estate of Charles Martignette.
Buick Century
Oil on canvas
24 x 36 in.
Signed lower right
From the Estate of Charles Martignette.
AMERICAN ARTIST (20th Century)
Cheating Wives, Male, men's magazine illustration, c.1967
Gouache on board
23 x 18 in.
Not signed
From the Estate of Charles Martignette.
Cheating Wives, Male, men's magazine illustration, c.1967
Gouache on board
23 x 18 in.
Not signed
From the Estate of Charles Martignette.
HARRY RUSSELL BALLINGER (American, 1892-1993)
The Wolf Chaser
Mixed media on board
22 x 27 in.
Signed lower right
Inscribed: "The Morris Weiss with best wishes from H. R. Ballinger."
From the Estate of Charles Martignette.
The Wolf Chaser
Mixed media on board
22 x 27 in.
Signed lower right
Inscribed: "The Morris Weiss with best wishes from H. R. Ballinger."
From the Estate of Charles Martignette.
LIONEL BARRYMORE (American, 1878-1954)
Man with Flowers
Watercolor on board
18 x 13.5 in.
Signed lower right
From the Estate of John McLaughlin.
Man with Flowers
Watercolor on board
18 x 13.5 in.
Signed lower right
From the Estate of John McLaughlin.
WALTER MARTIN BAUMHOFER (American, 1904-1987)
Photo Finish, This Week magazine illustration
Oil on canvas
22.5 x 21.5 in.
Signed lower center
From the Estate of Charles Martignette.
Photo Finish, This Week magazine illustration
Oil on canvas
22.5 x 21.5 in.
Signed lower center
From the Estate of Charles Martignette.
WALTER MARTIN BAUMHOFER (American, 1904-1987)
Down to the Sea, Part 1, Country Home magazine illustration
Oil on canvas
29 x 12 in.
Signed lower right
From the Estate of Charles Martignette.
Down to the Sea, Part 1, Country Home magazine illustration
Oil on canvas
29 x 12 in.
Signed lower right
From the Estate of Charles Martignette.
WALTER MARTIN BAUMHOFER (American, 1904-1987)
The Portrait, Cosmopolitan story illustration
Oil on canvas
28 x 40 in.
Signed lower right
From the Estate of Charles Martignette.
The Portrait, Cosmopolitan story illustration
Oil on canvas
28 x 40 in.
Signed lower right
From the Estate of Charles Martignette.
WALTER MARTIN BAUMHOFER (American, 1904-1987)
Reunion
Oil on canvas
23 x 32 in.
Signed lower right
From the Estate of Charles Martignette.
Reunion
Oil on canvas
23 x 32 in.
Signed lower right
From the Estate of Charles Martignette.
WALTER MARTIN BAUMHOFER (American, 1904-1987)
Reckless Redhead
Oil on canvas
23 x 34 in.
Signed lower left
From the Estate of Charles Martignette.
Reckless Redhead
Oil on canvas
23 x 34 in.
Signed lower left
From the Estate of Charles Martignette.
WALTER MARTIN BAUMHOFER (American, 1904-1987)
The $100,000 Shot
Oil on canvasboard
24.5 x 18.5 in.
Signed lower right
The $100,000 Shot
Oil on canvasboard
24.5 x 18.5 in.
Signed lower right
Pulp, Pulp-like, Digests, and Paperback Art
ROBERT BAXTER (American, 20th Century)
Brumists, paperback cover
Oil on canvas
24 x 15 in.
Signed center left
Brumists, paperback cover
Oil on canvas
24 x 15 in.
Signed center left
Paintings
BEN-HUR BAZ (American, b. 1906)
Pin-Up with a Parrot
Graphite and gouache on paper
15 x 12.75 in.
Not signed
From the Estate of Charles Martignette.
Pin-Up with a Parrot
Graphite and gouache on paper
15 x 12.75 in.
Not signed
From the Estate of Charles Martignette.
ARTHUR E. BECHER (American, 1877-1941)
The Harem
Oil on canvas
26 x 18 in.
Signed lower right
From the Estate of Charles Martignette.
The Harem
Oil on canvas
26 x 18 in.
Signed lower right
From the Estate of Charles Martignette.
HARRY BECKHOFF (American, 1901-1979)
Card Game, Woman's Home Companion illustration
Mixed media on board
13 x 17 in.
Signed lower right
From the Estate of Charles Martignette.
Card Game, Woman's Home Companion illustration
Mixed media on board
13 x 17 in.
Signed lower right
From the Estate of Charles Martignette.
Attributed to HARRY BECKHOFF (American, 1901-1979)
Bell Telephone Company advertising illustration
Watercolor and pen on paper
14.25 x 9.25 in.
Not signed
From the Estate of Charles Martignette.
Bell Telephone Company advertising illustration
Watercolor and pen on paper
14.25 x 9.25 in.
Not signed
From the Estate of Charles Martignette.
HARRY BENNETT (American, b. 1925)
The Money People, paperback cover, 1962
Oil on board
25 x 21 in.
Signed lower right
This illustration appeared on the cover of Leo Katcher's novel, The Money People, Pocket Books, 1962.
"A powerful story of a brilliant businesswoman torn between a passion for success and a need for love."
The Money People, paperback cover, 1962
Oil on board
25 x 21 in.
Signed lower right
This illustration appeared on the cover of Leo Katcher's novel, The Money People, Pocket Books, 1962.
"A powerful story of a brilliant businesswoman torn between a passion for success and a need for love."
ROY BESSER (American, 20th Century)
Woman with a Feathered Hat, 1957
Mixed media on board
18.25 x 17.25 in.
Signed lower right
Woman with a Feathered Hat, 1957
Mixed media on board
18.25 x 17.25 in.
Signed lower right
ROY BESSER (American, 20th Century)
Story illustration
Ink on board
15.25 x 11.75 in.
Signed left center
Story illustration
Ink on board
15.25 x 11.75 in.
Signed left center
Mainstream Illustration
ROY BESSER (American, 20th Century)
Portrait of a Seated Woman, story illustration
Gouache on board
13.5 x 11 in.
Signed lower right
Portrait of a Seated Woman, story illustration
Gouache on board
13.5 x 11 in.
Signed lower right
Paintings
ROY BESSER (American, 20th Century)
Portrait of a Woman
Gouache on board
24 x 16.75 in.
Signed lower left
Portrait of a Woman
Gouache on board
24 x 16.75 in.
Signed lower left
ROY BEST (American, 20th Century)
The Square Knot
Pastel on board
25.5 x 20 in.
Signed lower right
The Square Knot
Pastel on board
25.5 x 20 in.
Signed lower right
ROBERT BONFILS (b. 1922)
Love Thy Neighbors', paperback cover, 1970
Gouache on board
14.5 x 9.5 in.
Not signed
This illustration appeared on the cover of Don Bellmore's novel, Love Thy Neighbor's Wife, Candid Reader #CA1017, 1970.
Love Thy Neighbors', paperback cover, 1970
Gouache on board
14.5 x 9.5 in.
Not signed
This illustration appeared on the cover of Don Bellmore's novel, Love Thy Neighbor's Wife, Candid Reader #CA1017, 1970.
STANLEY BORACK (American, b. 1927)
The Gunslinger, paperback cover
Oil on board
18 x 14 in.
Signed lower right
The Gunslinger, paperback cover
Oil on board
18 x 14 in.
Signed lower right
STANLEY BORACK (American, b. 1927)
Male magazine illustration, October, 1958
Gouache on board
11 x 17 in.
Signed lower center
Male magazine illustration, October, 1958
Gouache on board
11 x 17 in.
Signed lower center
NEIL BOYLE (American, 1931-2006)
Fashion illustration
Gouache on paper laid on board
20 x 15.75 in.
Signed lower left
Fashion illustration
Gouache on paper laid on board
20 x 15.75 in.
Signed lower left
BROOKS (American, 20th Century)
Paperback cover
Mixed media on board
13 x 11 in.
Signed lower right
From the Estate of John McLaughlin.
Paperback cover
Mixed media on board
13 x 11 in.
Signed lower right
From the Estate of John McLaughlin.
CARLOS CARTAGENA (American, b. 1960)
Pin-Up in Gold, 2003
Gouache on board
27 x 27.5 in.
Signed lower right
From the Estate of Charles Martignette.
Pin-Up in Gold, 2003
Gouache on board
27 x 27.5 in.
Signed lower right
From the Estate of Charles Martignette.
CHARLES BOSSERON CHAMBERS (American, 1883-1964)
Jesus and the Lost Sheep
Oil on canvas
28 x 22 in.
Signed lower right
From the Estate of Charles Martignette.
Jesus and the Lost Sheep
Oil on canvas
28 x 22 in.
Signed lower right
From the Estate of Charles Martignette.
CHARLES EDWARD CHAMBERS (American, 1883-1941)
Story illustration
Oil on canvas
23.5 x 15.5 in.
Signed lower right
Story illustration
Oil on canvas
23.5 x 15.5 in.
Signed lower right
D. G. CHRISTENSEN (American, 20th Century)
Big Dick, pinball illustration
Acrylic on board
23 x 21 in.
Signed lower left
From the Estate of Charles Martignette.
Big Dick, pinball illustration
Acrylic on board
23 x 21 in.
Signed lower left
From the Estate of Charles Martignette.
HOWARD CHANDLER CHRISTY (American, 1872-1952)
Portrait Study, 1938
Graphite on paper
9.5 x 8 in.
Signed and inscribed lower right
"To Wes Clausm -- with all good wishes, Howard Chandler Christy,Oc.t 4, '38."
Portrait Study, 1938
Graphite on paper
9.5 x 8 in.
Signed and inscribed lower right
"To Wes Clausm -- with all good wishes, Howard Chandler Christy,Oc.t 4, '38."
HENRY O'HARA CLIVE (American, 1881-1960)
Marie! How the Hell Can I Keep My Mind on My Business?
Pencil on paper
8.5 x 5.25 in.
Signed middle right
Marie! How the Hell Can I Keep My Mind on My Business?
Pencil on paper
8.5 x 5.25 in.
Signed middle right
HOWARD CONNELLY (American, 20th Century)
Jane Russell in 1942, 1982
Oil on canvas board
40 x 29.5 in.
Signed lower right
Jane Russell in 1942, 1982
Oil on canvas board
40 x 29.5 in.
Signed lower right
PAUL CORFIELD (British, b. 1970)
Perching Pretty, 2001
Acrylic on board
19.5 x 14 in.
Signed lower right
Perching Pretty, 2001
Acrylic on board
19.5 x 14 in.
Signed lower right
DEAN CORNWELL (American, 1892-1960)
Mural figure study
Charcoal on paper
17.5 x 19 in.
Not signed
From the Estate of Charles Martignette.
Mural figure study
Charcoal on paper
17.5 x 19 in.
Not signed
From the Estate of Charles Martignette.
DEAN CORNWELL (American, 1892-1960)
Study of religious figure
Pastel on paper
19 x 24 in.
Initialed lower right
From the Estate of Charles Martignette.
Study of religious figure
Pastel on paper
19 x 24 in.
Initialed lower right
From the Estate of Charles Martignette.
DEAN CORNWELL (American, 1892-1960)
The Old Mill
Graphite on paper
16 in. diameter
Initialed lower right
From the Estate of Charles Martignette.
The Old Mill
Graphite on paper
16 in. diameter
Initialed lower right
From the Estate of Charles Martignette.
DEAN CORNWELL (American, 1892-1960)
Native American mural figure studies
Mixed media on vellum
20 x 21 in.
Not signed
From the Estate of Charles Martignette.
Native American mural figure studies
Mixed media on vellum
20 x 21 in.
Not signed
From the Estate of Charles Martignette.
DEAN CORNWELL (American, 1892-1960)
The Locomotive
Graphite on paper
17 in. diameter
Initialed lower center
From the Estate of Charles Martignette.
The Locomotive
Graphite on paper
17 in. diameter
Initialed lower center
From the Estate of Charles Martignette.
DEAN CORNWELL (American, 1892-1960)
Ship's Bow study
Mixed media on paper
15.5 x 23 in.
Not signed
From the Estate of Charles Martignette.
Ship's Bow study
Mixed media on paper
15.5 x 23 in.
Not signed
From the Estate of Charles Martignette.
DEAN CORNWELL (American, 1892-1960)
The Swamp
Mixed media on board
13.5 x 20 in.
Not signed
From the Estate of Charles Martignette.
The Swamp
Mixed media on board
13.5 x 20 in.
Not signed
From the Estate of Charles Martignette.
DEAN CORNWELL (American, 1892-1960)
Study of Men
Charcoal and conte on paper
16 x 14 in.
Not signed
From the Estate of Charles Martignette.
Study of Men
Charcoal and conte on paper
16 x 14 in.
Not signed
From the Estate of Charles Martignette.
Works on Paper
PALMER COX (Canadian, 1840-1924)
Brownies book illustration, group of 7, 1890
Ink on paper laid on board
2 x 2 in.
Not signed
These whimsical illustrations for the famous Brownies book series range in size from 1 x 1 in. to 2 x 2 in.
Brownies book illustration, group of 7, 1890
Ink on paper laid on board
2 x 2 in.
Not signed
These whimsical illustrations for the famous Brownies book series range in size from 1 x 1 in. to 2 x 2 in.
PALMER COX (Canadian, 1840-1924)
Cox's Brownies, book illustration
Ink and pencil on paper laid on board
6.5 x 6 in.
Not signed
Cox's Brownies, book illustration
Ink and pencil on paper laid on board
6.5 x 6 in.
Not signed
PALMER COX (Canadian, 1840-1924)
Brownies book illustration, group of 3
Ink on paper laid on board
5 x 9 in.
Not signed
These whimsical illustrations for the famous Brownies book series range in size from 2 x 2.5 in. to 5 x 9 in.
Brownies book illustration, group of 3
Ink on paper laid on board
5 x 9 in.
Not signed
These whimsical illustrations for the famous Brownies book series range in size from 2 x 2.5 in. to 5 x 9 in.
PALMER COX (Canadian, 1840-1924)
Brownies book illustration, group of 3, circa 1904
Ink on paper laid on board
3.5 x 8 in.
Not signed
These three whimsical illustrations for the famous Brownies book series range in size from 3.5 x 4.5 in. to 3.5 x 8 in.
Brownies book illustration, group of 3, circa 1904
Ink on paper laid on board
3.5 x 8 in.
Not signed
These three whimsical illustrations for the famous Brownies book series range in size from 3.5 x 4.5 in. to 3.5 x 8 in.
Paintings
BRADSHAW CRANDELL (American, 1896-1966)
Pioneer Family
Oil on canvas
34.5 x 34.5 in.
Signed lower right
Pioneer Family
Oil on canvas
34.5 x 34.5 in.
Signed lower right
GLENN CRAVATH (American, 1897-1964)
Science Fiction Outer Space Scene
Mixed media on parchment paper
14.5 x 11.5 in.
Not signed
A black and white photograph of the finished illustration is included with this lot.
From the Estate of Charles Martignette.
Science Fiction Outer Space Scene
Mixed media on parchment paper
14.5 x 11.5 in.
Not signed
A black and white photograph of the finished illustration is included with this lot.
From the Estate of Charles Martignette.
GLENN CRAVATH (American, 1897-1964)
Stage Door
Watercolor on board
30 x 13 in.
Signed upper left
From the Estate of Charles Martignette.
Stage Door
Watercolor on board
30 x 13 in.
Signed upper left
From the Estate of Charles Martignette.
RAYMOND MOREAU CROSBY (American, 1876-1945)
Pensive Lady, c. 1910
Charcoal and pastel on paper
23 x 16.5 in.
Signed lower right
Pensive Lady, c. 1910
Charcoal and pastel on paper
23 x 16.5 in.
Signed lower right
DANIEL CROUSE (American, d. 1992)
Deadly Tactics (The Executioner #146, featuring Mack Bolan), paperback cover, 1991
Oil on board
25 x 16 in.
Not signed
This illustration appeared on the cover of Don Pendleton's Executioner novel, Deadly Tactics, Gold Eagle, 1991
From the Estate of Charles Martignette.
Deadly Tactics (The Executioner #146, featuring Mack Bolan), paperback cover, 1991
Oil on board
25 x 16 in.
Not signed
This illustration appeared on the cover of Don Pendleton's Executioner novel, Deadly Tactics, Gold Eagle, 1991
From the Estate of Charles Martignette.
DANIEL CROUSE (American, d. 1992)
Double Action, Don Pendleton's Mac Bolan the Executioner #167, paperback cover, 1992
Gouache on board
25 x 16 in.
Not signed
This illustration appeared (in a cropped format) on the cover of Don Pendleton's Mac Bolan the Executioner novel, Double Action, Gold Eagle, 1992.
"Alaska feels the heat of Bolan's war on terrorism."
A printer's proof of the paperback cover is included with this lot.
From the Estate of Charles Martignette.
Double Action, Don Pendleton's Mac Bolan the Executioner #167, paperback cover, 1992
Gouache on board
25 x 16 in.
Not signed
This illustration appeared (in a cropped format) on the cover of Don Pendleton's Mac Bolan the Executioner novel, Double Action, Gold Eagle, 1992.
"Alaska feels the heat of Bolan's war on terrorism."
A printer's proof of the paperback cover is included with this lot.
From the Estate of Charles Martignette.
BERNARD D'ANDREA (American, b.1923)
The Hounds of Youth, Saturday Evening Post illustration
Gouache on board
22 x 30 in.
Signed lower right
The Hounds of Youth, Saturday Evening Post illustration
Gouache on board
22 x 30 in.
Signed lower right
PATRICIA DAVIS (American, 20th Century)
Almost Human, 1989
Acrylic on board
19.5 x 14.75 in.
Signed lower left
PROVENANCE:
From the Frank Collection.
Almost Human, 1989
Acrylic on board
19.5 x 14.75 in.
Signed lower left
PROVENANCE:
From the Frank Collection.
HUBERT DE LARTIGUE (French, b. 1963)
Pin-Up in Sneakers
Acrylic on paper laid on board
23.5 x 17.5 in.
Not signed
PROVENANCE:
Louis K. Meisel Gallery, New York (label verso).
From the Estate of Charles Martignette.
Pin-Up in Sneakers
Acrylic on paper laid on board
23.5 x 17.5 in.
Not signed
PROVENANCE:
Louis K. Meisel Gallery, New York (label verso).
From the Estate of Charles Martignette.
JOSEPH DE MERS (American, 1910-1984)
Flight of the Falcon Part II, Good Housekeeping illustration, March 1965
Mixed media on board
17.25 x 19.5 in.
Signed lower left
This piece was used as an illustration of Daphne Du Maurier's short story, Flight of the Falcon, Part II.
Caption: "Then she looked at me and smiled. 'Out with it,' I said. 'I'm good with keeping secrets."
Flight of the Falcon Part II, Good Housekeeping illustration, March 1965
Mixed media on board
17.25 x 19.5 in.
Signed lower left
This piece was used as an illustration of Daphne Du Maurier's short story, Flight of the Falcon, Part II.
Caption: "Then she looked at me and smiled. 'Out with it,' I said. 'I'm good with keeping secrets."
RAFAEL DE SOTO (American, 1904-1992)
Pulp cover concept preliminary illustration
Pencil and paint on board
9 x 7 in.
Signed on verso
PROVENANCE:
From the Estate of Richard Lillis.
Pulp cover concept preliminary illustration
Pencil and paint on board
9 x 7 in.
Signed on verso
PROVENANCE:
From the Estate of Richard Lillis.
JAMES DIETZ (American, 20th Century)
Paperback cover
Gouache on board
24 x 20 in.
Signed lower right
Paperback cover
Gouache on board
24 x 20 in.
Signed lower right
DODWORTH (American, 20th Century)
Redhead, pin-up illustration
Pastel on board
26.5 x 21 in.
Signed lower right
From the Estate of Charles Martignette.
Redhead, pin-up illustration
Pastel on board
26.5 x 21 in.
Signed lower right
From the Estate of Charles Martignette.
LUKE DOHENY (American, 20th Century)
Spanish Dancer
Oil on canvas
34 x 25 in.
Signed lower left
Spanish Dancer
Oil on canvas
34 x 25 in.
Signed lower left
PETER DRIBEN (American, 1902-1968)
Photographing the Cabaret Dancers
Pen and ink on paper
15.5 x 15 in.
Signed lower right
From the Estate of Charles Martignette.
Photographing the Cabaret Dancers
Pen and ink on paper
15.5 x 15 in.
Signed lower right
From the Estate of Charles Martignette.
DEAN ELLIS (American, 1920-2009)
Hammer in His Hand, paperback cover
Oil on board
15 x 9 in.
Not signed
This illustration appeared on the cover of Whit Masterson's novel, Hammer in His Hand, Bantam Books, 1963.
"She walked the dark, still streets of violence, waiting for the man with a hammer in his hand"
Included with this lot is a copy of the paperback novel.
Hammer in His Hand, paperback cover
Oil on board
15 x 9 in.
Not signed
This illustration appeared on the cover of Whit Masterson's novel, Hammer in His Hand, Bantam Books, 1963.
"She walked the dark, still streets of violence, waiting for the man with a hammer in his hand"
Included with this lot is a copy of the paperback novel.
GIL ELVGREN (American, 1914-1980)
Buffy
Oil on canvas board
15.5 x 19.5 in.
Signed lower left
From the Estate of Charles Martignette.
Buffy
Oil on canvas board
15.5 x 19.5 in.
Signed lower left
From the Estate of Charles Martignette.
Mainstream Illustration
RON EMBLETON (American, 1930-1988)
The Three Soldiers, book illustration
Gouache on paper
7.5 x 7 in.
Not signed
The Three Soldiers, book illustration
Gouache on paper
7.5 x 7 in.
Not signed
Paintings
CARL ARTHUR FAILLE (American, 1883-1956)
Indian Maiden on Shore, 1918
Oil on canvas
32 x 60.5 in.
Signed lower left
From the Estate of Charles Martignette.
Indian Maiden on Shore, 1918
Oil on canvas
32 x 60.5 in.
Signed lower left
From the Estate of Charles Martignette.
JOHN PHILIP FALTER (American, 1910-1982)
From Football to Naval Pilot
Oil on canvasboard
18 x 12 in.
Signed lower center
From Football to Naval Pilot
Oil on canvasboard
18 x 12 in.
Signed lower center
JACK FARAGASSO (American, b. 1929)
They Couldn't Say No, paperback cover
Gouache on board
18 x 11 in.
Signed lower left
This illustration appeared on the cover of Matt Harding's novel, They Couldn't Say No, Beacon Books #B 374, 1961.
"He had a world of beautiful women -- at his feet."
They Couldn't Say No, paperback cover
Gouache on board
18 x 11 in.
Signed lower left
This illustration appeared on the cover of Matt Harding's novel, They Couldn't Say No, Beacon Books #B 374, 1961.
"He had a world of beautiful women -- at his feet."
VIRGIL FINLAY (American, 1914-1971)
Weird Tales, unused preliminary cover drawing
Mixed media on paper
9.75 x 6.5 in.
Not signed
From the Estate of John McLaughlin.
Weird Tales, unused preliminary cover drawing
Mixed media on paper
9.75 x 6.5 in.
Not signed
From the Estate of John McLaughlin.
VIRGIL FINLAY (American, 1914-1971)
Lady Godiva, December 27, 1933
Pencil on paper
8 x 11 in.
Signed lower right
From the Estate of John McLaughlin.
Lady Godiva, December 27, 1933
Pencil on paper
8 x 11 in.
Signed lower right
From the Estate of John McLaughlin.
JAMES MONTGOMERY FLAGG (American, 1877-1960)
The American Girl and Why
Charcoal on board
18.5 x 13.5 in.
Signed lower right
From the Estate of Charles Martignette.
The American Girl and Why
Charcoal on board
18.5 x 13.5 in.
Signed lower right
From the Estate of Charles Martignette.
FRED FONTAINE (American, 20th Century)
Pin-up paintings, group of 6
Oil on canvas, stretched on board
12 x 9 in.
Each signed
From the Estate of Charles Martignette.
Pin-up paintings, group of 6
Oil on canvas, stretched on board
12 x 9 in.
Each signed
From the Estate of Charles Martignette.
FRED FONTAINE (American, 20th Century)
Pin-up paintings, group of 6
Oil on board
12 x 9 in.
Each signed
From the Estate of Charles Martignette.
Pin-up paintings, group of 6
Oil on board
12 x 9 in.
Each signed
From the Estate of Charles Martignette.
FRANK KELLY FREAS (American, 1922-2005)
Planet Stories print, Summer 1954
Hand colored print
9.5 x 7 in.
Signed left center
Planet Stories print, Summer 1954
Hand colored print
9.5 x 7 in.
Signed left center
FRANK KELLY FREAS (American, 1922-2005)
Planet Stories print, September 1953
Hand colored print
9 x 7 in.
Signed lower left
Planet Stories print, September 1953
Hand colored print
9 x 7 in.
Signed lower left
GWEN FREMLIN (American, 20th Century)
Cocktail Hour, c. 1950s
Mixed media on board
17 x 26.5 in.
Signed lower right
Cocktail Hour, c. 1950s
Mixed media on board
17 x 26.5 in.
Signed lower right
Mainstream Illustration
FRENCH ARTIST (20th Century)
Pour le Jeunes Filles, pair of costume designs
Mixed media on paper
15 x 11 in.
Not signed
Pour le Jeunes Filles, pair of costume designs
Mixed media on paper
15 x 11 in.
Not signed
Paintings
PAL FRIED (Hungarian/American, 1893-1976)
The Ballerina
Oil on canvas
30 x 24 in.
Signed lower right
The Ballerina
Oil on canvas
30 x 24 in.
Signed lower right
PAL FRIED (Hungarian/American, 1893-1976)
European Street
Oil on canvas
30 x 24 in.
Signed lower right
European Street
Oil on canvas
30 x 24 in.
Signed lower right
PAL FRIED (Hungarian/American, 1893-1976)
Solitaire
Oil on canvas
24 x 30 in.
Signed upper left
Solitaire
Oil on canvas
24 x 30 in.
Signed upper left
PAL FRIED (Hungarian/American, 1893-1976)
Woman with Oranges
Oil on canvas
30.5 x 24 in.
Signed lower left
Woman with Oranges
Oil on canvas
30.5 x 24 in.
Signed lower left
PAL FRIED (Hungarian/American, 1893-1976)
Woman with Oxen
Oil on canvas
30 x 40 in.
Signed lower left
Woman with Oxen
Oil on canvas
30 x 40 in.
Signed lower left
BERNARD FUCHS (American, 1932-2009)
Girl with Binoculars
Mixed media on board
15.25 x 11.75 in.
Signed lower right
Girl with Binoculars
Mixed media on board
15.25 x 11.75 in.
Signed lower right
RUDY GARCIA (American, 20th Century)
LSB TV Cameraman, 1969
Gouache on board
21 x 18 in.
Signed lower left
From the Estate of Charles Martignette.
LSB TV Cameraman, 1969
Gouache on board
21 x 18 in.
Signed lower left
From the Estate of Charles Martignette.
RUDY GARCIA (American, 20th Century)
Shark
Acrylic on board
16.5 x 12.5 in.
Signed lower right
From the Estate of Charles Martignette.
Shark
Acrylic on board
16.5 x 12.5 in.
Signed lower right
From the Estate of Charles Martignette.
JACK GAUGHAN (American, 1930-1985)
Pulp illustration
Ink on paper
10 x 7 in.
Signed lower right
Pulp illustration
Ink on paper
10 x 7 in.
Signed lower right
EDWIN GEORGI (American, 1896-1964)
All the Way Back, Redbook illustration
Gouache on board
18 x 25 in.
Not signed
All the Way Back, Redbook illustration
Gouache on board
18 x 25 in.
Not signed
EDWIN GEORGI (American, 1896-1964)
Encounter on the Beach, Redbook illustration, August 1956
Mixed media on board
13 x 25 in.
Signed upper right
Encounter on the Beach, Redbook illustration, August 1956
Mixed media on board
13 x 25 in.
Signed upper right
EDWIN GEORGI (American, 1896-1964)
Woman in a Cocktail Dress, preliminary study, c. 1940s
Gouache on paper
14.5 x 10 in.
Not signed
Woman in a Cocktail Dress, preliminary study, c. 1940s
Gouache on paper
14.5 x 10 in.
Not signed
WALTER GIROTTO (American, b. 1953)
The Ballerina, 1986
Mixed media on board
23.5 x 31.5 in.
Signed lower right
From the Estate of Charles Martignette.
The Ballerina, 1986
Mixed media on board
23.5 x 31.5 in.
Signed lower right
From the Estate of Charles Martignette.
SCOTT GLADDEN (American, 20th Century)
In the Wilderness
Oil on canvas
27.5 x 35.5 in.
Signed lower right
From the Estate of John McLaughlin.
In the Wilderness
Oil on canvas
27.5 x 35.5 in.
Signed lower right
From the Estate of John McLaughlin.
JOHN GOULD (American, 1906-1996)
Refueling the Fleet
Oil on board
18.5 x 23 in.
Signed lower right
From the Estate of Charles Martignette.
Refueling the Fleet
Oil on board
18.5 x 23 in.
Signed lower right
From the Estate of Charles Martignette.
JOHN GOULD (American, 1906-1996)
Down on the Mat, Saturday Evening Post illustration
Charcoal on board
10.5 x 10 in.
Signed lower left
From the Estate of Charles Martignette.
Down on the Mat, Saturday Evening Post illustration
Charcoal on board
10.5 x 10 in.
Signed lower left
From the Estate of Charles Martignette.
JOHN GOULD (American, 1906-1996)
The Farmstand, calendar illustration
Oil on board
14.5 x 20.5 in.
Signed lower left
From the Estate of Charles Martignette.
The Farmstand, calendar illustration
Oil on board
14.5 x 20.5 in.
Signed lower left
From the Estate of Charles Martignette.
Mainstream Illustration
JOHN GOULD (American, 1906-1996)
On the Job Emergency Training
Gouache on board
32.5 x 27.5 in.
Signed lower right
From the Collection of the American Red Cross.
On the Job Emergency Training
Gouache on board
32.5 x 27.5 in.
Signed lower right
From the Collection of the American Red Cross.
Works on Paper
GEORGE HACKER (20th Century)
Rowing
Watercolor on paper
22.5 x 16 in.
Signed lower right
Rowing
Watercolor on paper
22.5 x 16 in.
Signed lower right
Paintings
CARL HANTMAN (American, b. 1935)
Ride a Crooked Trail, paperback cover, 1964
Acrylic on board
20.75 x 14.25 in.
Signed lower right
This illustration appeared on the cover of Burt and Budd Arthur's novel, Ride a Crooked Trail, Avon Books #F 213, 1964.
"Ben Fleet was a loner and he traveled light. But not without a gun..."
Ride a Crooked Trail, paperback cover, 1964
Acrylic on board
20.75 x 14.25 in.
Signed lower right
This illustration appeared on the cover of Burt and Budd Arthur's novel, Ride a Crooked Trail, Avon Books #F 213, 1964.
"Ben Fleet was a loner and he traveled light. But not without a gun..."
CARL HANTMAN (American, b. 1935)
Honyocker, paperback cover, 1960
Oil on board
17 x 10.75 in.
Signed lower left
This illustration appeared on the cover of Giles A. Lutz's novel, Honyocker, Avon Books #H 100, 1960.
"He tried to stem the bloodshed on the range, but before the peace could be won, there would be a terrible war."
Honyocker, paperback cover, 1960
Oil on board
17 x 10.75 in.
Signed lower left
This illustration appeared on the cover of Giles A. Lutz's novel, Honyocker, Avon Books #H 100, 1960.
"He tried to stem the bloodshed on the range, but before the peace could be won, there would be a terrible war."
JOHN KNOWLES HARE (American, 1884-1947)
Portrait of a Woman, 1921
Charcoal on paper
19 x 15 in.
Signed lower right
Portrait of a Woman, 1921
Charcoal on paper
19 x 15 in.
Signed lower right
ROBERT G. HARRIS (American, 1911-2007)
The Dark Room, McCall's illustration, December 1957
Oil on canvas
21.5 x 29.5 in.
Signed lower right
From the Estate of Charles Martignette.
The Dark Room, McCall's illustration, December 1957
Oil on canvas
21.5 x 29.5 in.
Signed lower right
From the Estate of Charles Martignette.
Works on Paper
EDITH HEAD (American, 1881-1981)
A New Kind of Love, movie costume design illustration, circa 1963
Watercolor and graphite on paper
16 x 13 inches (40.6 x 33.0 cm)
Signed lower left
PROVENANCE:
Private collection, Ohio.
A New Kind of Love, movie costume design illustration, circa 1963
Watercolor and graphite on paper
16 x 13 inches (40.6 x 33.0 cm)
Signed lower left
PROVENANCE:
Private collection, Ohio.
Paintings
EDITH HEAD (American, 1881-1981)
Costume Design for Martha Hyer in Houseboat
Watercolor and graphite on paper
16 x 12 in.
Signed lower right
PROVENANCE:
Private collection, Ohio.
Costume Design for Martha Hyer in Houseboat
Watercolor and graphite on paper
16 x 12 in.
Signed lower right
PROVENANCE:
Private collection, Ohio.
F. HEUSER (American, 20th Century)
Don't Let the Sun Go Down, 4th Liberty Bonds poster illustration, c. 1917
Oil on canvas
48 x 36 in.
Signed lower right
From the Estate of Charles Martignette.
Don't Let the Sun Go Down, 4th Liberty Bonds poster illustration, c. 1917
Oil on canvas
48 x 36 in.
Signed lower right
From the Estate of Charles Martignette.
CARDWELL HIGGINS (American, 1902-1983)
Cadillac ad illustration
Ink on paper
18.25 x 14 in.
Signed lower right
From the Estate of Charles Martignette.
Cadillac ad illustration
Ink on paper
18.25 x 14 in.
Signed lower right
From the Estate of Charles Martignette.
CARDWELL HIGGINS (American, 1902-1983)
Camera Kiss, Modern Movies illustration, 1937
Mixed media on board
13.25 x 23 in.
Signed lower right
Caption: "The director thought it was just another 'picture romance', but to the girl, it was paradise."
From the Estate of Charles Martignette.
Camera Kiss, Modern Movies illustration, 1937
Mixed media on board
13.25 x 23 in.
Signed lower right
Caption: "The director thought it was just another 'picture romance', but to the girl, it was paradise."
From the Estate of Charles Martignette.
CARDWELL HIGGINS (American, 1902-1983)
The Elements Involved
Pen and Ink on board
19.5 x 13 in.
Signed lower right
From the Estate of Charles Martignette.
The Elements Involved
Pen and Ink on board
19.5 x 13 in.
Signed lower right
From the Estate of Charles Martignette.
MITCHELL HOOKS (American, b. 1923)
The Big Drop, paperback cover, 1985
Oil on board
23 x 19 in.
Not signed
This illustration appeared on the cover of Peter Corris' novel, The Big Drop, Fawcett Books #13228, 1985.
The Big Drop, paperback cover, 1985
Oil on board
23 x 19 in.
Not signed
This illustration appeared on the cover of Peter Corris' novel, The Big Drop, Fawcett Books #13228, 1985.
ANDREI HOUDIAKOFF (Russian, 20th Century)
Coal and Cityscape, 1936
Gouache
7 x 11 in.
Signed lower right
Coal and Cityscape, 1936
Gouache
7 x 11 in.
Signed lower right
ANDREI HOUDIAKOFF (Russian, 20th Century)
Sign with birds, 1936
Gouache on paper
10 x 14 in.
Signed lower right
Sign with birds, 1936
Gouache on paper
10 x 14 in.
Signed lower right
ANDREI HOUDIAKOFF (Russian , 1895-1985)
Animal Study and House, 1936
Mixed media on paper
7 x 11 in.
Signed lower right
Animal Study and House, 1936
Mixed media on paper
7 x 11 in.
Signed lower right
CHARLES H. HUBBELL (American, 1899-1971)
World War I Biplanes
Oil on canvas, mounted on board
22 x 29 in.
Signed lower left
From the Estate of Charles Martignette.
World War I Biplanes
Oil on canvas, mounted on board
22 x 29 in.
Signed lower left
From the Estate of Charles Martignette.
GEORGE HUGHES (American, 1907-1990)
Small Town, preliminary illustration
Gouache on board
18 x 14.5 in.
Signed lower center
From the Estate of Charles Martignette.
Small Town, preliminary illustration
Gouache on board
18 x 14.5 in.
Signed lower center
From the Estate of Charles Martignette.
WALTER BEACH HUMPHREY (American, 1892-1966)
Study for Hovey murals, Dartmouth College
Charcoal on paper
27 x 19 in.
Not signed
This study was done for the fourth panel of the Hovey Murals located in Thayer Dining Hall at Dartmouth College.
From the Estate of Charles Martignette.
Study for Hovey murals, Dartmouth College
Charcoal on paper
27 x 19 in.
Not signed
This study was done for the fourth panel of the Hovey Murals located in Thayer Dining Hall at Dartmouth College.
From the Estate of Charles Martignette.
PETER HURD (American, 1904-1984)
Great Stories of the Sea and Ships, book illustration, group of 2, 1940
Ink on scratchboard
14 x 10 in.
Not signed
These illustrations appeared in the short stories, The Specksioneer by Elizabeth Gaskell, and The Devil-Fish by Victor Hugo, in the anthology, Great Stories of the Sea and Ships, edited by N. C. Wyeth, David McKay, 1940.
Captions: Specksioneer: "But there a were, an' main an' slippery it were. only a sticks my harpoon intil her and steadies myself'."; Devil Fish: "He struck it with the knife clenched in his left hand."
A later reprint copy of the book is included with this lot.
Great Stories of the Sea and Ships, book illustration, group of 2, 1940
Ink on scratchboard
14 x 10 in.
Not signed
These illustrations appeared in the short stories, The Specksioneer by Elizabeth Gaskell, and The Devil-Fish by Victor Hugo, in the anthology, Great Stories of the Sea and Ships, edited by N. C. Wyeth, David McKay, 1940.
Captions: Specksioneer: "But there a were, an' main an' slippery it were. only a sticks my harpoon intil her and steadies myself'."; Devil Fish: "He struck it with the knife clenched in his left hand."
A later reprint copy of the book is included with this lot.
WOODI ISHMAEL (American, b. 1914)
Subbing on the Paper Route
Gouache on board
21 x 21 in.
Signed lower left
From the Estate of Charles Martignette.
Subbing on the Paper Route
Gouache on board
21 x 21 in.
Signed lower left
From the Estate of Charles Martignette.
JOEL ISKOWITZ (American, 20th Century)
Book cover illustration
Oil on canvasboard
29.5 x 18 in.
Signed lower right
Book cover illustration
Oil on canvasboard
29.5 x 18 in.
Signed lower right
JIANG NAN (Chinese, 20th Century)
Pin-Up painting
Oil on canvas
36 x 24 in.
Not signed
From the Estate of Charles Martignette.
Pin-Up painting
Oil on canvas
36 x 24 in.
Not signed
From the Estate of Charles Martignette.
JIANG NAN (Chinese, 20th Century)
Pin-Up painting
Oil on canvas
36 x 24 in.
Not signed
From the Estate of Charles Martignette.
Pin-Up painting
Oil on canvas
36 x 24 in.
Not signed
From the Estate of Charles Martignette.
CHARLES HOWARD JOHNSON (American, 1796-1896)
Melting the Ice
Gouache on board
18 x 24 in.
Signed lower left
From the Estate of Charles Martignette.
Melting the Ice
Gouache on board
18 x 24 in.
Signed lower left
From the Estate of Charles Martignette.
GUY JOHNSON (American, b. 1927)
Ladies Cooking, 1991
Oil on paper mounted on aluminum
20 x 27.5 in.
Signed lower left
From the Estate of Charles Martignette.
Ladies Cooking, 1991
Oil on paper mounted on aluminum
20 x 27.5 in.
Signed lower left
From the Estate of Charles Martignette.
RAYMOND JOHNSON (American, 20th Century)
The Affairs of a Leading Lady, paperback cover, 1952
Oil on board
23.75 x 17.75 in.
Signed lower right
This illustration appeared on the cover of Jane Manning's novel, The Affairs of a Leading Lady, Venus Books #150, 1952.
"An intimate story of backstage passion."
From the Estate of Charles Martignette.
The Affairs of a Leading Lady, paperback cover, 1952
Oil on board
23.75 x 17.75 in.
Signed lower right
This illustration appeared on the cover of Jane Manning's novel, The Affairs of a Leading Lady, Venus Books #150, 1952.
"An intimate story of backstage passion."
From the Estate of Charles Martignette.
TOM JOHNSON (American, 20th Century)
Country Gentleman cover, October 1916
Mixed media on board
17 x 13 in.
Signed lower left
From the Estate of Charles Martignette.
Country Gentleman cover, October 1916
Mixed media on board
17 x 13 in.
Signed lower left
From the Estate of Charles Martignette.
BAYARD JONES (American, 1869-1969)
At the Seashore
Watercolor on board
14.5 x 10 in.
Signed lower right
From the Estate of Charles Martignette.
At the Seashore
Watercolor on board
14.5 x 10 in.
Signed lower right
From the Estate of Charles Martignette.
JOHN JONES (American, 20th Century)
Romance story illustration
Gouache on board
15.5 x 16 in.
Not signed
From the Estate of Charles Martignette.
Romance story illustration
Gouache on board
15.5 x 16 in.
Not signed
From the Estate of Charles Martignette.
TOM JUNG (American, 20th Century)
Tony Rome, movie poster study
Marker on paper
20 x 13.5 in.
Not signed
Tony Rome, movie poster study
Marker on paper
20 x 13.5 in.
Not signed
PAUL KAFKA (American, 20th Century)
Bathing Beauty
Pastel on board
28 x 20.5 in.
Signed lower right
Bathing Beauty
Pastel on board
28 x 20.5 in.
Signed lower right
Works on Paper
HENRY W. KEEN (British, b. 1871)
Yet Hardy Fool
Signed pen and ink drawing
17 x 10.5 in.
Signed in the plate
From the Estate of John McLaughlin.
Yet Hardy Fool
Signed pen and ink drawing
17 x 10.5 in.
Signed in the plate
From the Estate of John McLaughlin.
Paintings
OLIVER KEMP (American, 1887-1934)
Pirate Ship
Oil on board
17 in. diameter
Signed lower right
From the Estate of Charles Martignette.
Pirate Ship
Oil on board
17 in. diameter
Signed lower right
From the Estate of Charles Martignette.
WILLIAM BALFOUR KER (American, 20th Century)
Cupid Gets His Man
Watercolor on paper
10 x 14 in.
Signed upper right
From the Estate of Charles Martignette.
Cupid Gets His Man
Watercolor on paper
10 x 14 in.
Signed upper right
From the Estate of Charles Martignette.
DICK KIEL (American, 20th Century)
Convicts with Alligator
Gouache on board
15.5 x 23.5 in.
Signed lower right
From the Estate of John McLaughlin.
Convicts with Alligator
Gouache on board
15.5 x 23.5 in.
Signed lower right
From the Estate of John McLaughlin.
LU KIMMEL (American, 1905-1973)
Love Can Be Horrible
Gouache on board
18 x 21 in.
Signed lower right
From the Estate of Charles Martignette.
Love Can Be Horrible
Gouache on board
18 x 21 in.
Signed lower right
From the Estate of Charles Martignette.
LU KIMMEL (American, 1905-1973)
The Apple of His Eye, calendar illustration, c. 1948
Oil on canvas
39 x 20 in.
Signed center left
The Apple of His Eye, calendar illustration, c. 1948
Oil on canvas
39 x 20 in.
Signed center left
JOSH KIRBY (British, 1928-2001)
Aliens with Spaceship
Oil on board
8.5 x 5 in.
Not signed
Aliens with Spaceship
Oil on board
8.5 x 5 in.
Not signed
ULDIS KLAVINS (American, 20th Century)
President Ronald Reagan on Drug Topics, 1981
Gouache on board
17.5 x 13 in.
Signed lower left
From the Estate of Charles Martignette.
President Ronald Reagan on Drug Topics, 1981
Gouache on board
17.5 x 13 in.
Signed lower left
From the Estate of Charles Martignette.
ULDIS KLAVINS (American, 20th Century)
Paperback cover
Gouache on board
17 x 13 in.
Signed lower right
From the Estate of Charles Martignette.
Paperback cover
Gouache on board
17 x 13 in.
Signed lower right
From the Estate of Charles Martignette.
ULDIS KLAVINS (American, 20th Century)
Paperback cover
Gouache on board
29 x 18 in.
Signed lower right
From the Estate of Charles Martignette.
Paperback cover
Gouache on board
29 x 18 in.
Signed lower right
From the Estate of Charles Martignette.
ULDIS KLAVINS (American, 20th Century)
Captive City
Gouache on board
17 x 13 in.
Signed lower left
From the Estate of Charles Martignette.
Captive City
Gouache on board
17 x 13 in.
Signed lower left
From the Estate of Charles Martignette.
ULDIS KLAVINS (American, 20th Century)
The Mask, paperback cover, c. 1993
Gouache on board
26 x 17 in.
Signed lower right
From the Estate of Charles Martignette.
The Mask, paperback cover, c. 1993
Gouache on board
26 x 17 in.
Signed lower right
From the Estate of Charles Martignette.
ULDIS KLAVINS (American, 20th Century)
Backstage Rendezvous
Gouache on board
20 x 15 in.
Signed lower right
From the Estate of Charles Martignette
Backstage Rendezvous
Gouache on board
20 x 15 in.
Signed lower right
From the Estate of Charles Martignette
ULDIS KLAVINS (American, 20th Century)
Brothers, paperback cover, c. 1987
Gouache on board
22 x 16 in.
Signed lower center
From the Estate of Charles Martignette.
Brothers, paperback cover, c. 1987
Gouache on board
22 x 16 in.
Signed lower center
From the Estate of Charles Martignette.
ULDIS KLAVINS (American, 20th Century)
No Love for Paradise, paperback cover, c. 1979
Gouache on board
30 x 20 in.
Signed lower right
From the Estate of Charles Martignette.
No Love for Paradise, paperback cover, c. 1979
Gouache on board
30 x 20 in.
Signed lower right
From the Estate of Charles Martignette.
ULDIS KLAVINS (American, 20th Century)
Molly, paperback cover
Oil on board
22 x 17 in.
Signed lower right
From the Estate of Charles Martignette.
Molly, paperback cover
Oil on board
22 x 17 in.
Signed lower right
From the Estate of Charles Martignette.
ULDIS KLAVINS (American, 20th Century)
Paperback cover
Gouache on board
22 x 17 in.
Signed lower right
From the Estate of Charles Martignette.
Paperback cover
Gouache on board
22 x 17 in.
Signed lower right
From the Estate of Charles Martignette.
ULDIS KLAVINS (American, 20th Century)
Jigsaw (87th Precinct Mystery), paperback cover, c. 1970
Gouache on board
26 x 16.5 in.
Signed lower right
This illustration appeared (in an altered format) on the cover of Ed McBain's 87th Precinct novel, Jigsaw, Signet Books, 1970.
"At first it looked like a nice, neat double homicide -- until detective Arthur Brown discovers that the odd-shaped snapshot found clutched in a dead man's hand is a piece of a deadly puzzle worth a suitcase full of stolen cash. The men of the 87th have to find the other seven pieces --fast -- and as the stiffs pile up, they realize they are competing with a determined expert at the game of murder."
From the Estate of Charles Martignette.
Jigsaw (87th Precinct Mystery), paperback cover, c. 1970
Gouache on board
26 x 16.5 in.
Signed lower right
This illustration appeared (in an altered format) on the cover of Ed McBain's 87th Precinct novel, Jigsaw, Signet Books, 1970.
"At first it looked like a nice, neat double homicide -- until detective Arthur Brown discovers that the odd-shaped snapshot found clutched in a dead man's hand is a piece of a deadly puzzle worth a suitcase full of stolen cash. The men of the 87th have to find the other seven pieces --fast -- and as the stiffs pile up, they realize they are competing with a determined expert at the game of murder."
From the Estate of Charles Martignette.
ULDIS KLAVINS (American, 20th Century)
Liquidators, paperback cover
Gouache on board
25 x 17 in.
Signed lower left
From the Estate of Charles Martignette.
Liquidators, paperback cover
Gouache on board
25 x 17 in.
Signed lower left
From the Estate of Charles Martignette.
STANLEY KLIMLEY (American, 20th Century)
A Couple in the Tall Grass, c. 1950s
Mixed media on board
14.5 x 18 in.
Signed lower right
A Couple in the Tall Grass, c. 1950s
Mixed media on board
14.5 x 18 in.
Signed lower right
STANLEY KLIMLEY (American, 20th Century)
The Kiss, c. 1960
Mixed media on board
16 x 17 in.
Signed lower right
The Kiss, c. 1960
Mixed media on board
16 x 17 in.
Signed lower right
MARTIN KOENIG (American, 20th Century)
Nurse Hillary Research Nurse, paperback cover, c. 1973
Gouache on board
16 x 11 in.
Not signed
From the Estate of Charles Martignette.
Nurse Hillary Research Nurse, paperback cover, c. 1973
Gouache on board
16 x 11 in.
Not signed
From the Estate of Charles Martignette.
MARTIN KOENIG (American, 20th Century)
Nurse Craig (Passions at Riveredge Hospital), paperback cover, c. 1961
Gouache on board
15.5 x 11.5 in.
Signed lower right
This illustration appeared on the cover of Isabel Cabot's novel, Nurse Craig (Passions at Riveredge Hospital), Ace books #D-532, 1961.
From the Estate of Charles Martignette.
Nurse Craig (Passions at Riveredge Hospital), paperback cover, c. 1961
Gouache on board
15.5 x 11.5 in.
Signed lower right
This illustration appeared on the cover of Isabel Cabot's novel, Nurse Craig (Passions at Riveredge Hospital), Ace books #D-532, 1961.
From the Estate of Charles Martignette.
WILLIAM HENRY DETHLEF KOERNER (American, 1878-1938)
Seascape, 1921
Oil on canvas
13.5 x 15.5 in.
Signed lower left
From the Estate of Charles Martignette.
Seascape, 1921
Oil on canvas
13.5 x 15.5 in.
Signed lower left
From the Estate of Charles Martignette.
Works on Paper
WARNER KREUTER (20th Century)
Perky Pin-Up
Pastel on paper
29.5 x 19.5 in.
Signed lower center
Perky Pin-Up
Pastel on paper
29.5 x 19.5 in.
Signed lower center
Paintings
HOMER LAGASSEY (American, 20th Century)
Lunar Jet, 1951
Mixed media on paper
13 x 24 in.
Signed lower right
Lunar Jet, 1951
Mixed media on paper
13 x 24 in.
Signed lower right
ROBERT LYNN LAMBDIN (American, 1886-1981)
Arrival
Oil on canvas
28 x 42 in.
Signed upper right
From the Estate of Charles Martignette.
Arrival
Oil on canvas
28 x 42 in.
Signed upper right
From the Estate of Charles Martignette.
ROBERT LAVIN (American, b. 1919)
The Giant Refreshed Battleships at Night, Saturday Evening Post illustration, August 19, 1961
Gouache on board
15 x 32 in.
Signed lower left
From the Estate of Charles Martignette.
The Giant Refreshed Battleships at Night, Saturday Evening Post illustration, August 19, 1961
Gouache on board
15 x 32 in.
Signed lower left
From the Estate of Charles Martignette.
MANNING DE VILLENEUVE LEE (American, 1894-1980)
Plane Over the Desert
Oil on canvas
10 x 40 in.
Signed lower left
From the Estate of Charles Martignette.
Plane Over the Desert
Oil on canvas
10 x 40 in.
Signed lower left
From the Estate of Charles Martignette.
GEORGES LEFEBVRE (French, 19th Century)
Heavenly Nude
Watercolor on board
21.75 x 13.5 in.
Signed lower left
From the Estate of Charles Martignette.
Heavenly Nude
Watercolor on board
21.75 x 13.5 in.
Signed lower left
From the Estate of Charles Martignette.
LEON (20th Century)
Spanish Galleon
Acrylic on board
40 x 30 in.
Signed lower right
From the Estate of Charles Martignette.
Spanish Galleon
Acrylic on board
40 x 30 in.
Signed lower right
From the Estate of Charles Martignette.
Mainstream Illustration
GEORGES LEPAPE (French, 1887-1971)
Moutel
Graphite on paper
7.25 x 3.25 in.
Not signed
Moutel
Graphite on paper
7.25 x 3.25 in.
Not signed
Paintings
ANDREW LOOMIS (American 1892 - 1959)
A Tragic Discovery
Oil on canvas, mounted on board
30 x 24 in.
Signed lower right
A Tragic Discovery
Oil on canvas, mounted on board
30 x 24 in.
Signed lower right
RICHARD LOOMIS (American, 20th Century)
There She Blows
Oil on board
17 x 26 in.
Not signed
From the Estate of John McLaughlin.
There She Blows
Oil on board
17 x 26 in.
Not signed
From the Estate of John McLaughlin.
ORSON BYRON LOWELL (American, 1871-1956)
Setting the World on Fire, c. 1905
Ink on board
17 x 27.5 in.
Signed lower right
From the Estate of Charles Martignette.
Setting the World on Fire, c. 1905
Ink on board
17 x 27.5 in.
Signed lower right
From the Estate of Charles Martignette.
DENNIS LYALL (American, 20th Century)
Space Exploration, Unicover Corporation stamp illustration, 1991
Acrylic on board
23 x 18.5 in.
Signed lower center
From the Estate of Charles Martignette.
Space Exploration, Unicover Corporation stamp illustration, 1991
Acrylic on board
23 x 18.5 in.
Signed lower center
From the Estate of Charles Martignette.
F. MAGALDI (20th Century)
NASA Space Scene
Gouache on board
13 x 20.5 in.
Signed lower right
NASA Space Scene
Gouache on board
13 x 20.5 in.
Signed lower right
DENNIS MAGDICH (American, 20th Century)
Card Player
Mixed media on board
9 x 18 in.
Not signed
From the Estate of Charles Martignette.
Card Player
Mixed media on board
9 x 18 in.
Not signed
From the Estate of Charles Martignette.
DENNIS MAGDICH (American, 20th Century)
Christmas Ornament, Playboy illustration
Gouache on board
12 x 11 in.
Not signed
From the Estate of Charles Martignette.
Christmas Ornament, Playboy illustration
Gouache on board
12 x 11 in.
Not signed
From the Estate of Charles Martignette.
DENNIS MAGDICH (American, 20th Century)
Summer Sex series: Under the Sun, Playboy illustration, August 1981
Acrylic on board
30 x 16.5 in.
Not signed
From the Estate of Charles Martignette.
Summer Sex series: Under the Sun, Playboy illustration, August 1981
Acrylic on board
30 x 16.5 in.
Not signed
From the Estate of Charles Martignette.
LOU MARCHETTI (American, 1920-1992)
The Joy Wheel, paperback cover, 1954
Oil on board
27 x 22 in.
Signed lower right
This illustration appeared on the cover of Paul W. Fairman's novel, The Joy Wheel, Lion Books #190, 1954.
"Out of the teeming web of Chicago's slovenly West Side comes this thundering novel of Eddie Kiley's bitter struggle against the forces of greed and dissolution and murder."
From the Estate of Charles Martignette.
The Joy Wheel, paperback cover, 1954
Oil on board
27 x 22 in.
Signed lower right
This illustration appeared on the cover of Paul W. Fairman's novel, The Joy Wheel, Lion Books #190, 1954.
"Out of the teeming web of Chicago's slovenly West Side comes this thundering novel of Eddie Kiley's bitter struggle against the forces of greed and dissolution and murder."
From the Estate of Charles Martignette.
FORTUNINO MATANIA (Italian, 1881-1963)
Henrietta and the Queen Dancing
Ink on board
8.75 x 10.75 in.
Not signed
Henrietta and the Queen Dancing
Ink on board
8.75 x 10.75 in.
Not signed
FORTUNINO MATANIA (Italian, 1881-1963)
Two Women
Mixed media on paper
13 x 7 in.
Signed lower right
Two Women
Mixed media on paper
13 x 7 in.
Signed lower right
Works on Paper
TOM MCNEELY (Canadian, b. 1935)
Movie Monsters - Dracula, Unicover Corporation stamp illustration, 1997
Watercolor on paper, taped to board
25 x 21 in.
Signed lower lower right
From the Estate of Charles Martignette.
Movie Monsters - Dracula, Unicover Corporation stamp illustration, 1997
Watercolor on paper, taped to board
25 x 21 in.
Signed lower lower right
From the Estate of Charles Martignette.
TOM MCNEELY (Canadian, b. 1935)
Movie Monsters - Wolf Man, Unicover Corporation stamp illustration, 1997
Watercolor on paper
25 x 20 in.
Signed lower right
From the Estate of Charles Martignette.
Movie Monsters - Wolf Man, Unicover Corporation stamp illustration, 1997
Watercolor on paper
25 x 20 in.
Signed lower right
From the Estate of Charles Martignette.
TOM MCNEELY (Canadian, b. 1935)
Movie Monsters - The Mummy, Unicover Corporation stamp illustration, 1997
Watercolor on paper
25 x 20.5 in.
Signed lower right
From the Estate of Charles Martignette.
Movie Monsters - The Mummy, Unicover Corporation stamp illustration, 1997
Watercolor on paper
25 x 20.5 in.
Signed lower right
From the Estate of Charles Martignette.
Paintings
MICHAEL (American, 20th Century)
The Golden Egg, paperback cover, 1953
Oil on board
24.25 x 16.5 in.
Signed lower left
This illustration appeared on the cover of James S. Pollak's novel, The Golden Egg, Perma Books #P-231, 1953.
"The spectacular story of the rise and fall of a Hollywood heel."
From the Estate of Charles Martignette.
The Golden Egg, paperback cover, 1953
Oil on board
24.25 x 16.5 in.
Signed lower left
This illustration appeared on the cover of James S. Pollak's novel, The Golden Egg, Perma Books #P-231, 1953.
"The spectacular story of the rise and fall of a Hollywood heel."
From the Estate of Charles Martignette.
MICHAEL (American, 20th Century)
Record Party, Magnavox Corporation ad, c. 1948
Oil on board
29 x 30 in.
Signed lower right
From the Estate of Charles Martignette.
Record Party, Magnavox Corporation ad, c. 1948
Oil on board
29 x 30 in.
Signed lower right
From the Estate of Charles Martignette.
MICHAEL (American, 20th Century)
White Roses
Oil on canvas
20 x 26 in.
Signed lower right
From the Estate of Charles Martignette.
White Roses
Oil on canvas
20 x 26 in.
Signed lower right
From the Estate of Charles Martignette.
FREDERIC KIMBALL MIZEN (American, 1888-1964)
The Greatest Study of Your Child's Heath Ever Made, Cream of Wheat ad illustration, 1926
Oil on canvas
28 x 24 in.
Not signed
From the Estate of Charles Martignette.
The Greatest Study of Your Child's Heath Ever Made, Cream of Wheat ad illustration, 1926
Oil on canvas
28 x 24 in.
Not signed
From the Estate of Charles Martignette.
AL MOORE (American, 20th Century)
Pin-Up in Yellow
Mixed media on board
18 x 14 in.
Signed lower left
From the Estate of Charles Martignette.
Pin-Up in Yellow
Mixed media on board
18 x 14 in.
Signed lower left
From the Estate of Charles Martignette.
ZOE MOZERT (American 1904-1993)
Brunette
Pastel on paper
15 x 12.5 in.
Signed lower right
Brunette
Pastel on paper
15 x 12.5 in.
Signed lower right
JOSEF PIERRE NUYTTENS (American, 1885-1960)
The Tambourine Player, 1929
Oil on canvas
40 x 30 in.
Signed upper right
The Tambourine Player, 1929
Oil on canvas
40 x 30 in.
Signed upper right
NEIL O'KEEFE (American, b. 1893)
Peace Rockets, American Weekly illustration, October 8, 1944
Mixed media on board
20 x 10 in.
Signed lower right
"Through the air, hundreds of times faster than the famous sled dog team that dragged the serum to Nome, peace rockets laden with food and medicine could succor even remoter communities cut off, otherwise, from all human help. Far cruder rockets than those of today saved the lives of starving Indian villagers marooned by floods some years ago; others have regularly transported mail."
From the Frank Collection.
Peace Rockets, American Weekly illustration, October 8, 1944
Mixed media on board
20 x 10 in.
Signed lower right
"Through the air, hundreds of times faster than the famous sled dog team that dragged the serum to Nome, peace rockets laden with food and medicine could succor even remoter communities cut off, otherwise, from all human help. Far cruder rockets than those of today saved the lives of starving Indian villagers marooned by floods some years ago; others have regularly transported mail."
From the Frank Collection.
WALT OTTO (American, 1895-1963)
Fishing
Oil on canvas
37.75 x 30.75 in.
Not signed
Fishing
Oil on canvas
37.75 x 30.75 in.
Not signed
Mainstream Illustration
FELIX PALM (American, 1913-1986)
Man and Mountain Lion
Gouache on board
22 x 17.5 in.
Signed lower left
Man and Mountain Lion
Gouache on board
22 x 17.5 in.
Signed lower left
Paintings
LAURETTE PATTEN (American, 20th Century)
Little Friends
Pastel on board
21.5 x 17.5 in.
Signed lower left
Little Friends
Pastel on board
21.5 x 17.5 in.
Signed lower left
RUSSELL PATTERSON (American, 1893-1977)
Nude and Flowers, 1964
Oil on canvas board
16 x 12 in.
Signed lower left
Nude and Flowers, 1964
Oil on canvas board
16 x 12 in.
Signed lower left
RUSSELL PATTERSON (American, 1893-1977)
American Weekly illustration
Mixed media on board
22.5 x 18.5 in.
Signed lower right
From the Estate of John McLaughlin.
American Weekly illustration
Mixed media on board
22.5 x 18.5 in.
Signed lower right
From the Estate of John McLaughlin.
Mainstream Illustration
HERBERT ANDREW PAUS (American, 1880-1946)
Proud Beauty, Home Companion magazine illustration
Watercolor on board
8 x 13.5 in.
Signed center right
Proud Beauty, Home Companion magazine illustration
Watercolor on board
8 x 13.5 in.
Signed center right
Paintings
ROBERT PEAK (American, 1927-1992)
NY Racing Association
Acrylic on board
18.5 x 24 in.
Signed lower right
NY Racing Association
Acrylic on board
18.5 x 24 in.
Signed lower right
ROBERT PEAK (American, 1927-1992)
Sports Illustrated magazine illustration, 1964
Gouache on paper
17 x 17 in.
Signed lower right
Sports Illustrated magazine illustration, 1964
Gouache on paper
17 x 17 in.
Signed lower right
ROBERT PEAK (American, 1927-1992)
Redbook magazine illustration, 1973
Watercolor on paper
20 x 16 in.
Signed lower right
Redbook magazine illustration, 1973
Watercolor on paper
20 x 16 in.
Signed lower right
ROBERT PEAK (American, 1927-1992)
Redbook magazine illustration, 1965
Watercolor on board
16 x 27 in.
Signed lower left
Redbook magazine illustration, 1965
Watercolor on board
16 x 27 in.
Signed lower left
ROBERT RONALD PEPPER (American, b. 1938)
The Rime of the Ancient Mariner, book cover, 1967
Gouache on board
15 x 22.5 in.
Signed lower center-right
This illustration appeared on the cover of Samuel Taylor Coleridge's The Rime of the Ancient Mariner, Avon Books, 1967.
The Rime of the Ancient Mariner, book cover, 1967
Gouache on board
15 x 22.5 in.
Signed lower center-right
This illustration appeared on the cover of Samuel Taylor Coleridge's The Rime of the Ancient Mariner, Avon Books, 1967.
ROBERT RONALD PEPPER (American, b. 1938)
The Rubaiyat of Omar Khayyam, paperback cover
Gouache on paper
16 x 23 in.
Signed lower right
Illustration appeared on the cover of Edward Fitzgerald's translation of the novel, The Rubaiyat of Omar Khayyam, Avon Books, 1965.
The Rubaiyat of Omar Khayyam, paperback cover
Gouache on paper
16 x 23 in.
Signed lower right
Illustration appeared on the cover of Edward Fitzgerald's translation of the novel, The Rubaiyat of Omar Khayyam, Avon Books, 1965.
WALTER PLUNKETT (American, 1902-1982)
1874 Costume Design
Graphite and watercolor on paper
20 x 13 in.
Signed upper right
1874 Costume Design
Graphite and watercolor on paper
20 x 13 in.
Signed upper right
WALTER PLUNKETT (American, 1902-1982)
Costume Design
Gouache and graphite on paper
18 x 11 in.
Signed upper right
Costume Design
Gouache and graphite on paper
18 x 11 in.
Signed upper right
JEROME PODWIL (American, b. 1938)
Backstairs, paperback cover
Gouache on board
16 x 9 in.
Not signed
This illustration appeared on the cover of L. K. Scott's novel, Backstairs, Pyramid Books, 1963.
"A Society Woman's Strange Craving"
Included with this lot is a copy of the paperback novel.
Backstairs, paperback cover
Gouache on board
16 x 9 in.
Not signed
This illustration appeared on the cover of L. K. Scott's novel, Backstairs, Pyramid Books, 1963.
"A Society Woman's Strange Craving"
Included with this lot is a copy of the paperback novel.
WILLY POGANY (Hungarian-American, 1882-1955)
Don Quixote
Watercolor and charcoal on paper
7 x 8 in.
Not signed
Don Quixote
Watercolor and charcoal on paper
7 x 8 in.
Not signed
WILLY POGANY (Hungarian-American, 1882-1955)
Pogany Christmas Card illustration
Charcoal and ink on paper
11 x 7 in.
Signed lower left
"A Joyous Christmas and A Bright New Year / Elaine and Will Pogany"
From the Estate of John McLaughlin.
Pogany Christmas Card illustration
Charcoal and ink on paper
11 x 7 in.
Signed lower left
"A Joyous Christmas and A Bright New Year / Elaine and Will Pogany"
From the Estate of John McLaughlin.
WILLY POGANY (Hungarian-American, 1882-1955)
Castle
Watercolor and pencil on paper
13 x 19 in.
Signed lower left
From the Estate of John McLaughlin.
Castle
Watercolor and pencil on paper
13 x 19 in.
Signed lower left
From the Estate of John McLaughlin.
WILLY POGANY (Hungarian-American, 1882-1955)
Group of three etchings
Etchings on paper
12 x 8.75 in. each
Signed lower right on two etchings
From the Estate of John McLaughlin.
Group of three etchings
Etchings on paper
12 x 8.75 in. each
Signed lower right on two etchings
From the Estate of John McLaughlin.
WALTER POPP (American, b. 1920)
Men's Magazine Illustration
Oil on board
18 x 20 in.
Not signed
From the Estate of John McLaughlin.
Men's Magazine Illustration
Oil on board
18 x 20 in.
Not signed
From the Estate of John McLaughlin.
NORMAN MILLS PRICE (American, 1877-1951)
Farm Girls
Watercolor on paper
13 x 10 in.
'Signed lower left
From the Estate of Charles Martignette.
Farm Girls
Watercolor on paper
13 x 10 in.
'Signed lower left
From the Estate of Charles Martignette.
RAINEY (British, 20th Century)
The Glass Key, paperback cover, c. 1961
Oil on paper
14.5 x 8.5 in.
Signed center left
This illustration appeared on the cover of Dashiell Hammett's novel, The Glass Key, Digit Books #488, 1961.
From the Estate of John McLaughlin.
The Glass Key, paperback cover, c. 1961
Oil on paper
14.5 x 8.5 in.
Signed center left
This illustration appeared on the cover of Dashiell Hammett's novel, The Glass Key, Digit Books #488, 1961.
From the Estate of John McLaughlin.
HENRY PATRICK RALEIGH (American, 1880-1944)
Viewing the Art
Charcoal and watercolor on board
13.5 x 19.5 in.
Signed lower right
From the Estate of Charles Martignette.
Viewing the Art
Charcoal and watercolor on board
13.5 x 19.5 in.
Signed lower right
From the Estate of Charles Martignette.
HENRY PATRICK RALEIGH (American, 1880-1944)
I See, Saturday Evening Post illustration
Ink and watercolor on board
18 x 16 in.
Signed lower right
From the Estate of Charles Martignette.
I See, Saturday Evening Post illustration
Ink and watercolor on board
18 x 16 in.
Signed lower right
From the Estate of Charles Martignette.
KENNETH PAULING RILEY (American, b. 1919)
Hornblower and His Hurricane, Saturday Evening Post story illustration, 1958
Gouache on board
12.25 x 10.25 in.
Not signed
Hornblower and His Hurricane, Saturday Evening Post story illustration, 1958
Gouache on board
12.25 x 10.25 in.
Not signed
NICHOLAS F. RILEY (American, 1900-1944)
Cocktail Hour, 1924
Oil on canvas
24 x 22 in.
Signed upper left
From the Estate of Charles Martignette.
Cocktail Hour, 1924
Oil on canvas
24 x 22 in.
Signed upper left
From the Estate of Charles Martignette.
ROBERT ROBINSON (American, 1886-1952)
On Vacation, c. 1951
Oil on canvas
28 x 17 in.
Signed lower right
Inscribed on verso: To Christie Bowers from Scott Robinson/ 8/19/1980
From the Estate of Charles Martignette.
On Vacation, c. 1951
Oil on canvas
28 x 17 in.
Signed lower right
Inscribed on verso: To Christie Bowers from Scott Robinson/ 8/19/1980
From the Estate of Charles Martignette.
B. W. ROCKEY (American, 20th Century)
Crime pulp cover re-creation, dated 1937
Oil on canvas
29.5 x 21.5 in.
Signed lower left
Artist B. W. Rockey painted this vintage re-creation of the cover to a crime pulp.
From the Estate of Charles Martignette.
Crime pulp cover re-creation, dated 1937
Oil on canvas
29.5 x 21.5 in.
Signed lower left
Artist B. W. Rockey painted this vintage re-creation of the cover to a crime pulp.
From the Estate of Charles Martignette.
FRED ROMLEY (American, 20th Century)
Victor Berlotti Oldsmobile Dealership Building, 1951
Gouache on board
21 x 42.5 in.
Signed lower right
From the Estate of Charles Martignette.
Victor Berlotti Oldsmobile Dealership Building, 1951
Gouache on board
21 x 42.5 in.
Signed lower right
From the Estate of Charles Martignette.
A. LESLIE ROSS (American, 1910-1989)
Western pulp cover
Oil on board
32 x 20 in.
Signed lower left
From the Estate of Charles Martignette.
Western pulp cover
Oil on board
32 x 20 in.
Signed lower left
From the Estate of Charles Martignette.
ALEXANDER SHARPE ROSS (American, 1908-1990)
How Sure Can You Be?, McCall's illustration, March 1950
Gouache on board
17 x 27 in.
Signed lower left
From the Estate of Charles Martignette.
How Sure Can You Be?, McCall's illustration, March 1950
Gouache on board
17 x 27 in.
Signed lower left
From the Estate of Charles Martignette.
ALEXANDER SHARPE ROSS (American, 1908-1990)
Everybody's Past, Cosmopolitan magazine illustration, August 1952
Oil on board
12 x 17 in.
Signed lower right
From the Estate of Charles Martignette.
Everybody's Past, Cosmopolitan magazine illustration, August 1952
Oil on board
12 x 17 in.
Signed lower right
From the Estate of Charles Martignette.
Mainstream Illustration
ALEXANDER SHARPE ROSS (American, 1908-1990)
Wheat Field, magazine story illustration
Mixed media on board
22 x 30 in.
Signed lower right
Wheat Field, magazine story illustration
Mixed media on board
22 x 30 in.
Signed lower right
Paintings
ARTHUR SARON SARNOFF (American, 1912-2000)
Stretching Out
Oil on canvas
24 x 36 in.
Signed lower right
From the Estate of Charles Martignette.
Stretching Out
Oil on canvas
24 x 36 in.
Signed lower right
From the Estate of Charles Martignette.
Mainstream Illustration
ARTHUR SARON SARNOFF (American, 1912-2000)
Spring Rhapsody
Oil on canvas
20 x 24 in.
Signed lower left
From the Estate of Charles Martignette.
Spring Rhapsody
Oil on canvas
20 x 24 in.
Signed lower left
From the Estate of Charles Martignette.
Paintings
ARTHUR SARON SARNOFF (American, 1912-2000)
After the Bath
Oil on board
24 x 20 in.
Signed lower left
A reference photo/postcard of the model's pose is included with this lot.
From the Estate of Charles Martignette.
After the Bath
Oil on board
24 x 20 in.
Signed lower left
A reference photo/postcard of the model's pose is included with this lot.
From the Estate of Charles Martignette.
ARTHUR SARON SARNOFF (American, 1912-2000)
Scratch at Dawn
Gouache on board
19 x 27.5 in.
Signed lower left
From the Estate of Charles Martignette.
Scratch at Dawn
Gouache on board
19 x 27.5 in.
Signed lower left
From the Estate of Charles Martignette.
ARTHUR SARON SARNOFF (American, 1912-2000)
Seascape
Oil on canvas
24 x 36 in.
Signed lower left
From the Estate of Charles Martignette.
Seascape
Oil on canvas
24 x 36 in.
Signed lower left
From the Estate of Charles Martignette.
ARTHUR SARON SARNOFF (American, 1912-2000)
Springtime on the Tee, 1977
Oil on canvas
36 x 24 in.
Signed lower left
From the Estate of Charles Martignette.
Springtime on the Tee, 1977
Oil on canvas
36 x 24 in.
Signed lower left
From the Estate of Charles Martignette.
WALTER KING STONE (American, 1875-1949)
Variations on a Theme
Oil on board
23 x 28 in.
Signed lower right
Inscribed to verso: Variations on a theme. #4 -- sleeps beneath the silent march and wheel of the stars. Only dreams drift softly and furtively across the snow.
From the Estate of Charles Martignette.
Variations on a Theme
Oil on board
23 x 28 in.
Signed lower right
Inscribed to verso: Variations on a theme. #4 -- sleeps beneath the silent march and wheel of the stars. Only dreams drift softly and furtively across the snow.
From the Estate of Charles Martignette.
DAVID SCUTT (American, 20th Century)
Club International illustration
Mixed media on board
14 x 22 in.
Signed upper right
From the Estate of Charles Martignette.
Club International illustration
Mixed media on board
14 x 22 in.
Signed upper right
From the Estate of Charles Martignette.
DAVID SCUTT (American, 20th Century)
Club International illustration
Mixed media on board
14.5 x 21.5 in.
Signed lower left
From the Estate of Charles Martignette.
Club International illustration
Mixed media on board
14.5 x 21.5 in.
Signed lower left
From the Estate of Charles Martignette.
CHARLES GATES SHELDON (American, 1889-1960)
The Accusation
Charcoal on paper
25 x 21.5 in.
Signed lower left
The Accusation
Charcoal on paper
25 x 21.5 in.
Signed lower left
CHARLES GATES SHELDON (American, 1889-1960)
Nanette Fabry
Pastel on board
15 x 9 in.
Not signed
Nanette Fabry
Pastel on board
15 x 9 in.
Not signed
SYD SHORES (American, 1913-1973)
Men's magazine illustration
Oil on board
17.5 x 13.5 in.
Signed lower left
From the Estate of John McLaughlin.
Men's magazine illustration
Oil on board
17.5 x 13.5 in.
Signed lower left
From the Estate of John McLaughlin.
Mainstream Illustration
NOEL SICKLES (American, 1910-1982)
Hawaii: West Wind to Hawaii, Reader's Digest illustration, Autumn 1959
Gouache on paper
9 x 6.6 in.
Signed lower left
This illustration appeared in the Reader's Digest condensed version of James Michener's novel Hawaii.
Hawaii: West Wind to Hawaii, Reader's Digest illustration, Autumn 1959
Gouache on paper
9 x 6.6 in.
Signed lower left
This illustration appeared in the Reader's Digest condensed version of James Michener's novel Hawaii.
Paintings
JOHN SIDRONE (American, 20th Century)
Woman with Flower
Gouache on board
14 x 19 in.
Signed bottom center
Woman with Flower
Gouache on board
14 x 19 in.
Signed bottom center
WILLIAM THOMAS SMEDLEY (American, 1858-1920)
Meeting Backstage
Watercolor on board
10.5 x 13.25 in.
Signed lower left
From the Estate of Charles Martignette.
Meeting Backstage
Watercolor on board
10.5 x 13.25 in.
Signed lower left
From the Estate of Charles Martignette.
R.W. SMETHURST (British, 20th Century)
The Supernatural Reader, paperback cover, 1958
Gouache on board
16.5 x 12.5 in.
Signed lower left
This illustration appeared on the cover of Geoff and Lucy Conklin's edited book, The Supernatural Reader, WDL Books, 1958.
From the Estate of John McLaughlin.
The Supernatural Reader, paperback cover, 1958
Gouache on board
16.5 x 12.5 in.
Signed lower left
This illustration appeared on the cover of Geoff and Lucy Conklin's edited book, The Supernatural Reader, WDL Books, 1958.
From the Estate of John McLaughlin.
J. FREDERICK SMITH (American, 20th Century-)
The Florist's Daughter (She has a lot to petal), Ballyhoo calendar illustration, February 1953
Gouache and graphite on board
25 x 21.5 in.
Signed lower center
From the Estate of Charles Martignette.
The Florist's Daughter (She has a lot to petal), Ballyhoo calendar illustration, February 1953
Gouache and graphite on board
25 x 21.5 in.
Signed lower center
From the Estate of Charles Martignette.
J. FREDERICK SMITH (American, 20th Century)
Take a Number, Better Living magazine illustration, July 1954
Mixed media on board
20 x 19.25 in.
Signed lower right
Caption: "'Just for the fun of it, give that to me again,' he said. 'He dialed your number by pure chance -- right? And then, by pure chance, happened to dial it again?'"
A tearsheet of the printed illustration is included with this lot.
Take a Number, Better Living magazine illustration, July 1954
Mixed media on board
20 x 19.25 in.
Signed lower right
Caption: "'Just for the fun of it, give that to me again,' he said. 'He dialed your number by pure chance -- right? And then, by pure chance, happened to dial it again?'"
A tearsheet of the printed illustration is included with this lot.
WILLIAM ARTHUR SMITH (American, 1918-1989)
Rendezvous in Tokyo, story illustration, 1956
Oil on canvas
23 x 44 in.
Signed lower right
PROVENANCE:
Mrs. W.A. Smith (label verso).
From the Estate of Charles Martignette.
Rendezvous in Tokyo, story illustration, 1956
Oil on canvas
23 x 44 in.
Signed lower right
PROVENANCE:
Mrs. W.A. Smith (label verso).
From the Estate of Charles Martignette.
WILLIAM ARTHUR SMITH (American, 1918-1989)
Voices of Great Americans - Alexander Graham Bell, Jersey Standard calendar illustration, 1964
Oil on canvas
20 x 28 in.
Signed lower right
From the Estate of Charles Martignette.
Voices of Great Americans - Alexander Graham Bell, Jersey Standard calendar illustration, 1964
Oil on canvas
20 x 28 in.
Signed lower right
From the Estate of Charles Martignette.
WALTER GRANVILLE SMITH (American, 1870-1938)
Steady light, pulp illustration
Mixed media on board
10 x 8 in.
Signed lower right
From the Estate of Charles Martignette.
Steady light, pulp illustration
Mixed media on board
10 x 8 in.
Signed lower right
From the Estate of Charles Martignette.
WILLIAM FULTON SOARE (American, 1896-1940)
The American Boy, magazine cover, October 1929
Oil on canvas
29 x 23.5 in.
Signed lower left
From the Estate of Charles Martignette.
The American Boy, magazine cover, October 1929
Oil on canvas
29 x 23.5 in.
Signed lower left
From the Estate of Charles Martignette.
JOHN JACOB SOBLE (American, 1893-1993)
Reclining Nude
Oil on canvas
29.5 x 23.5 in.
Signed lower left
From the Estate of Charles Martignette.
Reclining Nude
Oil on canvas
29.5 x 23.5 in.
Signed lower left
From the Estate of Charles Martignette.
PAUL DAVID SOLOSKY (American, 1941-2004)
Grumman F3F-2
Oil on canvas board
18 x 24 in.
Signed lower right
Grumman F3F-2
Oil on canvas board
18 x 24 in.
Signed lower right
PAUL DAVID SOLOSKY (American, 1941-2004)
Lockheed T33A Shooting Star
Oil on canvas board
18 x 24 in.
Signed lower right
Lockheed T33A Shooting Star
Oil on canvas board
18 x 24 in.
Signed lower right
BEN STAHL (American, 1910-1987)
Crowfoot for Luck, Saturday Evening Post illustration
Oil on board
11.5 x 30 in.
Signed lower right
From the Estate of Charles Martignette.
Crowfoot for Luck, Saturday Evening Post illustration
Oil on board
11.5 x 30 in.
Signed lower right
From the Estate of Charles Martignette.
JOHN STANGO (American, b. 1958)
Marilyn Monroe
Serigraph on paper
50 x 43 in.
Signed lower right
From the Estate of Charles Martignette.
Marilyn Monroe
Serigraph on paper
50 x 43 in.
Signed lower right
From the Estate of Charles Martignette.
MODEST STEIN (American, 1871-1958)
Portrait
Ink on paper
8.5 x 5.5 in.
Signed lower right
Portrait
Ink on paper
8.5 x 5.5 in.
Signed lower right
MAXINE STEVENS (MAXINE SUNDERMAN RUNCI) (American, 20th Century)
Little Girl Fishing
Oil on canvas
30 x 24 in.
Signed lower right
Maxine Sunderman Runci was married to fellow artist Edward Runci, and signed many of her earliest works with the name "Maxine Stevens." Her later works are signed "M. Runci."
Little Girl Fishing
Oil on canvas
30 x 24 in.
Signed lower right
Maxine Sunderman Runci was married to fellow artist Edward Runci, and signed many of her earliest works with the name "Maxine Stevens." Her later works are signed "M. Runci."
DON STIVERS (American, 1926-2009)
In the Doorway
Oil on board
25 x 19.5 in. window
Signed center right
From the Estate of Charles Martignette.
In the Doorway
Oil on board
25 x 19.5 in. window
Signed center right
From the Estate of Charles Martignette.
DON STIVERS (American, 1926-2009)
Golf Club/Woman
Oil on board
11 x 10.5 in.
Signed center left
From the Estate of Charles Martignette.
Golf Club/Woman
Oil on board
11 x 10.5 in.
Signed center left
From the Estate of Charles Martignette.
RICHARD F. STONE (American, b. 1925)
No Way Out, Saturday Evening Post story illustration, 1958
Mixed media on board
16 x 8 in.
Signed lower right
No Way Out, Saturday Evening Post story illustration, 1958
Mixed media on board
16 x 8 in.
Signed lower right
FRANK STREET (American, 1893-1944)
Dancers, 1921
Oil on canvas
24 x 34 in.
Signed upper right
From the Estate of Charles Martignette.
Dancers, 1921
Oil on canvas
24 x 34 in.
Signed upper right
From the Estate of Charles Martignette.
LAURETTE STROHM (American, 20th Century)
Young Girl Painting a Bluebird
Oil on canvas
33 x 26 in.
Signed lower right
Young Girl Painting a Bluebird
Oil on canvas
33 x 26 in.
Signed lower right
RAYMOND JAMES STUART (American, b. 1882)
The Comut
Oil on board
9.5 x 7.25 in.
Signed lower left
The Comut
Oil on board
9.5 x 7.25 in.
Signed lower left
RAYMOND JAMES STUART (American, b.1882)
The Picnic
Oil on canvas
28 x 22 in.
Signed lower right
The Picnic
Oil on canvas
28 x 22 in.
Signed lower right
SAUL TEPPER (American, 1899-1987)
Portrait of a Blonde, 1945
Gouache on board
7.5 x 6.5 in.
Signed lower right
Inscribed along bottom edge: To My Friend Charles - Saul Tepper 1981
From the Estate of Charles Martignette.
Portrait of a Blonde, 1945
Gouache on board
7.5 x 6.5 in.
Signed lower right
Inscribed along bottom edge: To My Friend Charles - Saul Tepper 1981
From the Estate of Charles Martignette.
CLARA TICE (American, 1888-1973)
Circus Performers
Gouache on board
24 x 20 in.
Signed lower right
Circus Performers
Gouache on board
24 x 20 in.
Signed lower right
HARRY TIMMINS (American, 1887-1963)
Touring Car
Oil on aluminum
17 x 33 in.
Signed lower right
From the Estate of Charles Martignette.
Touring Car
Oil on aluminum
17 x 33 in.
Signed lower right
From the Estate of Charles Martignette.
ENRIC TORRES (Enric Torres-Prat) (Spanish, b. 1939)
Girl Smoking
Oil on canvas
9.25 x 10.25 in.
Signed lower right
Girl Smoking
Oil on canvas
9.25 x 10.25 in.
Signed lower right
ENRIC TORRES (Enric Torres-Prat) (Spanish, b. 1939)
Girl Posing
Oil on canvas
8.25 x 9.25 in.
Signed lower right
Girl Posing
Oil on canvas
8.25 x 9.25 in.
Signed lower right
TIMOTHY TRUMAN (American, b. 1956)
Stolen Roses: Songs of the Grateful Dead, CD cover illustration, 2000
Mixed media on board
18 x 15 in.
Signed lower right
Stolen Roses: Songs of the Grateful Dead, CD cover illustration, 2000
Mixed media on board
18 x 15 in.
Signed lower right
TIMOTHY TRUMAN (American, b. 1956)
Dead-Net, Grateful Dead Almanac illustration
Mixed media on board
8 x 24 in.
Signed lower left
Original art for Grateful Dead Almanac, Volume III, p. 3., Summer 1996.
Dead-Net, Grateful Dead Almanac illustration
Mixed media on board
8 x 24 in.
Signed lower left
Original art for Grateful Dead Almanac, Volume III, p. 3., Summer 1996.
RAEBURN VAN BUREN (American, 1891-1987)
I Painted Her on One of Those Days When Everything Seemed to Go Wrong!, 1927
Mixed media on board
14.5 x 13 in.
Signed lower right
From the Estate of Charles Martignette.
I Painted Her on One of Those Days When Everything Seemed to Go Wrong!, 1927
Mixed media on board
14.5 x 13 in.
Signed lower right
From the Estate of Charles Martignette.
HENRY RICHARD VAN DONGEN (American, b. 1920)
Starlight, paperback cover, 1978
Acrylic on board
23.5 x 15 in.
Signed lower right
This illustration appeared on the cover of Hal Clement's novel, Starlight, Del Rey/Ballantine Books, 1978.
From the Estate of Charles Martignette.
Starlight, paperback cover, 1978
Acrylic on board
23.5 x 15 in.
Signed lower right
This illustration appeared on the cover of Hal Clement's novel, Starlight, Del Rey/Ballantine Books, 1978.
From the Estate of Charles Martignette.
RON VAN GILDER (American, b. 1946)
Redhead
Oil on canvas
19 x 25.5 in.
Signed lower right
From the Estate of Charles Martignette.
Redhead
Oil on canvas
19 x 25.5 in.
Signed lower right
From the Estate of Charles Martignette.
After ALBERTO VARGAS (American, 1896-1982)
Vargas Girl, Playboy illustration copy
Oil on silk
21 x 25 in.
Signed lower left
This piece is a copy done by an unknown artist after the Alberto Vargas painting for his "Vargas Girl" feature in the December 1968 issue of Playboy.
Caption on the printed cartoon: You might as well stay, Santa. You'll never get up the chimney in that condition."
From the Estate of Charles Martignette.
Vargas Girl, Playboy illustration copy
Oil on silk
21 x 25 in.
Signed lower left
This piece is a copy done by an unknown artist after the Alberto Vargas painting for his "Vargas Girl" feature in the December 1968 issue of Playboy.
Caption on the printed cartoon: You might as well stay, Santa. You'll never get up the chimney in that condition."
From the Estate of Charles Martignette.
ED VEBELL (American, b. 1921)
Man on the Moon
Acrylic on board
25.5 x 27 in.
Signed lower right
From the Estate of Charles Martignette.
Man on the Moon
Acrylic on board
25.5 x 27 in.
Signed lower right
From the Estate of Charles Martignette.
ANDY VIRGIL (American, 20th Century)
Lunch at the Beach, c. 1960s
Gouache on board
22 x 21.25 in.
Signed lower left
Lunch at the Beach, c. 1960s
Gouache on board
22 x 21.25 in.
Signed lower left
ANDY VIRGIL (American, 20th Century)
Paradise
Mixed media on board
25 x 29.75 in.
Signed lower center
Paradise
Mixed media on board
25 x 29.75 in.
Signed lower center
WALT (British, 20th Century)
The Man from Yellowstones, paperback cover, 1956
Gouache on board
14.5 x 9.5 in.
Signed lower left
This illustration appeared on the cover of Earle Sumner's novel, The Man from Yellowstones, Peveril, 1956.
From the Estate of John McLaughlin.
The Man from Yellowstones, paperback cover, 1956
Gouache on board
14.5 x 9.5 in.
Signed lower left
This illustration appeared on the cover of Earle Sumner's novel, The Man from Yellowstones, Peveril, 1956.
From the Estate of John McLaughlin.
BILL WARD (American, 1919-1998)
Cartoon Parade, men's magazine cartoon illustration
Mixed media on paper
23 x 16 in.
Signed lower right
From the Estate of Charles Martignette.
Cartoon Parade, men's magazine cartoon illustration
Mixed media on paper
23 x 16 in.
Signed lower right
From the Estate of Charles Martignette.
BILL WARD (American, 1919-1998)
Cartoon Parade, men's magazine cartoon illustration
Mixed media on paper
18 x 12.5 in.
Signed lower center
From the Estate of Charles Martignette.
Cartoon Parade, men's magazine cartoon illustration
Mixed media on paper
18 x 12.5 in.
Signed lower center
From the Estate of Charles Martignette.
BILL WARD (American, 1919-1998)
Men's magazine cartoon illustration, 1957
Mixed-media on paper
23 x 15.5 in.
Signed lower center
Caption: "Oh, please -- one more and I wouldn't be responsible for my actions."
From the Estate of Charles Martignette.
Men's magazine cartoon illustration, 1957
Mixed-media on paper
23 x 15.5 in.
Signed lower center
Caption: "Oh, please -- one more and I wouldn't be responsible for my actions."
From the Estate of Charles Martignette.
JIM WARREN (American, b. 1949)
Horror book cover
Oil on canvas
27.5 x 20 in.
Signed lower right
From the Estate of Charles Martignette.
Horror book cover
Oil on canvas
27.5 x 20 in.
Signed lower right
From the Estate of Charles Martignette.
JON WHITCOMB (American, 1906-1988)
Portrait of a Pretty Girl's Face
Mixed media on board
9.5 x 7 in.
Signed center left
From the Estate of Charles Martignette.
Portrait of a Pretty Girl's Face
Mixed media on board
9.5 x 7 in.
Signed center left
From the Estate of Charles Martignette.
JON WHITCOMB (American, 1906-1988)
Mother and Child
Mixed media on paper
16 x 10.5 in.
Signed lower left
Mother and Child
Mixed media on paper
16 x 10.5 in.
Signed lower left
COBY WHITMORE (American, 1913-1988)
The Rain Shower
Gouache on board
13.75 x 21 in.
Not signed
The Rain Shower
Gouache on board
13.75 x 21 in.
Not signed
Works on Paper
KURT WIESE (German, 1887-1974)
Freddy and the Flying Saucer Plans, story illustration
Ink on paper
10.5 x 7.5 in.
Signed lower left
This illustration was use din Walter R. Brooks' book, Freddy and the Flying Saucer Plans, on page 4, chapter one, Don't Call Me Sammy!.
From the Estate of John McLaughlin.
Freddy and the Flying Saucer Plans, story illustration
Ink on paper
10.5 x 7.5 in.
Signed lower left
This illustration was use din Walter R. Brooks' book, Freddy and the Flying Saucer Plans, on page 4, chapter one, Don't Call Me Sammy!.
From the Estate of John McLaughlin.
Paintings
FRITZ WILLIS (American, 1907-1979)
Portrait of a Blonde
Oil on board
7 x 5 in.
Not signed
From the Estate of Charles Martignette.
Portrait of a Blonde
Oil on board
7 x 5 in.
Not signed
From the Estate of Charles Martignette.
FRITZ WILLIS (American, 1907-1979)
Nude sketch
Graphite on paper
15.5 x 11 in.
Not signed
From the Estate of Charles Martignette.
Nude sketch
Graphite on paper
15.5 x 11 in.
Not signed
From the Estate of Charles Martignette.
FRITZ WILLIS (American, 1907-1979)
April
Mixed media on parchment paper
20 x 12 in.
Initialed lower right
From the Estate of Charles Martignette.
April
Mixed media on parchment paper
20 x 12 in.
Initialed lower right
From the Estate of Charles Martignette.
Works on Paper
FLORENCE FREEMAN WILMOT (British, 1853-1953)
Fairy
Watercolor on paper
13.75 x 9.75 in.
Signed lower left
From the Estate of John McLaughlin.
Fairy
Watercolor on paper
13.75 x 9.75 in.
Signed lower left
From the Estate of John McLaughlin.
Paintings
GAHAN WILSON (American, b. 1930)
Electrocute the Drunk, cartoon illustration
Ink and watercolor on paper
12 x 9 in.
Signed lower left
Electrocute the Drunk, cartoon illustration
Ink and watercolor on paper
12 x 9 in.
Signed lower left
GAHAN WILSON (American, b. 1930)
I Can't Say I Like the Looks of That at All, Playboy cartoon illustration
Ink on paper
12 x 9 in.
Signed lower center
I Can't Say I Like the Looks of That at All, Playboy cartoon illustration
Ink on paper
12 x 9 in.
Signed lower center
GAHAN WILSON (American, b. 1930)
There's an Amusing Little Legend Connected With That, cartoon illustration
Ink on paper
12 x 9 in.
Signed lower right
There's an Amusing Little Legend Connected With That, cartoon illustration
Ink on paper
12 x 9 in.
Signed lower right
GAHAN WILSON (American, b. 1930)
Good Heavens -- This Must Mean We've Practically Finished Him Off, cartoon illustration
Ink on paper
12 x 9 in.
Signed center left
Good Heavens -- This Must Mean We've Practically Finished Him Off, cartoon illustration
Ink on paper
12 x 9 in.
Signed center left
GAHAN WILSON (American, b. 1930)
I Think She Heard Us, cartoon illustration
Ink on paper
11 x 9 in.
Signed lower right
I Think She Heard Us, cartoon illustration
Ink on paper
11 x 9 in.
Signed lower right
MILTON LABAN WOLSKY (American , 1916-1983)
Magazine illustration
Mixed media on board
14.75 x 10.75 in.
Signed upper right
Magazine illustration
Mixed media on board
14.75 x 10.75 in.
Signed upper right
GEORGE ZIEL (American, 20th Century-)
Polly Paris, paperback cover, 1972
Oil on board
26.25 x 17.25 in.
Not signed
This illustration appeared on the cover of Bonnie Golightly's novel, Polly Paris, Avon books, 1972.
"What happens when beautiful Polly threatens New York with sex and a touch of terror?"
Polly Paris, paperback cover, 1972
Oil on board
26.25 x 17.25 in.
Not signed
This illustration appeared on the cover of Bonnie Golightly's novel, Polly Paris, Avon books, 1972.
"What happens when beautiful Polly threatens New York with sex and a touch of terror?"
Works on Paper
ALEXANDRE ZINOVIEV (Russian, 1889-1977)
Dandy, circa 1925
Watercolor and graphite on Arches paper
12-1/2 x 9 inches (31.8 x 22.9 cm)
Signed lower right
PROVENANCE:
Lune Gallery, New York;
Private collection, Ohio, acquired from the above.
Dandy, circa 1925
Watercolor and graphite on Arches paper
12-1/2 x 9 inches (31.8 x 22.9 cm)
Signed lower right
PROVENANCE:
Lune Gallery, New York;
Private collection, Ohio, acquired from the above.
Copyright © 1999-2026 Heritage Capital Corporation
Mailing Address:
PO Box 619999
Dallas, TX 75261-6199
Street Address:
2801 W. Airport Freeway
Dallas, Texas 75261-4127
(Northwest corner of W. Airport Freeway & Valley View Lane)
All Rights Reserved
1-800-872-6467 / (214) 528-3500 / Fax: (214) 443-842
Mailing Address:
PO Box 619999
Dallas, TX 75261-6199
Street Address:
2801 W. Airport Freeway
Dallas, Texas 75261-4127
(Northwest corner of W. Airport Freeway & Valley View Lane)
All Rights Reserved
1-800-872-6467 / (214) 528-3500 / Fax: (214) 443-842