American Art Auction
| Sale Number: | 604 |
| Location: | |
| Auction Date: | October 31st at 8 am CT |
Featured Collections
Famous American Illustrators Auction
Session 1
Fine Art
VICTOR COLEMAN ANDERSON (American 1882-1937)
Mud Train Station, 1920
Oil on canvas
18in. x 30.25in. (sight size)
Signed and dated lower right: Victor C. Anderson 20
Verso stamp: Property of Life Publishing Company
Inscribed in pencil: 1960/ May 22-1920
Inscribed on stretcher: Black & White
Illustrated: Life, May 22, 1920
Provenance: the artist, to Life Publishing Company, 1920
Condition: appears to be in mint condition
Mud Train Station, 1920
Oil on canvas
18in. x 30.25in. (sight size)
Signed and dated lower right: Victor C. Anderson 20
Verso stamp: Property of Life Publishing Company
Inscribed in pencil: 1960/ May 22-1920
Inscribed on stretcher: Black & White
Illustrated: Life, May 22, 1920
Provenance: the artist, to Life Publishing Company, 1920
Condition: appears to be in mint condition
Paintings
WILLIAM HOLBROOK BEARD (American 1824-1900)
The Discovery of Adam, 1891
Oil on canvas
18in. x 24in. (sight size). Framed
Signed and dated lower left: W.H. Beard/ 1891
Provenance: The Masco Corporation, Taylor Michigan, 1980; [Sotheby's New York December 3, 1998 lot 129]; private collection, Dallas
Exhibited: Alexander Gallery, New York, William Holbrook Beard: Animals in Fantasy, 1981, colorplate 32.
Literature: Robert McCracken Peck, "William Holbrook Beard (1824-1900)," The Magazine Antiques, November 1994, illustrated p. 699.
Best known for genre scenes of animals satirizing human behavior, William Holbrook Beard painted his first known monkey painting only two years after the publication of Charles Darwin's controversial Origin of the Species, 1859. Beard believed that animals possessed souls and could express human emotions and feelings, yet according to Robert M. Peck, "Beard refused to believe in man's descent from more primitive primates." (Peck, 1994, p.699) No other work in Beard's extensive oeuvre so clearly and humorously illustrates the artist's opinion of Darwin's theory than the present work, Discovery of Adam, 1891. Here, a group of well dressed monkeys appear confounded at the discovery that their ancestor, Adam, is in fact a turtle. Beard further conveys his message by inscribing "200,000 B.C. Adam" on the tortoise's shell. Beard possibly refers to Darwin's theory of evolution, the survival of the fittest, by depicting two prehistoric pterodactyls fighting in the left background.
Beard began his artistic career as an itinerant portrait painter throughout Ohio before moving to New York City in 1845. He opened a studio in Buffalo in 1850, where he painted mostly romantic genre paintings. In 1856 he traveled to Europe, and upon his return in 1858 he briefly settled in Buffalo. Moving to New York City in 1860, Beard set up a studio in the prestigious Tenth Street Studio Building where he began to paint his animal paintings. His paintings such as Bulls and Bears of Wall Street (The New-York Historical Society) and March of Silenus (Albright-Knox Gallery) are foremost examples of his life's work. Beard exhibited extensively throughout his career at venues including the Pennsylvania Academy of the Fine Arts, National Academy of Design, and the Brooklyn Art Association.
Beard wrote his own treatise, Humor in Animals, published in 1885, in which he devoted chapters to individual species of animals and birds, anthropomorphizing various aspects of each, while offering a significant key to the artist's pictorial interpretations. His paintings are found in the Albright-Knox Art Gallery, Buffalo; the New-York Historical Society, the Art Institute of Chicago, and the Rhode Island School of Design.
Condition: canvas has been beva wax relined onto original stretcher. 10 percent inpaint throughout found in areas of pterodactyl's wing, upper right corner of sky, face of second monkey from right, below right of the turtle, and upper left corner.
The Discovery of Adam, 1891
Oil on canvas
18in. x 24in. (sight size). Framed
Signed and dated lower left: W.H. Beard/ 1891
Provenance: The Masco Corporation, Taylor Michigan, 1980; [Sotheby's New York December 3, 1998 lot 129]; private collection, Dallas
Exhibited: Alexander Gallery, New York, William Holbrook Beard: Animals in Fantasy, 1981, colorplate 32.
Literature: Robert McCracken Peck, "William Holbrook Beard (1824-1900)," The Magazine Antiques, November 1994, illustrated p. 699.
Best known for genre scenes of animals satirizing human behavior, William Holbrook Beard painted his first known monkey painting only two years after the publication of Charles Darwin's controversial Origin of the Species, 1859. Beard believed that animals possessed souls and could express human emotions and feelings, yet according to Robert M. Peck, "Beard refused to believe in man's descent from more primitive primates." (Peck, 1994, p.699) No other work in Beard's extensive oeuvre so clearly and humorously illustrates the artist's opinion of Darwin's theory than the present work, Discovery of Adam, 1891. Here, a group of well dressed monkeys appear confounded at the discovery that their ancestor, Adam, is in fact a turtle. Beard further conveys his message by inscribing "200,000 B.C. Adam" on the tortoise's shell. Beard possibly refers to Darwin's theory of evolution, the survival of the fittest, by depicting two prehistoric pterodactyls fighting in the left background.
Beard began his artistic career as an itinerant portrait painter throughout Ohio before moving to New York City in 1845. He opened a studio in Buffalo in 1850, where he painted mostly romantic genre paintings. In 1856 he traveled to Europe, and upon his return in 1858 he briefly settled in Buffalo. Moving to New York City in 1860, Beard set up a studio in the prestigious Tenth Street Studio Building where he began to paint his animal paintings. His paintings such as Bulls and Bears of Wall Street (The New-York Historical Society) and March of Silenus (Albright-Knox Gallery) are foremost examples of his life's work. Beard exhibited extensively throughout his career at venues including the Pennsylvania Academy of the Fine Arts, National Academy of Design, and the Brooklyn Art Association.
Beard wrote his own treatise, Humor in Animals, published in 1885, in which he devoted chapters to individual species of animals and birds, anthropomorphizing various aspects of each, while offering a significant key to the artist's pictorial interpretations. His paintings are found in the Albright-Knox Art Gallery, Buffalo; the New-York Historical Society, the Art Institute of Chicago, and the Rhode Island School of Design.
Condition: canvas has been beva wax relined onto original stretcher. 10 percent inpaint throughout found in areas of pterodactyl's wing, upper right corner of sky, face of second monkey from right, below right of the turtle, and upper left corner.
WILLIAM HOLBROOK BEARD (American 1824-1900)
The Turtle Bite
Oil on canvas
16.25in. x 20.25in.
Williams, Stevens, & Williams Co, New York stamp on verso
Beard was born in Plainsville, Ohio and began his artistic career as an itinerant portrait painter before moving to Buffalo, New York in 1850. In 1856 he studied and traveled through Europe where he befriended Albert Bierstadt, Sanford R. Gifford, and Worthington Whittredge. Upon his return to the United States in 1858, Beard settled again in Buffalo and began to send his paintings to the National Academy of Design in New York City for exhibition.
Beard was an integral force in the local art community as a teacher and participant in the early planning of the Buffalo Fine Arts Academy. In 1860, Beard moved to New York City and set up a studio in the prestigious Tenth Street Studio Building where he held a space for nearly 40 years.
Beard's genre and animal paintings continued to garner attention, and by 1862 was he was elected Academician of the National Academy of Design. Beard gained enormous success during the 1860s, when narrative, mythological, and fairytale paintings became treasured escapes from the cruel realities of the Civil War. His paintings such as Bulls and Bears of Wall Street (The New-York Historical Society) and March of Silenus (Albright-Knox Gallery) are foremost examples of his oeuvre. Beard exhibited extensively at the National Academy of Design until the year before his death. He also exhibited at the Pennsylvania Academy of the Fine Arts, the Brooklyn Art Association as well as the Centennial Exhibition, 1876, and the Paris International Exposition. He also showed his work at Snedicor Art Gallery, Samuel P. Avery, and William and Everett, all located in New York City.
In 1885, Beard published a treatise titled Humor in Animals, in which he devoted chapters to individual species of animals and birds, anthropomorphizing various aspects of each, while offering a significant key to his pictorial meanings. His work is found in the Albright-Knox Art Gallery, New-York Historical Society, Brooklyn Museum, Wadsworth Atheneum, Amon-Carter Museum, Smithsonian Museum of American Art, Art Institute of Chicago, and the Rhode Island School of Design.
Condition: original canvas and stretcher, old patch upper center with inpaint, minor areas of inpaint upper right corner and lower left corner, otherwise good condition.
The Turtle Bite
Oil on canvas
16.25in. x 20.25in.
Williams, Stevens, & Williams Co, New York stamp on verso
Beard was born in Plainsville, Ohio and began his artistic career as an itinerant portrait painter before moving to Buffalo, New York in 1850. In 1856 he studied and traveled through Europe where he befriended Albert Bierstadt, Sanford R. Gifford, and Worthington Whittredge. Upon his return to the United States in 1858, Beard settled again in Buffalo and began to send his paintings to the National Academy of Design in New York City for exhibition.
Beard was an integral force in the local art community as a teacher and participant in the early planning of the Buffalo Fine Arts Academy. In 1860, Beard moved to New York City and set up a studio in the prestigious Tenth Street Studio Building where he held a space for nearly 40 years.
Beard's genre and animal paintings continued to garner attention, and by 1862 was he was elected Academician of the National Academy of Design. Beard gained enormous success during the 1860s, when narrative, mythological, and fairytale paintings became treasured escapes from the cruel realities of the Civil War. His paintings such as Bulls and Bears of Wall Street (The New-York Historical Society) and March of Silenus (Albright-Knox Gallery) are foremost examples of his oeuvre. Beard exhibited extensively at the National Academy of Design until the year before his death. He also exhibited at the Pennsylvania Academy of the Fine Arts, the Brooklyn Art Association as well as the Centennial Exhibition, 1876, and the Paris International Exposition. He also showed his work at Snedicor Art Gallery, Samuel P. Avery, and William and Everett, all located in New York City.
In 1885, Beard published a treatise titled Humor in Animals, in which he devoted chapters to individual species of animals and birds, anthropomorphizing various aspects of each, while offering a significant key to his pictorial meanings. His work is found in the Albright-Knox Art Gallery, New-York Historical Society, Brooklyn Museum, Wadsworth Atheneum, Amon-Carter Museum, Smithsonian Museum of American Art, Art Institute of Chicago, and the Rhode Island School of Design.
Condition: original canvas and stretcher, old patch upper center with inpaint, minor areas of inpaint upper right corner and lower left corner, otherwise good condition.
JOSEPH CLARE (British 1846-1917)
Still Life with Robins Nest and Flowers, 1894
Oil on canvas
10.1in. x 14in.
Signed and dated lower right: J. Clare/ 94
Clare was a member of the English Pre-Raphaelite family of painters.
Still Life with Robins Nest and Flowers, 1894
Oil on canvas
10.1in. x 14in.
Signed and dated lower right: J. Clare/ 94
Clare was a member of the English Pre-Raphaelite family of painters.
Fine Art
JOHN GEORGE BROWN (American 1831-1913)
Cowgirl
Oil on canvas
30.25in. x 25.25in. (sight size)
Signed lower left: copyright/ J.G. Brown N.A.
Literature: A History of Animal and Sporting Art in America, 1750 - 1950
John George Brown was one of the most successful genre painters of the second half of the 19th century. His paintings of country and city children were enthusiastically collected during his lifetime, and by the time he died in 1913, he was a very wealthy man. A methodical and conscientious worker, Brown's total oeuvre numbers more than a thousand paintings.
Brown was born near Durham, England on November 11, 1831. While serving an apprenticeship to a glass worker in Newcastle-on-Tyne, he took evening drawing classes with William Bell Scott, an artist associated with the Pre-Raphaelites. After further study in Edinburgh and London, Brown immigrated to the United States in 1853, settling in Brooklyn, where he found work in a glass factory. He continued his artistic studies at the Graham Art School in Brooklyn, then, in 1857, Brown enrolled in the National Academy of Design, taking antique and life classes taught by Thomas Seir Cummings (1804-1894). Wasting no time, Brown launched his long and impressive exhibition schedule when he sent two paintings to the National Academy of Design annual exhibition of 1858. In addition to making this move from Brooklyn into the Manhattan art world, Brown increased his involvement in the Brooklyn art community, becoming a founding member in 1859 of the Brooklyn Art Social, and two years later, becoming a member of the Brooklyn Art Association.
One of the most important connections Brown made during these years was his friendship with the collector Samuel P. Avery. Avery began to purchase Brown's work in 1858, introduced him to New York artists, and made it possible for him to take a studio in the prestigious Tenth Street Studio Building in 1860. Brown was elected an Associate of the National Academy in 1861, and a full Academician in 1863. He was extremely active in a number of artist organizations over the years, serving as vice-president of the Academy from 1899 to 1903, and as president of the American Watercolor Society from 1887 to 1907. Brown's works are found in numerous museum collections, including The Metropolitan Museum of Art, New York, NY; Museum of Fine Arts, Springfield, MA; Museum of Fine Arts, Boston, MA; Newark Museum of Art, Newark, NJ; High Museum of Art, Atlanta, GA; Birmingham Museum of Art, Birmingham, AL; Terra Museum of American Art, Chicago, IL; Cleveland Museum of Art, Cleveland, OH; University of Wyoming Art Museum, Laramie, WY; Yale University Art Gallery, New Haven, CT; and the Corcoran Gallery of Art, Washington, DC; as well as many important private collections.
Condition: canvas relined on original stretcher, some restored frame rub on left, right and bottom edge. Minor areas on inpaint above cow's head, otherwise good condition.
Cowgirl
Oil on canvas
30.25in. x 25.25in. (sight size)
Signed lower left: copyright/ J.G. Brown N.A.
Literature: A History of Animal and Sporting Art in America, 1750 - 1950
John George Brown was one of the most successful genre painters of the second half of the 19th century. His paintings of country and city children were enthusiastically collected during his lifetime, and by the time he died in 1913, he was a very wealthy man. A methodical and conscientious worker, Brown's total oeuvre numbers more than a thousand paintings.
Brown was born near Durham, England on November 11, 1831. While serving an apprenticeship to a glass worker in Newcastle-on-Tyne, he took evening drawing classes with William Bell Scott, an artist associated with the Pre-Raphaelites. After further study in Edinburgh and London, Brown immigrated to the United States in 1853, settling in Brooklyn, where he found work in a glass factory. He continued his artistic studies at the Graham Art School in Brooklyn, then, in 1857, Brown enrolled in the National Academy of Design, taking antique and life classes taught by Thomas Seir Cummings (1804-1894). Wasting no time, Brown launched his long and impressive exhibition schedule when he sent two paintings to the National Academy of Design annual exhibition of 1858. In addition to making this move from Brooklyn into the Manhattan art world, Brown increased his involvement in the Brooklyn art community, becoming a founding member in 1859 of the Brooklyn Art Social, and two years later, becoming a member of the Brooklyn Art Association.
One of the most important connections Brown made during these years was his friendship with the collector Samuel P. Avery. Avery began to purchase Brown's work in 1858, introduced him to New York artists, and made it possible for him to take a studio in the prestigious Tenth Street Studio Building in 1860. Brown was elected an Associate of the National Academy in 1861, and a full Academician in 1863. He was extremely active in a number of artist organizations over the years, serving as vice-president of the Academy from 1899 to 1903, and as president of the American Watercolor Society from 1887 to 1907. Brown's works are found in numerous museum collections, including The Metropolitan Museum of Art, New York, NY; Museum of Fine Arts, Springfield, MA; Museum of Fine Arts, Boston, MA; Newark Museum of Art, Newark, NJ; High Museum of Art, Atlanta, GA; Birmingham Museum of Art, Birmingham, AL; Terra Museum of American Art, Chicago, IL; Cleveland Museum of Art, Cleveland, OH; University of Wyoming Art Museum, Laramie, WY; Yale University Art Gallery, New Haven, CT; and the Corcoran Gallery of Art, Washington, DC; as well as many important private collections.
Condition: canvas relined on original stretcher, some restored frame rub on left, right and bottom edge. Minor areas on inpaint above cow's head, otherwise good condition.
ATTRIBUTED TO CHARLES DEAS (American 1818-1867)
Indian on Horseback
Oil on panel
23.5in. x 19.5in. oval
Inscribed on verso: Charles L (indiscernible) No 3
Old label on verso inscribed: Margaret G. Claxton, Philadelphia, PA
Framed in an antique spotted cove frame
Provenance: Ms. Margaret G. Claxton, Philadelphia c. 1950; Alexander Gallery, NYC; private collection, Dallas
An important and early painter of Indian and frontier life on the Great Plains, Charles Deas was born in Philadelphia into a family of career military. His grandfather, Ralph Izard, was a Revolutionary War hero, and Deas was expected to follow a military path and study at West Point Military Academy. However, Deas was more inclined to art after he saw an exhibition at the Philadelphia Academy of the Fine Art. He began his training with Thomas Sully and later studied in New York at the National Academy of Design for two years. He made his exhibition debut at the Academy in 1838 and became known for sporting and domestic scenes. He was elected an Associate of the Academy in 1839.
During a visit to Philadelphia, Deas saw some of George Catlin's Indian paintings and was greatly inspired "to visit the scenes of Nature's own children, to share the repast of the hunter and taste the wild excitement of frontier life." In 1840, Deas traveled west to visit his brother at Fort Crawford, Prairie du Chien, Wisconsin. He made numerous sketches of Indians and frontier scenery and began painting the scenes for which he is best known today. For the next several years, Deas had a permanent studio in St. Louis and made sketching excursions to Fort Winnebago, Fort Snelling, St. Anthony's Falls, and became friendly with members of the Sioux and Pawnee Indian tribes. The Pawnees fondly nicknamed Deas "Rocky Mountain" because he dressed like a fur hunter. Deas had a considerable following in St. Louis, as well as back East where he continued to exhibit and sell paintings.
Over the course of his career, Deas exhibited at the National Academy of Design, the Boston Athenaeum, and the Pennsylvania Academy of the Fine Arts. Many of his works were made into engravings, which enhanced his reputation nationally. He returned to New York City in 1847, only to suffer a mental breakdown that affected his painting. Despite his huge successes throughout his career, only a very few of his paintings have survived.
Condition: areas of inpaint in horse's face, approximately 5 percent inpaint throughout background
Indian on Horseback
Oil on panel
23.5in. x 19.5in. oval
Inscribed on verso: Charles L (indiscernible) No 3
Old label on verso inscribed: Margaret G. Claxton, Philadelphia, PA
Framed in an antique spotted cove frame
Provenance: Ms. Margaret G. Claxton, Philadelphia c. 1950; Alexander Gallery, NYC; private collection, Dallas
An important and early painter of Indian and frontier life on the Great Plains, Charles Deas was born in Philadelphia into a family of career military. His grandfather, Ralph Izard, was a Revolutionary War hero, and Deas was expected to follow a military path and study at West Point Military Academy. However, Deas was more inclined to art after he saw an exhibition at the Philadelphia Academy of the Fine Art. He began his training with Thomas Sully and later studied in New York at the National Academy of Design for two years. He made his exhibition debut at the Academy in 1838 and became known for sporting and domestic scenes. He was elected an Associate of the Academy in 1839.
During a visit to Philadelphia, Deas saw some of George Catlin's Indian paintings and was greatly inspired "to visit the scenes of Nature's own children, to share the repast of the hunter and taste the wild excitement of frontier life." In 1840, Deas traveled west to visit his brother at Fort Crawford, Prairie du Chien, Wisconsin. He made numerous sketches of Indians and frontier scenery and began painting the scenes for which he is best known today. For the next several years, Deas had a permanent studio in St. Louis and made sketching excursions to Fort Winnebago, Fort Snelling, St. Anthony's Falls, and became friendly with members of the Sioux and Pawnee Indian tribes. The Pawnees fondly nicknamed Deas "Rocky Mountain" because he dressed like a fur hunter. Deas had a considerable following in St. Louis, as well as back East where he continued to exhibit and sell paintings.
Over the course of his career, Deas exhibited at the National Academy of Design, the Boston Athenaeum, and the Pennsylvania Academy of the Fine Arts. Many of his works were made into engravings, which enhanced his reputation nationally. He returned to New York City in 1847, only to suffer a mental breakdown that affected his painting. Despite his huge successes throughout his career, only a very few of his paintings have survived.
Condition: areas of inpaint in horse's face, approximately 5 percent inpaint throughout background
LOUIS LANG (American 1814-1893)
Picking Flowers
Oil on artistboard
17.75in. x 13.75in. arched top
Signed and dated lower left: L. Lang 18 . . .
Charles Roberson & Co, London label on verso
Provenance: Charles Roberson & Co., London
Renowned American painter of historical, literary and portrait subjects, Louis Lang was born in Wurtemberg, Germany into an artistic family. At the age of 16, he was already producing accomplished pastels. He began his art studies in Stuttgart and later worked in Paris before he immigrated to the United States in 1838.
He settled in Philadelphia and from 1841 to 1845 he resided in Italy. In 1847 he moved to New York City where he lived for the remainder of his career with frequent visits to Europe. During the Civil War, Lang held a studio in the Tenth Street Studio Building and exhibited at the National Academy of Design where he was elected an Associate in 1850 and Academician in 1852. Condition: restored frame rub on edges, very minor flecks of inpaint in figures, date partially rubbed away, probably originally framed in arched format, now in 20th century reproduction frame. Otherwise appears to be in good condition.
Picking Flowers
Oil on artistboard
17.75in. x 13.75in. arched top
Signed and dated lower left: L. Lang 18 . . .
Charles Roberson & Co, London label on verso
Provenance: Charles Roberson & Co., London
Renowned American painter of historical, literary and portrait subjects, Louis Lang was born in Wurtemberg, Germany into an artistic family. At the age of 16, he was already producing accomplished pastels. He began his art studies in Stuttgart and later worked in Paris before he immigrated to the United States in 1838.
He settled in Philadelphia and from 1841 to 1845 he resided in Italy. In 1847 he moved to New York City where he lived for the remainder of his career with frequent visits to Europe. During the Civil War, Lang held a studio in the Tenth Street Studio Building and exhibited at the National Academy of Design where he was elected an Associate in 1850 and Academician in 1852. Condition: restored frame rub on edges, very minor flecks of inpaint in figures, date partially rubbed away, probably originally framed in arched format, now in 20th century reproduction frame. Otherwise appears to be in good condition.
SCOTT LEIGHTON (American 1849-1898)
In the Barn, c. 1875
Oil on canvas
12in.x 10.25in
Signed and dated lower right: Scott Leighton 187?
Inscribed on verso: In the Barn/ Scott Leighton/ 50/ cas
As a young man, Scott Leighton raised and traded horses to support his art studies, and by 1880 he moved from his hometown of Portland, Maine, to Boston, where he opened a studio. During the 1880s, Leighton achieved fame as a painter of racehorses when Currier & Ives reproduced 30 of his works as lithographs. Although he is best known for his horse paintings, he also produced barnyard scenes showing a variety of animals. Leighton exhibited his works at the Boston Art Club, the National Academy of Design and the Pennsylvania Academy of the Fine Arts. His works are housed in prestigious private and public collections including the Addison Gallery of American Art, MA; the Clark Art Institute, MA; the Phoenix Art Museum, the Portland Museum of Art, ME; and the United States Military Academy, West Point, NY.
Condition: bright green varnish under blacklight, dark vanish but appears to have no inpaint
In the Barn, c. 1875
Oil on canvas
12in.x 10.25in
Signed and dated lower right: Scott Leighton 187?
Inscribed on verso: In the Barn/ Scott Leighton/ 50/ cas
As a young man, Scott Leighton raised and traded horses to support his art studies, and by 1880 he moved from his hometown of Portland, Maine, to Boston, where he opened a studio. During the 1880s, Leighton achieved fame as a painter of racehorses when Currier & Ives reproduced 30 of his works as lithographs. Although he is best known for his horse paintings, he also produced barnyard scenes showing a variety of animals. Leighton exhibited his works at the Boston Art Club, the National Academy of Design and the Pennsylvania Academy of the Fine Arts. His works are housed in prestigious private and public collections including the Addison Gallery of American Art, MA; the Clark Art Institute, MA; the Phoenix Art Museum, the Portland Museum of Art, ME; and the United States Military Academy, West Point, NY.
Condition: bright green varnish under blacklight, dark vanish but appears to have no inpaint
WILLIAM P. MORGAN (American 1826-1900)
Two boys, c.1860
Oil on canvas
12in. x 10in. (sight size). Framed
Signed lower right: W. Morgan
This charming genre scene of two working boys is a very representative example of William P. Morgan's painting. Morgan was noted for his academic realism and often painted scenes of children at work. He was a member of the National Academy of Design and his work has been exhibited at The National Academy, and the Pennsylvania Academy. Morgan was also a noted printmaker.
Keywords: oil, painting, genre, children
Two boys, c.1860
Oil on canvas
12in. x 10in. (sight size). Framed
Signed lower right: W. Morgan
This charming genre scene of two working boys is a very representative example of William P. Morgan's painting. Morgan was noted for his academic realism and often painted scenes of children at work. He was a member of the National Academy of Design and his work has been exhibited at The National Academy, and the Pennsylvania Academy. Morgan was also a noted printmaker.
Keywords: oil, painting, genre, children
WILLIAM SIDNEY MOUNT (American 1807-1868)
Portrait of Julia Ann Seabury, 1846
Oil on panel
8in. x 6.75in.
Inscribed on verso: Painted by/ Wm S Mount/ 1846
Provenance: by descent in the artist's family; [Christies East, Wednesday, November 4, 2000 lot 1]; Hirschl & Adler Galleries, New York
The subject of the present work is the artist's niece, daughter of Ruth Mount Seabury and Charles Saltonstall Seabury. William Sidney Mount grew up on a farm in Setauket, Long Island, and was the first American-born genre painter of significance to depict the daily lives and tasks of the average citizen. He worked during a time when other artists emulated the European academic tradition of painting historical, religious, or literary scenes, yet Mount remained steadfast and depicted rural American subjects in a skillful, realistic style.
Mount was influenced by the artwork of British genre artists Hogarth and Wilkie, whose engravings were popular in the United States. However, Mount's scenes are undoubtedly American in subject, such as Rustic Dance After a Sleigh Ride, exhibited at the National Academy of Design. Mount's paintings were popular among the growing number of newly rich collectors, many of whom came from country towns such as those that Mount painted.
Mount's best-known patron was Luman Reed, who offered to pay for Mount to study art in Europe. Mount declined "for fear I might be induced by the splendor of European art to tarry too long, and thus lose my nationality. We have nature, it speaks to every one and what efforts I have made in art have been appreciated by my countrymen." While a boy, Mount recalled that his curiosity with painting was piqued when his younger sister Ruth began painting lessons at home. His oldest brother Henry was the first member of the Mount family to make a living as an artist and William first trained as his apprentice. From 1826 to 1827 Mount was among the first students to study art at the National Academy of Design in New York City.
In 1829 Mount and another brother, Shepard set up a studio and painted portraits. In 1830, he returned to Stony Brook, Long Island, where he lived and painted for the remainder of his life. Mount's success spread nationally and internationally with the reproduction of his paintings into popular prints and later into color lithographs published by the French firm, Goupil and Company. His paintings are housed in numerous public collections, including The Metropolitan Museum of Art, Corcoran Gallery of Art, National Gallery of Art, Brooklyn Museum of Art, Art Institute of Chicago, and the Stony Brook Museum of American Art.
Condition: Unframed when examined. Restored frame rub bottom middle to right corner and upper right corner. It has strips of wood attached to the right and left sides. Minor areas of inpaint in left background.
Portrait of Julia Ann Seabury, 1846
Oil on panel
8in. x 6.75in.
Inscribed on verso: Painted by/ Wm S Mount/ 1846
Provenance: by descent in the artist's family; [Christies East, Wednesday, November 4, 2000 lot 1]; Hirschl & Adler Galleries, New York
The subject of the present work is the artist's niece, daughter of Ruth Mount Seabury and Charles Saltonstall Seabury. William Sidney Mount grew up on a farm in Setauket, Long Island, and was the first American-born genre painter of significance to depict the daily lives and tasks of the average citizen. He worked during a time when other artists emulated the European academic tradition of painting historical, religious, or literary scenes, yet Mount remained steadfast and depicted rural American subjects in a skillful, realistic style.
Mount was influenced by the artwork of British genre artists Hogarth and Wilkie, whose engravings were popular in the United States. However, Mount's scenes are undoubtedly American in subject, such as Rustic Dance After a Sleigh Ride, exhibited at the National Academy of Design. Mount's paintings were popular among the growing number of newly rich collectors, many of whom came from country towns such as those that Mount painted.
Mount's best-known patron was Luman Reed, who offered to pay for Mount to study art in Europe. Mount declined "for fear I might be induced by the splendor of European art to tarry too long, and thus lose my nationality. We have nature, it speaks to every one and what efforts I have made in art have been appreciated by my countrymen." While a boy, Mount recalled that his curiosity with painting was piqued when his younger sister Ruth began painting lessons at home. His oldest brother Henry was the first member of the Mount family to make a living as an artist and William first trained as his apprentice. From 1826 to 1827 Mount was among the first students to study art at the National Academy of Design in New York City.
In 1829 Mount and another brother, Shepard set up a studio and painted portraits. In 1830, he returned to Stony Brook, Long Island, where he lived and painted for the remainder of his life. Mount's success spread nationally and internationally with the reproduction of his paintings into popular prints and later into color lithographs published by the French firm, Goupil and Company. His paintings are housed in numerous public collections, including The Metropolitan Museum of Art, Corcoran Gallery of Art, National Gallery of Art, Brooklyn Museum of Art, Art Institute of Chicago, and the Stony Brook Museum of American Art.
Condition: Unframed when examined. Restored frame rub bottom middle to right corner and upper right corner. It has strips of wood attached to the right and left sides. Minor areas of inpaint in left background.
WILLIAM SIDNEY MOUNT (1807-1868)
Portrait of Maria Seabury, c.1846
Oil on panel
8in. x 6.25in.
Inscribed on verso: Wm S. Mount
Provenance: by descent in the artist's family; [Christies East, Wednesday, November 4, 2000 lot 1]; Hirschl & Adler Galleries, New York
The subject of the present work is the artist's niece, daughter of Ruth Mount Seabury and Charles Saltonstall Seabury.
Condition: inpaint upper center and upper right corner. Minor areas of inpaint along right side and bottom right corner, otherwise good condition
Portrait of Maria Seabury, c.1846
Oil on panel
8in. x 6.25in.
Inscribed on verso: Wm S. Mount
Provenance: by descent in the artist's family; [Christies East, Wednesday, November 4, 2000 lot 1]; Hirschl & Adler Galleries, New York
The subject of the present work is the artist's niece, daughter of Ruth Mount Seabury and Charles Saltonstall Seabury.
Condition: inpaint upper center and upper right corner. Minor areas of inpaint along right side and bottom right corner, otherwise good condition
ATTRIBUTED TO AARON DRAPER SHATTUCK (American 1832-1928)
Pansies in a Vase, c.1860
Oil on canvas
10.5in. x 7.5in. (sight size). Framed
Not signed
Provenance: Family of the artist
Born in Francestown, New Hampshire, Aaron Shattuck was educated there and also in Lowell, Massachusetts. He studied portrait and landscape painting with Alexander Ramson in Boston in 1851, and then relocated to New York City, where he studied at the National Academy of Design. Aaron Draper Shattuck is ranked among the best artists of the second generation of the Hudson River School. He exhibited regularly with his peers John Kensett, John Casilear, Jasper Cropsey, and Samuel Colman.
Shattuck was at his best in smaller canvases where his love of nature was translated into small, detailed paintings. Married to the sister of artist Samuel Colman, Shattuck was one of the first artists to paint on Monhegan Island in Maine. He was also an inventor of note, and had several patents, among them metal stretcher keys, and a tobacco barn ventilation system. When Shattuck's eyesight deteriorated in 1888, he finished his life as a violin maker. In 1856 Shattuck was elected associate member of the National Academy, and in 1861, he was elected a full National Academician.
Keywords: Hudson River, school, still life, flower, oil , painting
Pansies in a Vase, c.1860
Oil on canvas
10.5in. x 7.5in. (sight size). Framed
Not signed
Provenance: Family of the artist
Born in Francestown, New Hampshire, Aaron Shattuck was educated there and also in Lowell, Massachusetts. He studied portrait and landscape painting with Alexander Ramson in Boston in 1851, and then relocated to New York City, where he studied at the National Academy of Design. Aaron Draper Shattuck is ranked among the best artists of the second generation of the Hudson River School. He exhibited regularly with his peers John Kensett, John Casilear, Jasper Cropsey, and Samuel Colman.
Shattuck was at his best in smaller canvases where his love of nature was translated into small, detailed paintings. Married to the sister of artist Samuel Colman, Shattuck was one of the first artists to paint on Monhegan Island in Maine. He was also an inventor of note, and had several patents, among them metal stretcher keys, and a tobacco barn ventilation system. When Shattuck's eyesight deteriorated in 1888, he finished his life as a violin maker. In 1856 Shattuck was elected associate member of the National Academy, and in 1861, he was elected a full National Academician.
Keywords: Hudson River, school, still life, flower, oil , painting
Paintings
HERMANN GUSTAV SIMON (1846-1895)
Oil on canvas, c.1878
9.5in. x 7.5in. (sight size)
Signed and dated on the reverse: Hermann Simon, 1878
Keywords: dog, portrait, oil, painting
Oil on canvas, c.1878
9.5in. x 7.5in. (sight size)
Signed and dated on the reverse: Hermann Simon, 1878
Keywords: dog, portrait, oil, painting
HERMANN GUSTAV SIMON (1846-1895)
Oil on canvas, c.1875
9.5in. x 7.5in. (sight size)
Signed and dated on the reverse: Hermann Simon, 1875
Keywords: dog, portrait, oil, painting
Oil on canvas, c.1875
9.5in. x 7.5in. (sight size)
Signed and dated on the reverse: Hermann Simon, 1875
Keywords: dog, portrait, oil, painting
ARTHUR FITZWILLIAM TAIT (American 1819-1905)
Changing Pasture, 1895
Oil on canvas
14in. x 22in. (sight size)
Signed and dated lower right: A.F. Tait N.A./ N.Y. 95
Inscribed on verso: U.D. 1895/ "Changing Pasture"/ A.F. Tait N.A./ N.Y. 53 E 56st
Trinity College label on verso
Provenance: Trinity College, Hartford, CT # M-129
Literature: Warder H. Cadbury and Henry F. Marsh, Arthur Fitzwilliam Tait: Artist in the Adirondacks, (Cranbury, N.J.: Associated University Press, 1986), p. 301, cat. no. 95.21
Arthur Fitzwilliam Tait was born in Livesey Hall near Liverpool, England. At age 12, he began working at Agnew & Zanetti Repository of Art in Manchester, England, and painted part time. He taught himself to paint by copying original works at the Royal Institute in Manchester (now the City Art Gallery). In 1850 Tait moved to New York City and established a camp in the Adirondacks, where he spent his summers.
The Adirondacks proved to be an unending inspiration for him, and Tait soon became known for his paintings, watercolors, and sketches of hunting scenes and animals in their natural habitat. Tait's deer themes set in the mountainous landscapes of the Adirondacks became especially popular and even gained him worldwide recognition. Tait produced nearly 2,000 oils, watercolors, and sketches of frontier, animal, and hunting scenes -- testimony to why he is considered America's leading 19th century animal and sporting painter.
In 1852, Currier & Ives reproduced many of his paintings in lithographs, helping to expose Tait's art and name nationally. During the last half of the19th century, nearly 200 of Tait's paintings were shown at the National Academy of Design in New York, where he was elected Academician in 1858. His scenes of Adirondack wildlife were also exhibited at the prestigious Pennsylvania Academy of the Fine Arts, Brooklyn Art Association, Boston Art Club, and the Art Institute of Chicago. His artwork can be found in renowned museums, including The Metropolitan Museum of Art, Adirondack Museum, Yale University Art Gallery, Library of Congress, Denver Art Museum, Amon Carter Museum, Brooklyn Museum, and the Corcoran Gallery of Art.
Condition: minor craquelure, craquelure inpaint mid right edge and upper left area, otherwise good condition
Changing Pasture, 1895
Oil on canvas
14in. x 22in. (sight size)
Signed and dated lower right: A.F. Tait N.A./ N.Y. 95
Inscribed on verso: U.D. 1895/ "Changing Pasture"/ A.F. Tait N.A./ N.Y. 53 E 56st
Trinity College label on verso
Provenance: Trinity College, Hartford, CT # M-129
Literature: Warder H. Cadbury and Henry F. Marsh, Arthur Fitzwilliam Tait: Artist in the Adirondacks, (Cranbury, N.J.: Associated University Press, 1986), p. 301, cat. no. 95.21
Arthur Fitzwilliam Tait was born in Livesey Hall near Liverpool, England. At age 12, he began working at Agnew & Zanetti Repository of Art in Manchester, England, and painted part time. He taught himself to paint by copying original works at the Royal Institute in Manchester (now the City Art Gallery). In 1850 Tait moved to New York City and established a camp in the Adirondacks, where he spent his summers.
The Adirondacks proved to be an unending inspiration for him, and Tait soon became known for his paintings, watercolors, and sketches of hunting scenes and animals in their natural habitat. Tait's deer themes set in the mountainous landscapes of the Adirondacks became especially popular and even gained him worldwide recognition. Tait produced nearly 2,000 oils, watercolors, and sketches of frontier, animal, and hunting scenes -- testimony to why he is considered America's leading 19th century animal and sporting painter.
In 1852, Currier & Ives reproduced many of his paintings in lithographs, helping to expose Tait's art and name nationally. During the last half of the19th century, nearly 200 of Tait's paintings were shown at the National Academy of Design in New York, where he was elected Academician in 1858. His scenes of Adirondack wildlife were also exhibited at the prestigious Pennsylvania Academy of the Fine Arts, Brooklyn Art Association, Boston Art Club, and the Art Institute of Chicago. His artwork can be found in renowned museums, including The Metropolitan Museum of Art, Adirondack Museum, Yale University Art Gallery, Library of Congress, Denver Art Museum, Amon Carter Museum, Brooklyn Museum, and the Corcoran Gallery of Art.
Condition: minor craquelure, craquelure inpaint mid right edge and upper left area, otherwise good condition
Fine Art
AUGUST MALER WENDEROTH (German b.1825)
A Gentleman and Two Horses, 1849
Oil on canvas
23.5in. x 28.75in.
Signed and dated bottom center: A. Wenderoth Paris 1849
This painting is housed in an antique sand cove frame
Provenance: private collection, Dallas
A Gentleman and Two Horses, 1849
Oil on canvas
23.5in. x 28.75in.
Signed and dated bottom center: A. Wenderoth Paris 1849
This painting is housed in an antique sand cove frame
Provenance: private collection, Dallas
AMERICAN SCHOOL (19th/20th Century)
The Alamo
Oil on paper mounted on masonite
8.25in. x 11.5in.
Condition: appears to be in good condition
The Alamo
Oil on paper mounted on masonite
8.25in. x 11.5in.
Condition: appears to be in good condition
WILLIAM M. DAVIS (American 1829-1920)
Jefferson Davis, The Forlorn Cavalier, 1864
Oil on canvas
15in. x 17.25in.
Signed and dated lower right: WM Davis/ 1864
Framed, old label on verso inscribed: The Forlorn Cavalier/ Painted by W.M. Davis of/ Brooklyn NY for/ Capt. E.P. Dorr/ sent to grandfather Merrin/ 1878 Painted 1864
Provenance: the artist, to Capitan E.P. Dorr, c.1864, to Mr. Merrin, 1878
William M. Davis spent most of his life painting and living in the area he loved best, Port Jefferson, Long Island. There he befriended renowned genre painter William Sidney Mount, who lived nearby in Stony Brook. Apparently self-taught, Davis was profoundly influenced by Mount, who was one of the most respected painters in America at that time. Although Davis was never a pupil of Mount's, surviving letters between the two artists show that Mount often gave the younger painter artistic advice and guidance.
Davis opened a studio in New York City in 1868, but in 1872, he returned permanently to the Port Jefferson area, where he was affectionately known as "Painter Davis." Mount had died four years earlier, and to a degree, Davis continued in his mentor's footsteps, providing locals with paintings of villagers pursuing their daily tasks, the area's quiet bays and coves, as well as boats anchored or at sea.
Davis exhibited at the National Academy of Design and the Brooklyn Art Association while living in New York City. Once he returned to Long Island, he exhibited exclusively in Port Jefferson, with the exception of a one-man show in Bridgeport, Connecticut in 1894. According to the Bridgeport Daily Standard, Davis showed 135 of his works and had over 700 people in attendance. A major retrospective titled Port Jefferson's Foremost Painter: W.M. Davis was held at the Historical Society Museum of Greater Port Jefferson in 1973. Davis' works are housed in prestigious private collections and institutions, including the Suffolk Museum, Stony Brook, N.Y; the Society for the Preservation of Long Island Antiquities, and the New York State Historical Society, Cooperstown.
Condition: Canvas relined on new stretcher bars, craquelure throughout, minor areas of inpaint in background. Reproduction frame.
Jefferson Davis, The Forlorn Cavalier, 1864
Oil on canvas
15in. x 17.25in.
Signed and dated lower right: WM Davis/ 1864
Framed, old label on verso inscribed: The Forlorn Cavalier/ Painted by W.M. Davis of/ Brooklyn NY for/ Capt. E.P. Dorr/ sent to grandfather Merrin/ 1878 Painted 1864
Provenance: the artist, to Capitan E.P. Dorr, c.1864, to Mr. Merrin, 1878
William M. Davis spent most of his life painting and living in the area he loved best, Port Jefferson, Long Island. There he befriended renowned genre painter William Sidney Mount, who lived nearby in Stony Brook. Apparently self-taught, Davis was profoundly influenced by Mount, who was one of the most respected painters in America at that time. Although Davis was never a pupil of Mount's, surviving letters between the two artists show that Mount often gave the younger painter artistic advice and guidance.
Davis opened a studio in New York City in 1868, but in 1872, he returned permanently to the Port Jefferson area, where he was affectionately known as "Painter Davis." Mount had died four years earlier, and to a degree, Davis continued in his mentor's footsteps, providing locals with paintings of villagers pursuing their daily tasks, the area's quiet bays and coves, as well as boats anchored or at sea.
Davis exhibited at the National Academy of Design and the Brooklyn Art Association while living in New York City. Once he returned to Long Island, he exhibited exclusively in Port Jefferson, with the exception of a one-man show in Bridgeport, Connecticut in 1894. According to the Bridgeport Daily Standard, Davis showed 135 of his works and had over 700 people in attendance. A major retrospective titled Port Jefferson's Foremost Painter: W.M. Davis was held at the Historical Society Museum of Greater Port Jefferson in 1973. Davis' works are housed in prestigious private collections and institutions, including the Suffolk Museum, Stony Brook, N.Y; the Society for the Preservation of Long Island Antiquities, and the New York State Historical Society, Cooperstown.
Condition: Canvas relined on new stretcher bars, craquelure throughout, minor areas of inpaint in background. Reproduction frame.
Paintings
JULES ÉMILE SAINTIN (French 1829-1894)
Three Portraits
1. Abraham Lincoln, 1860
Graphite and gouache on card
4.25in. x 3.25in. oval
Inscribed on top: 1805 Hon. Abraham Lincoln of Illinois President of the U.S.
Inscribed on bottom: J.E. Saintin New York 1860
2. Stephen A. Douglas, 1860
Graphite and gouache on card
5in. x 4in. oval
Inscribed on top: 1861 Hon. Stephen A. Douglas of Illinois.
Inscribed on bottom: J. Emile Saintin New York 1860
3. John Brown, 1859
Graphite and gouache on brown paper
6in. x 4.75in. oval
Inscribed on top: J.E. Saintin/ New York, 1859
Inscribed on bottom: John Brown 1859
Provenance: Argosy Gallery, New York; the estate of E. Maurice Bloch; [Christies New York, June 19, 1990 lot 28]; Hirschl & Adler Gallery, New York
Jules Émile Saintin was born in Lemée, France on October 1, 1829 and attended classes at the Ecole des Beaux-arts under Michel-Martin Drolling, Achille-Jean Babtiste, and Francais Edouard Picot. Saintin made his debut at the Paris Salon in 1848 and his work was awarded medals in 1866, 1870, and 1886. Saintin worked in New York City around 1857 and he was commissioned to paint portraits of prominent citizens, including a portrait of Stephen A. Douglas, which now hangs in the Corcoran Gallery of Art, Washington, D.C. He was elected an Associate of the National Academy of Design in 1861. Saintin returned to France sometime around 1863 and he died in Paris in 1894. He was awarded the prestigious Chevalier de la Légion d'Honneur. His work is housed in the Corcoran Gallery of Art and in France in the Musée de Nice, Musée de Saint-Brieuc.
Condition: quarter sized stain lower left, some scratches and paper discoloration
Three Portraits
1. Abraham Lincoln, 1860
Graphite and gouache on card
4.25in. x 3.25in. oval
Inscribed on top: 1805 Hon. Abraham Lincoln of Illinois President of the U.S.
Inscribed on bottom: J.E. Saintin New York 1860
2. Stephen A. Douglas, 1860
Graphite and gouache on card
5in. x 4in. oval
Inscribed on top: 1861 Hon. Stephen A. Douglas of Illinois.
Inscribed on bottom: J. Emile Saintin New York 1860
3. John Brown, 1859
Graphite and gouache on brown paper
6in. x 4.75in. oval
Inscribed on top: J.E. Saintin/ New York, 1859
Inscribed on bottom: John Brown 1859
Provenance: Argosy Gallery, New York; the estate of E. Maurice Bloch; [Christies New York, June 19, 1990 lot 28]; Hirschl & Adler Gallery, New York
Jules Émile Saintin was born in Lemée, France on October 1, 1829 and attended classes at the Ecole des Beaux-arts under Michel-Martin Drolling, Achille-Jean Babtiste, and Francais Edouard Picot. Saintin made his debut at the Paris Salon in 1848 and his work was awarded medals in 1866, 1870, and 1886. Saintin worked in New York City around 1857 and he was commissioned to paint portraits of prominent citizens, including a portrait of Stephen A. Douglas, which now hangs in the Corcoran Gallery of Art, Washington, D.C. He was elected an Associate of the National Academy of Design in 1861. Saintin returned to France sometime around 1863 and he died in Paris in 1894. He was awarded the prestigious Chevalier de la Légion d'Honneur. His work is housed in the Corcoran Gallery of Art and in France in the Musée de Nice, Musée de Saint-Brieuc.
Condition: quarter sized stain lower left, some scratches and paper discoloration
AMERICAN SCHOOL
Abraham Lincoln
Oil on canvas
30in. x 25in. (sight size)
Condition: original canvas and stretchers, areas of inpaint in eyes, nose, neck and parts of hair, inpaint lower left corner
Abraham Lincoln
Oil on canvas
30in. x 25in. (sight size)
Condition: original canvas and stretchers, areas of inpaint in eyes, nose, neck and parts of hair, inpaint lower left corner
AMERICAN SCHOOL (late 19th century)
Southern River Landscape
Oil on canvas
28.5in. x 37in.
Southern River Landscape
Oil on canvas
28.5in. x 37in.
Fine Art
AMERICAN SCHOOL (19th Century)
Sunset Landscape with Elk
Oil on canvas
18.5in. x 29.5in.
Exhibit label on stretcher inscribed: Berlin 1877, Leden 1878, Munich 188?
Condition: original stretcher and canvas, 4in. inpainted along top edge, inpaint bottom 1in. area along edge, restored frame rub left and right edge. Approximately 50% inpaint throughout.
Sunset Landscape with Elk
Oil on canvas
18.5in. x 29.5in.
Exhibit label on stretcher inscribed: Berlin 1877, Leden 1878, Munich 188?
Condition: original stretcher and canvas, 4in. inpainted along top edge, inpaint bottom 1in. area along edge, restored frame rub left and right edge. Approximately 50% inpaint throughout.
RICHARD AMUNDSEN (American 1928-1998)
Sleeping Giants
Oil on masonite
6in. x 18in. (sight size)
Signed lower right: Amundsen
Inscribed on verso: "Sleeping Giants"/ Richard Amundsen/ Reproduction Rts./ Retained by the artist
Artist Union Gallery, Montana stamp on verso
Richard Amundsen was born in Sacramento Valley, California and was educated in San Francisco. In 1963, he began his career as an illustrator specializing in wildlife. He moved to Seattle and used a New York City agent to help secure commissions from publications such as Field & Stream, Outdoor Life, Golden Books, Random House, and Readers Digest. He also illustrated the Remington Arms wildlife calendars as well as Leanin' Tree Christmas cards.
Amundsen moved to Cody, Wyoming and began working as a fine artist. He was considered one of the top painters in the area. He later moved to Bozeman, Montana and painted in Yellowstone and Glacier National Parks. His commissioned painting of Theodore Roosevelt in the high country was presented to President Nixon, earning him the Presidential Seal. Amundsen was an avid outdoorsman and many of his paintings resulted from personal experiences he had through fishing, hunting, and research trips.
Condition: appears to be in good condition.
Sleeping Giants
Oil on masonite
6in. x 18in. (sight size)
Signed lower right: Amundsen
Inscribed on verso: "Sleeping Giants"/ Richard Amundsen/ Reproduction Rts./ Retained by the artist
Artist Union Gallery, Montana stamp on verso
Richard Amundsen was born in Sacramento Valley, California and was educated in San Francisco. In 1963, he began his career as an illustrator specializing in wildlife. He moved to Seattle and used a New York City agent to help secure commissions from publications such as Field & Stream, Outdoor Life, Golden Books, Random House, and Readers Digest. He also illustrated the Remington Arms wildlife calendars as well as Leanin' Tree Christmas cards.
Amundsen moved to Cody, Wyoming and began working as a fine artist. He was considered one of the top painters in the area. He later moved to Bozeman, Montana and painted in Yellowstone and Glacier National Parks. His commissioned painting of Theodore Roosevelt in the high country was presented to President Nixon, earning him the Presidential Seal. Amundsen was an avid outdoorsman and many of his paintings resulted from personal experiences he had through fishing, hunting, and research trips.
Condition: appears to be in good condition.
ALBERT BIERSTADT (American 1830-1902)
Monterey, California, c. 1890-1892
Oil on paper mounted on board
13.5in. x 18.5in.
Framed in an antique frame
Provenance: the artist; gifted to his wife, Rosalie Osborne Ludlow Bierstadt, Waterville, New York; by descent in the family; [Sotheby's New York, May 21, 2003, lot 200 as part of Ten Views: A Set of Paintings]
Monterey, California was one of a set of ten works on paper that renowned landscape artist Albert Bierstadt assembled and gave to his wife Rosalie as a gift. According to Gerald Carr, "Bierstadt probably painted this ensemble of ten, same-size, broadly brushed oil studies late in his career, between ca. 1890 and 1892." From 1871 to 1873 Bierstadt and Rosalie were in California. They took up residence in San Francisco, and Bierstadt made sketching excursions to the most remote areas of the Sierra Nevada and down the coast as far south as Monterey. Rosalie often accompanied Bierstadt on his painting excursions and the painting group likely depicts locales that were particularly dear to her heart, including Niagara Falls, the Bahamas, and Monterey.
The present work, Monterey, California shares similarities with Bierstadt's monumental Settlement of California, Bay of Monterey, 1770, 1876, which was purchased in 1878 along with Discovery of the Hudson River, 1874 to hang in the United States Capitol Building.
Monterey, California and the larger version in the Capitol both depict the European discovery of the west coast by showing white-man explorers at worship under a large cross near a tree in an open and a rolling hillside that leads to the bay. Like many of Bierstadt's works on paper, Monterey, California appears more spontaneous and less contrived than its grandiose counterpart. Monterey, California does not bear the same overt allusion to Christian man's manifest destiny, instead the composition is more subtle, and shows a small group of natives observing the explorer's ritual from afar. Emphasis is not on the religious ceremony, rather it is on the natural beauty of the rolling landscape and open expanse of Monterey Bay, more in keeping with what Bierstadt might have experienced first hand.
In 1859, Bierstadt joined a government company on a survey expedition to the territories of Colorado and Wyoming. The artist made sketches of the new surroundings for a series of large-scale landscapes of the American West. On his return, Bierstadt moved to New York City, where he painted a series of landscapes that secured his position as America's leading painter of Western scenery. Bierstadt enjoyed enormous success during the next decade, and his vision of the American wilderness captured the imagination of the public and hailed him as the preeminent landscape painter in the country. Bierstadt's paintings are found in renowned institutions and collections across the United States and abroad, including the United States Capital, Washington D.C.; The Metropolitan Museum of Art, New York; National Museum of American Art, Washington D.C.; Museum of Fine Arts, Boston; The Hermitage, St. Petersburg, Russia; Thyssen-Bornemisza Collection, Corcoran Gallery, Washington D.C.; and the Imperial Palace, Berlin, Germany.
Condition: minor flecks of inpaint in right sky -- less than 1% throughout.
Monterey, California, c. 1890-1892
Oil on paper mounted on board
13.5in. x 18.5in.
Framed in an antique frame
Provenance: the artist; gifted to his wife, Rosalie Osborne Ludlow Bierstadt, Waterville, New York; by descent in the family; [Sotheby's New York, May 21, 2003, lot 200 as part of Ten Views: A Set of Paintings]
Monterey, California was one of a set of ten works on paper that renowned landscape artist Albert Bierstadt assembled and gave to his wife Rosalie as a gift. According to Gerald Carr, "Bierstadt probably painted this ensemble of ten, same-size, broadly brushed oil studies late in his career, between ca. 1890 and 1892." From 1871 to 1873 Bierstadt and Rosalie were in California. They took up residence in San Francisco, and Bierstadt made sketching excursions to the most remote areas of the Sierra Nevada and down the coast as far south as Monterey. Rosalie often accompanied Bierstadt on his painting excursions and the painting group likely depicts locales that were particularly dear to her heart, including Niagara Falls, the Bahamas, and Monterey.
The present work, Monterey, California shares similarities with Bierstadt's monumental Settlement of California, Bay of Monterey, 1770, 1876, which was purchased in 1878 along with Discovery of the Hudson River, 1874 to hang in the United States Capitol Building.
Monterey, California and the larger version in the Capitol both depict the European discovery of the west coast by showing white-man explorers at worship under a large cross near a tree in an open and a rolling hillside that leads to the bay. Like many of Bierstadt's works on paper, Monterey, California appears more spontaneous and less contrived than its grandiose counterpart. Monterey, California does not bear the same overt allusion to Christian man's manifest destiny, instead the composition is more subtle, and shows a small group of natives observing the explorer's ritual from afar. Emphasis is not on the religious ceremony, rather it is on the natural beauty of the rolling landscape and open expanse of Monterey Bay, more in keeping with what Bierstadt might have experienced first hand.
In 1859, Bierstadt joined a government company on a survey expedition to the territories of Colorado and Wyoming. The artist made sketches of the new surroundings for a series of large-scale landscapes of the American West. On his return, Bierstadt moved to New York City, where he painted a series of landscapes that secured his position as America's leading painter of Western scenery. Bierstadt enjoyed enormous success during the next decade, and his vision of the American wilderness captured the imagination of the public and hailed him as the preeminent landscape painter in the country. Bierstadt's paintings are found in renowned institutions and collections across the United States and abroad, including the United States Capital, Washington D.C.; The Metropolitan Museum of Art, New York; National Museum of American Art, Washington D.C.; Museum of Fine Arts, Boston; The Hermitage, St. Petersburg, Russia; Thyssen-Bornemisza Collection, Corcoran Gallery, Washington D.C.; and the Imperial Palace, Berlin, Germany.
Condition: minor flecks of inpaint in right sky -- less than 1% throughout.
ALBERT BIERSTADT (American 1830-1902)
Indian Canoe at Lakeside
Oil on panel
11.25in. x 16in. (sight size)
Not signed
Provenance: Alexander Gallery - letter from gallery included
Born in Germany, Albert Bierstadt spent his childhood in New Bedford, Massachusetts. As a young child he returned to Europe for art studies and extensive travel through the countryside and Alps of Germany and Italy. Among his instructors were Royal Academy landscape painters Andreas Aschenbach and Karl F. Lessing. In 1857, Bierstadt returned to the United States and painted the White Mountains of New Hampshire and in 1858, exhibited for the first time at the National Academy of Design in New York. In 1859, at the age 29, Bierstadt accompanied a government expedition, Colonel Frederick W. Lander's trip to survey wagon routes in the Rocky Mountains and Wyoming, and the trip would help establish him as one of the most renowned landscape artists of his era. Bierstadt traveled with sketch pad, paints, and canvas, by mule, past the Missouri River and deep into the Rocky Mountains of Wyoming. There he found his greatest subject matter, the magnificent, forests, plains, indigenous wildlife and peoples of the West.
In 1863, Bierstadt went by stage coach to California and became much celebrated in San Francisco society, where he lived for six months. He traveled to Yosemite where he did many paintings that were such a sensation that he became immediately famous. In 1871, he returned to California and stayed for three years, exhibiting in local galleries and with the San Francisco Art Association. He also returned in 1893 after the death of his wife. Bierstadt's California journeys from 1863 to 1870 proved to be the culmination of his Rocky Mountain efforts. In 1864 the artist's painting, "The Rocky Mountains," sold for $25,000, the highest price yet paid for a work of art. Toward the end of the century, Bierstadt's career had setbacks, due in part to the increasing influence of the Barbizon and Impressionist styles from Europe, and his work was increasingly considered "old fashioned." In 1895, he declared bankruptcy and died seven years later, largely forgotten in the public mind. In the late 20th century, Bierstadt's work was re-evaluated by the public and according to Edan Hughes in his book Artists in California, Bierstadt is "the founder of the western school of landscape painting."
Though best known for his enormous, highly romanticized landscapes of a golden West, Bierstadt is at least equally admired for his smaller finished, less-idealized works and his accurate, perceptive on-site studies and oil sketches. This work is awash in color and Bierstadt modulated his values to create a vivid illusion of spatial depth in a mist-filled atmosphere as the sun begins to rise. The brushwork is finely blended and yet still directly applied, the work of a confident hand. The reflection of light on the lake adds a lively note to the lower part of the composition and focuses attention on the canoe -- a lovely, still scene. Public Collections of Bierstadt's work include: Brooklyn Museum, NY; Capitol Building, Wash., D.C.; The Hermitage, St. Petersburg, Russia; High Museum, Atlanta, Ga.; Metropolitan Museum of Art, N.Y.; Museum of Fine Art, Boston; St. Johnsbury Athenaeum, VT.; Dallas Museum of Art, Dallas, TX; Amon Carter, FWT; and Gilcrease, Tulsa
keywords: landscape, Hudson river, lake, oil, painting, West
Indian Canoe at Lakeside
Oil on panel
11.25in. x 16in. (sight size)
Not signed
Provenance: Alexander Gallery - letter from gallery included
Born in Germany, Albert Bierstadt spent his childhood in New Bedford, Massachusetts. As a young child he returned to Europe for art studies and extensive travel through the countryside and Alps of Germany and Italy. Among his instructors were Royal Academy landscape painters Andreas Aschenbach and Karl F. Lessing. In 1857, Bierstadt returned to the United States and painted the White Mountains of New Hampshire and in 1858, exhibited for the first time at the National Academy of Design in New York. In 1859, at the age 29, Bierstadt accompanied a government expedition, Colonel Frederick W. Lander's trip to survey wagon routes in the Rocky Mountains and Wyoming, and the trip would help establish him as one of the most renowned landscape artists of his era. Bierstadt traveled with sketch pad, paints, and canvas, by mule, past the Missouri River and deep into the Rocky Mountains of Wyoming. There he found his greatest subject matter, the magnificent, forests, plains, indigenous wildlife and peoples of the West.
In 1863, Bierstadt went by stage coach to California and became much celebrated in San Francisco society, where he lived for six months. He traveled to Yosemite where he did many paintings that were such a sensation that he became immediately famous. In 1871, he returned to California and stayed for three years, exhibiting in local galleries and with the San Francisco Art Association. He also returned in 1893 after the death of his wife. Bierstadt's California journeys from 1863 to 1870 proved to be the culmination of his Rocky Mountain efforts. In 1864 the artist's painting, "The Rocky Mountains," sold for $25,000, the highest price yet paid for a work of art. Toward the end of the century, Bierstadt's career had setbacks, due in part to the increasing influence of the Barbizon and Impressionist styles from Europe, and his work was increasingly considered "old fashioned." In 1895, he declared bankruptcy and died seven years later, largely forgotten in the public mind. In the late 20th century, Bierstadt's work was re-evaluated by the public and according to Edan Hughes in his book Artists in California, Bierstadt is "the founder of the western school of landscape painting."
Though best known for his enormous, highly romanticized landscapes of a golden West, Bierstadt is at least equally admired for his smaller finished, less-idealized works and his accurate, perceptive on-site studies and oil sketches. This work is awash in color and Bierstadt modulated his values to create a vivid illusion of spatial depth in a mist-filled atmosphere as the sun begins to rise. The brushwork is finely blended and yet still directly applied, the work of a confident hand. The reflection of light on the lake adds a lively note to the lower part of the composition and focuses attention on the canoe -- a lovely, still scene. Public Collections of Bierstadt's work include: Brooklyn Museum, NY; Capitol Building, Wash., D.C.; The Hermitage, St. Petersburg, Russia; High Museum, Atlanta, Ga.; Metropolitan Museum of Art, N.Y.; Museum of Fine Art, Boston; St. Johnsbury Athenaeum, VT.; Dallas Museum of Art, Dallas, TX; Amon Carter, FWT; and Gilcrease, Tulsa
keywords: landscape, Hudson river, lake, oil, painting, West
ALBERT BIERSTADT (American 1830-1902)
Chamois
Oil on paper mounted on masonite
14in. x 19in.
Signed lower right: A Bierstadt
Framed in reproduction frame with original plaque inscribed: Chamois Switzerland
America's leading painter of the Western landscape, Albert Bierstadt's interest in the pristine wilderness also included the careful rendering of its native animals. On each of his expeditions he made numerous, detailed oil on paper studies of the flora and fauna. Since few are dated, it is difficult to assign these works to specific trips, especially since Bierstadt visited the Swiss Alps on several occasions over the span of his career.
Condition: 4in. x 3in. area of inpaint upper right corner, linear inpaint in center, and small inpaint upper middle edge, no inpaint in the animals, reproduction frame.
Chamois
Oil on paper mounted on masonite
14in. x 19in.
Signed lower right: A Bierstadt
Framed in reproduction frame with original plaque inscribed: Chamois Switzerland
America's leading painter of the Western landscape, Albert Bierstadt's interest in the pristine wilderness also included the careful rendering of its native animals. On each of his expeditions he made numerous, detailed oil on paper studies of the flora and fauna. Since few are dated, it is difficult to assign these works to specific trips, especially since Bierstadt visited the Swiss Alps on several occasions over the span of his career.
Condition: 4in. x 3in. area of inpaint upper right corner, linear inpaint in center, and small inpaint upper middle edge, no inpaint in the animals, reproduction frame.
Paintings
ALBERT BIERSTADT (American 1830-1902)
Hunter in the White Mountains Near Glen House, 1869
Oil on paper
19in.x 13.75in
Inscribed on verso: White Mts. Near Glen House 1869
Provenance: private collection, upstate New York
Best known for his images of the West and of Yosemite, renowned landscape painter Albert Bierstadt also had a special attachment to the White Mountains of New Hampshire. He visited the area several times over the course of his career between 1852 and 1886, and created some of his most noteworthy paintings there, including The Lake at Franconia Notch, White Mountains (Newark Museum), Moat Mountain (Currier Gallery of Art), and The Emerald Pool, 1870 (Chrysler Museum of Art), a work Bierstadt considered to be his finest.
Bierstadt's first documented trip to the White Mountains was in 1852, just prior to his departure to study and travel in Europe. He returned to the White Mountains in September 1860, and The Cosmopolitan Art Journal noted that Bierstadt went "into the White Mountain region to sketch, and to experiment photographically, along with his brother, a photographist of eminence." It was this trip that prompted the art periodical The Crayon to praise Bierstadt for "a series of views and studies taken in the White Mountains." Bierstadt returned to the region in September of 1861, staying for approximately three weeks, and in 1862, he returned again and remained for much of the summer. The following winter, the Leader noted, "nearly an entire wall of his studio is filled with studies and sketches from his White Mountain sojourn." Bierstadt traveled to the White Mountains in the fall of 1869, when the present work was painted, and again during the summer months of 1874.
Bierstadt was not only a prolific artist, but also an avid hunter and sportsman. His affinity with nature no doubt inspired his choice of artistic subjects. Throughout his career, Bierstadt traveled into the wilderness with his palette and paper to make oil sketches and studies that he would later use in his New York studio as the basis for his larger paintings. While working on-site, Bierstadt preferred to work on easily transportable sheets of paper, generally no larger than 13in.x 19in. Bierstadt's oil sketches offer an intimate and sensitive view of the natural surroundings; they often appear more fresh and spontaneous than his larger, more finished oil paintings.
Condition: detached upper right corner, small amount of paint loss on bottom left edge, lacking bit of lower right corner, otherwise good condition
Hunter in the White Mountains Near Glen House, 1869
Oil on paper
19in.x 13.75in
Inscribed on verso: White Mts. Near Glen House 1869
Provenance: private collection, upstate New York
Best known for his images of the West and of Yosemite, renowned landscape painter Albert Bierstadt also had a special attachment to the White Mountains of New Hampshire. He visited the area several times over the course of his career between 1852 and 1886, and created some of his most noteworthy paintings there, including The Lake at Franconia Notch, White Mountains (Newark Museum), Moat Mountain (Currier Gallery of Art), and The Emerald Pool, 1870 (Chrysler Museum of Art), a work Bierstadt considered to be his finest.
Bierstadt's first documented trip to the White Mountains was in 1852, just prior to his departure to study and travel in Europe. He returned to the White Mountains in September 1860, and The Cosmopolitan Art Journal noted that Bierstadt went "into the White Mountain region to sketch, and to experiment photographically, along with his brother, a photographist of eminence." It was this trip that prompted the art periodical The Crayon to praise Bierstadt for "a series of views and studies taken in the White Mountains." Bierstadt returned to the region in September of 1861, staying for approximately three weeks, and in 1862, he returned again and remained for much of the summer. The following winter, the Leader noted, "nearly an entire wall of his studio is filled with studies and sketches from his White Mountain sojourn." Bierstadt traveled to the White Mountains in the fall of 1869, when the present work was painted, and again during the summer months of 1874.
Bierstadt was not only a prolific artist, but also an avid hunter and sportsman. His affinity with nature no doubt inspired his choice of artistic subjects. Throughout his career, Bierstadt traveled into the wilderness with his palette and paper to make oil sketches and studies that he would later use in his New York studio as the basis for his larger paintings. While working on-site, Bierstadt preferred to work on easily transportable sheets of paper, generally no larger than 13in.x 19in. Bierstadt's oil sketches offer an intimate and sensitive view of the natural surroundings; they often appear more fresh and spontaneous than his larger, more finished oil paintings.
Condition: detached upper right corner, small amount of paint loss on bottom left edge, lacking bit of lower right corner, otherwise good condition
Fine Art
ALBERT BIERSTADT (American 1830-1902)
Sketchbook, June-July 1896
5in. x 7in.
5 watercolor and pencil sketches, 24 pencil sketches
Stamped inside front and back covers: from the estate of Mary S. Bierstadt, March 1917
Inside cover stamped: Hugo Rosenstein Artist Materials, NYC
Provenance: the artist, to Mary S. Bierstadt (his 2nd wife), Mary S. Bierstadt estate 1917
Throughout his career, Bierstadt traveled into remote areas of wilderness with his sketching equipment to make studies that he would later use in his New York studio as the basis for his larger paintings. Albert Bierstadt traveled in Europe over the spring and summer of 1896 and was in Lucerne, Switzerland during the month of June. While working on-site, Bierstadt preferred to draw in sketchbooks or on easily transportable sheets of paper, generally no larger than 13in. x 19in.
Bierstadt's sketches offer an intimate and sensitive view of the natural surroundings; they often appear more fresh and spontaneous than his larger, finished oil paintings. These works on paper enable the viewer to witness firsthand what the artist experienced -- they capture a moment in time like a photograph or diary entry. In addition to being a prolific artist, he was also an avid outdoorsman. His affinity with nature no doubt inspired his choice of artistic subjects.
Condition: Some inscriptions are Lake Geneva, from Zurich Innsbrook, near Langen (?) Aus. Tyrol. Appears to be in good condition.
Sketchbook, June-July 1896
5in. x 7in.
5 watercolor and pencil sketches, 24 pencil sketches
Stamped inside front and back covers: from the estate of Mary S. Bierstadt, March 1917
Inside cover stamped: Hugo Rosenstein Artist Materials, NYC
Provenance: the artist, to Mary S. Bierstadt (his 2nd wife), Mary S. Bierstadt estate 1917
Throughout his career, Bierstadt traveled into remote areas of wilderness with his sketching equipment to make studies that he would later use in his New York studio as the basis for his larger paintings. Albert Bierstadt traveled in Europe over the spring and summer of 1896 and was in Lucerne, Switzerland during the month of June. While working on-site, Bierstadt preferred to draw in sketchbooks or on easily transportable sheets of paper, generally no larger than 13in. x 19in.
Bierstadt's sketches offer an intimate and sensitive view of the natural surroundings; they often appear more fresh and spontaneous than his larger, finished oil paintings. These works on paper enable the viewer to witness firsthand what the artist experienced -- they capture a moment in time like a photograph or diary entry. In addition to being a prolific artist, he was also an avid outdoorsman. His affinity with nature no doubt inspired his choice of artistic subjects.
Condition: Some inscriptions are Lake Geneva, from Zurich Innsbrook, near Langen (?) Aus. Tyrol. Appears to be in good condition.
Paintings
JASPER F. CROPSEY (American 1823-1900)
Canajoharie, New York, 1880 (double sided)
Watercolor and pencil on tan paper heightened with white
4.5in. x 7in. (sight size)
Signed and dated lower right: J.F. Cropsey/ Canajoharie 1880
Verso drawing of two females and landscape
Verso inscribed: Canajoharie June 23 1880
One of America's leading Hudson River School painters, Jasper Francis Cropsey's landscapes brought him national and international acclaim. Cropsey was an avid traveler, and made numerous pencil and watercolor sketches on his excursions that he would later use as the basis for larger paintings created in his studio. As early as May 1847, the Literary World noted that: "Mr. Cropsey is one of the few among our young landscape painters who go directly to nature for their material."
Cropsey was born in Rossville, Staten Island, and early on displayed a keen interest in drawing and architecture. While still a young teen, Cropsey was awarded diplomas from the New York Mechanic's Institute and the American Institute of the City of New York for an elaborate architectural model. He then apprenticed with architect John Trench, who encouraged Cropsey to explore his talent in drawing and painting. Cropsey attended classes at the National Academy of Design, which constituted his formal art training.
In 1843, Cropsey opened his own architectural firm in New York, and by 1944 he first exhibited at the National Academy. Cropsey was a strong admirer of the works of Thomas Cole, and by 1845 he was devoting himself entirely to painting landscapes. From 1847 to 1849, he traveled through Europe, where he visited important sights in Italy, France, and Great Britain. He returned to the United States, settled in New York, and made many sketching trips throughout upstate New York, Vermont, Rhode Island, and New Hampshire.
Cropsey lived in England from 1856 to 1863, where he was an acquaintance of art aesthete and critic John Ruskin. At this time, Cropsey was appointed by Queen Victoria as a member of the American Commission of the 1862 International Exposition. Upon his return to New York, he began to paint the autumnal scenes for which he is best known today.
Cropsey enjoyed an illustrious career as one of the leading proponents of the Hudson River School. He exhibited extensively at the National Academy of Design where he was elected full Academician in 1851. He also exhibited at the Pennsylvania Academy of the Fine Arts, Brooklyn Art Association, Royal Academy of London, Boston Athenaeum, Boston Art Club, and the Centennial Exposition in Philadelphia in 1876. His work is housed in the Metropolitan Museum of Art, New-York Historical Society, Woodmere Art Museum, Philadelphia; Museum of Fine Arts, Boston, and the Peabody Institute, Baltimore.
Ever Rest, Cropsey's home and studio in Hastings-on-Hudson, New York is maintained by the Newington-Cropsey Foundation and is open for public viewing. The Foundation's collection includes numerous paintings, sketches, and prints by Cropsey, as well as other luminaries of the Hudson River School.
Condition: bottom right corner ripped below front signature, otherwise good condition
Canajoharie, New York, 1880 (double sided)
Watercolor and pencil on tan paper heightened with white
4.5in. x 7in. (sight size)
Signed and dated lower right: J.F. Cropsey/ Canajoharie 1880
Verso drawing of two females and landscape
Verso inscribed: Canajoharie June 23 1880
One of America's leading Hudson River School painters, Jasper Francis Cropsey's landscapes brought him national and international acclaim. Cropsey was an avid traveler, and made numerous pencil and watercolor sketches on his excursions that he would later use as the basis for larger paintings created in his studio. As early as May 1847, the Literary World noted that: "Mr. Cropsey is one of the few among our young landscape painters who go directly to nature for their material."
Cropsey was born in Rossville, Staten Island, and early on displayed a keen interest in drawing and architecture. While still a young teen, Cropsey was awarded diplomas from the New York Mechanic's Institute and the American Institute of the City of New York for an elaborate architectural model. He then apprenticed with architect John Trench, who encouraged Cropsey to explore his talent in drawing and painting. Cropsey attended classes at the National Academy of Design, which constituted his formal art training.
In 1843, Cropsey opened his own architectural firm in New York, and by 1944 he first exhibited at the National Academy. Cropsey was a strong admirer of the works of Thomas Cole, and by 1845 he was devoting himself entirely to painting landscapes. From 1847 to 1849, he traveled through Europe, where he visited important sights in Italy, France, and Great Britain. He returned to the United States, settled in New York, and made many sketching trips throughout upstate New York, Vermont, Rhode Island, and New Hampshire.
Cropsey lived in England from 1856 to 1863, where he was an acquaintance of art aesthete and critic John Ruskin. At this time, Cropsey was appointed by Queen Victoria as a member of the American Commission of the 1862 International Exposition. Upon his return to New York, he began to paint the autumnal scenes for which he is best known today.
Cropsey enjoyed an illustrious career as one of the leading proponents of the Hudson River School. He exhibited extensively at the National Academy of Design where he was elected full Academician in 1851. He also exhibited at the Pennsylvania Academy of the Fine Arts, Brooklyn Art Association, Royal Academy of London, Boston Athenaeum, Boston Art Club, and the Centennial Exposition in Philadelphia in 1876. His work is housed in the Metropolitan Museum of Art, New-York Historical Society, Woodmere Art Museum, Philadelphia; Museum of Fine Arts, Boston, and the Peabody Institute, Baltimore.
Ever Rest, Cropsey's home and studio in Hastings-on-Hudson, New York is maintained by the Newington-Cropsey Foundation and is open for public viewing. The Foundation's collection includes numerous paintings, sketches, and prints by Cropsey, as well as other luminaries of the Hudson River School.
Condition: bottom right corner ripped below front signature, otherwise good condition
Fine Art
JASPER F. CROPSEY (American 1823-1900)
Old Mill (double sided)
Watercolor and pencil on colored paper heightened with white
4.5in. x 7in. (sight size)
Inscribed lower left: S . . . Hallow
Verso drawing of a Lake Scene
Condition: good
Old Mill (double sided)
Watercolor and pencil on colored paper heightened with white
4.5in. x 7in. (sight size)
Inscribed lower left: S . . . Hallow
Verso drawing of a Lake Scene
Condition: good
Paintings
JASPER F. CROPSEY (American 1823-1900)
Three Studies: Mill, River Scene, Foliage
Pencil on tan paper
7in. x 4.5in. (sight size)
Artist notations throughout
Condition: good
Three Studies: Mill, River Scene, Foliage
Pencil on tan paper
7in. x 4.5in. (sight size)
Artist notations throughout
Condition: good
Fine Art
JASPER F. CROPSEY (American 1823-1900)
River Scene, June 1880
Watercolor and pencil on tan paper heightened with white
7in. x 4.5in. (sight size)
Inscribed lower left: Artists Fund Voyage June 22/ 1880
Condition: good
River Scene, June 1880
Watercolor and pencil on tan paper heightened with white
7in. x 4.5in. (sight size)
Inscribed lower left: Artists Fund Voyage June 22/ 1880
Condition: good
JASPER F. CROPSEY (American 1823-1900)
Sketch of Landscape
Pencil on colored paper
7in. x 4.5in. (sight size)
Inscribed: Albany. 21/ Canajoharie 22- 25/ When 24- 25/ Where Hotel Canajoharie/ Mona . . .orte Bay/ Lake Outers/ Check 852 . . .
Condition: good
Sketch of Landscape
Pencil on colored paper
7in. x 4.5in. (sight size)
Inscribed: Albany. 21/ Canajoharie 22- 25/ When 24- 25/ Where Hotel Canajoharie/ Mona . . .orte Bay/ Lake Outers/ Check 852 . . .
Condition: good
Paintings
JASPER F. CROPSEY (American 1823-1900)
Waterfall and Figures
Watercolor and pencil on tan paper
7in. x 4.5in. (sight size)
Inscribed upper right: indiscernible
Condition: good
Waterfall and Figures
Watercolor and pencil on tan paper
7in. x 4.5in. (sight size)
Inscribed upper right: indiscernible
Condition: good
JASPER F. CROPSEY (American 1823-1900)
House by a Lake
Watercolor and pencil on paper
7in. x 4.5in. (sight size)
Condition: good
House by a Lake
Watercolor and pencil on paper
7in. x 4.5in. (sight size)
Condition: good
Fine Art
THOMAS DOUGHTY N.A. (American 1793-1856)
Landscape with Windmill, c. 1845
Oil on canvas
42in. x 54in. (sight size)
Signed lower right: T. Doughty
Provenance: private collection, Los Angeles
Born in 1793 in Philadelphia, Thomas Doughty was one of five sons. He showed an artistic ability at an early age and was encouraged to practice drawing during his elementary schooling. At the age of fifteen, Thomas Doughty was apprenticed in the leather industry, and later formed a partnership with one of his brothers. Thomas continued to develop his artistic skills, sketching landscapes; he traveled abroad and stayed in Paris, and then traveled to London, drawing constantly. In 1820, Doughty relocated to Philadelphia, where he listed himself as a landscape painter in the city directory. In 1824, he was commissioned to illustrate James Fenimore Cooper's novel, Pioneers. Exhibitions of Doughty's works were held in 1826 at the National Academy of Design, and in 1833 at the Boston Athenaeum. He set up a studio in Boston, and revisited Europe in 1835 and 1845. Doughty worked in Boston, New York, Philadelphia, and Europe, painting scenes of the Hudson, Delaware, Susquehanna, Seine, and Thames rivers.
Landscape with Windmill typifies the quiet, pastoral landscape view for which he became renowned; Doughty painted scenes of rivers, cities, farms, harbors, fishermen, and boats. The later phase of Doughty's career has been characterized as broader, and more painterly in handling than his earlier paintings; darker and more restrained in value, and with more emphasis on tonal values, than variety of hue or detail. After the mid-1830s, Doughty's paintings were influenced by the picturesque English school of landscape painting, as well as that of French painter Claude Lorraine, whose landscapes were an inspiration to many American painters. Doughty's works were lyrical and intimate in feeling, while still retaining an impression of broad space and limitless horizons. Doughty rendered trees with an approach that recalled the atmospheric paintings of the Barbizon School, and also English painter John Constable's landscape sketches. Doughty is regarded as an important predecessor of the Hudson River School, the loosely affiliated group of painters who painted scenes of the Catskills and the Hudson River region in the middle of the nineteenth century; throughout his career Doughty created a variety of landscapes ranging from the topographic and specific, to the evocative and poetic. Doughty is represented in the collections of the Birmingham Museum of Art; Metropolitan Museum of Art; Everson Museum of Art; Cleveland Museum of Art; Columbus Museum of Art; Allen Memorial Art Museum; Butler Institute of American Art; Pennsylvania Academy of Fine Arts; Philadelphia Museum of Art; Carnegie Museum of Art; Gibbes Museum of Art; Memphis Brooks Museum of Art; Brigham Young University Museum; San Diego Museum of Art; de Young Memorial Museum; Wadsworth Athenaeum; Yale University Art; Lyman Allyn Museum; National Gallery of Art; National Portrait Gallery; Smithsonian American Art Museum; Corcoran Gallery of Art; Delaware Art Museum; Georgia Museum of Art; High Museum of Art; Mead Art Museum; Boston Athenaeum; Museum of Fine Art, Boston; Worcester Art Museum; Baltimore Museum of Art; Detroit Institute of Art; Nelson-Atkins Museum of Art; Ackland Art Museum; Sheldon Memorial Art Gallery; Joslyn Art Museum; Newark Museum; Brooklyn Museum of Art; National Academy of Design; and New York Historical Society.
Landscape with Windmill, c. 1845
Oil on canvas
42in. x 54in. (sight size)
Signed lower right: T. Doughty
Provenance: private collection, Los Angeles
Born in 1793 in Philadelphia, Thomas Doughty was one of five sons. He showed an artistic ability at an early age and was encouraged to practice drawing during his elementary schooling. At the age of fifteen, Thomas Doughty was apprenticed in the leather industry, and later formed a partnership with one of his brothers. Thomas continued to develop his artistic skills, sketching landscapes; he traveled abroad and stayed in Paris, and then traveled to London, drawing constantly. In 1820, Doughty relocated to Philadelphia, where he listed himself as a landscape painter in the city directory. In 1824, he was commissioned to illustrate James Fenimore Cooper's novel, Pioneers. Exhibitions of Doughty's works were held in 1826 at the National Academy of Design, and in 1833 at the Boston Athenaeum. He set up a studio in Boston, and revisited Europe in 1835 and 1845. Doughty worked in Boston, New York, Philadelphia, and Europe, painting scenes of the Hudson, Delaware, Susquehanna, Seine, and Thames rivers.
Landscape with Windmill typifies the quiet, pastoral landscape view for which he became renowned; Doughty painted scenes of rivers, cities, farms, harbors, fishermen, and boats. The later phase of Doughty's career has been characterized as broader, and more painterly in handling than his earlier paintings; darker and more restrained in value, and with more emphasis on tonal values, than variety of hue or detail. After the mid-1830s, Doughty's paintings were influenced by the picturesque English school of landscape painting, as well as that of French painter Claude Lorraine, whose landscapes were an inspiration to many American painters. Doughty's works were lyrical and intimate in feeling, while still retaining an impression of broad space and limitless horizons. Doughty rendered trees with an approach that recalled the atmospheric paintings of the Barbizon School, and also English painter John Constable's landscape sketches. Doughty is regarded as an important predecessor of the Hudson River School, the loosely affiliated group of painters who painted scenes of the Catskills and the Hudson River region in the middle of the nineteenth century; throughout his career Doughty created a variety of landscapes ranging from the topographic and specific, to the evocative and poetic. Doughty is represented in the collections of the Birmingham Museum of Art; Metropolitan Museum of Art; Everson Museum of Art; Cleveland Museum of Art; Columbus Museum of Art; Allen Memorial Art Museum; Butler Institute of American Art; Pennsylvania Academy of Fine Arts; Philadelphia Museum of Art; Carnegie Museum of Art; Gibbes Museum of Art; Memphis Brooks Museum of Art; Brigham Young University Museum; San Diego Museum of Art; de Young Memorial Museum; Wadsworth Athenaeum; Yale University Art; Lyman Allyn Museum; National Gallery of Art; National Portrait Gallery; Smithsonian American Art Museum; Corcoran Gallery of Art; Delaware Art Museum; Georgia Museum of Art; High Museum of Art; Mead Art Museum; Boston Athenaeum; Museum of Fine Art, Boston; Worcester Art Museum; Baltimore Museum of Art; Detroit Institute of Art; Nelson-Atkins Museum of Art; Ackland Art Museum; Sheldon Memorial Art Gallery; Joslyn Art Museum; Newark Museum; Brooklyn Museum of Art; National Academy of Design; and New York Historical Society.
THOMAS DOUGHTY(American 1793-1856)
Early Winter Hiawatha Island, Owego, New York c. 1855
Oil on canvas
20in. x 29in.(sight size)
Signed lower right: T. Doughty
Inscribed on verso: belongs to M.H. Talbot
Label inscribed: Thomas Doughty Hiawatha Island
Provenance: Frederick H. Pumpelly, Owego, New York (possibly commissioned from the artist); by descent to his son James F. Pumpelly, Owego, New York, 1867; by descent to his daughter Mrs. Margaret Allen Pumpelly Ireland, Owego, New York, 1930; to private collection, New York, 1973; [Sotheby's New York, March 5, 2003 lot 8]
Exhibited: Binghamton, New York State University of New York, Binghamton Collects, 1974, illustrated; Syracuse, New York, Everson Museum of Art, Panorama of American Art, 1976; Binghamton, New York, Susquehanna Images of a Settled Landscape, 1981, illustrated.
Literature: Dobsel, "The Susquehanna Valley," Owego Gazette, September 20, 1877, p.1; National Museum of American Art, Smithsonian Institution, Inventory of American Paintings Executed Before 1914, Washington, D.C. no. IAP 74100121, illustrated; Emma M. Sedore, Hiawatha Island: Jewel of the Susquehanna, Owego, New York, 1994, p. 8, illustrated.
Thomas Doughty was a pioneer of American landscape painting during a time when most artists could only make a living from portrait commissions. Along with Thomas Cole, Doughty is considered to be one of the founders of the Hudson River School of landscape painting.
Born in Philadelphia, Doughty apprenticed to a leather merchant and worked as a leather currier. A self-taught artist, he turned to landscape painting as his profession in 1820. Doughty quickly won critical acclaim for his serene landscapes of the rivers and mountains of Pennsylvania, New York, and New England. Doughty was elected a member of the Pennsylvania Academy of the Fine Arts in 1824, and of the National Academy of Design in 1827. He lived in Philadelphia and Boston during the 1820s and 1830s, traveling extensively in the northeast and occasionally to England in search of subjects and commissions.
Following a brief residence in Newburgh, New York, Doughty moved permanently to New York City in 1840. He was a prolific artist who exhibited frequently at the National Academy of Design, Pennsylvania Academy of the Fine Arts, Boston Athenaeum, Maryland Historical Society, and overseas at several British and French galleries. Doughty's work is held in public collections, including The Metropolitan Museum of Art, New York; Georgia Museum of Art, University of Georgia, Athens; High Museum of Art, Atlanta; Baltimore Museum of Art, Maryland; Birmingham Museum of Art, Alabama; Gibbes Art Gallery, Charleston, South Carolina; Cleveland Museum of Art, Ohio; Columbus Museum of Art, Ohio; Hood Museum of Art, Hanover, New Hampshire; Nelson-Atkins Museum of Art, Kansas City, Missouri; Newark Museum, New Jersey; Yale University Art Gallery, New Haven, Connecticut; Joslyn Art Museum, Omaha, Nebraska; Pennsylvania Academy of the Fine Arts, Philadelphia; Corcoran Gallery of Art, Washington, D.C.; and the National Gallery of Art, Washington, DC.
Condition: canvas relined on original stretcher, inpainted frame rub all around. 2.5in. x 1in. area of inpaint above figure's shoulder, areas of inpaint lower left region.
Early Winter Hiawatha Island, Owego, New York c. 1855
Oil on canvas
20in. x 29in.(sight size)
Signed lower right: T. Doughty
Inscribed on verso: belongs to M.H. Talbot
Label inscribed: Thomas Doughty Hiawatha Island
Provenance: Frederick H. Pumpelly, Owego, New York (possibly commissioned from the artist); by descent to his son James F. Pumpelly, Owego, New York, 1867; by descent to his daughter Mrs. Margaret Allen Pumpelly Ireland, Owego, New York, 1930; to private collection, New York, 1973; [Sotheby's New York, March 5, 2003 lot 8]
Exhibited: Binghamton, New York State University of New York, Binghamton Collects, 1974, illustrated; Syracuse, New York, Everson Museum of Art, Panorama of American Art, 1976; Binghamton, New York, Susquehanna Images of a Settled Landscape, 1981, illustrated.
Literature: Dobsel, "The Susquehanna Valley," Owego Gazette, September 20, 1877, p.1; National Museum of American Art, Smithsonian Institution, Inventory of American Paintings Executed Before 1914, Washington, D.C. no. IAP 74100121, illustrated; Emma M. Sedore, Hiawatha Island: Jewel of the Susquehanna, Owego, New York, 1994, p. 8, illustrated.
Thomas Doughty was a pioneer of American landscape painting during a time when most artists could only make a living from portrait commissions. Along with Thomas Cole, Doughty is considered to be one of the founders of the Hudson River School of landscape painting.
Born in Philadelphia, Doughty apprenticed to a leather merchant and worked as a leather currier. A self-taught artist, he turned to landscape painting as his profession in 1820. Doughty quickly won critical acclaim for his serene landscapes of the rivers and mountains of Pennsylvania, New York, and New England. Doughty was elected a member of the Pennsylvania Academy of the Fine Arts in 1824, and of the National Academy of Design in 1827. He lived in Philadelphia and Boston during the 1820s and 1830s, traveling extensively in the northeast and occasionally to England in search of subjects and commissions.
Following a brief residence in Newburgh, New York, Doughty moved permanently to New York City in 1840. He was a prolific artist who exhibited frequently at the National Academy of Design, Pennsylvania Academy of the Fine Arts, Boston Athenaeum, Maryland Historical Society, and overseas at several British and French galleries. Doughty's work is held in public collections, including The Metropolitan Museum of Art, New York; Georgia Museum of Art, University of Georgia, Athens; High Museum of Art, Atlanta; Baltimore Museum of Art, Maryland; Birmingham Museum of Art, Alabama; Gibbes Art Gallery, Charleston, South Carolina; Cleveland Museum of Art, Ohio; Columbus Museum of Art, Ohio; Hood Museum of Art, Hanover, New Hampshire; Nelson-Atkins Museum of Art, Kansas City, Missouri; Newark Museum, New Jersey; Yale University Art Gallery, New Haven, Connecticut; Joslyn Art Museum, Omaha, Nebraska; Pennsylvania Academy of the Fine Arts, Philadelphia; Corcoran Gallery of Art, Washington, D.C.; and the National Gallery of Art, Washington, DC.
Condition: canvas relined on original stretcher, inpainted frame rub all around. 2.5in. x 1in. area of inpaint above figure's shoulder, areas of inpaint lower left region.
Paintings
THOMAS EAKINS (American 1844-1916)
Knitting, c.1882
Painted plaster relief
18.5in. x 15in. oval
Incised on verso: Eakins/ Sculptor
Provenance: Susan Eakins (the artists wife), gifted to Mr. Charles Bregler, Asbury Park, New Jersey 1931; the estate of Mary L. Bregler; [Christie's East, New York, April 19, 1998 lot 51]
Literature: Hirschl & Adler Galleries, Carved and Modeled: American Sculpture 1810-1940, New York, April -- June, 1982, pp. 42-42, cat no., 19b; M.F. Rogers, Jr., Sketches and Bozzetti by American Sculptors, 1880-1950, Cincinnati, Ohio, 1987, p.59, fig. 41.
In 1882, James P. Scott of Philadelphia commissioned Eakins to design two decorative reliefs: the present work, Knitting, and its companion piece, Spinning. Scott eventually rejected the designs and after some turmoil he returned the plasters to Eakins three years later. Spinning and Knitting are similar in pose to a number of Eakins' drawings and watercolors that date to 1877 to 1881, such as Seventy Years Ago, 1877 in The Art Museum, Princeton University.
Other plaster sets are known: a pair at the Art Institute of Chicago, a pair at the Pennsylvania Academy of the Fine Arts. A cast of Spinning is in the Philadelphia Museum of Art and a cast of Knitting is at the Corcoran Gallery of Art, Washington, D.C. Three sets of bronzes are also in the collections of the Pennsylvania Academy of the Fine Arts (cast in 1886 for Eakins); Philadelphia Museum of Art (cast in 1930 for Mrs. Eakins), and the Hirshhorn Museum and Sculpture Garden, Smithsonian Institute (cast in 1930 for Samuel Murray). The Corcoran Gallery of Art also has a bronze of Knitting which was cast from the plaster in its collection.
Thomas Eakins was one the earliest, and most influential proponents of realism in American painting and sculpture. He was born in Philadelphia and began studies in 1862 at the Pennsylvania Academy of Fine Arts, and supplemented his studies with anatomy classes at the Jefferson Medical School. From 1866 to 1869, he studied at the Ecole des Beaux Arts in Paris as a student of historical painter, Jean Leon Gerôme. In Spain, he saw the work of Francisco Goya and Diego Velasquez, major influences on his emerging naturalistic style. In 1873, Eakins accepted a teaching position at the Pennsylvania Academy of the Fine Arts, a position he held until 1886 when he was dismissed for using a nude male model in a class of both men and women students. Many of his students then defected from the Academy to a private school he established called Art Students League, where he taught without pay.
During the 1880s and 1890s, Eakins began to experiment with photography, putting several exposures on the same plate, and he used some of his photographs as the basis for paintings. He was elected Academician of the National Academy of Design in 1902. He exhibited his works extensively at the Pennsylvania Academy of the Fine Arts, National Academy of Design, Paris Salon, Brooklyn Art Association, and the Corcoran Gallery of Art. His artwork is housed in important public collections, including The Metropolitan Museum of Art, Philadelphia Museum of Art, Boston Museum of Fine Arts, National Gallery of Art, Washington D.C.; Art Institute of Chicago, and the Pennsylvania Academy of the Fine Arts.
Condition: some minor chips on edges, otherwise good condition
Knitting, c.1882
Painted plaster relief
18.5in. x 15in. oval
Incised on verso: Eakins/ Sculptor
Provenance: Susan Eakins (the artists wife), gifted to Mr. Charles Bregler, Asbury Park, New Jersey 1931; the estate of Mary L. Bregler; [Christie's East, New York, April 19, 1998 lot 51]
Literature: Hirschl & Adler Galleries, Carved and Modeled: American Sculpture 1810-1940, New York, April -- June, 1982, pp. 42-42, cat no., 19b; M.F. Rogers, Jr., Sketches and Bozzetti by American Sculptors, 1880-1950, Cincinnati, Ohio, 1987, p.59, fig. 41.
In 1882, James P. Scott of Philadelphia commissioned Eakins to design two decorative reliefs: the present work, Knitting, and its companion piece, Spinning. Scott eventually rejected the designs and after some turmoil he returned the plasters to Eakins three years later. Spinning and Knitting are similar in pose to a number of Eakins' drawings and watercolors that date to 1877 to 1881, such as Seventy Years Ago, 1877 in The Art Museum, Princeton University.
Other plaster sets are known: a pair at the Art Institute of Chicago, a pair at the Pennsylvania Academy of the Fine Arts. A cast of Spinning is in the Philadelphia Museum of Art and a cast of Knitting is at the Corcoran Gallery of Art, Washington, D.C. Three sets of bronzes are also in the collections of the Pennsylvania Academy of the Fine Arts (cast in 1886 for Eakins); Philadelphia Museum of Art (cast in 1930 for Mrs. Eakins), and the Hirshhorn Museum and Sculpture Garden, Smithsonian Institute (cast in 1930 for Samuel Murray). The Corcoran Gallery of Art also has a bronze of Knitting which was cast from the plaster in its collection.
Thomas Eakins was one the earliest, and most influential proponents of realism in American painting and sculpture. He was born in Philadelphia and began studies in 1862 at the Pennsylvania Academy of Fine Arts, and supplemented his studies with anatomy classes at the Jefferson Medical School. From 1866 to 1869, he studied at the Ecole des Beaux Arts in Paris as a student of historical painter, Jean Leon Gerôme. In Spain, he saw the work of Francisco Goya and Diego Velasquez, major influences on his emerging naturalistic style. In 1873, Eakins accepted a teaching position at the Pennsylvania Academy of the Fine Arts, a position he held until 1886 when he was dismissed for using a nude male model in a class of both men and women students. Many of his students then defected from the Academy to a private school he established called Art Students League, where he taught without pay.
During the 1880s and 1890s, Eakins began to experiment with photography, putting several exposures on the same plate, and he used some of his photographs as the basis for paintings. He was elected Academician of the National Academy of Design in 1902. He exhibited his works extensively at the Pennsylvania Academy of the Fine Arts, National Academy of Design, Paris Salon, Brooklyn Art Association, and the Corcoran Gallery of Art. His artwork is housed in important public collections, including The Metropolitan Museum of Art, Philadelphia Museum of Art, Boston Museum of Fine Arts, National Gallery of Art, Washington D.C.; Art Institute of Chicago, and the Pennsylvania Academy of the Fine Arts.
Condition: some minor chips on edges, otherwise good condition
Fine Art
JEAN MORGAN GEORGE (American 20th Century)
Rain over the Jamez
Watercolor on paper
28.25in. x 37.25in.(sight size)
Signed lower right: Morgan George
Janus Gallery label on verso
Condition: appears to be in good condition
Rain over the Jamez
Watercolor on paper
28.25in. x 37.25in.(sight size)
Signed lower right: Morgan George
Janus Gallery label on verso
Condition: appears to be in good condition
Paintings
HENRY FARRER (American 1844-1903)
Misty Green Landscape, 1890
Watercolor on paper
11.75in. x 18in. (sight size)
Signed and dated lower left: H. Farrer 1890
Misty Green Landscape is a wonderful study in compositional balance, as the tall trees are placed asymmetrically, to the right of center in the composition, and their "visual weight" is counterbalanced balanced perfectly by the bright values found in the reflecting pond at the bottom of the composition. A feeling of quiet, slight movement, of rippling water, and light wind, is suggested in this pastoral design. The closely matched values, and subtle warm and cool hue changes capture the diffused light of an overcast day, resulting in a painting of sublime beauty.
Henry Farrer, the younger brother of Thomas Charles Farrer, was born in London. Thomas was a founding member of the Association of Advancement of Truth in Art. This organization was based on Pre-Raphaelite member John Ruskin's philosophies. At the age of 19, Henry Farrer immigrated to the United States and opened his studio in New York City where he painted landscapes, predominantly in watercolor.
Henry Farrer was a founding member of the American Society of Painters in Water Color in 1866 and served as it's secretary for many years. He was also a founding member of the New York Etching Club and became its President in 1881. Farrer lived in Brooklyn from 1887 until his death in 1903.
The Farrer brothers became America's leading Ruskinians, as part of an American Pre-Raphaelite movement, from the 1860s to the 1880s. Henry Farrer is celebrated for his delicate watercolors and etchings, which reveal an attention to detail, close focus, and meticulous brushwork.
Keywords: watercolor, landscape, realism, pre-Rafaelite, painting
Misty Green Landscape, 1890
Watercolor on paper
11.75in. x 18in. (sight size)
Signed and dated lower left: H. Farrer 1890
Misty Green Landscape is a wonderful study in compositional balance, as the tall trees are placed asymmetrically, to the right of center in the composition, and their "visual weight" is counterbalanced balanced perfectly by the bright values found in the reflecting pond at the bottom of the composition. A feeling of quiet, slight movement, of rippling water, and light wind, is suggested in this pastoral design. The closely matched values, and subtle warm and cool hue changes capture the diffused light of an overcast day, resulting in a painting of sublime beauty.
Henry Farrer, the younger brother of Thomas Charles Farrer, was born in London. Thomas was a founding member of the Association of Advancement of Truth in Art. This organization was based on Pre-Raphaelite member John Ruskin's philosophies. At the age of 19, Henry Farrer immigrated to the United States and opened his studio in New York City where he painted landscapes, predominantly in watercolor.
Henry Farrer was a founding member of the American Society of Painters in Water Color in 1866 and served as it's secretary for many years. He was also a founding member of the New York Etching Club and became its President in 1881. Farrer lived in Brooklyn from 1887 until his death in 1903.
The Farrer brothers became America's leading Ruskinians, as part of an American Pre-Raphaelite movement, from the 1860s to the 1880s. Henry Farrer is celebrated for his delicate watercolors and etchings, which reveal an attention to detail, close focus, and meticulous brushwork.
Keywords: watercolor, landscape, realism, pre-Rafaelite, painting
JOHN HENRY HILL (American 1839-1922)
Sunflower in a Landscape, 1895
Watercolor on paper
14.25in. x 19.5in. (sight size)
Signed and dated lower right: 1895 JHH
John Henry Hill, son of the artist John William Hill, was born in West Nyack, New York on April 28, 1839. He studied painting with his father, a devotee of the Ruskinian Pre-Raphaelite aesthetic of truth in nature.
Hill first exhibited at the National Academy of Design in 1856 and was elected an Associate two years later. He exhibited watercolors, aquatints, and etchings to the National Academy through 1891, while also exhibiting regularly at the Brooklyn Art Association from 1865 to 1885. Both he and his father were founding members of the Association for the Advancement of Truth in Art, and their work was praised in The New Path.
During 1864 and 1865, Hill spent about eight months in England studying the work of Turner. Upon his return, he went to Ashfield, Massachusetts, to join the American Pre-Raphaelite group that there. He soon after created 24 etchings meant to exemplify Ruskin's theories about the proper way to draw from nature, and published them in 1867 as Sketches from Nature. The following year, and again in 1870, he traveled to the West as a staff artist for a government surveying expedition headed by his friend and fellow Association member, geologist Clarence King.
In 1878 and 1879 Hill again visited England and the Continent, and at one point, followed an itinerary proposed by his friend, John Ruskin in a letter of March 26, 1879.
Hill first began to visit the Adirondack Mountains in the 1860s. He camped and sketched throughout the region, and from 1870 to 1874, lived in a cabin he called "Artist's Retreat" that he built on an island near Bolton's Landing, Lake George. With the death of his beloved father in September 1879, Hill returned home to West Nyack, where he continued to paint watercolors in his father's studio. In honor of his father, Hill published An Artist's Memorial in 1888, and he continued to promote his father's work and legacy by reproducing etchings, some of which he donated to The Metropolitan Museum of Art.
John Henry Hill's artwork is found in important public collections, including the Museum of Fine Arts, Boston, Brooklyn Museum of Art, New-York Historical Society, Columbus Museum of Art, and The Metropolitan Museum of Art.
Condition: lower right corner ripped, repaired rip top middle edge- otherwise good condition
Sunflower in a Landscape, 1895
Watercolor on paper
14.25in. x 19.5in. (sight size)
Signed and dated lower right: 1895 JHH
John Henry Hill, son of the artist John William Hill, was born in West Nyack, New York on April 28, 1839. He studied painting with his father, a devotee of the Ruskinian Pre-Raphaelite aesthetic of truth in nature.
Hill first exhibited at the National Academy of Design in 1856 and was elected an Associate two years later. He exhibited watercolors, aquatints, and etchings to the National Academy through 1891, while also exhibiting regularly at the Brooklyn Art Association from 1865 to 1885. Both he and his father were founding members of the Association for the Advancement of Truth in Art, and their work was praised in The New Path.
During 1864 and 1865, Hill spent about eight months in England studying the work of Turner. Upon his return, he went to Ashfield, Massachusetts, to join the American Pre-Raphaelite group that there. He soon after created 24 etchings meant to exemplify Ruskin's theories about the proper way to draw from nature, and published them in 1867 as Sketches from Nature. The following year, and again in 1870, he traveled to the West as a staff artist for a government surveying expedition headed by his friend and fellow Association member, geologist Clarence King.
In 1878 and 1879 Hill again visited England and the Continent, and at one point, followed an itinerary proposed by his friend, John Ruskin in a letter of March 26, 1879.
Hill first began to visit the Adirondack Mountains in the 1860s. He camped and sketched throughout the region, and from 1870 to 1874, lived in a cabin he called "Artist's Retreat" that he built on an island near Bolton's Landing, Lake George. With the death of his beloved father in September 1879, Hill returned home to West Nyack, where he continued to paint watercolors in his father's studio. In honor of his father, Hill published An Artist's Memorial in 1888, and he continued to promote his father's work and legacy by reproducing etchings, some of which he donated to The Metropolitan Museum of Art.
John Henry Hill's artwork is found in important public collections, including the Museum of Fine Arts, Boston, Brooklyn Museum of Art, New-York Historical Society, Columbus Museum of Art, and The Metropolitan Museum of Art.
Condition: lower right corner ripped, repaired rip top middle edge- otherwise good condition
JOHN WILLIAM HILL (American 1812-1879)
Pre-Raphaelite Rock Study
Watercolor on paper
4.5in. x 3.75in. (sight with arched top)
Signed lower right: J.W. Hill
A beautiful example of John William Hill's mastery of the difficult medium of watercolor, Pre-Raphaelite Rock Study was painted in his characteristic stipple technique, brushwork that enabled him to achieve brilliant color with a high degree of detail in his Pre-Raphaelite works.
Hill was born in London, England, the son of the engraver John Hill. His family immigrated to America in 1819, initially settling in Philadelphia. Four years later, they moved to New York City where Hill began his artistic training as apprentice under his father for the next seven years. During this time, Hill worked on aquatint prints for William Guy Wall's Hudson River Portfolio (1820-1825) and his work from this period greatly resembled Wall's style.
He began exhibiting at the National Academy of Design in 1828 and in 1833 he traveled to London to study old master paintings. That same year he was elected an Associate of the National Academy of Design, where he exhibited regularly. From 1836 to 1841, Hill was a topographical artist for the New York State Geological Survey and created many images for two of their natural history publications. He was later employed by Smith Brothers of New York City to paint watercolor views of many American cities that were published as lithographs.
He made extensive trips throughout New England and upstate New York. During one of these trips around 1855, he read John Ruskin's Modern Painters, which advised "the earnest loving study of God's work of nature" as the basis of the reform of painting. Profoundly impacted by Ruskin's writing and the Pre-Raphaelite philosophy, Hill changed the direction and style of his painting. From this point on he devoted himself to working directly from nature. Hill executed detailed pictures of birds' nests and animals, as well as closely observed paintings of wildflowers, rocks, gardens, and landscapes, executed with a keen focus on minutiae.
An active member of the art community, Hill was one of the founding members of the New York Watercolor Society. By 1860, he was a close friend of Pre-Raphaelite painter Thomas C. Farrer; by 1863, Hill was elected President of the Association for the Advancement of Truth in Art, a group dedicated to Ruskinian and Pre-Raphaelite ideals.
His later paintings were completed around West Nyack, New York where he lived with his father from 1838, and where he remained until his death in 1879. In 1888, he was posthumously honored in a work titled An Artists Memorial, written and illustrated by his artist-son, John Henry Hill. Hill exhibited extensively at the National Academy of Design between 1829 and 1879, and at the Brooklyn Art Association between 1862 and 1884. His work can be found in prestigious collections and institutions, including The Metropolitan Museum of Art, Corcoran Gallery of Art, Washington D.C.; Peabody Essex Museum, Salem, Massachusetts; New-York Historical Society, Museum of Fine Arts, Boston; Field Museum of Natural History, Chicago, and the Thyssen-Bornamisza Collection, Lugano, Switzerland.
Condition: excellent
Pre-Raphaelite Rock Study
Watercolor on paper
4.5in. x 3.75in. (sight with arched top)
Signed lower right: J.W. Hill
A beautiful example of John William Hill's mastery of the difficult medium of watercolor, Pre-Raphaelite Rock Study was painted in his characteristic stipple technique, brushwork that enabled him to achieve brilliant color with a high degree of detail in his Pre-Raphaelite works.
Hill was born in London, England, the son of the engraver John Hill. His family immigrated to America in 1819, initially settling in Philadelphia. Four years later, they moved to New York City where Hill began his artistic training as apprentice under his father for the next seven years. During this time, Hill worked on aquatint prints for William Guy Wall's Hudson River Portfolio (1820-1825) and his work from this period greatly resembled Wall's style.
He began exhibiting at the National Academy of Design in 1828 and in 1833 he traveled to London to study old master paintings. That same year he was elected an Associate of the National Academy of Design, where he exhibited regularly. From 1836 to 1841, Hill was a topographical artist for the New York State Geological Survey and created many images for two of their natural history publications. He was later employed by Smith Brothers of New York City to paint watercolor views of many American cities that were published as lithographs.
He made extensive trips throughout New England and upstate New York. During one of these trips around 1855, he read John Ruskin's Modern Painters, which advised "the earnest loving study of God's work of nature" as the basis of the reform of painting. Profoundly impacted by Ruskin's writing and the Pre-Raphaelite philosophy, Hill changed the direction and style of his painting. From this point on he devoted himself to working directly from nature. Hill executed detailed pictures of birds' nests and animals, as well as closely observed paintings of wildflowers, rocks, gardens, and landscapes, executed with a keen focus on minutiae.
An active member of the art community, Hill was one of the founding members of the New York Watercolor Society. By 1860, he was a close friend of Pre-Raphaelite painter Thomas C. Farrer; by 1863, Hill was elected President of the Association for the Advancement of Truth in Art, a group dedicated to Ruskinian and Pre-Raphaelite ideals.
His later paintings were completed around West Nyack, New York where he lived with his father from 1838, and where he remained until his death in 1879. In 1888, he was posthumously honored in a work titled An Artists Memorial, written and illustrated by his artist-son, John Henry Hill. Hill exhibited extensively at the National Academy of Design between 1829 and 1879, and at the Brooklyn Art Association between 1862 and 1884. His work can be found in prestigious collections and institutions, including The Metropolitan Museum of Art, Corcoran Gallery of Art, Washington D.C.; Peabody Essex Museum, Salem, Massachusetts; New-York Historical Society, Museum of Fine Arts, Boston; Field Museum of Natural History, Chicago, and the Thyssen-Bornamisza Collection, Lugano, Switzerland.
Condition: excellent
Fine Art
JOHN HENRY HILL (American 1839-1922)
Carnarvon Castle, England, 1878
Watercolor and pencil on paper
4in. x 6.5in. (sight size)
Inscribed lower left: (indiscernible)
Inscribed lower right: Carnarvon Castle June 4 1878
Condition: small puncture upper right corner
Carnarvon Castle, England, 1878
Watercolor and pencil on paper
4in. x 6.5in. (sight size)
Inscribed lower left: (indiscernible)
Inscribed lower right: Carnarvon Castle June 4 1878
Condition: small puncture upper right corner
Paintings
JOHN HENRY HILL (American 1839-1922)
Nine studies
Watercolor and pencil on paper/pencil on paper
2.75in. x 1.75in. to 9.5in. x 13.5in.
Nine studies
Watercolor and pencil on paper/pencil on paper
2.75in. x 1.75in. to 9.5in. x 13.5in.
Fine Art
JOHN WILLIAM HILL (American 1812-1879)
Niagara Falls
Watercolor on paper
3.5in. x 6.25in. (sight size)
Condition: good
Niagara Falls
Watercolor on paper
3.5in. x 6.25in. (sight size)
Condition: good
JOHN HENRY HILL (American 1839-1922)
New Harbor, 1870
Pencil on tan paper
8in. x 12in. (sight size)
Signed, titled, and dated lower right: New Harbor Sept 70 J. Henry Hill
Inscribed lower left: Cold gray sky without warm light next to horiz rippled color cold gray
Condition: minor areas of foxing
New Harbor, 1870
Pencil on tan paper
8in. x 12in. (sight size)
Signed, titled, and dated lower right: New Harbor Sept 70 J. Henry Hill
Inscribed lower left: Cold gray sky without warm light next to horiz rippled color cold gray
Condition: minor areas of foxing
Paintings
JOHN HENRY HILL (American 1839-1922)
Two Flower Studies
Watercolor on paper
Blue flower 3in. x 2.5in. Orange flower 2in. x 3in.
Two Flower Studies
Watercolor on paper
Blue flower 3in. x 2.5in. Orange flower 2in. x 3in.
JOHN HENRY HILL (American 1839-1922)
Mountain and River Landscape
Watercolor on paper
2.25in. x 4.25in.
Condition: good
Mountain and River Landscape
Watercolor on paper
2.25in. x 4.25in.
Condition: good
JOHN HENRY HILL (American 1839-1922)
Figures in a Landscape
Watercolor on paper
3.75in. x 5.75in. (sight size)
Condition: good
Figures in a Landscape
Watercolor on paper
3.75in. x 5.75in. (sight size)
Condition: good
Fine Art
JOHN HENRY HILL (American 1839-1922)
Study of a Log, 1889
Watercolor on paper
3.75in. x 6.25in. (sight size)
Dated lower left: Aug 20/ 89
Condition: good
Study of a Log, 1889
Watercolor on paper
3.75in. x 6.25in. (sight size)
Dated lower left: Aug 20/ 89
Condition: good
JOHN WILLIAM HILL (American 1839-1922)
Mountain Landscape
Watercolor and pencil on paper
3.5in. x 6.5in. (sight size)
Condition: area of yellowing down left edge, some foxing
Mountain Landscape
Watercolor and pencil on paper
3.5in. x 6.5in. (sight size)
Condition: area of yellowing down left edge, some foxing
Paintings
JOHN HENRY HILL (American 1839-1922)
Figure on a Bridge, 1878
Watercolor on paper
8.5in. x 7in. (sight size)
Signed and dated bottom center: J.H. Hill 1878
Condition: foxing apparent on verso
Figure on a Bridge, 1878
Watercolor on paper
8.5in. x 7in. (sight size)
Signed and dated bottom center: J.H. Hill 1878
Condition: foxing apparent on verso
HUDSON RIVER SCHOOL (1835-1870)
West Point, c.1850
Oil on canvas
14in. x 22in. (sight size)
Not signed
Provenance: private collection, Milford, CT
The Hudson River School was a group of painters, led by Thomas Cole, who painted sublime, romantic images of America's wilderness in the Hudson River Valley, and also in the newly explored West. These artists' use of light, to dramatically portray such atmospheric elements as mist and sunsets, eventually pointed the way to another movement, later dubbed Luminism. The best-known practitioners of this Hudson River school style were Thomas Cole, Albert Bierstadt, and Frederic Edwin Church. West Point is placed into a panoramic vista, and lit with a colorful low angle light. which infuses the scene with a warm glow. Two riders on horseback help establish the massive scale of this deep-space tableau.
Keywords: Hudson River, luminist, landscape, oil, painting, sail boat, river, fort, military
West Point, c.1850
Oil on canvas
14in. x 22in. (sight size)
Not signed
Provenance: private collection, Milford, CT
The Hudson River School was a group of painters, led by Thomas Cole, who painted sublime, romantic images of America's wilderness in the Hudson River Valley, and also in the newly explored West. These artists' use of light, to dramatically portray such atmospheric elements as mist and sunsets, eventually pointed the way to another movement, later dubbed Luminism. The best-known practitioners of this Hudson River school style were Thomas Cole, Albert Bierstadt, and Frederic Edwin Church. West Point is placed into a panoramic vista, and lit with a colorful low angle light. which infuses the scene with a warm glow. Two riders on horseback help establish the massive scale of this deep-space tableau.
Keywords: Hudson River, luminist, landscape, oil, painting, sail boat, river, fort, military
Fine Art
DANIEL HUNTINGTON (American 1816-1906)
Lake Mohonk, 1838
Pencil on gray paper heightened by white
6in. x 8in. (sight size)
Signed and dated lower right: D Huntington Oct. 26 1838
Lake Mohonk, located in New York's Shawangunk Mountains has been a tourist and artist destination since the mid-19th century. Daniel Huntington made numerous excursions into the Catskills and the Shawagunks throughout his career. In the true spirit of the Hudson River School, he has captured the appearance of the distinctive topography of the lake. He pays particular attention to the details of the foliage to the right, and renders a serene scene of a rowboat gliding across the still waters.
One of the most versatile artists working in mid-19th century New York, Huntington painted historical and religious scenes, genre scenes, still lifes and landscapes as well as portraits. Few 19th-century artists commanded the respect and admiration given to Huntington. He was the leading portraitist of New York society in the post-Civil War period, and he served as president of the National Academy of Design from 1862 to 1869 and from 1877 to 1891, the longest tenure of any president. He was a vice president of the Metropolitan Museum of Art for 33 years. In 1867 the frontispiece of Henry Tuckerman's Book of the Artists carried his engraved portrait.
Born in New York City, Huntington studied at a preparatory school in New Haven before entering Hamilton College in upstate New York, where he met the painter Charles Loring Elliott. Huntington took lessons from Elliott before returning to New York City in 1835. Once back in New York, he studied with Samuel F. B. Morse and Henry Inman before opening his own studio and began to produce landscapes in the tradition of the Hudson River School.
Huntington made his first trip to Europe in 1839 and was elected a full member of the National Academy of Design upon his return to New York in 1840. He married in 1842 and returned to Italy in that year.
In 1850 he was honored with a retrospective exhibition at the American Art-Union in New York. The artist lived in England from 1851 to 1858, and returned to Europe for one last visit in 1882. He served as president of the prestigious Century Club from 1879 to 1895. He died in New York City in 1906.
Given the quality of his landscapes, it seems odd that Huntington did not paint more of them. He left approximately 1,200 works, most of which are portraits and historical or ideal subjects. The relative rarity of his landscape work is also surprising given the fact that he was a close friend and admirer William Cullen Bryant, the greatest supporter and promoter of American landscape painting. Contemporary critics favorably compared Huntington's landscapes to those of John F. Kensett and Frederic E. Church, and Albert Bierstadt. Condition: good
Lake Mohonk, 1838
Pencil on gray paper heightened by white
6in. x 8in. (sight size)
Signed and dated lower right: D Huntington Oct. 26 1838
Lake Mohonk, located in New York's Shawangunk Mountains has been a tourist and artist destination since the mid-19th century. Daniel Huntington made numerous excursions into the Catskills and the Shawagunks throughout his career. In the true spirit of the Hudson River School, he has captured the appearance of the distinctive topography of the lake. He pays particular attention to the details of the foliage to the right, and renders a serene scene of a rowboat gliding across the still waters.
One of the most versatile artists working in mid-19th century New York, Huntington painted historical and religious scenes, genre scenes, still lifes and landscapes as well as portraits. Few 19th-century artists commanded the respect and admiration given to Huntington. He was the leading portraitist of New York society in the post-Civil War period, and he served as president of the National Academy of Design from 1862 to 1869 and from 1877 to 1891, the longest tenure of any president. He was a vice president of the Metropolitan Museum of Art for 33 years. In 1867 the frontispiece of Henry Tuckerman's Book of the Artists carried his engraved portrait.
Born in New York City, Huntington studied at a preparatory school in New Haven before entering Hamilton College in upstate New York, where he met the painter Charles Loring Elliott. Huntington took lessons from Elliott before returning to New York City in 1835. Once back in New York, he studied with Samuel F. B. Morse and Henry Inman before opening his own studio and began to produce landscapes in the tradition of the Hudson River School.
Huntington made his first trip to Europe in 1839 and was elected a full member of the National Academy of Design upon his return to New York in 1840. He married in 1842 and returned to Italy in that year.
In 1850 he was honored with a retrospective exhibition at the American Art-Union in New York. The artist lived in England from 1851 to 1858, and returned to Europe for one last visit in 1882. He served as president of the prestigious Century Club from 1879 to 1895. He died in New York City in 1906.
Given the quality of his landscapes, it seems odd that Huntington did not paint more of them. He left approximately 1,200 works, most of which are portraits and historical or ideal subjects. The relative rarity of his landscape work is also surprising given the fact that he was a close friend and admirer William Cullen Bryant, the greatest supporter and promoter of American landscape painting. Contemporary critics favorably compared Huntington's landscapes to those of John F. Kensett and Frederic E. Church, and Albert Bierstadt. Condition: good
GEORGE INNESS (American 1824-1894)
The Faggot Gatherers, c. 1880
Oil on canvas
19in. x 24in.
Signed lower right: G. Inness
Provenance: private collection, Dallas
George Inness was born in Newburg, New York. As a boy he showed an early aptitude for drawing. He grew up in New York City and in Newark, New Jersey. His father discouraged his artistic pursuit, but in 1839, Inness left home for New York City to work for Sherman and Smith as a map engraver. His nights were spent teaching himself to paint with oils. At the age of 19, Inness made his exhibition debut at the National Academy of Design. In 1843, Inness studied for a short period in Brooklyn with landscape painter Regis Gignoux. He created landscapes in the tradition of the Hudson River School. The American Art Union helped promote Inness as a formidable landscape painter by reproducing and distributing some of his works as engravings. With the sale of some of his paintings, Inness traveled to Europe where he was introduced to the rustic scenes of Jean-Francois Millet. Inness was greatly influenced by Millet's ability to paint melancholic landscapes with peasant laborers that only use essential elements, eliminating any unnecessary details. Inness soon became a follower of Millet and the Barbizon painters, such as Theodore Rousseau and Jean-Baptiste-Camille Corot.
Inness returned to America and lived in Medfield, Massachusetts. He produced intimate landscapes in the Barbizon style. From 1870 to 1874, Inness lived in Italy and painted in the Campagna, Florence, the Alban Hills south of Rome and later in France. He began to mute detail and fill canvases with a pervading tonal light as he sought to capture the spirit of nature with its temporal changes, such as mist and natural light. Inness' paintings are housed in public collections, including the Museum of Fine Arts, Boston; Metropolitan Museum of Art; National Museum of American Art; Art Institute of Chicago, New-York Historical Society, Brooklyn Museum of Art, Cincinnati Art Museum, Dallas Museum of Art, Newark Art Museum, The White House, and the Whitney Museum of American Art. He was the father of George Inness, Jr., who was also an artist.
Condition: canvas relined on original stretchers, some craquelure, some separation of varnish above figures with inpaint, inpaint on left edge, two areas of inpaint mid and lower left, yellowed varnish. Unframed.
The Faggot Gatherers, c. 1880
Oil on canvas
19in. x 24in.
Signed lower right: G. Inness
Provenance: private collection, Dallas
George Inness was born in Newburg, New York. As a boy he showed an early aptitude for drawing. He grew up in New York City and in Newark, New Jersey. His father discouraged his artistic pursuit, but in 1839, Inness left home for New York City to work for Sherman and Smith as a map engraver. His nights were spent teaching himself to paint with oils. At the age of 19, Inness made his exhibition debut at the National Academy of Design. In 1843, Inness studied for a short period in Brooklyn with landscape painter Regis Gignoux. He created landscapes in the tradition of the Hudson River School. The American Art Union helped promote Inness as a formidable landscape painter by reproducing and distributing some of his works as engravings. With the sale of some of his paintings, Inness traveled to Europe where he was introduced to the rustic scenes of Jean-Francois Millet. Inness was greatly influenced by Millet's ability to paint melancholic landscapes with peasant laborers that only use essential elements, eliminating any unnecessary details. Inness soon became a follower of Millet and the Barbizon painters, such as Theodore Rousseau and Jean-Baptiste-Camille Corot.
Inness returned to America and lived in Medfield, Massachusetts. He produced intimate landscapes in the Barbizon style. From 1870 to 1874, Inness lived in Italy and painted in the Campagna, Florence, the Alban Hills south of Rome and later in France. He began to mute detail and fill canvases with a pervading tonal light as he sought to capture the spirit of nature with its temporal changes, such as mist and natural light. Inness' paintings are housed in public collections, including the Museum of Fine Arts, Boston; Metropolitan Museum of Art; National Museum of American Art; Art Institute of Chicago, New-York Historical Society, Brooklyn Museum of Art, Cincinnati Art Museum, Dallas Museum of Art, Newark Art Museum, The White House, and the Whitney Museum of American Art. He was the father of George Inness, Jr., who was also an artist.
Condition: canvas relined on original stretchers, some craquelure, some separation of varnish above figures with inpaint, inpaint on left edge, two areas of inpaint mid and lower left, yellowed varnish. Unframed.
WILLIAM KEITH (American 1838-1911)
Grand Canyon
Oil on canvas
12in. x 20in. (sight size)
William Keith was a leading Northern California landscape artist, known as the "Dean of California painters." His romanticized views of nature found much favor among the culturally aspiring citizens of San Francisco.
Keith was born in Aberdeen, Scotland and immigrated to the United States sometime in the 1850s. In 1859 he moved to San Francisco where he worked as an engraver and later opened his own engraving firm. Keith studied painting with Marsden Brookes. He married artist Elizabeth Emerson and worked in watercolor painting with her guidance. In 1868 Keith became a full-time painter, and that same year, he was commissioned to paint scenes along the Columbia River and Mount Hood. By August 1869 he had sold enough paintings to finance an extended journey to Europe, including Dusseldorf, Germany and Paris, where he was influenced by the paintings of the French Barbizon School.
During the winter of 1871-1872, Keith lived in Boston and shared a studio with William Hahn. Keith's work received critical acclaim in Boston and in New York at the National Academy of Design. In 1872, Keith returned to San Francisco and his friendship with naturalist John Muir exposed him to many remote places and in-depth knowledge of natural terrain. During the 1870s, he painted several epic eight by ten-foot High Sierra views. Keith returned to Munich and studied portrait painting with J. Frank Currier and Carl Marr for two years. Keith returned to California and settled permanently in Berkeley, at 2207 Atherton Street. His studio was in San Francisco where he commuted daily and taught many classes. Keith and George Inness painted together in Monterey and Yosemite. By the early 1900s, Keith was one of the wealthiest artists in the United States and certainly was the most successful artist in California. Many of his paintings were shown in New York at the Macbeth Gallery.
Condition: Old patch lower left repaired and inpainted, areas of inpaint right side, dirty varnish.
Grand Canyon
Oil on canvas
12in. x 20in. (sight size)
William Keith was a leading Northern California landscape artist, known as the "Dean of California painters." His romanticized views of nature found much favor among the culturally aspiring citizens of San Francisco.
Keith was born in Aberdeen, Scotland and immigrated to the United States sometime in the 1850s. In 1859 he moved to San Francisco where he worked as an engraver and later opened his own engraving firm. Keith studied painting with Marsden Brookes. He married artist Elizabeth Emerson and worked in watercolor painting with her guidance. In 1868 Keith became a full-time painter, and that same year, he was commissioned to paint scenes along the Columbia River and Mount Hood. By August 1869 he had sold enough paintings to finance an extended journey to Europe, including Dusseldorf, Germany and Paris, where he was influenced by the paintings of the French Barbizon School.
During the winter of 1871-1872, Keith lived in Boston and shared a studio with William Hahn. Keith's work received critical acclaim in Boston and in New York at the National Academy of Design. In 1872, Keith returned to San Francisco and his friendship with naturalist John Muir exposed him to many remote places and in-depth knowledge of natural terrain. During the 1870s, he painted several epic eight by ten-foot High Sierra views. Keith returned to Munich and studied portrait painting with J. Frank Currier and Carl Marr for two years. Keith returned to California and settled permanently in Berkeley, at 2207 Atherton Street. His studio was in San Francisco where he commuted daily and taught many classes. Keith and George Inness painted together in Monterey and Yosemite. By the early 1900s, Keith was one of the wealthiest artists in the United States and certainly was the most successful artist in California. Many of his paintings were shown in New York at the Macbeth Gallery.
Condition: Old patch lower left repaired and inpainted, areas of inpaint right side, dirty varnish.
JOHN FREDERICK KENSETT (American 1816-1872)
Twilight in the Catskills, c.1855
Oil on canvas
9.5in. x 15.75in. (sight size)
Signed lower right: JFK
Framed in an antique frame
Provenance: [Christie's East, New York, April 9, 1998 lot 14]
One of the greatest artists of the Hudson River School, John Frederick Kensett was considered to be "the Bryant of our painters," and is best known for his poetic landscapes and luminist seascapes. Although Kensett was a highly successful painter of detailed Hudson River School scenes in the spirit of Thomas Cole and Asher B. Durand, his work after the mid-1850s was considered by contemporary art critic James Jackson Jarves in 1864 to be "his best work. . . characterized by a successful synthesis of descriptive detail, which is translated into a rich surface of paint texture, and spare composition, stripped of embellishments."
Kensett was originally from Cheshire, Connecticut. In 1829, at the age of 13, he began his artistic career as a bank note engraver for Peter Maverick in New York City, where he met fellow artists John William Casilear, who became a lifelong friend. Later that year, Kensett returned to New Haven to work in his uncle's engraving firm. Frustrated and bored after several years working as an engraver in New Haven, Albany, and New York, Kensett traveled abroad in 1840 with Asher B. Durand, Thomas P. Rossiter, and Casilear. Kensett traveled to England, then to Paris, where he shared a room with Rossiter and subsequently with Benjamin Champney. Kensett supported himself as an engraver, in addition to selling paintings to the American Art-Union, which helped enable him to stay in Europe for over seven years.
By the time Kensett returned to the United Sates in 1848, he had a well-established reputation in America. He was elected an Associate of the National Academy of Design the following year. Kensett was a prolific artist and traveled widely during the summer months making oil sketches, which he used as the basis for larger works painted in his New York studio during the winter months. Throughout his career, he made many trips to the Berkshire, Catskill, Adirondack, Green and White Mountains, the New England Coast, and especially to Newport. He also made several trips to the West and to Europe.
Kensett was an influential and powerful figure in the American art world. In 1859, President Buchanan appointed Kensett one of three art commissioners to serve as advisers for the decoration program of the Capitol. Kensett was an active member of the Union League Club until the time of his death. From 1865 to 1869, he served on the Club's Art Committee, which was instrumental in forming The Metropolitan Museum of Art. In 1870, Kensett was elected one of the first trustees of the Metropolitan and served on the Executive Committee until his death in 1872. His work is housed in renowned public collections, including The Metropolitan Museum of Art, Los Angeles County Museum of Art, M.F. DeYoung Fine Arts Museum of San Francisco, Wadsworth Atheneum, National Gallery of Art, Corcoran Gallery of Art, The White House Collection, Art Institute of Chicago, and the Whitney Museum of American Art, among many others.
Condition: Strip lined onto original stretcher, areas of inpaint in middle right, middle left, and minor flecks left edge. Varnish appears to be dirty.
Twilight in the Catskills, c.1855
Oil on canvas
9.5in. x 15.75in. (sight size)
Signed lower right: JFK
Framed in an antique frame
Provenance: [Christie's East, New York, April 9, 1998 lot 14]
One of the greatest artists of the Hudson River School, John Frederick Kensett was considered to be "the Bryant of our painters," and is best known for his poetic landscapes and luminist seascapes. Although Kensett was a highly successful painter of detailed Hudson River School scenes in the spirit of Thomas Cole and Asher B. Durand, his work after the mid-1850s was considered by contemporary art critic James Jackson Jarves in 1864 to be "his best work. . . characterized by a successful synthesis of descriptive detail, which is translated into a rich surface of paint texture, and spare composition, stripped of embellishments."
Kensett was originally from Cheshire, Connecticut. In 1829, at the age of 13, he began his artistic career as a bank note engraver for Peter Maverick in New York City, where he met fellow artists John William Casilear, who became a lifelong friend. Later that year, Kensett returned to New Haven to work in his uncle's engraving firm. Frustrated and bored after several years working as an engraver in New Haven, Albany, and New York, Kensett traveled abroad in 1840 with Asher B. Durand, Thomas P. Rossiter, and Casilear. Kensett traveled to England, then to Paris, where he shared a room with Rossiter and subsequently with Benjamin Champney. Kensett supported himself as an engraver, in addition to selling paintings to the American Art-Union, which helped enable him to stay in Europe for over seven years.
By the time Kensett returned to the United Sates in 1848, he had a well-established reputation in America. He was elected an Associate of the National Academy of Design the following year. Kensett was a prolific artist and traveled widely during the summer months making oil sketches, which he used as the basis for larger works painted in his New York studio during the winter months. Throughout his career, he made many trips to the Berkshire, Catskill, Adirondack, Green and White Mountains, the New England Coast, and especially to Newport. He also made several trips to the West and to Europe.
Kensett was an influential and powerful figure in the American art world. In 1859, President Buchanan appointed Kensett one of three art commissioners to serve as advisers for the decoration program of the Capitol. Kensett was an active member of the Union League Club until the time of his death. From 1865 to 1869, he served on the Club's Art Committee, which was instrumental in forming The Metropolitan Museum of Art. In 1870, Kensett was elected one of the first trustees of the Metropolitan and served on the Executive Committee until his death in 1872. His work is housed in renowned public collections, including The Metropolitan Museum of Art, Los Angeles County Museum of Art, M.F. DeYoung Fine Arts Museum of San Francisco, Wadsworth Atheneum, National Gallery of Art, Corcoran Gallery of Art, The White House Collection, Art Institute of Chicago, and the Whitney Museum of American Art, among many others.
Condition: Strip lined onto original stretcher, areas of inpaint in middle right, middle left, and minor flecks left edge. Varnish appears to be dirty.
THOMAS MORAN (1837-1926)
Chromolithograph on paper
22in. x 28in.
Printed signature (with TYM monogram) and date lower right: Moran '96
Chromolithograph on paper
22in. x 28in.
Printed signature (with TYM monogram) and date lower right: Moran '96
JOSEPH PENNELL, N.A. (1860-1929)
Original Illustration, 1892
Ink on paper
Signed and dated lower left: J Pennell, 1892
13.5in. x 18.5in. (sight size)
Keywords: landscape, pen, ink, illustration, landscape, historical, architecture, Italy, Spain, Europe, Castle de Guaita, San Marino
Original Illustration, 1892
Ink on paper
Signed and dated lower left: J Pennell, 1892
13.5in. x 18.5in. (sight size)
Keywords: landscape, pen, ink, illustration, landscape, historical, architecture, Italy, Spain, Europe, Castle de Guaita, San Marino
JENS ERIK CARL RASMUSSEN (Danish 1841-1893)
Skier at Dusk with Fowl (Greenland), 1877
Oil on canvas
10.5in. x 15in. (sight size)
Signed and dated lower left: J.E. Carl Rasmussen/1877
This painting retains its original frame
Frame stamped on verso: H. Braeck/ Ostergade
Inscribed in Danish on stretcher bar: Carl . . .
Condition: original canvas and stretcher, craquelure throughout, appears to have no inpaint
Skier at Dusk with Fowl (Greenland), 1877
Oil on canvas
10.5in. x 15in. (sight size)
Signed and dated lower left: J.E. Carl Rasmussen/1877
This painting retains its original frame
Frame stamped on verso: H. Braeck/ Ostergade
Inscribed in Danish on stretcher bar: Carl . . .
Condition: original canvas and stretcher, craquelure throughout, appears to have no inpaint
Paintings
JAMES ABBOTT MCNEILL WHISTLER (American 1834-1903)
Chelsea
Etching on paper, c.1887
5.25in.x 8in. (sight size)
Signed lower right: with the butterfly monogram
Inscribed: Chelsea, Drawn and etched by J.A. McNeil Whistler, London, J.S. Virtue and Co. Limited
Provenance: Don Mangus collection
Chelsea was etched for J.S. Virtue & Company Limited's 1887 edition of Walter Armstrong's two volume set The Thames From its Rise to the Nore. The books were illustrated with nearly four hundred engravings in the text, and sixteen etchings or steel plates. Whistler's etching was often excised from the book, as this work was. Copies of the books without the Whistler etching retail for around 500 dollars. The print is framed in a vintage frame, and its label reads, "Alexander Walker, Carver and Guilder, Workshop 130 George Street, Aberdeen."
Keywords: American, English, landscape, print, etching, impressionism, ink, drawing, modern art, museum
Chelsea
Etching on paper, c.1887
5.25in.x 8in. (sight size)
Signed lower right: with the butterfly monogram
Inscribed: Chelsea, Drawn and etched by J.A. McNeil Whistler, London, J.S. Virtue and Co. Limited
Provenance: Don Mangus collection
Chelsea was etched for J.S. Virtue & Company Limited's 1887 edition of Walter Armstrong's two volume set The Thames From its Rise to the Nore. The books were illustrated with nearly four hundred engravings in the text, and sixteen etchings or steel plates. Whistler's etching was often excised from the book, as this work was. Copies of the books without the Whistler etching retail for around 500 dollars. The print is framed in a vintage frame, and its label reads, "Alexander Walker, Carver and Guilder, Workshop 130 George Street, Aberdeen."
Keywords: American, English, landscape, print, etching, impressionism, ink, drawing, modern art, museum
Fine Art
Withdrawn
Paintings
AMERICAN SCHOOL
Afternoon in the Park
Oil on canvas
37in. x 26in. (sight size)
Condition: Canvas relined, areas of inpaint in faces, lower left and bottom as well as upper right. 3 percent overall
Afternoon in the Park
Oil on canvas
37in. x 26in. (sight size)
Condition: Canvas relined, areas of inpaint in faces, lower left and bottom as well as upper right. 3 percent overall
Fine Art
AMERICAN SCHOOL (19th/20th Century)
Mother and Child in a Garden
Oil on canvas
18in. x 15in.
Inscribed on verso: Phillips
Inscribed on stretcher: Miss Stewart and Miss (indiscernible)
Condition: original canvas and stretchers, good condition
Mother and Child in a Garden
Oil on canvas
18in. x 15in.
Inscribed on verso: Phillips
Inscribed on stretcher: Miss Stewart and Miss (indiscernible)
Condition: original canvas and stretchers, good condition
Paintings
AMERICAN SCHOOL
Pair of Trompe-L'Oeil Tropical Flowers, 1892
Oil on canvas
26in. x 14in.
Both signed and dated: M.K. 92
Condition: large areas of paint loss around edges under frame
Pair of Trompe-L'Oeil Tropical Flowers, 1892
Oil on canvas
26in. x 14in.
Both signed and dated: M.K. 92
Condition: large areas of paint loss around edges under frame
Fine Art
AMERICAN SCHOOL (Early 20th Century)
Cows Grazing
Oil on canvas
20in. x 16in.
Condition: canvas relined on new stretcher bars, otherwise good condition.
Cows Grazing
Oil on canvas
20in. x 16in.
Condition: canvas relined on new stretcher bars, otherwise good condition.
MARY STEVENSON CASSATT (American 1844-1926)
Study for a Woman in Black at the Opera, c. 1880
Pencil on paper
5.25in. x 8.75in. (sight size)
Stamped lower right: Mathilde X Collection
Hirschl & Adler Galleries label on verso
Provenance: from the artist to Mathilde Vallet 1927; the Mathilde X sale, Paris 1931; Hirschl & Adler Galleries, New York
The present work is a study by Mary Cassatt for her large oil painting A Woman in Black at the Opera in the Museum of Fine Arts, Boston. This drawing, along with other pencil studies for the finished canvas, is listed in Adelyn Dohme Breeskin's catalogue raisonné on the artist, date to c.1880.
Cassatt's work was exhibited extensively throughout her career both in Paris and in the United States, including the Paris Salon, Pennsylvania Academy of the Fine Arts, and in exhibitions with the French Impressionists between 1879-1886. She had a major exhibition of her work in Paris in 1893, and also a large solo show in New York in 1895. Her paintings can be seen in prestigious museums throughout the world including, The Metropolitan Museum of Art, Corcoran Gallery of Art, National Gallery of Art, Musée d'Orsay, Louvre, and the Musée Luxembourg, Paris among many others.
Condition: slight yellowing throughout, especially on right and left edges, otherwise good condition. Framed under den glass for UV protection.
Study for a Woman in Black at the Opera, c. 1880
Pencil on paper
5.25in. x 8.75in. (sight size)
Stamped lower right: Mathilde X Collection
Hirschl & Adler Galleries label on verso
Provenance: from the artist to Mathilde Vallet 1927; the Mathilde X sale, Paris 1931; Hirschl & Adler Galleries, New York
The present work is a study by Mary Cassatt for her large oil painting A Woman in Black at the Opera in the Museum of Fine Arts, Boston. This drawing, along with other pencil studies for the finished canvas, is listed in Adelyn Dohme Breeskin's catalogue raisonné on the artist, date to c.1880.
Cassatt's work was exhibited extensively throughout her career both in Paris and in the United States, including the Paris Salon, Pennsylvania Academy of the Fine Arts, and in exhibitions with the French Impressionists between 1879-1886. She had a major exhibition of her work in Paris in 1893, and also a large solo show in New York in 1895. Her paintings can be seen in prestigious museums throughout the world including, The Metropolitan Museum of Art, Corcoran Gallery of Art, National Gallery of Art, Musée d'Orsay, Louvre, and the Musée Luxembourg, Paris among many others.
Condition: slight yellowing throughout, especially on right and left edges, otherwise good condition. Framed under den glass for UV protection.
Paintings
ELIZABETH CURTIS (American 1873-1946)
Sun-dappled landscape
Oil on canvas, c.1910
30in. x 38in. (sight size)
Not signed
Born in New York City, Elizabeth Curtis was a student of William Merritt Chase and John Twachtman. She settled in Watertown, Connecticut. This work shows Curtis' authoritative command of the impressionist idiom and technique. The dappled light and shadow patterns raking across a woodland path prove an ideal subject for approach.
Keywords: modern art, impressionist, landscape, oil paining
Sun-dappled landscape
Oil on canvas, c.1910
30in. x 38in. (sight size)
Not signed
Born in New York City, Elizabeth Curtis was a student of William Merritt Chase and John Twachtman. She settled in Watertown, Connecticut. This work shows Curtis' authoritative command of the impressionist idiom and technique. The dappled light and shadow patterns raking across a woodland path prove an ideal subject for approach.
Keywords: modern art, impressionist, landscape, oil paining
HENRI FARRÉ (American 1871-1934)
Dog Fight, 1916
Oil on canvas
38.5in. x 51.25in.
Signed and dated lower left: 1916 H Farre
Verso label: Philadelphia Galleries
Born in France in 1871, Henri Farré later moved to the United States and lived in Chicago. In 1914, at the age of 43, he returned to France to fight for his homeland during World War I. He was appointed by the French government to record air fighting from the skies, making him a pioneer in the painting of war pictures from the air. He flew many dangerous combat missions, the result of which are first-hand, in-flight combat scenes that he later used as the basis for over 170 canvas paintings.
His war paintings were exhibited in the United States and at the Paris Salon in 1933 where his work won a gold medal. He was awarded the prestigious French Medal of the Legion of Honor for his service. He returned to America where he was later commissioned to paint portraits of many illustrious United States Air Force officers during the 1950s.
Condition: no paint loss, some craquelure
Dog Fight, 1916
Oil on canvas
38.5in. x 51.25in.
Signed and dated lower left: 1916 H Farre
Verso label: Philadelphia Galleries
Born in France in 1871, Henri Farré later moved to the United States and lived in Chicago. In 1914, at the age of 43, he returned to France to fight for his homeland during World War I. He was appointed by the French government to record air fighting from the skies, making him a pioneer in the painting of war pictures from the air. He flew many dangerous combat missions, the result of which are first-hand, in-flight combat scenes that he later used as the basis for over 170 canvas paintings.
His war paintings were exhibited in the United States and at the Paris Salon in 1933 where his work won a gold medal. He was awarded the prestigious French Medal of the Legion of Honor for his service. He returned to America where he was later commissioned to paint portraits of many illustrious United States Air Force officers during the 1950s.
Condition: no paint loss, some craquelure
Fine Art
JOHN GRABACH (American 1886-1981)
Provincial Landscape I
Oil on canvas
17.5in. x 20.5in.
Signed lower right in pencil: J.R. Grabach
Framed
John Grabach was born in Newark, New Jersey on March 2, 1886. During his teen years, he joined the Newark Sketch Club and took painting lessons from a local artist. After finishing high school he went to work in the machine room of a silverware-manufacturing firm, where he was soon promoted to designer and eventually to supervisor. However, painting remained his true calling and in 1904 Grabach enrolled at the Art Students League in New York City under the guidance of Kenyon Cox, Frank V. DuMond, and George Bridgman. In 1912, Grabach moved to Greenfield, Massachusetts, where he produced some large Impressionist landscapes, not unlike those of John Twachtman.
Grabach entered a landscape in the 1914 National Academy of Design Winter Exhibition, and on its merits, was chosen to exhibit a work at the Panama-Pacific International Exposition in San Francisco in 1915. This was a special honor for a yet-unknown artist. In 1915, Grabach returned to New Jersey and was swept up in the New York art world where he developed a keen interest in the city street scenes of the Ashcan artists John Sloan and George Bellows. Grabach began to paint scenes of everyday life on the streets, a theme that was contemporary, distinctly American, socially meaningful, and visually stimulating. His urban scenes won honors and awards from major museum exhibitions, including the Peabody Prize in 1924, the Jennie Sesnan Gold Medal at the 122nd Annual held at the Pennsylvania Academy of the Fine Arts in 1927, and the William A. Clark Silver Medal at the Thirteenth Corcoran Biennial in 1932.
Grabach's memberships included the North Shore Artists Association, Gloucester, Mass., American Federation of Arts, Philadelphia Watercolor Club, Philadelphia, PA, and the Salmagundi Club, New York, NY. His work can be seen in the collections of the Corcoran Gallery of Art, Washington, D.C.; IBM Corporation, Vanderpoel Art Association, and the Biro Bidjan State Museum, Russia.
Condition: Original canvas on new stretcher bars, otherwise appears to be in mint condition
Provincial Landscape I
Oil on canvas
17.5in. x 20.5in.
Signed lower right in pencil: J.R. Grabach
Framed
John Grabach was born in Newark, New Jersey on March 2, 1886. During his teen years, he joined the Newark Sketch Club and took painting lessons from a local artist. After finishing high school he went to work in the machine room of a silverware-manufacturing firm, where he was soon promoted to designer and eventually to supervisor. However, painting remained his true calling and in 1904 Grabach enrolled at the Art Students League in New York City under the guidance of Kenyon Cox, Frank V. DuMond, and George Bridgman. In 1912, Grabach moved to Greenfield, Massachusetts, where he produced some large Impressionist landscapes, not unlike those of John Twachtman.
Grabach entered a landscape in the 1914 National Academy of Design Winter Exhibition, and on its merits, was chosen to exhibit a work at the Panama-Pacific International Exposition in San Francisco in 1915. This was a special honor for a yet-unknown artist. In 1915, Grabach returned to New Jersey and was swept up in the New York art world where he developed a keen interest in the city street scenes of the Ashcan artists John Sloan and George Bellows. Grabach began to paint scenes of everyday life on the streets, a theme that was contemporary, distinctly American, socially meaningful, and visually stimulating. His urban scenes won honors and awards from major museum exhibitions, including the Peabody Prize in 1924, the Jennie Sesnan Gold Medal at the 122nd Annual held at the Pennsylvania Academy of the Fine Arts in 1927, and the William A. Clark Silver Medal at the Thirteenth Corcoran Biennial in 1932.
Grabach's memberships included the North Shore Artists Association, Gloucester, Mass., American Federation of Arts, Philadelphia Watercolor Club, Philadelphia, PA, and the Salmagundi Club, New York, NY. His work can be seen in the collections of the Corcoran Gallery of Art, Washington, D.C.; IBM Corporation, Vanderpoel Art Association, and the Biro Bidjan State Museum, Russia.
Condition: Original canvas on new stretcher bars, otherwise appears to be in mint condition
Paintings
JOHN GRABACH (American 1886-1981)
Provincial Landscape II
Oil on canvas
18in. x 24in.
Signed lower left: John R. Grabach
Framed in an antique frame.
Condition: craquelure throughout, repaired rip middle left, canvas relined on new stretcher bars, areas of inpaint -- mostly on upper, right, and left edge.
Provincial Landscape II
Oil on canvas
18in. x 24in.
Signed lower left: John R. Grabach
Framed in an antique frame.
Condition: craquelure throughout, repaired rip middle left, canvas relined on new stretcher bars, areas of inpaint -- mostly on upper, right, and left edge.
WILLIAM SAMUEL HORTON (American 1865-1936)
French Paysage
Pastel on paper
17.5in. x 22.75in.
Signed lower right: Horton
Provenance: Berry-Hill Galleries, New York
William S. Horton was born in Grand Rapids, Michigan and spent his childhood in Lisbon, North Dakota. He began his studies at the Art Institute of Chicago and later enrolled in classes at the Ecole des Beaux-Arts in Paris. Upon his return to New York City, he took classes at the Art Students League. He then returned to Paris and worked under academic masters Jean-Paul Laurens and Benjamin Constant at the Académie Julian. He was close friends with Claude Monet, Camille Pissaro, and James McNeil Whistler. Horton was an important American expatriate impressionist.
French Paysage
Pastel on paper
17.5in. x 22.75in.
Signed lower right: Horton
Provenance: Berry-Hill Galleries, New York
William S. Horton was born in Grand Rapids, Michigan and spent his childhood in Lisbon, North Dakota. He began his studies at the Art Institute of Chicago and later enrolled in classes at the Ecole des Beaux-Arts in Paris. Upon his return to New York City, he took classes at the Art Students League. He then returned to Paris and worked under academic masters Jean-Paul Laurens and Benjamin Constant at the Académie Julian. He was close friends with Claude Monet, Camille Pissaro, and James McNeil Whistler. Horton was an important American expatriate impressionist.
C.S. HUNTINGTON
Female Nude in a Landscape, 1895
Oil on canvas
15in. x 12in.
Signed and dated lower right: C.S. Huntington 1895
Condition: some craquelure otherwise good condition
Female Nude in a Landscape, 1895
Oil on canvas
15in. x 12in.
Signed and dated lower right: C.S. Huntington 1895
Condition: some craquelure otherwise good condition
Fine Art
WALTER FRANCIS KUHN (American 1880-1949)
At the Dressing Table, 1914
Oil on canvas
28 in. x 30 in.
Signed and dated lower left: Walter Kuhn/ 1914
Framed with plaque inscribed: W. Kuhn/ Artiste in Her Room
A painter and major organizer of the 1913 Armory Show, Walter Kuhn is best known for his paintings of entertainers. Kuhn was born in Brooklyn, New York and studied at the Brooklyn Polytechnic Institute. In 1899 he moved to San Francisco where he worked as a cartoonist and began signing his works "Walt." In 1901 he studied at the Académie Colarossi in Paris and at the Munich Royal Academy, before he returned to New York City in 1903. He earned a living making cartoons for the publications Life, Judge, and Puck.
In 1901, Kuhn began to paint full time. In 1912, he and Arthur B. Davies traveled to Europe to select works for the landmark Armory Exhibition held in New York City in 1913. As one of the integral organizers of the Armory Show, Kuhn also exhibited his painting Morning, 1912 (Norton Gallery, Palm Beach, Florida). Painted one year after the Armory Show, Kuhn's At the Dressing Table, 1914, illustrates the impact that exhibited works by Van Gogh, Cézanne, Picasso and Matisse had on Kuhn's fauvist painting style. During the 1930s, Kuhn painted clown pictures in a bold and modernist style.
Condition: .25in.tear lower right corner, otherwise in good condition
At the Dressing Table, 1914
Oil on canvas
28 in. x 30 in.
Signed and dated lower left: Walter Kuhn/ 1914
Framed with plaque inscribed: W. Kuhn/ Artiste in Her Room
A painter and major organizer of the 1913 Armory Show, Walter Kuhn is best known for his paintings of entertainers. Kuhn was born in Brooklyn, New York and studied at the Brooklyn Polytechnic Institute. In 1899 he moved to San Francisco where he worked as a cartoonist and began signing his works "Walt." In 1901 he studied at the Académie Colarossi in Paris and at the Munich Royal Academy, before he returned to New York City in 1903. He earned a living making cartoons for the publications Life, Judge, and Puck.
In 1901, Kuhn began to paint full time. In 1912, he and Arthur B. Davies traveled to Europe to select works for the landmark Armory Exhibition held in New York City in 1913. As one of the integral organizers of the Armory Show, Kuhn also exhibited his painting Morning, 1912 (Norton Gallery, Palm Beach, Florida). Painted one year after the Armory Show, Kuhn's At the Dressing Table, 1914, illustrates the impact that exhibited works by Van Gogh, Cézanne, Picasso and Matisse had on Kuhn's fauvist painting style. During the 1930s, Kuhn painted clown pictures in a bold and modernist style.
Condition: .25in.tear lower right corner, otherwise in good condition
ERNEST LAWSON (American 1873-1939)
Landscape with Wagon
Oil on panel
20in. x 24in. (sight size)
Signed lower right: E. Lawson
This landscape with its rugged textures and vigorous brushwork captures the dramatic play of light and shadow against a rural scene. Lawson's bold technique approaches the limits of Impressionism. Lawson was noted for his highly personal color sense; a critic of the day described him as painting from a "palette of crushed jewels," an apt metaphor in the case of this gorgeous landscape.
Ernest Lawson was born in Halifax, Nova Scotia in 1873. By 1890, Lawson had moved to New York. There he studied at the Art Students League under John Henry Twachtman, J. Alden Weir, and other Impressionist painters. Lawson soon joined a group of New York artists known as "the Eight." In contrast to the other members of "the Eight," who were considered social realists, Lawson was the only member who painted pure landscapes. Working in a near-pure Impressionist style, Lawson created works that often showcased the urban landscape of New York, near his home in Washington Heights in Manhattan.
From 1893 to 1898, he was in Paris, France, and furthered his studies at the Academy Julian with Jean Paul Laurens and Benjamin Constant. In Paris, Lawson shared a studio with Somerset Maugham, who used him as the inspiration for "Frederic Lawson" in the novel, Of Human Bondage. In 1908, Lawson participated in the landmark exhibition of "the Eight" at the MacBeth Galleries in New York, and also participated in the 1913 Armory Show, and the 1915 Panama-Pacific Exhibition. In 1917, Ernest Lawson was elected a full member of the National Academy of Design.
Keywords" impressionism, landscape, oil, painting, the eight
Landscape with Wagon
Oil on panel
20in. x 24in. (sight size)
Signed lower right: E. Lawson
This landscape with its rugged textures and vigorous brushwork captures the dramatic play of light and shadow against a rural scene. Lawson's bold technique approaches the limits of Impressionism. Lawson was noted for his highly personal color sense; a critic of the day described him as painting from a "palette of crushed jewels," an apt metaphor in the case of this gorgeous landscape.
Ernest Lawson was born in Halifax, Nova Scotia in 1873. By 1890, Lawson had moved to New York. There he studied at the Art Students League under John Henry Twachtman, J. Alden Weir, and other Impressionist painters. Lawson soon joined a group of New York artists known as "the Eight." In contrast to the other members of "the Eight," who were considered social realists, Lawson was the only member who painted pure landscapes. Working in a near-pure Impressionist style, Lawson created works that often showcased the urban landscape of New York, near his home in Washington Heights in Manhattan.
From 1893 to 1898, he was in Paris, France, and furthered his studies at the Academy Julian with Jean Paul Laurens and Benjamin Constant. In Paris, Lawson shared a studio with Somerset Maugham, who used him as the inspiration for "Frederic Lawson" in the novel, Of Human Bondage. In 1908, Lawson participated in the landmark exhibition of "the Eight" at the MacBeth Galleries in New York, and also participated in the 1913 Armory Show, and the 1915 Panama-Pacific Exhibition. In 1917, Ernest Lawson was elected a full member of the National Academy of Design.
Keywords" impressionism, landscape, oil, painting, the eight
Paintings
MAXFIELD PARRISH (American 1870-1966)
River Bank
Watercolor and oil on masonite
10.75in. x 7.5in.
Provenance: Estate of the artist
One of America's best-known and revered illustrators, Maxfield Parrish was born in Philadelphia, the son of Stephen Parrish, a successful landscape painter and etcher. Parrish studied in France, England, and at Haverford College, Pennsylvania and later in Philadelphia at the Pennsylvania Academy of the Fine Arts. He later studied at the Drexel Institute, Philadelphia under renowned illustrator Howard Pyle.
Due to contracting typhoid fever early in his career, Parrish spent much time away from the East Coast and traveled to the Adirondacks where it was so cold he had to discontinue the use of water-based ink in favor of oil paint. He also traveled to Arizona where the brilliant landscape influenced the high coloration and distinctive style of his future work. In 1895, he moved permanently to New Hampshire and produced cover designs for Collier's magazine. He later turned to mural painting and one of his greatest commissions was a Tiffany stained glass mural for Cyrus Curtis, owner of The Saturday Evening Post, for the wall of the publication's headquarters in Philadelphia. In his thirties, Parrish began painting romantic figures in fantastical landscapes, and a favorite model in his romantic figure work was Kitty Owen, granddaughter of William Jennings Bryan. But he left that behind when, at 64, he moved to painting landscapes exclusively.
Parrish's work can be found in important collections, including The Metropolitan Museum of Art, Delaware Art Museum, National Museum of American Illustration, Cleveland Museum of Art, Brandywine River Museum, and the Pennsylvania Academy of the Fine Arts.
Condition: 4in. line of inpaint from upper right to middle, small area of inpaint lower right corner
River Bank
Watercolor and oil on masonite
10.75in. x 7.5in.
Provenance: Estate of the artist
One of America's best-known and revered illustrators, Maxfield Parrish was born in Philadelphia, the son of Stephen Parrish, a successful landscape painter and etcher. Parrish studied in France, England, and at Haverford College, Pennsylvania and later in Philadelphia at the Pennsylvania Academy of the Fine Arts. He later studied at the Drexel Institute, Philadelphia under renowned illustrator Howard Pyle.
Due to contracting typhoid fever early in his career, Parrish spent much time away from the East Coast and traveled to the Adirondacks where it was so cold he had to discontinue the use of water-based ink in favor of oil paint. He also traveled to Arizona where the brilliant landscape influenced the high coloration and distinctive style of his future work. In 1895, he moved permanently to New Hampshire and produced cover designs for Collier's magazine. He later turned to mural painting and one of his greatest commissions was a Tiffany stained glass mural for Cyrus Curtis, owner of The Saturday Evening Post, for the wall of the publication's headquarters in Philadelphia. In his thirties, Parrish began painting romantic figures in fantastical landscapes, and a favorite model in his romantic figure work was Kitty Owen, granddaughter of William Jennings Bryan. But he left that behind when, at 64, he moved to painting landscapes exclusively.
Parrish's work can be found in important collections, including The Metropolitan Museum of Art, Delaware Art Museum, National Museum of American Illustration, Cleveland Museum of Art, Brandywine River Museum, and the Pennsylvania Academy of the Fine Arts.
Condition: 4in. line of inpaint from upper right to middle, small area of inpaint lower right corner
Fine Art
MAURICE BRAZIL PRENDERGAST (American 1858-1924)
Public Gardens, Boston, c. 1900-1901
Watercolor on paper
10.25in. x 18.5in.
Signed lower right: Prendergast
Coe Kerr Gallery label on verso, Smithsonian Institute of Traveling Exhibition label on verso
Provenance: The artist; to Charles Prendergast, 1924; to Mrs. Charles Prendergast, 1948; to Coe Kerr Gallery, New York, 1986; private collection
Exhibited: Detroit Museum of Art, 1901, no. 18; Smithsonian Institute Traveling Exhibition (SITES) American Impressionism, 1982-1983; Musée du Petit Palace, Paris; National Gallery, Berlin; Museum Moderner Kunst, Vienna; Art Museum, Bucharest; National Art Gallery, Sofia, Bulgaria. No.29; illustrated
Literature: Carol Clark, Nancy Mowll Mathews, and Gwendolny Owens, Maurice Brazil Prendergast and Charles Prendergast, A Catalogue Raisonné (Williamstown, MA: Williams College of Art, 1990) cat. no. 770, illustrated p 405.
Maurice Brazil Prendergast was America's leading painter of modernist art best known for his scenes of the urban leisure-class enjoying themselves in city parks and beach settings. In 1899 Prendergast returned to the Boston area after he spent a year and a half in Italy and his paintings soon gained recognition and national acclaim. Around 1900 he was given a one-man show at Macbeth Gallery, New York City. In 1901 he exhibited a painting that won a bronze medal at the Pan-American Exposition in Buffalo, New York. That same year, Prendergast had retrospective exhibitions at the Cincinnati Art Museum and the Detroit Art Museum, where the present painting, Public Garden, Boston, was exhibited.
During the early 1900s, he produced some of his most celebrated paintings, including West Church, Boston (The Museum of Fine Arts, Boston) and Courtyard, West End Library (The Metropolitan Museum of Art). Prendergast's paintings from this period mark the beginning of his personal style. These works, including Public Gardens, Boston, were done mostly in watercolor and depict Boston, its parks and neighboring beaches.
Public Garden, Boston, depicts the fountain sculpture of Venus, the garden's first public art, which no longer exists today. Characteristic of this period, his watercolors are loose, simplified forms painted in light, transparent hues.
Prendergast was born in St. John's, Newfoundland, and while a boy his family moved to Boston around 1863. Upon completion of grammar school, Prendergast apprenticed for a card shop where he learned graphic design. From 1891 to 1894, he studied art formally in Paris at the Académies Colarossi and Julian. Through his friendship with James Wilson Morrice, be became familiar with cutting edge art movements Symbolism, Art Nouveau, and Nabis painting that combined abstraction and naive art. In 1894, Prendergast returned to the Boston. He returned to Europe in 1907 and worked in St. Malo where his colorful scenes entered his fauvist style. His paintings were included in the 1908 exhibition of The Eight, whose members included George Luks, William Glackens, John Sloan, Robert Henri, Ernest Lawson, Everett Shinn, and Arthur B. Davies. Following the Armory show of 1913, Prendergast moved to New York City. His paintings are housed in many major museums around the world. His brother, Charles Prendergast was also an artist. Condition: .5in. x 1in. repair lower left corner, otherwise appears to be in excellent condition. Framed under den glass.
Public Gardens, Boston, c. 1900-1901
Watercolor on paper
10.25in. x 18.5in.
Signed lower right: Prendergast
Coe Kerr Gallery label on verso, Smithsonian Institute of Traveling Exhibition label on verso
Provenance: The artist; to Charles Prendergast, 1924; to Mrs. Charles Prendergast, 1948; to Coe Kerr Gallery, New York, 1986; private collection
Exhibited: Detroit Museum of Art, 1901, no. 18; Smithsonian Institute Traveling Exhibition (SITES) American Impressionism, 1982-1983; Musée du Petit Palace, Paris; National Gallery, Berlin; Museum Moderner Kunst, Vienna; Art Museum, Bucharest; National Art Gallery, Sofia, Bulgaria. No.29; illustrated
Literature: Carol Clark, Nancy Mowll Mathews, and Gwendolny Owens, Maurice Brazil Prendergast and Charles Prendergast, A Catalogue Raisonné (Williamstown, MA: Williams College of Art, 1990) cat. no. 770, illustrated p 405.
Maurice Brazil Prendergast was America's leading painter of modernist art best known for his scenes of the urban leisure-class enjoying themselves in city parks and beach settings. In 1899 Prendergast returned to the Boston area after he spent a year and a half in Italy and his paintings soon gained recognition and national acclaim. Around 1900 he was given a one-man show at Macbeth Gallery, New York City. In 1901 he exhibited a painting that won a bronze medal at the Pan-American Exposition in Buffalo, New York. That same year, Prendergast had retrospective exhibitions at the Cincinnati Art Museum and the Detroit Art Museum, where the present painting, Public Garden, Boston, was exhibited.
During the early 1900s, he produced some of his most celebrated paintings, including West Church, Boston (The Museum of Fine Arts, Boston) and Courtyard, West End Library (The Metropolitan Museum of Art). Prendergast's paintings from this period mark the beginning of his personal style. These works, including Public Gardens, Boston, were done mostly in watercolor and depict Boston, its parks and neighboring beaches.
Public Garden, Boston, depicts the fountain sculpture of Venus, the garden's first public art, which no longer exists today. Characteristic of this period, his watercolors are loose, simplified forms painted in light, transparent hues.
Prendergast was born in St. John's, Newfoundland, and while a boy his family moved to Boston around 1863. Upon completion of grammar school, Prendergast apprenticed for a card shop where he learned graphic design. From 1891 to 1894, he studied art formally in Paris at the Académies Colarossi and Julian. Through his friendship with James Wilson Morrice, be became familiar with cutting edge art movements Symbolism, Art Nouveau, and Nabis painting that combined abstraction and naive art. In 1894, Prendergast returned to the Boston. He returned to Europe in 1907 and worked in St. Malo where his colorful scenes entered his fauvist style. His paintings were included in the 1908 exhibition of The Eight, whose members included George Luks, William Glackens, John Sloan, Robert Henri, Ernest Lawson, Everett Shinn, and Arthur B. Davies. Following the Armory show of 1913, Prendergast moved to New York City. His paintings are housed in many major museums around the world. His brother, Charles Prendergast was also an artist. Condition: .5in. x 1in. repair lower left corner, otherwise appears to be in excellent condition. Framed under den glass.
Paintings
CHAUNCEY RYDER (American 1868-1949)
Mount Monadnock, New Hampshire
Oil on canvas
20in.x 24 in (sight size)
Signed lower left:Chauncy F. Ryder
This painting retains its original Newcomb-Macklin frame
Born in Danbury, Connecticut, Chauncey Forster Ryder was a painter, etcher, lithographer, and illustrator with studios in New Haven, Chicago, New York City, and Wilton, New Hampshire. He studied at the Art Institute of Chicago around 1891 and later taught classes at Smith's Art Academy. In 1901, he traveled to Paris where he studied at the Académie Julian under Jean Paul Laurens and Raphael Collins. Ryder's first major award came in 1907 at the Paris Salon and he subsequently won several gold medals throughout his career at venues such as the National Academy of Design, American Water Color Society, National Arts Club, New York Water Color Society, Baltimore Watercolor Society, and many more. Ryder summered in Maine on Monhegan Island from 1920 to 1927, and also painted in Old Lyme, Connecticut where there was an active art colony. Ryder also painted in Wilton, New Hampshire, and along the coast of Massachusetts. He painted large scale, dynamic figural scenes of World War I, but is best known for his expansive, natural landscapes in which few figures appear. Ryder was elected an Associate of the National Academy of Design in 1915, and full Academician in 1920. He was an active member of the Salmagundi Club, National Arts Club, Lotos Club, Allied Artists of America, American Water Color Society, Chicago Society of Etchers, and the New York Water Color Club. Ryder is represented in the permanent collections of over 50 museums, including The Metropolitan Museum of Art, Art Institute of Chicago, Pennsylvania Academy of the Fine Arts, Baltimore Museum of Art, Corcoran Gallery of Art, National Portrait Gallery, National Academy of Design, Carnegie Art Institute, and the Museum of Modern Art.
Unlined, appears to be in good condition, or very good condition, slight mark from stretcher bars
Mount Monadnock, New Hampshire
Oil on canvas
20in.x 24 in (sight size)
Signed lower left:Chauncy F. Ryder
This painting retains its original Newcomb-Macklin frame
Born in Danbury, Connecticut, Chauncey Forster Ryder was a painter, etcher, lithographer, and illustrator with studios in New Haven, Chicago, New York City, and Wilton, New Hampshire. He studied at the Art Institute of Chicago around 1891 and later taught classes at Smith's Art Academy. In 1901, he traveled to Paris where he studied at the Académie Julian under Jean Paul Laurens and Raphael Collins. Ryder's first major award came in 1907 at the Paris Salon and he subsequently won several gold medals throughout his career at venues such as the National Academy of Design, American Water Color Society, National Arts Club, New York Water Color Society, Baltimore Watercolor Society, and many more. Ryder summered in Maine on Monhegan Island from 1920 to 1927, and also painted in Old Lyme, Connecticut where there was an active art colony. Ryder also painted in Wilton, New Hampshire, and along the coast of Massachusetts. He painted large scale, dynamic figural scenes of World War I, but is best known for his expansive, natural landscapes in which few figures appear. Ryder was elected an Associate of the National Academy of Design in 1915, and full Academician in 1920. He was an active member of the Salmagundi Club, National Arts Club, Lotos Club, Allied Artists of America, American Water Color Society, Chicago Society of Etchers, and the New York Water Color Club. Ryder is represented in the permanent collections of over 50 museums, including The Metropolitan Museum of Art, Art Institute of Chicago, Pennsylvania Academy of the Fine Arts, Baltimore Museum of Art, Corcoran Gallery of Art, National Portrait Gallery, National Academy of Design, Carnegie Art Institute, and the Museum of Modern Art.
Unlined, appears to be in good condition, or very good condition, slight mark from stretcher bars
WILLIAM H. SINGER, JR. (American 1868-1943)
Salmon River
Pastel on Bristol board
17.5in. x 21in. (sight size)
Signed lower right: WH Singer Jr.
This painting retains its original frame with plaque inscribed: W.H. Singer N.A./ Salmon River
Board stamped: Frans Buffa & Sons, Amsterdam
Verso inscribed: The Brook/ No 3
Inscribed on back of frame: Salmon River
Condition: appears to be in mint condition
Salmon River
Pastel on Bristol board
17.5in. x 21in. (sight size)
Signed lower right: WH Singer Jr.
This painting retains its original frame with plaque inscribed: W.H. Singer N.A./ Salmon River
Board stamped: Frans Buffa & Sons, Amsterdam
Verso inscribed: The Brook/ No 3
Inscribed on back of frame: Salmon River
Condition: appears to be in mint condition
HENRY PEMBER SMITH (American 1854-1907)
The Old Oak
Oil on canvas
22.25in. x 28.25in.
Signed lower right: Henry P. Smith
Old label on verso inscribed: The Old Oak/ artist/ Henry Pember Smith/ 11 East 14th Street
Born in Waterford, Connecticut, Henry Pember Smith is best known for his tightly rendered pastoral landscapes of sun dappled country cottages, lakes, and trees. Smith also painted coastal scenes in New Jersey and throughout New England, from Connecticut to Maine.
He lived in New York City from 1877 to around 1901, after which he moved to Asbury Park, New Jersey where he lived for the remainder of his career. During the 1880s he traveled extensively throughout Europe, painting the coast of Cornwall, England, the canals of Venice, and views of Brittany and Normandy, France.
Smith was apparently a self-taught artist and exhibited his works at the National Academy of Design from 1877-96, 1899, 1901, and 1906; the Brooklyn Art Association in 1878-85 and 1892; the Boston Art Club in 1880-90, and the Pennsylvania Academy of the Fine Arts in 1881, and 1888. Smith was an active member of the art community and belonged to organizations such as the American Watercolor Society, and the Artists Fund Society. His work is housed in public collections, including the Wadsworth Athenaeum, Yale University Art Gallery, Norton Museum of Art, Springfield Museum of Fine Art, Brooklyn Museum of Art, and the Hudson River Museum.
Condition: strip lined on original stretcher, otherwise appears to be in mint condition.
The Old Oak
Oil on canvas
22.25in. x 28.25in.
Signed lower right: Henry P. Smith
Old label on verso inscribed: The Old Oak/ artist/ Henry Pember Smith/ 11 East 14th Street
Born in Waterford, Connecticut, Henry Pember Smith is best known for his tightly rendered pastoral landscapes of sun dappled country cottages, lakes, and trees. Smith also painted coastal scenes in New Jersey and throughout New England, from Connecticut to Maine.
He lived in New York City from 1877 to around 1901, after which he moved to Asbury Park, New Jersey where he lived for the remainder of his career. During the 1880s he traveled extensively throughout Europe, painting the coast of Cornwall, England, the canals of Venice, and views of Brittany and Normandy, France.
Smith was apparently a self-taught artist and exhibited his works at the National Academy of Design from 1877-96, 1899, 1901, and 1906; the Brooklyn Art Association in 1878-85 and 1892; the Boston Art Club in 1880-90, and the Pennsylvania Academy of the Fine Arts in 1881, and 1888. Smith was an active member of the art community and belonged to organizations such as the American Watercolor Society, and the Artists Fund Society. His work is housed in public collections, including the Wadsworth Athenaeum, Yale University Art Gallery, Norton Museum of Art, Springfield Museum of Fine Art, Brooklyn Museum of Art, and the Hudson River Museum.
Condition: strip lined on original stretcher, otherwise appears to be in mint condition.
Fine Art
HENRY PEMBER SMITH (American 1854-1907)
Cottage by a Duck Pond
Oil on canvas
14in. x 20in.
Signed lower right: Henry P. Smith
Born in Waterford, Connecticut, Henry Pember Smith is best known for his tightly rendered pastoral landscapes of sun dappled country cottages, lakes, and trees. Smith also painted coastal scenes in New Jersey and throughout New England, from Connecticut to Maine.
He lived in New York City from 1877 to around 1901, after which he moved to Asbury Park, New Jersey where he lived for the remainder of his career. During the 1880s he traveled extensively throughout Europe, painting the coast of Cornwall, England, the canals of Venice, and views of Brittany and Normandy, France.
Smith was apparently a self-taught artist and exhibited his works at the National Academy of Design from 1877-96, 1899, 1901, and 1906; the Brooklyn Art Association in 1878-85 and 1892; the Boston Art Club in 1880-90, and the Pennsylvania Academy of the Fine Arts in 1881, and 1888. Smith was an active member of the art community and belonged to organizations such as the American Watercolor Society, and the Artists Fund Society. His work is housed in public collections, including the Wadsworth Athenaeum, Yale University Art Gallery, Norton Museum of Art, Springfield Museum of Fine Art, Brooklyn Museum of Art, and the Hudson River Museum.
Condition: original canvas and stretcher, minor frame rub. Craquelure throughout, no inpaint, chalky white areas in chimney, left duck pond and right grass.
Cottage by a Duck Pond
Oil on canvas
14in. x 20in.
Signed lower right: Henry P. Smith
Born in Waterford, Connecticut, Henry Pember Smith is best known for his tightly rendered pastoral landscapes of sun dappled country cottages, lakes, and trees. Smith also painted coastal scenes in New Jersey and throughout New England, from Connecticut to Maine.
He lived in New York City from 1877 to around 1901, after which he moved to Asbury Park, New Jersey where he lived for the remainder of his career. During the 1880s he traveled extensively throughout Europe, painting the coast of Cornwall, England, the canals of Venice, and views of Brittany and Normandy, France.
Smith was apparently a self-taught artist and exhibited his works at the National Academy of Design from 1877-96, 1899, 1901, and 1906; the Brooklyn Art Association in 1878-85 and 1892; the Boston Art Club in 1880-90, and the Pennsylvania Academy of the Fine Arts in 1881, and 1888. Smith was an active member of the art community and belonged to organizations such as the American Watercolor Society, and the Artists Fund Society. His work is housed in public collections, including the Wadsworth Athenaeum, Yale University Art Gallery, Norton Museum of Art, Springfield Museum of Fine Art, Brooklyn Museum of Art, and the Hudson River Museum.
Condition: original canvas and stretcher, minor frame rub. Craquelure throughout, no inpaint, chalky white areas in chimney, left duck pond and right grass.
Paintings
IVAN F. SUMMERS (American 1889-1964)
Sand Pit, c.1939
Oil on canvas
18in. x 20in. (sight size)
Signed lower right: Ivan Summers
Inscribed on stretcher: Sand Pit
Labels from 1989 Retrospective Exhibition on verso
Provenance: Artist's estate to heirs; A.J. Kollar Fine Art; private collection, c.1989 to 2004
Exhibited: Kollar & Davidson, Seattle, Washington, 1989 Ivan Summers Retrospective
Literature: the painting is shown on p.12 of the illustrated exhibition catalog
Ivan Summers is best known for his long-term associations as painter and teacher in Woodstock, NY and Rockport, MA. His early career led him from the East through the South, Southwest and eventually to California. The location of this scene is possibly west Texas or Arizona. Summers taught at the Northern Arizona State Teachers College.
Sand Pit, c.1939
Oil on canvas
18in. x 20in. (sight size)
Signed lower right: Ivan Summers
Inscribed on stretcher: Sand Pit
Labels from 1989 Retrospective Exhibition on verso
Provenance: Artist's estate to heirs; A.J. Kollar Fine Art; private collection, c.1989 to 2004
Exhibited: Kollar & Davidson, Seattle, Washington, 1989 Ivan Summers Retrospective
Literature: the painting is shown on p.12 of the illustrated exhibition catalog
Ivan Summers is best known for his long-term associations as painter and teacher in Woodstock, NY and Rockport, MA. His early career led him from the East through the South, Southwest and eventually to California. The location of this scene is possibly west Texas or Arizona. Summers taught at the Northern Arizona State Teachers College.
ANN BROCKMAN (American 1899-1943)
Western Landscape, c.1930
Oil on canvas
24in. x 30in.
Signed lower right: Ann Brockman
Provenance: Kraushaar Galleries, New York
Ann Brockman, oil and watercolor painter, was born in Alameda, California in 1896. She studied with painters Gifford Beal and John Sloan at the Art Students League in New York City. She exhibited at the Pennsylvania Academy of the Fine Arts, and with the Society of Independent Artists and Salons of America. She was an instructor at the Cape Ann School of Art in Rockport, Massachusetts, and spent much time painting in that location and on Cape Cod. Kraushaar Galleries held a memorial exhibition of her paintings in 1946, three years after her premature death at the age of forty-seven.
Western Landscape, c.1930
Oil on canvas
24in. x 30in.
Signed lower right: Ann Brockman
Provenance: Kraushaar Galleries, New York
Ann Brockman, oil and watercolor painter, was born in Alameda, California in 1896. She studied with painters Gifford Beal and John Sloan at the Art Students League in New York City. She exhibited at the Pennsylvania Academy of the Fine Arts, and with the Society of Independent Artists and Salons of America. She was an instructor at the Cape Ann School of Art in Rockport, Massachusetts, and spent much time painting in that location and on Cape Cod. Kraushaar Galleries held a memorial exhibition of her paintings in 1946, three years after her premature death at the age of forty-seven.
ROBERT T. SWEENEY (b.1948)
Lily Pads
Oil on canvas
54in. x 80in. (sight size)
Signed and dated lower right: R. Sweeney '91
Robert Sweeney's large scale landscape with its bold brushwork and concern with reflected light on water recalls the Impressionist approach. Sweeney studied at the Boston School for the Visual Arts, has exhibited at Alexander Gallery in New York, and is a William Rutherford Mead Professor at Amherst College.
Keywords: oil, painting, landscape, reflection, impressionism, wildlife
Lily Pads
Oil on canvas
54in. x 80in. (sight size)
Signed and dated lower right: R. Sweeney '91
Robert Sweeney's large scale landscape with its bold brushwork and concern with reflected light on water recalls the Impressionist approach. Sweeney studied at the Boston School for the Visual Arts, has exhibited at Alexander Gallery in New York, and is a William Rutherford Mead Professor at Amherst College.
Keywords: oil, painting, landscape, reflection, impressionism, wildlife
MAYO DANIEL BUNKER (American 19th/20th Century)
The Stranger, c.1913
Oil on canvasboard
20.25in. x 16.5in. (sight size)
Signed lower left: Mayo Bunker
This painting retains its original frame
Life Publishing Company stamp on verso inscribed: 1590/ [dat]ed 4/17/13
Old label inscribed: Bunker, Dan 1913/ The Stranger
This painting is accompanied by the preliminary sketch, 9.25in. x 7in. watercolor and gouache on paper, signed and titled
Provenance: Life Publishing Company
Illustrated (Cover): Life, April 17, 1913
Condition: turned varnish, otherwise good condition, surface dirt
The Stranger, c.1913
Oil on canvasboard
20.25in. x 16.5in. (sight size)
Signed lower left: Mayo Bunker
This painting retains its original frame
Life Publishing Company stamp on verso inscribed: 1590/ [dat]ed 4/17/13
Old label inscribed: Bunker, Dan 1913/ The Stranger
This painting is accompanied by the preliminary sketch, 9.25in. x 7in. watercolor and gouache on paper, signed and titled
Provenance: Life Publishing Company
Illustrated (Cover): Life, April 17, 1913
Condition: turned varnish, otherwise good condition, surface dirt
Fine Art
MAYNARD LAFAYETTE DIXON (American 1875-1946)
Study for Frontier Type # 2
Ink with pencil on paper
6.75in. x 5.25in.
Estate stamp lower left
A certificate from the artist's estate signed and titles by Edith Hamlin Dixon (the artist's wife) accompanies this work.
Provenance: the artist's estate
Dixon was considered the leading painter of desert and frontier life and was easily the most successful Western painter working the Southwest. In the 1930s Dixon devoted the majority of his time to painting murals and was working on a large one of the Grand Canyon when he died at the age of 71. His artwork is housed in public collections, including the Amon-Carter Museum, Fort Worth, Texas; San Diego Museum of Art, California; Jack S. Blanton Museum of Art, Austin, Texas; MH De Young Museum of Fine Art, San Francisco; and The Metropolitan Museum of Art, New York. Condition: unframed, good
Study for Frontier Type # 2
Ink with pencil on paper
6.75in. x 5.25in.
Estate stamp lower left
A certificate from the artist's estate signed and titles by Edith Hamlin Dixon (the artist's wife) accompanies this work.
Provenance: the artist's estate
Dixon was considered the leading painter of desert and frontier life and was easily the most successful Western painter working the Southwest. In the 1930s Dixon devoted the majority of his time to painting murals and was working on a large one of the Grand Canyon when he died at the age of 71. His artwork is housed in public collections, including the Amon-Carter Museum, Fort Worth, Texas; San Diego Museum of Art, California; Jack S. Blanton Museum of Art, Austin, Texas; MH De Young Museum of Fine Art, San Francisco; and The Metropolitan Museum of Art, New York. Condition: unframed, good
Paintings
DICK LOPEMAN (American d.1988) and AMERICAN SCHOOL
Dick Lopeman
Indian portrait, c.1976
Offset print
10in. x 7.5in. (sight size)
Signed lower right: Dick Lopeman
Dick Lopeman was raised in Wyoming, Utah, and Nevada. His formal training was at the American Academy of Art and Lopeman also studied privately with John Bruce and Charles Cross. Lopeman received a commission from the San Bernadino County museum for a life size painting of Jedidiah Smith and has also done a poster for the 1980 Apaloosa Horse Show, as well as many Western themed prints. This realistic pencil portrait of a Native American has been signed, in pencil, by the artist below the printed signature.
American School illustrator
Indian rider in landscape
Oil on canvas
20in. x24in. (sight size)
Signed lower left: may read "Bounty", also has a chinese character-styled stamp signature
A lone Native American rides through a dust storm in this somber and evocative desert landscape.
Keywords: native American, pencil, drawing, print, Indian, Western
Dick Lopeman
Indian portrait, c.1976
Offset print
10in. x 7.5in. (sight size)
Signed lower right: Dick Lopeman
Dick Lopeman was raised in Wyoming, Utah, and Nevada. His formal training was at the American Academy of Art and Lopeman also studied privately with John Bruce and Charles Cross. Lopeman received a commission from the San Bernadino County museum for a life size painting of Jedidiah Smith and has also done a poster for the 1980 Apaloosa Horse Show, as well as many Western themed prints. This realistic pencil portrait of a Native American has been signed, in pencil, by the artist below the printed signature.
American School illustrator
Indian rider in landscape
Oil on canvas
20in. x24in. (sight size)
Signed lower left: may read "Bounty", also has a chinese character-styled stamp signature
A lone Native American rides through a dust storm in this somber and evocative desert landscape.
Keywords: native American, pencil, drawing, print, Indian, Western
ROBERT LUNDY (American 20th Century)
Survival
Bronze on wood base
Approximately 24in. x 28 in.
Stamped in back: (indiscernible)
Inscribed: Bob Lundey 15/18 (c) 1960
Provenance: private collection, Dallas Condition: appears to be in good condition
Survival
Bronze on wood base
Approximately 24in. x 28 in.
Stamped in back: (indiscernible)
Inscribed: Bob Lundey 15/18 (c) 1960
Provenance: private collection, Dallas Condition: appears to be in good condition
JANE ROBINSON MABRY (American b.1911)
Cowboy roping a goat, c.1971
Mixed-media on board
17.5in. x 23in. (sight size)
Signed lower right: Jane Mabry PSA
Born and raised in Roswell, New Mexico, by a pioneering family of that state, Jane Mabry began as a child painting cowboys and Native Americans. Mabry earned her BFA from the University of New Mexico, and then studied for four years with Gerald Cassidy, who proved to be the greatest artistic influence on her career. Mabry also attended the Art Students League in New York City, and the Corcoran School of Art where she studied with Catherine Critcher.
Western, cowboy, pastel, painting, horse
Cowboy roping a goat, c.1971
Mixed-media on board
17.5in. x 23in. (sight size)
Signed lower right: Jane Mabry PSA
Born and raised in Roswell, New Mexico, by a pioneering family of that state, Jane Mabry began as a child painting cowboys and Native Americans. Mabry earned her BFA from the University of New Mexico, and then studied for four years with Gerald Cassidy, who proved to be the greatest artistic influence on her career. Mabry also attended the Art Students League in New York City, and the Corcoran School of Art where she studied with Catherine Critcher.
Western, cowboy, pastel, painting, horse
Fine Art
LEA MCCARTY (American 1905-1960)
Wyatt Earp 1881, 1956
Oil on canvas
37in. x 55in.
Signed and dated: Lea McCarty, 1956
Inscribed reverse of canvas: "To Rick -- Thanks for all your help/ Love, Aunt Lee 6-2003/ From Roy Rogers Home, Apple Valley, Calif.
Provenance: Roy Rogers estate; private collection
Lea Franklin McCarty was born in 1905 in Los Angeles, California, and died in 1960 in Santa Rosa, California. McCarty was a sculptor and portrait artist, and painted western portraits of gunfighters, sheriffs, and women of the old west. In 1956, he began a series of portraits titled "Gunslingers of the Old West." These paintings were the result of researching photographs of western figures including Billy the Kid and Wyatt Earp in the photography collection of the Bandera Museum in Bandera, Texas. His paintings are housed in public buildings and private collections throughout the States.
Wyatt Earp 1881, 1956
Oil on canvas
37in. x 55in.
Signed and dated: Lea McCarty, 1956
Inscribed reverse of canvas: "To Rick -- Thanks for all your help/ Love, Aunt Lee 6-2003/ From Roy Rogers Home, Apple Valley, Calif.
Provenance: Roy Rogers estate; private collection
Lea Franklin McCarty was born in 1905 in Los Angeles, California, and died in 1960 in Santa Rosa, California. McCarty was a sculptor and portrait artist, and painted western portraits of gunfighters, sheriffs, and women of the old west. In 1956, he began a series of portraits titled "Gunslingers of the Old West." These paintings were the result of researching photographs of western figures including Billy the Kid and Wyatt Earp in the photography collection of the Bandera Museum in Bandera, Texas. His paintings are housed in public buildings and private collections throughout the States.
Paintings
ROLLIN H. McKAY
"Flathead Indian at Cabinet Gorge", circa 1920
Framed silver print, 14 3/4 x 11 3/4
Taken at Idaho's Cabinet Gorge near the Montana border. McKay was noted for his photographs of Montana in the first half of the 20th century. Photos such as this one serve as a document of the pristine West as it once was.
"Flathead Indian at Cabinet Gorge", circa 1920
Framed silver print, 14 3/4 x 11 3/4
Taken at Idaho's Cabinet Gorge near the Montana border. McKay was noted for his photographs of Montana in the first half of the 20th century. Photos such as this one serve as a document of the pristine West as it once was.
Fine Art
FREDERIC SACKRIDER REMINGTON (American 1861-1909)
Saddle
Ink on paper
9.5in. x 7.5in. (sight size)
Signed lower left: R Frederick
Keppel & Co., NYC label on verso inscribed: No D6115 Headpiece from The Buffalo Soldiers
Condition: appears to be in good condition
Saddle
Ink on paper
9.5in. x 7.5in. (sight size)
Signed lower left: R Frederick
Keppel & Co., NYC label on verso inscribed: No D6115 Headpiece from The Buffalo Soldiers
Condition: appears to be in good condition
Paintings
FREDERIC SACKRIDER REMINGTON A.N.A. (American 1861-1909)
Mannados, c.1906
Pencil and ink on paper
Initialed lower right: Remington
Mannados, c.1906
Pencil and ink on paper
Initialed lower right: Remington
AMERICAN SCHOOL
Study of Joseph Henry Sharp painting, c.1975
Oil on canvas
30in. x 35in. (sight size)
Not signed
A nicely done study of an American Native genre scene, based on a work by Joseph Henry Sharp. Condition note: There is a very small hole in the canvas at the center left edge.
Keywords: Native American, genre, study , Western, oil, painting
Study of Joseph Henry Sharp painting, c.1975
Oil on canvas
30in. x 35in. (sight size)
Not signed
A nicely done study of an American Native genre scene, based on a work by Joseph Henry Sharp. Condition note: There is a very small hole in the canvas at the center left edge.
Keywords: Native American, genre, study , Western, oil, painting
Fine Art
MARTHA WALTER (American 1875-1976)
Old Bayonne
Oil on canvas
26in. x 21in. (sight size)
Framed in an antique frame
Martha Walter estate stamp on verso, David & David #314 David & David Art Gallery, Philadelphia
Provenance: artist's estate; David & David Gallery, Philadelphia
Martha Walter was born in Philadelphia and studied at the Pennsylvania Academy of Design with William Merritt Chase. She was awarded the Cresson Scholarship, which enabled her to travel for two years in France, Spain, Italy, and Holland. She attended the Academies Chaumiere and Julian in Paris, but she found the rigors of academic training too trying and instead opened a studio in the Rue De Bagneaus. She returned to the United Stated on the onset of World War I, set up a studio in Gloucester, Massachusetts and painted beach scenes. At the end of the war, Walter was intrigued with Ellis Island and painted the variety of people as they arrived from other countries in their ethnic costumes.
Walter exhibited at the Pennsylvania Academy of the Fine Arts, and the National Association of Woman Painters and Sculptors. Her artwork is housed in public collections, including the Pennsylvania Academy of the Fine Arts, Philadelphia; Norfolk Society of Arts, Virginia; Milwaukee Art Institute, Wisconsin; Art Institute of Chicago, Illinois; and the Luxembourg Museum, Paris.
Condition: areas in face appear to fluoresce, canvas loose on stretcher.
Old Bayonne
Oil on canvas
26in. x 21in. (sight size)
Framed in an antique frame
Martha Walter estate stamp on verso, David & David #314 David & David Art Gallery, Philadelphia
Provenance: artist's estate; David & David Gallery, Philadelphia
Martha Walter was born in Philadelphia and studied at the Pennsylvania Academy of Design with William Merritt Chase. She was awarded the Cresson Scholarship, which enabled her to travel for two years in France, Spain, Italy, and Holland. She attended the Academies Chaumiere and Julian in Paris, but she found the rigors of academic training too trying and instead opened a studio in the Rue De Bagneaus. She returned to the United Stated on the onset of World War I, set up a studio in Gloucester, Massachusetts and painted beach scenes. At the end of the war, Walter was intrigued with Ellis Island and painted the variety of people as they arrived from other countries in their ethnic costumes.
Walter exhibited at the Pennsylvania Academy of the Fine Arts, and the National Association of Woman Painters and Sculptors. Her artwork is housed in public collections, including the Pennsylvania Academy of the Fine Arts, Philadelphia; Norfolk Society of Arts, Virginia; Milwaukee Art Institute, Wisconsin; Art Institute of Chicago, Illinois; and the Luxembourg Museum, Paris.
Condition: areas in face appear to fluoresce, canvas loose on stretcher.
Paintings
CHARLES CALEB WARD (Canadian 1831-1896)
Indians of Grand Manan, 1869
Watercolor on paper
11.5in. x 9.5in.(sight size)
Signed and dated lower right: Charles A Ward/ Grand Manan/ Sep 1869
Born in Canada, Charles Caleb Ward was a painter of genre scenes depicting Indians engaged in everyday activities. Unlike many of his contemporaries, Ward did not romanticize Indian culture, rather he showed the people engaged in daily tasks and traditions.
Ward studied business in London while he also studied art with English painter William Henry Hunt. From 1850 to 1851, he lived in New York and exhibited at the National Academy of Design. Although he spent most of his career in Canada, he also held a studio in New York from 1868 to 1872. Ward's paintings are housed in The Metropolitan Museum of Art, Addison Gallery of American Art, Smith College of Art, and the Currier Gallery of Art.
Indians of Grand Manan, 1869
Watercolor on paper
11.5in. x 9.5in.(sight size)
Signed and dated lower right: Charles A Ward/ Grand Manan/ Sep 1869
Born in Canada, Charles Caleb Ward was a painter of genre scenes depicting Indians engaged in everyday activities. Unlike many of his contemporaries, Ward did not romanticize Indian culture, rather he showed the people engaged in daily tasks and traditions.
Ward studied business in London while he also studied art with English painter William Henry Hunt. From 1850 to 1851, he lived in New York and exhibited at the National Academy of Design. Although he spent most of his career in Canada, he also held a studio in New York from 1868 to 1872. Ward's paintings are housed in The Metropolitan Museum of Art, Addison Gallery of American Art, Smith College of Art, and the Currier Gallery of Art.
Fine Art
ROBERT WILLIAM WOOD (American 1889-1979)
White Mountains, California
Oil on canvas
24in. x 30in. (sight size)
Signed lower left: Robert Wood
This landscape is a study in contrasting color temperatures; the warm light of sunset rakes across the frozen forms of a snow-capped mountainous landscape. Scumbled paint textures are used to augment the trees and mountain tops in this picturesque view.
Robert Wood was born in Sandgate, England on March 24, 1889. He studied painting with his father, W.J. Wood, and also at the South Kensington School of Art. Wood immigrated to Los Angeles in 1912 and thereafter led a nomadic life, painting and living all over the United States. Working from coast to coast, he painted California landscapes, Southwestern desert scenes, the High Sierras, the Grand Tetons, Texas bluebonnets, Florida, and the Woodstock area of New York.
From 1924 he was based in San Antonio, Texas where he gained a national reputation. In 1941 Wood relocated to Laguna Beach and executed many paintings of Southern California landscapes. In the 1960's he moved to Bishop, California where he remained until his death.
Keywords: landscape, coastal view, still life, mountain
White Mountains, California
Oil on canvas
24in. x 30in. (sight size)
Signed lower left: Robert Wood
This landscape is a study in contrasting color temperatures; the warm light of sunset rakes across the frozen forms of a snow-capped mountainous landscape. Scumbled paint textures are used to augment the trees and mountain tops in this picturesque view.
Robert Wood was born in Sandgate, England on March 24, 1889. He studied painting with his father, W.J. Wood, and also at the South Kensington School of Art. Wood immigrated to Los Angeles in 1912 and thereafter led a nomadic life, painting and living all over the United States. Working from coast to coast, he painted California landscapes, Southwestern desert scenes, the High Sierras, the Grand Tetons, Texas bluebonnets, Florida, and the Woodstock area of New York.
From 1924 he was based in San Antonio, Texas where he gained a national reputation. In 1941 Wood relocated to Laguna Beach and executed many paintings of Southern California landscapes. In the 1960's he moved to Bishop, California where he remained until his death.
Keywords: landscape, coastal view, still life, mountain
Paintings
ROBERT WILLIAM WOOD (American 1889-1979)
Bluebonnet painting, c.1966
Oil on canvas
11.5in.x 15.5in.(sight size)
Signed lower right:Robert Wood
In the 1920's and 30's Robert Wood was a resident of San Antonio, Texas, where he soon earned a loyal audience for his Texas Bluebonnet landscape paintings. Many collectors feel that Robert Wood's High Sierra and Texas Bluebonnet landscapes best showcase his talent.
Keywords: Texas, contemporary, landscape, blue bonnet
Bluebonnet painting, c.1966
Oil on canvas
11.5in.x 15.5in.(sight size)
Signed lower right:Robert Wood
In the 1920's and 30's Robert Wood was a resident of San Antonio, Texas, where he soon earned a loyal audience for his Texas Bluebonnet landscape paintings. Many collectors feel that Robert Wood's High Sierra and Texas Bluebonnet landscapes best showcase his talent.
Keywords: Texas, contemporary, landscape, blue bonnet
ABSTRACT NEW YORK SCHOOL
My Reverie (double sided)
Oil on wood panel
Provenance: Woodstock, New York
16.6in. x 28in.
Inscribed: My Reverie
My Reverie (double sided)
Oil on wood panel
Provenance: Woodstock, New York
16.6in. x 28in.
Inscribed: My Reverie
LIONEL HEYMANN
Vimtage Silver Gelatin Print
Untitled Nude, 1937
10.75in. x 13.5in.
Vimtage Silver Gelatin Print
Untitled Nude, 1937
10.75in. x 13.5in.
BUCK HOY
Vintage Silver Gelatin Print
17.54in. x 22.25in.
Condition: The back of the frame has some damage, not affecting the print.
Vintage Silver Gelatin Print
17.54in. x 22.25in.
Condition: The back of the frame has some damage, not affecting the print.
RALPH LUDWIG BOYER (American 1879-1952)
Three Landscape Drawings
Pencil on paper
Variety of sizes, ranging from 13in. x 10in. to 9in. x 2in.
All signed
Provenance: private collection, Dallas
Ralph Ludwig Boyer was born in Camden, New Jersey and began his studies at the Pennsylvania Academy of the Fine Arts under renowned painters William Merritt Chase, Cecilia Beaux, Thomas Anschutz, and Hugh Breckenridge. He won the Cresson scholarship, which enabled him to study art in Spain. During World War I, Boyer worked in Baltimore for the U.S. Marines Camouflage Division. He worked as an illustrator for several publications, including Scribners, Harpers Weekly, and Good Housekeeping. Boyer exhibited his works at the Pennsylvania Academy of the Fine Arts, Bridgeport Museum of Art. He lived in Westport, Connecticut from 1923 until his death in 1952.
Condition: good
Three Landscape Drawings
Pencil on paper
Variety of sizes, ranging from 13in. x 10in. to 9in. x 2in.
All signed
Provenance: private collection, Dallas
Ralph Ludwig Boyer was born in Camden, New Jersey and began his studies at the Pennsylvania Academy of the Fine Arts under renowned painters William Merritt Chase, Cecilia Beaux, Thomas Anschutz, and Hugh Breckenridge. He won the Cresson scholarship, which enabled him to study art in Spain. During World War I, Boyer worked in Baltimore for the U.S. Marines Camouflage Division. He worked as an illustrator for several publications, including Scribners, Harpers Weekly, and Good Housekeeping. Boyer exhibited his works at the Pennsylvania Academy of the Fine Arts, Bridgeport Museum of Art. He lived in Westport, Connecticut from 1923 until his death in 1952.
Condition: good
Works on Paper
RALPH LUDWIG BOYER (American 1879-1952)
Five Drawings, 1890-1900
Pencil on paper
All signed, some dated 1890, 1900
Variety of sizes no larger than 6in. x 8in.
Provenance: private collection, Dallas
Five Drawings, 1890-1900
Pencil on paper
All signed, some dated 1890, 1900
Variety of sizes no larger than 6in. x 8in.
Provenance: private collection, Dallas
RALPH LUDWIG BOYER (American 1879-1952
Five Figure Drawings
Pencil on paper
Variety of sizes, ranging from 13in. x 8.5in. to 3.5in. x 3in.
All signed
Provenance: private collection, Dallas
Five Figure Drawings
Pencil on paper
Variety of sizes, ranging from 13in. x 8.5in. to 3.5in. x 3in.
All signed
Provenance: private collection, Dallas
Paintings
HEINZ HAJEK-HALKE (1898-1983)(Attributed)
Photogravure, circa 1930
Mounted on rag cream cardstock, 15 3/4 x 11 3/4, image size 8 3/4 by 6 1/4
This is panel 22 of the 24-panel portfolio Das Deutsche Aktwerk ("German Nude Photography"), published by Bruno Schultz, Berlin 1938.
This solarized nude appears to be the work of Hajek-Halke, one of the great German photographers of the 20th century and a pioneer in experimental photography whose acclaim has grown in the years since his death.
Photogravure, circa 1930
Mounted on rag cream cardstock, 15 3/4 x 11 3/4, image size 8 3/4 by 6 1/4
This is panel 22 of the 24-panel portfolio Das Deutsche Aktwerk ("German Nude Photography"), published by Bruno Schultz, Berlin 1938.
This solarized nude appears to be the work of Hajek-Halke, one of the great German photographers of the 20th century and a pioneer in experimental photography whose acclaim has grown in the years since his death.
Sculpture
HARRIET WHITNEY FRISHMUTH (American 1880-1980)
Rhapsody, 1925
Bronze on a black marble base
Approximately 12.25in. x 5.5in.
Back stamped: Harriet W. Frishmuth 1925
This design will be included in Leah Rosenblatt's forthcoming catalogue raisonné on the artist
Provenance: From the Charles Aronson Estate
The present work depicts a dancing satyr and bacchante posed by dancers Desha Delteil and Jacques Triesault.
Condition: original green patina, small amount of pitting on man's left arm, slight scratch on woman's spine, otherwise appears to be in good condition. No foundry mark.
Rhapsody, 1925
Bronze on a black marble base
Approximately 12.25in. x 5.5in.
Back stamped: Harriet W. Frishmuth 1925
This design will be included in Leah Rosenblatt's forthcoming catalogue raisonné on the artist
Provenance: From the Charles Aronson Estate
The present work depicts a dancing satyr and bacchante posed by dancers Desha Delteil and Jacques Triesault.
Condition: original green patina, small amount of pitting on man's left arm, slight scratch on woman's spine, otherwise appears to be in good condition. No foundry mark.
Fine Art
HARRIET WHITNEY FRISHMUTH (American 1880-1980)
Pas de Deux: The Dancers, 1921
Bronze on black marble base
16.25in. x 27.5in.
Stamped left: Harriet W. Frishmuth 1921
Stamped on back: Gorham Co Founders/ QBO5
This design will be included in Leah Rosenblatt's forthcoming catalogue raisonné on the artist
Provenance: From the Charles Aronson Estate
Like many sculptors of her generation, Harriet Frishmuth was inspired during the early 1920s by legendary personalities and romantic themes of modern and classical dance. Pas de Deux: The Dancers, 1921 was posed by professional dancers Barté and Desha Delteil and was exhibited at the Pennsylvania Academy of the Fine Arts in 1923.
Born in Philadelphia into an upper-middle class family, at the age of 18, Harriett Whitney Frishmuth began sculpting classes in Paris a the Académie Rodin. Twice a week, renowned sculptor Auguste Rodin visited the class and gave critiques, often singling out Frishmuth's work with praise. She later attended the Académie Colarossi, where she continued her studies under Henri Desiré Gauquié and Jean Antoine Injalbert. In 1903 Frishmuth made her debut at the Paris Salon with a portrait bust of a woman. After she completed her studies she moved to Berlin and two years later returned to New York City, where she took classes at the Art Students League under Gutzon Borglum and Hermon Atkins MacNeill. To further her knowledge of human anatomy, Frishmuth enrolled in the College of Physicians and Surgeons at Columbia University for two years in dissection. Finally, in 1908, Frishmuth opened her first studio on Park Avenue where she produced sculpture portraits and received her first commission in 1910. In 1912 she had her first important exhibition held at Gorham Galleries in New York City, and in 1915 her work was included in the Panama- Pacific International Exposition in San Francisco.
The decade of the 1920s was Frishmuth's most important and prolific period. It was during this time that her style developed into her celebrated subject, the nude female form in motion. She often used dancers for models, as they were able to hold difficult poses for long periods of time. Her favorite was the Yugoslav dancer Desha Delteil, whom Frishmuth used as the basis for over 90 percent of her works. Many of Frishmuth's sculptures from the 1920s share common characteristics which she invariably used in her sculpture throughout the next 20 years of her career: raised heels, ankles and knees demurely pressed together, shoulders delicately hunched, elbows pulled to the body, and the hands bent back with fingers splayed.
Frishmuth had a one-woman show at the Grand Central Galleries in 1928. That same year she was invited to exhibit several bronzes with The Philadelphia Ten, a group of women artists whom Frishmuth officially joined as a member in 1939. She was elected Academician of the National Academy of Design in 1929. Her artwork is housed in public collections, including the Nelson-Atkins Museum, Kansas City, Missouri; National Academy of Design Museum, New York; Columbus Museum of Art, Ohio; and the Dayton Art Institute, Ohio.
Condition: original patina, fine line of demarcation around feet where figures attach to the base, small repair to man's chest.
Pas de Deux: The Dancers, 1921
Bronze on black marble base
16.25in. x 27.5in.
Stamped left: Harriet W. Frishmuth 1921
Stamped on back: Gorham Co Founders/ QBO5
This design will be included in Leah Rosenblatt's forthcoming catalogue raisonné on the artist
Provenance: From the Charles Aronson Estate
Like many sculptors of her generation, Harriet Frishmuth was inspired during the early 1920s by legendary personalities and romantic themes of modern and classical dance. Pas de Deux: The Dancers, 1921 was posed by professional dancers Barté and Desha Delteil and was exhibited at the Pennsylvania Academy of the Fine Arts in 1923.
Born in Philadelphia into an upper-middle class family, at the age of 18, Harriett Whitney Frishmuth began sculpting classes in Paris a the Académie Rodin. Twice a week, renowned sculptor Auguste Rodin visited the class and gave critiques, often singling out Frishmuth's work with praise. She later attended the Académie Colarossi, where she continued her studies under Henri Desiré Gauquié and Jean Antoine Injalbert. In 1903 Frishmuth made her debut at the Paris Salon with a portrait bust of a woman. After she completed her studies she moved to Berlin and two years later returned to New York City, where she took classes at the Art Students League under Gutzon Borglum and Hermon Atkins MacNeill. To further her knowledge of human anatomy, Frishmuth enrolled in the College of Physicians and Surgeons at Columbia University for two years in dissection. Finally, in 1908, Frishmuth opened her first studio on Park Avenue where she produced sculpture portraits and received her first commission in 1910. In 1912 she had her first important exhibition held at Gorham Galleries in New York City, and in 1915 her work was included in the Panama- Pacific International Exposition in San Francisco.
The decade of the 1920s was Frishmuth's most important and prolific period. It was during this time that her style developed into her celebrated subject, the nude female form in motion. She often used dancers for models, as they were able to hold difficult poses for long periods of time. Her favorite was the Yugoslav dancer Desha Delteil, whom Frishmuth used as the basis for over 90 percent of her works. Many of Frishmuth's sculptures from the 1920s share common characteristics which she invariably used in her sculpture throughout the next 20 years of her career: raised heels, ankles and knees demurely pressed together, shoulders delicately hunched, elbows pulled to the body, and the hands bent back with fingers splayed.
Frishmuth had a one-woman show at the Grand Central Galleries in 1928. That same year she was invited to exhibit several bronzes with The Philadelphia Ten, a group of women artists whom Frishmuth officially joined as a member in 1939. She was elected Academician of the National Academy of Design in 1929. Her artwork is housed in public collections, including the Nelson-Atkins Museum, Kansas City, Missouri; National Academy of Design Museum, New York; Columbus Museum of Art, Ohio; and the Dayton Art Institute, Ohio.
Condition: original patina, fine line of demarcation around feet where figures attach to the base, small repair to man's chest.
Sculpture
HARRIET WHITNEY FRISHMUTH (American 1880-1980)
L' Extase, 1920
Bronze
20in. x 3in.
Stamped: Harriet W. Frishmuth 1920/ Gorham Co Founders/ QBKE
This design will be included in Leah Rosenblatt's forthcoming catalogue raisonné on the artist
Provenance: From the Charles Aronson Estate
A version of the present work is housed in the Wadsworth Atheneum. The statuette, modeled by the dancer Desha Delteil, was conceived while Scriabin's composition of the same title played on Frishmuth's studio victrola.
Condition: original patina, two abrasions on left buttocks, dime sized abrasion to back of arm, scratch to left elbow, 1.5in.inch scratch down right thigh
L' Extase, 1920
Bronze
20in. x 3in.
Stamped: Harriet W. Frishmuth 1920/ Gorham Co Founders/ QBKE
This design will be included in Leah Rosenblatt's forthcoming catalogue raisonné on the artist
Provenance: From the Charles Aronson Estate
A version of the present work is housed in the Wadsworth Atheneum. The statuette, modeled by the dancer Desha Delteil, was conceived while Scriabin's composition of the same title played on Frishmuth's studio victrola.
Condition: original patina, two abrasions on left buttocks, dime sized abrasion to back of arm, scratch to left elbow, 1.5in.inch scratch down right thigh
HARRIET WHITNEY FRISHMUTH (American 1880-1980)
Sweet Grapes, 1922
Bronze
19in. x 4.5in.
Stamped: / Harriet W. Frishmuth/ 1922/ Roman Bronze Works Inc NYC
This design will be included in Leah Rosenblatt's forthcoming catalogue raisonné on the artist
Provenance: From the Charles Aronson Estate
Posed by dancer Rose Yasgore, the present work was enlarged in 1924 and also made into a fountain for which Frishmuth was awarded the Irving T. Bush Memorial Prize.
Condition: original green patina, good condition.
Sweet Grapes, 1922
Bronze
19in. x 4.5in.
Stamped: / Harriet W. Frishmuth/ 1922/ Roman Bronze Works Inc NYC
This design will be included in Leah Rosenblatt's forthcoming catalogue raisonné on the artist
Provenance: From the Charles Aronson Estate
Posed by dancer Rose Yasgore, the present work was enlarged in 1924 and also made into a fountain for which Frishmuth was awarded the Irving T. Bush Memorial Prize.
Condition: original green patina, good condition.
HARRIET WHITNEY FRISHMUTH (American 1880-1980)
The Leaf, 1918
Edition of ten
Bronze
27in. x 7in.
Stamped: Harriet Whitney Frishmuth/ 1918/ Gorham Co Founders/ GRC QBDL
This design will be included in Leah Rosenblatt's forthcoming catalogue raisonné on the artist
Provenance: private collection, Dallas
The present work was cast between 1918 and 1921. According to Leah Rosenblatt, The Leaf is often mistakenly titled Thread of Life, 1916 due to similarities in design. A larger version of The Leaf is housed in Cincinnati Art Museum.
Condition: bright green patina - appears not to have its original patina, otherwise in good condition.
The Leaf, 1918
Edition of ten
Bronze
27in. x 7in.
Stamped: Harriet Whitney Frishmuth/ 1918/ Gorham Co Founders/ GRC QBDL
This design will be included in Leah Rosenblatt's forthcoming catalogue raisonné on the artist
Provenance: private collection, Dallas
The present work was cast between 1918 and 1921. According to Leah Rosenblatt, The Leaf is often mistakenly titled Thread of Life, 1916 due to similarities in design. A larger version of The Leaf is housed in Cincinnati Art Museum.
Condition: bright green patina - appears not to have its original patina, otherwise in good condition.
HARRIET WHITNEY FRISHMUTH (American 1880-1980)
The Star, 1918
Bronze on a stone base
Approximately 19.25in.x 5.25in.x 3in.
Stamped: Harriet W. Frishmuth 1918 / Gorham Co Founders/ Q505 #245
This design will be included in Leah Rosenblatt's forthcoming catalogue raisonné on the artist
The present work was made into a larger version in 1923 and one example is housed in the Cincinnati Art Museum. Condition: it appears that the patina has been removed, small knick to buttocks and above breast, some slight discoloration to left hip.
The Star, 1918
Bronze on a stone base
Approximately 19.25in.x 5.25in.x 3in.
Stamped: Harriet W. Frishmuth 1918 / Gorham Co Founders/ Q505 #245
This design will be included in Leah Rosenblatt's forthcoming catalogue raisonné on the artist
The present work was made into a larger version in 1923 and one example is housed in the Cincinnati Art Museum. Condition: it appears that the patina has been removed, small knick to buttocks and above breast, some slight discoloration to left hip.
Fine Art
HARRIET WHITNEY FRISHMUTH (American 1880-1980)
Girl with Frog ashtray, 1910
Bronze
Approximately 5.5in. x 6in. x 6in.
Stamped: / Harriet W. Frishmuth/ 1910
This whimsical work makes for a charming tray. Despite its small scale, the figure modeling is superbly detailed.
Condition: original green patina, good condition.
Girl with Frog ashtray, 1910
Bronze
Approximately 5.5in. x 6in. x 6in.
Stamped: / Harriet W. Frishmuth/ 1910
This whimsical work makes for a charming tray. Despite its small scale, the figure modeling is superbly detailed.
Condition: original green patina, good condition.
GEORGE GROSZ (German-American 1893-1959)
Elsa Rat Mit Promenadenkleid, c.1922-23
Ink and watercolor on paper
15.5in. x10.5in. (sight size)
Stamped upper right: George Grosz, Berlin
George Grosz was born in Berlin, Germany, in 1910, and studied at the Dresden Academy of Art. In 1912, he attended the School of Applied Arts in Berlin, and studied with Emil Orlik. Grosz served in the German army during World War I, where he was court-martialed for insubordination. From 1918 to 1932, he lived in Berlin, and was one of the founders of the Dada movement. At this time, Grosz styled himself as an American, much to the dismay of his left-wing friends. His biting satirical art forewarned the danger of the control of German industry over politics, as well as the potentially disastrous results of enforced, excessive patriotism. Reaction to Grosz's satirical drawings caused him to flee Germany, and in 1932, he traveled to New York City where he was a guest instructor for two terms at the Art Students League. He then became a United States citizen, moving his family to Long Island. In 1937, he won a Guggenheim Fellowship; and in 1941, the Museum of Modern Art circulated a traveling exhibition of his work. After the age of 40, Grosz turned his work away from the avant-garde towards allegorical themes using cavorting nudes. He also opened an art school with Maurice Sterne and did opera stage designs. Grosz had an open dislike for French modernism and was disdainful of the emerging Abstract Expressionism. On the one-hundredth anniversary of his birth, in 1993, a major retrospective of Grosz's work was held at the Neue Nationalgalerie in Berlit and included over 300 paintings, drawings and watercolors. This work's caption could be roughly translated into English as, Elsa Rat wearing her Sunday best.
Keywords: ink, drawing, watercolor, cartoon, satire
Elsa Rat Mit Promenadenkleid, c.1922-23
Ink and watercolor on paper
15.5in. x10.5in. (sight size)
Stamped upper right: George Grosz, Berlin
George Grosz was born in Berlin, Germany, in 1910, and studied at the Dresden Academy of Art. In 1912, he attended the School of Applied Arts in Berlin, and studied with Emil Orlik. Grosz served in the German army during World War I, where he was court-martialed for insubordination. From 1918 to 1932, he lived in Berlin, and was one of the founders of the Dada movement. At this time, Grosz styled himself as an American, much to the dismay of his left-wing friends. His biting satirical art forewarned the danger of the control of German industry over politics, as well as the potentially disastrous results of enforced, excessive patriotism. Reaction to Grosz's satirical drawings caused him to flee Germany, and in 1932, he traveled to New York City where he was a guest instructor for two terms at the Art Students League. He then became a United States citizen, moving his family to Long Island. In 1937, he won a Guggenheim Fellowship; and in 1941, the Museum of Modern Art circulated a traveling exhibition of his work. After the age of 40, Grosz turned his work away from the avant-garde towards allegorical themes using cavorting nudes. He also opened an art school with Maurice Sterne and did opera stage designs. Grosz had an open dislike for French modernism and was disdainful of the emerging Abstract Expressionism. On the one-hundredth anniversary of his birth, in 1993, a major retrospective of Grosz's work was held at the Neue Nationalgalerie in Berlit and included over 300 paintings, drawings and watercolors. This work's caption could be roughly translated into English as, Elsa Rat wearing her Sunday best.
Keywords: ink, drawing, watercolor, cartoon, satire
GEORGE LUKS (American 1867-1933)
Portrait of a Scotsman
Oil on canvas on panel
15.5in.x 12.5in
Signed upper left: George Luks
This painting appears to retain its original frame
Stanton Galleries, Philadelphia label on verso
Luks paintings are housed in important public collections, including The Metropolitan Museum of Art, Corcoran Gallery of Art, Los Angeles County Museum of Art, San Diego Museum of Art, National Portrait Gallery, Smithsonian Museum of Art, Art Institute of Chicago, Pennsylvania Academy of the Fine Arts, and the Jack S. Blanton Museum of Art.
Condition: appears to be in good condition
Portrait of a Scotsman
Oil on canvas on panel
15.5in.x 12.5in
Signed upper left: George Luks
This painting appears to retain its original frame
Stanton Galleries, Philadelphia label on verso
Luks paintings are housed in important public collections, including The Metropolitan Museum of Art, Corcoran Gallery of Art, Los Angeles County Museum of Art, San Diego Museum of Art, National Portrait Gallery, Smithsonian Museum of Art, Art Institute of Chicago, Pennsylvania Academy of the Fine Arts, and the Jack S. Blanton Museum of Art.
Condition: appears to be in good condition
Paintings
REGINALD MARSH (American 1898-1954)
On the Beach, Coney Island, 1943
Tempera on masonite
4.5in. x 6.25in. (sight size)
Signed and dated lower left: Marsh 43
Reginald Marsh was an important urban realist painter of Depression-era New York. Marsh loved New York with all its activity and energy, and devoted his entire career to painting the metropolis, its streets, and its common people. He reveled in the city's vitality, and even in its vulgarity, painting images of theatres, streets, advertisements, vaudeville, burlesques, and the beaches of Coney Island.
Marsh was an active participant in the New York art community, and he taught at the Art Students League from 1935 to 1954. He was an Academician of the National Academy of Design, and he exhibited his works at the Corcoran Gallery of Art, Washington, D.C.; Pennsylvania Academy of the Fine Arts, Philadelphia; National Academy of Design, New York; and the Whitney Studio Club, New York. He had sixteen solo shows at the Frank Rehn Gallery, New York, and a major retrospective exhibition at the Whitney Museum of American Art, New York, in 1955. His works hang in renowned public collections, including the Metropolitan Museum of Art, New York; Whitney Museum of American Art, National Gallery of American Art, Washington, D.C., Pennsylvania Academy of the Fine Arts; Art Institute of Chicago, and the Museum of Fine Arts, Boston.
Condition: inpaint along left edge, otherwise good condition
On the Beach, Coney Island, 1943
Tempera on masonite
4.5in. x 6.25in. (sight size)
Signed and dated lower left: Marsh 43
Reginald Marsh was an important urban realist painter of Depression-era New York. Marsh loved New York with all its activity and energy, and devoted his entire career to painting the metropolis, its streets, and its common people. He reveled in the city's vitality, and even in its vulgarity, painting images of theatres, streets, advertisements, vaudeville, burlesques, and the beaches of Coney Island.
Marsh was an active participant in the New York art community, and he taught at the Art Students League from 1935 to 1954. He was an Academician of the National Academy of Design, and he exhibited his works at the Corcoran Gallery of Art, Washington, D.C.; Pennsylvania Academy of the Fine Arts, Philadelphia; National Academy of Design, New York; and the Whitney Studio Club, New York. He had sixteen solo shows at the Frank Rehn Gallery, New York, and a major retrospective exhibition at the Whitney Museum of American Art, New York, in 1955. His works hang in renowned public collections, including the Metropolitan Museum of Art, New York; Whitney Museum of American Art, National Gallery of American Art, Washington, D.C., Pennsylvania Academy of the Fine Arts; Art Institute of Chicago, and the Museum of Fine Arts, Boston.
Condition: inpaint along left edge, otherwise good condition
FLOYD GAHMAN (1894-1979)
Store Front, Morrisville, New Jersey
Watercolor on paper
14in. x 20.75in. (sight size)
Signed lower right: Floyd Gahman
Store Front, Morrisville, New Jersey
Watercolor on paper
14in. x 20.75in. (sight size)
Signed lower right: Floyd Gahman
Fine Art
JAN MATULKA (American 1890-1972)
Landscape with fountain
Ink on paper, c.1940
11in. x 8.5in. (sight size)
Signed lower right: J. Matulka
Jan Matulka's landscape is a finely designed drawing. done in a synthetic cubistic style, somewhat reminiscent of the work of his colleague, Stuart Davis. Born in Prague, Czechoslovakia, Matulka came to the Bronx, New York in 1907, where he had a poverty-ridden childhood with a mother who tried to raise a family by herself. From 1908 to 1917, he studied at the National Academy of Design, and in 1917, received the first Pulitzer traveling scholarship with which he traveled and painted in the Southwest and Florida. His work from this period showed a turning towards a more abstract style, replacing his earlier realism. In 1919, he first went to Paris and then returned in 1927 on a scholarship from the National Academy. In Paris, he was exposed to Cubism, and his painting after that seemed always to carry that influence. He had his first one-man exhibit in New York City in 1925, and by 1930, he and Stuart Davis were experimenting with their version of Cubism. Concurrently for New Masses, Matulka did satiric illustrations expressing sympathy for the working classes. From 1929 to 1931, Matulka taught at the Art Students League where he inspired emerging modernists such as David Smith, Dorothy Dehner, and I Rice Pereira. In the late 1930s, he became a WPA mural artist.
Keywords: modern art, cubism, abstract, landscape, ink, drawing
Landscape with fountain
Ink on paper, c.1940
11in. x 8.5in. (sight size)
Signed lower right: J. Matulka
Jan Matulka's landscape is a finely designed drawing. done in a synthetic cubistic style, somewhat reminiscent of the work of his colleague, Stuart Davis. Born in Prague, Czechoslovakia, Matulka came to the Bronx, New York in 1907, where he had a poverty-ridden childhood with a mother who tried to raise a family by herself. From 1908 to 1917, he studied at the National Academy of Design, and in 1917, received the first Pulitzer traveling scholarship with which he traveled and painted in the Southwest and Florida. His work from this period showed a turning towards a more abstract style, replacing his earlier realism. In 1919, he first went to Paris and then returned in 1927 on a scholarship from the National Academy. In Paris, he was exposed to Cubism, and his painting after that seemed always to carry that influence. He had his first one-man exhibit in New York City in 1925, and by 1930, he and Stuart Davis were experimenting with their version of Cubism. Concurrently for New Masses, Matulka did satiric illustrations expressing sympathy for the working classes. From 1929 to 1931, Matulka taught at the Art Students League where he inspired emerging modernists such as David Smith, Dorothy Dehner, and I Rice Pereira. In the late 1930s, he became a WPA mural artist.
Keywords: modern art, cubism, abstract, landscape, ink, drawing
JAN MATULKA (American 1890-1972)
Street scene
Mixed-media on paper, c.1950
14in. x 19.5in. (sight size)
Signed lower right: Matulka
Jan Matulka's cubistic street scene is composed of lively patterned shapes which lock together to create an exiting space, infused with rhythm, color, and texture. The "open color areas" of the cloud-filled sky and foliage make for a pleasing contrast with the more bounded and geometric architectural forms. A restless traveler and dedicated teacher, Matulka created a body of work that reflected a European appreciation for modernism and artistic innovation and a deeply political streak that made him a regular contributor to the progressive New Masses publication. He maintained close contacts and friendships with a wide range of leading European and American artists. Matulka's art is represented in the collections of the Whitney Museum of American Art, Solomon R. Guggenheim Museum, Smithsonian American Art Museum, Los Angeles County Museum of Ar, Pennsylvania Academy of Fine Arts, and many other museums. Jan Matulka - The Global Modernist, a major retrospective survey of this complex and fascinating Czech-American modernist artist, will open at the Montclair Art Museum September 19, 2004 and run through January , 2005.
Condition: The watercolor paper is very fragile. There are 3 small but noteable tears: one in the upper right corner, about 1 inch long, a tear in the upper left side (the missing piece can be re-attached) and a small tear on the upper right side. The colors are bright and vibrant. The paper is slightly buckled on the upper portion of the painting.
Street scene
Mixed-media on paper, c.1950
14in. x 19.5in. (sight size)
Signed lower right: Matulka
Jan Matulka's cubistic street scene is composed of lively patterned shapes which lock together to create an exiting space, infused with rhythm, color, and texture. The "open color areas" of the cloud-filled sky and foliage make for a pleasing contrast with the more bounded and geometric architectural forms. A restless traveler and dedicated teacher, Matulka created a body of work that reflected a European appreciation for modernism and artistic innovation and a deeply political streak that made him a regular contributor to the progressive New Masses publication. He maintained close contacts and friendships with a wide range of leading European and American artists. Matulka's art is represented in the collections of the Whitney Museum of American Art, Solomon R. Guggenheim Museum, Smithsonian American Art Museum, Los Angeles County Museum of Ar, Pennsylvania Academy of Fine Arts, and many other museums. Jan Matulka - The Global Modernist, a major retrospective survey of this complex and fascinating Czech-American modernist artist, will open at the Montclair Art Museum September 19, 2004 and run through January , 2005.
Condition: The watercolor paper is very fragile. There are 3 small but noteable tears: one in the upper right corner, about 1 inch long, a tear in the upper left side (the missing piece can be re-attached) and a small tear on the upper right side. The colors are bright and vibrant. The paper is slightly buckled on the upper portion of the painting.
ANSELMO MIGUEL NIETO (Spanish 1881-1964)
Exotic beauty, c.1920
Oil on canvas
40in. x 32in. (sight size)
Signed lower left: A. Miguel Nieto
A bejeweled and exotic beauty enters into a trance-like state of meditation in a darkened room. Nieto uses a classical chiaroscuro painting technique to create this dramatic scene, showcasing a beautiful figure, with fully rounded forms, and adorned with lustrous, glittering jewelry.
A Spanish movement known as modernismo, 1880-1913, included poets, writers, dramatists, artists and intellectuals, talents such as Rubén Darío, Jacinto Benavente, Ramón Valle-Inclan, Julio Romero de Torres, Martinez Ruiz, Silverio Lanza, Ignacio Zuloago, Rafael de Penagos, Emilio Carrere, Santos Chocano, Enrique de Mesa, Ricardo Marín, Antonio Hoyos y Vinent, José "Pepe" Zamora, Pío Baroja, and Anselmo Miguel Nieto. The participants were avid patrons of the cafes, particularly, the Café Levante, 1904-1916. Likewise, they frequented the popular music halls, which in Madrid featured dancers, such as, Pastora Imperio, La Argentina, las Esmeraldas, la Bella Belén, la Monterde, Anita Delgado, and Mata Hari. Anselmo Miguel Nieto's paintings decorated the Casin de Madrid's Salon Real. This painting had restoration at the upper right portion of the canvas, where a tear in the canvas was mended.
Exotic beauty, c.1920
Oil on canvas
40in. x 32in. (sight size)
Signed lower left: A. Miguel Nieto
A bejeweled and exotic beauty enters into a trance-like state of meditation in a darkened room. Nieto uses a classical chiaroscuro painting technique to create this dramatic scene, showcasing a beautiful figure, with fully rounded forms, and adorned with lustrous, glittering jewelry.
A Spanish movement known as modernismo, 1880-1913, included poets, writers, dramatists, artists and intellectuals, talents such as Rubén Darío, Jacinto Benavente, Ramón Valle-Inclan, Julio Romero de Torres, Martinez Ruiz, Silverio Lanza, Ignacio Zuloago, Rafael de Penagos, Emilio Carrere, Santos Chocano, Enrique de Mesa, Ricardo Marín, Antonio Hoyos y Vinent, José "Pepe" Zamora, Pío Baroja, and Anselmo Miguel Nieto. The participants were avid patrons of the cafes, particularly, the Café Levante, 1904-1916. Likewise, they frequented the popular music halls, which in Madrid featured dancers, such as, Pastora Imperio, La Argentina, las Esmeraldas, la Bella Belén, la Monterde, Anita Delgado, and Mata Hari. Anselmo Miguel Nieto's paintings decorated the Casin de Madrid's Salon Real. This painting had restoration at the upper right portion of the canvas, where a tear in the canvas was mended.
MAXFIELD PARRISH (American 1870-1966)
Bat (2 works)
Oil on board
6in. x 12in.
Verso label: Heiss/ Artists Materials & C/ Philadelphia
Bat Engraving on paper
7.75in. x 11.75in. (image size)
Provenance: Estate of the artist; private collection, Dallas
Bat (2 works)
Oil on board
6in. x 12in.
Verso label: Heiss/ Artists Materials & C/ Philadelphia
Bat Engraving on paper
7.75in. x 11.75in. (image size)
Provenance: Estate of the artist; private collection, Dallas
ROBERT RIGGS (American 1896-1970)
On the Ropes, c. 1930
Charcoal on paper
11.5in. x 15in. (sight size)
Signed lower right: Robert Riggs
Old label on verso inscribed: On the Ropes/ Robert Riggs/ 1896-1970
Framed under glass
Related works: On the Ropes, 1927, watercolor on paper (Exhibited at the Art Institute of Chicago, 1928, no. 293), On the Ropes, c. 1932-1933, lithograph, Edition 50, 14.75in. x 19.5in.
Literature: Ben Bassham, The Lithographs of Robert Riggs with a Catalogue Raisonne (Cranberry, NJ: Associated University Press, 1986)
The present work by Robert Riggs is a charcoal drawing of one of his most popular lithographs, On the Ropes. The publication Art Digest reported that about half of the edition of 50 lithographs had been sold during Riggs' show at Rehn Gallery, New York City in 1933. Expert Ben Bassham noted in The Lithographs of Robert Riggs with a Catalogue Raisonne, 1986 that although contemporary with some of his other prizefight subjects, On the Ropes exhibits a more detailed treatment of each individualized character in the crowd.
Like Thomas Eakins and George Bellows, Riggs became fascinated with the sport of prizefighting, and between 1932 and 1934 immersed himself in the dark, seedy world of boxing. Riggs continued to work through the 1950s and 1960s, and taught at the Philadelphia College of Art until 1963. Riggs was Academician of the National Academy of Design, and also held memberships in the Philadelphia Art Alliance and the Philadelphia Watercolor Club. He showed his work during his lifetime at the Art Institute of Chicago, Whitney Museum of American Art, Pennsylvania Academy of the Fine Arts, Century of Progress Exposition, Chicago, 1933-34; Philadelphia Print Club. His work is in the following public collections: Art Institute of Chicago, Brooklyn Museum, Whitney Museum of American Art, New York Public Library, Art Museum of Western Virginia, Roanoke, Virginia.
Condition: good condition. Definitely charcoal on paper and not a lithograph
On the Ropes, c. 1930
Charcoal on paper
11.5in. x 15in. (sight size)
Signed lower right: Robert Riggs
Old label on verso inscribed: On the Ropes/ Robert Riggs/ 1896-1970
Framed under glass
Related works: On the Ropes, 1927, watercolor on paper (Exhibited at the Art Institute of Chicago, 1928, no. 293), On the Ropes, c. 1932-1933, lithograph, Edition 50, 14.75in. x 19.5in.
Literature: Ben Bassham, The Lithographs of Robert Riggs with a Catalogue Raisonne (Cranberry, NJ: Associated University Press, 1986)
The present work by Robert Riggs is a charcoal drawing of one of his most popular lithographs, On the Ropes. The publication Art Digest reported that about half of the edition of 50 lithographs had been sold during Riggs' show at Rehn Gallery, New York City in 1933. Expert Ben Bassham noted in The Lithographs of Robert Riggs with a Catalogue Raisonne, 1986 that although contemporary with some of his other prizefight subjects, On the Ropes exhibits a more detailed treatment of each individualized character in the crowd.
Like Thomas Eakins and George Bellows, Riggs became fascinated with the sport of prizefighting, and between 1932 and 1934 immersed himself in the dark, seedy world of boxing. Riggs continued to work through the 1950s and 1960s, and taught at the Philadelphia College of Art until 1963. Riggs was Academician of the National Academy of Design, and also held memberships in the Philadelphia Art Alliance and the Philadelphia Watercolor Club. He showed his work during his lifetime at the Art Institute of Chicago, Whitney Museum of American Art, Pennsylvania Academy of the Fine Arts, Century of Progress Exposition, Chicago, 1933-34; Philadelphia Print Club. His work is in the following public collections: Art Institute of Chicago, Brooklyn Museum, Whitney Museum of American Art, New York Public Library, Art Museum of Western Virginia, Roanoke, Virginia.
Condition: good condition. Definitely charcoal on paper and not a lithograph
Paintings
MARGARET ROWLAND (19th/20th Century)
Five Figure Drawings
Charcoal on Bristol board
All 16.25in. x 10.5in.
One signed: Margaret Rowland
Provenance: private collection, Dallas
Condition: good
Five Figure Drawings
Charcoal on Bristol board
All 16.25in. x 10.5in.
One signed: Margaret Rowland
Provenance: private collection, Dallas
Condition: good
MARGARET ROWLAND (19th/20th Century)
Five Figure Drawings
Charcoal on Bristol board
All 16.25in. x 10.5in.
Provenance: private collection, Dallas
Five Figure Drawings
Charcoal on Bristol board
All 16.25in. x 10.5in.
Provenance: private collection, Dallas
MARGARET ROWLAND (19th/20th Century)
Six Figure Drawings
Charcoal on Bristol board
All 16.25in. x 10.5in.
One signed: Margaret Rowland
Six Figure Drawings
Charcoal on Bristol board
All 16.25in. x 10.5in.
One signed: Margaret Rowland
Fine Art
HARRY ROSELAND (American, 1868-1950).
Prayer
Oil on canvas, c.1900
19in. x 13in. (sight size)
Signed lower right: Harry Roseland
Harry Roseland was born in Brooklyn, New York in 1868. He studied under Thomas Eakins, C. Beckwith, and J.B. Whittaker, and painted landscapes and still lifes. Roseland became renowned for his genre scenes of everyday American life, and often painted scenes of post-Civil War African-American life in the Northeast; scenes detailing such home-spun pursuits as playing checkers or letter-reading. Roseland was celebrated for his paintings of common laborers in fields, who picked cotton or berries in and around the New York and New England coastal areas, and he also painted interior genre scenes of men discussing art and literature. His works capture a way of life that existed in the first half of the twentieth century that has now vanished. Harry Roseland never left Brooklyn, dying in New York in 1950. During his career as an artist, Roseland exhibited at the Brooklyn Art Club, the Charleston Expo, the National Academy of Design, the Pennsylvania Academy of the Fine Arts, and the Art Institute of Chicago. Harry Roseland was a member of the Brooklyn Arts Club, the Brooklyn Society of Artists, the Brooklyn Painters Society, and the Salmagundi Club. His work is represented in the collections of the Brooklyn Institute of Arts and Science, the Charleston Art Museum, and the Heckscher Museum.
Prayer
Oil on canvas, c.1900
19in. x 13in. (sight size)
Signed lower right: Harry Roseland
Harry Roseland was born in Brooklyn, New York in 1868. He studied under Thomas Eakins, C. Beckwith, and J.B. Whittaker, and painted landscapes and still lifes. Roseland became renowned for his genre scenes of everyday American life, and often painted scenes of post-Civil War African-American life in the Northeast; scenes detailing such home-spun pursuits as playing checkers or letter-reading. Roseland was celebrated for his paintings of common laborers in fields, who picked cotton or berries in and around the New York and New England coastal areas, and he also painted interior genre scenes of men discussing art and literature. His works capture a way of life that existed in the first half of the twentieth century that has now vanished. Harry Roseland never left Brooklyn, dying in New York in 1950. During his career as an artist, Roseland exhibited at the Brooklyn Art Club, the Charleston Expo, the National Academy of Design, the Pennsylvania Academy of the Fine Arts, and the Art Institute of Chicago. Harry Roseland was a member of the Brooklyn Arts Club, the Brooklyn Society of Artists, the Brooklyn Painters Society, and the Salmagundi Club. His work is represented in the collections of the Brooklyn Institute of Arts and Science, the Charleston Art Museum, and the Heckscher Museum.
Paintings
NORMAN ROCKWELL (American 1894-1978)
Freedom of the Press: Poor Richard's Almanac, c.1930
Oil on canvas 32in. x 27in.
Inscribed lower right (not contemporaneously): Norman Rockwell
Signed on canvas fragment attached on stretcher bar: Norman Rockwell
Photocopy of letter from Norman Rockwell to Mr. Yotnakparian dated March 6, 1973 accompanies this work.
Viewed and accepted by Laurie Moffat, Director of the Rockwell Museum.
Provenance: the collection of Mr. Yotnakparian, c. 1973; Roughton Galleries, Dallas, Texas
Freedom of the Press (also known as Poor Richards Almanac) may also have been intended as part of Rockwell's original Freedom series, however it was never used. The painting belonged to the same family for over 50 years. In an accompanying photocopy of a letter from Norman Rockwell to the owner, Rockwell wrote "I did the picture . . . when I lived in New Rochelle. I don't remember who posed for Ben Franklin, but I know the printer in back of him was one of my favorite models, Fred Hildebrandt."
Norman Rockwell is America's most beloved illustrator of the 20th century. Renowned for his idyllic images of daily life in small town America, Rockwell explained in his autobiography, "I paint life as I would like it to be." Rockwell was born in New York City into a family of humble circumstances. In 1903, his family moved to Mamaroneck, New York a suburban town in Westchester County where they resided in a succession of boarding houses. While still in high school, Rockwell decided to pursue a career as an illustrator, and in 1908, he commuted to New York City to study at the Chase School of Fine and Applied Art. At the age of 15, he quit high school and enrolled in the National Academy of Design. However, he found the Academy's curriculum was geared toward the fine arts, and Rockwell left after a year to study illustration at the Art Students League under George Bridgman and Thomas Fogarty.
The most comprehensive collection of his work can be found at the Norman Rockwell Museum in Stockbridge.
Condition: original, unlined canvas on original stretchers, areas of inpaint in Franklin's arm, shoulder, and letter. Inpaint above 2nd man's head, lower right corner, and middle upper left edge. Signature on front fluoresces under blacklight, but the signature on back fragment does not fluoresce. It appears that several years ago the painting was trimmed to fit in a frame and the original signature is now affixed to the verso stretcher bar. The painting was later resigned lower right.
Freedom of the Press: Poor Richard's Almanac, c.1930
Oil on canvas 32in. x 27in.
Inscribed lower right (not contemporaneously): Norman Rockwell
Signed on canvas fragment attached on stretcher bar: Norman Rockwell
Photocopy of letter from Norman Rockwell to Mr. Yotnakparian dated March 6, 1973 accompanies this work.
Viewed and accepted by Laurie Moffat, Director of the Rockwell Museum.
Provenance: the collection of Mr. Yotnakparian, c. 1973; Roughton Galleries, Dallas, Texas
Freedom of the Press (also known as Poor Richards Almanac) may also have been intended as part of Rockwell's original Freedom series, however it was never used. The painting belonged to the same family for over 50 years. In an accompanying photocopy of a letter from Norman Rockwell to the owner, Rockwell wrote "I did the picture . . . when I lived in New Rochelle. I don't remember who posed for Ben Franklin, but I know the printer in back of him was one of my favorite models, Fred Hildebrandt."
Norman Rockwell is America's most beloved illustrator of the 20th century. Renowned for his idyllic images of daily life in small town America, Rockwell explained in his autobiography, "I paint life as I would like it to be." Rockwell was born in New York City into a family of humble circumstances. In 1903, his family moved to Mamaroneck, New York a suburban town in Westchester County where they resided in a succession of boarding houses. While still in high school, Rockwell decided to pursue a career as an illustrator, and in 1908, he commuted to New York City to study at the Chase School of Fine and Applied Art. At the age of 15, he quit high school and enrolled in the National Academy of Design. However, he found the Academy's curriculum was geared toward the fine arts, and Rockwell left after a year to study illustration at the Art Students League under George Bridgman and Thomas Fogarty.
The most comprehensive collection of his work can be found at the Norman Rockwell Museum in Stockbridge.
Condition: original, unlined canvas on original stretchers, areas of inpaint in Franklin's arm, shoulder, and letter. Inpaint above 2nd man's head, lower right corner, and middle upper left edge. Signature on front fluoresces under blacklight, but the signature on back fragment does not fluoresce. It appears that several years ago the painting was trimmed to fit in a frame and the original signature is now affixed to the verso stretcher bar. The painting was later resigned lower right.
Fine Art
EVERETT SHINN (American 1876-1953)
Washington Square Park, New York City, c.1910
Oil on canvas
16.25in. x 20in.
Signed lower right: E. Shinn
Inscribed on verso: Washington Square Park, NY
Everett Shinn was the youngest member of the Eight, a group of artists who rebelled against the National Academy of Design's conservative restrictions over artistic style and execution with a new and uncompromising American realist vision. Shinn, together with George Luks, William Glackens, John Sloan, Robert Henri, Ernest Lawson, Maurice Prendergast, and Arthur B. Davies, portrayed the streets of New York in an honest, almost gritty fashion.
Shinn was born in Woodstown, New Jersey. In the autumn of 1893, he enrolled in the Pennsylvania Academy of the Fine Arts and, like many of his fellow students, worked for the Philadelphia Press as an artist-reporter creating on-the-spot sketches of news events. Through this experience he honed his distinctive drawing style characterized by striking angles and emphatic gestures. More than his colleagues, Shinn freed himself from the confines of traditional pen and ink drawing and utilized different media within the same sketch or illustration. It was a technique that added great depth and gradation of tone and color to his work.
Shinn first moved to New York in 1897, and was immediately taken with the energy of the city and its people. He continued his newspaper work, but soon gained recognition as a fine artist. He sold his work regularly and participated in major exhibitions, including the landmark show of The Eight at Macbeth Galleries. Shinn's New York was a sensational and ever-changing place; he painted scenes of the Bowery, Washington's Arch, Fifth Avenue, elegant ladies and gentlemen, clowns, acrobats, actresses, and the common man and woman. Shinn had a deep affection for the theatre, and he chose his subjects for their memorable and dramatic aspects. Shinn's work was exhibited at The Metropolitan Museum of Art, New York, New York; Philadelphia Museum of Art, Philadelphia, Pennsylvania; Museum of Fine Arts, Boston, Massachusetts; Brooklyn Museum, Brooklyn, New York; and the Whitney Museum of American Art, New York, New York.
Condition: original canvas and stretcher bars with new keys. Thin pigment throughout, inpaint upper left corner and bottom left, otherwise good
Washington Square Park, New York City, c.1910
Oil on canvas
16.25in. x 20in.
Signed lower right: E. Shinn
Inscribed on verso: Washington Square Park, NY
Everett Shinn was the youngest member of the Eight, a group of artists who rebelled against the National Academy of Design's conservative restrictions over artistic style and execution with a new and uncompromising American realist vision. Shinn, together with George Luks, William Glackens, John Sloan, Robert Henri, Ernest Lawson, Maurice Prendergast, and Arthur B. Davies, portrayed the streets of New York in an honest, almost gritty fashion.
Shinn was born in Woodstown, New Jersey. In the autumn of 1893, he enrolled in the Pennsylvania Academy of the Fine Arts and, like many of his fellow students, worked for the Philadelphia Press as an artist-reporter creating on-the-spot sketches of news events. Through this experience he honed his distinctive drawing style characterized by striking angles and emphatic gestures. More than his colleagues, Shinn freed himself from the confines of traditional pen and ink drawing and utilized different media within the same sketch or illustration. It was a technique that added great depth and gradation of tone and color to his work.
Shinn first moved to New York in 1897, and was immediately taken with the energy of the city and its people. He continued his newspaper work, but soon gained recognition as a fine artist. He sold his work regularly and participated in major exhibitions, including the landmark show of The Eight at Macbeth Galleries. Shinn's New York was a sensational and ever-changing place; he painted scenes of the Bowery, Washington's Arch, Fifth Avenue, elegant ladies and gentlemen, clowns, acrobats, actresses, and the common man and woman. Shinn had a deep affection for the theatre, and he chose his subjects for their memorable and dramatic aspects. Shinn's work was exhibited at The Metropolitan Museum of Art, New York, New York; Philadelphia Museum of Art, Philadelphia, Pennsylvania; Museum of Fine Arts, Boston, Massachusetts; Brooklyn Museum, Brooklyn, New York; and the Whitney Museum of American Art, New York, New York.
Condition: original canvas and stretcher bars with new keys. Thin pigment throughout, inpaint upper left corner and bottom left, otherwise good
Paintings
GEORGE VAN HOOK (American b. 1954)
Tabletop Still Life, late 20th century
Acrylic on canvas
24in. x 30in.
Signed lower right: Van Hook
George Van Hook's sensitive early still life and landscape paintings catapulted his artistic career to the cover of the March 1989 edition of American Artist magazine. A copy of the magazine including a lengthy article on the artist are included with this lot.
Tabletop Still Life, late 20th century
Acrylic on canvas
24in. x 30in.
Signed lower right: Van Hook
George Van Hook's sensitive early still life and landscape paintings catapulted his artistic career to the cover of the March 1989 edition of American Artist magazine. A copy of the magazine including a lengthy article on the artist are included with this lot.
Fine Art
AMERICAN SCHOOL (20th Century)
Sky Pear, 1973
Oil on canvas
48in. x 40in.
Signed and dated lower left: Charley '73
Condition: good
Sky Pear, 1973
Oil on canvas
48in. x 40in.
Signed and dated lower left: Charley '73
Condition: good
Paintings
ANSEL ADAMS (1902-1984)
Signed book Ansel Adams Images 1923-1974
New York Graphic Society, first printing 1974
ISBN 0-8212-01601-10
Hardcover with dust jacket in slipcase, 14.75in. x 17.5in. x 1.125in.
This copy is from a special edition for Time-Life Books subscribers. It has been signed in the front of the book by Adams. The printing quality of this book is simply amazing, it's the next best thing to owning one of Adams' painstakingly printed originals.
Condition: The book is in Good condition. The slipcase is well-worn with splits at the corners.
Signed book Ansel Adams Images 1923-1974
New York Graphic Society, first printing 1974
ISBN 0-8212-01601-10
Hardcover with dust jacket in slipcase, 14.75in. x 17.5in. x 1.125in.
This copy is from a special edition for Time-Life Books subscribers. It has been signed in the front of the book by Adams. The printing quality of this book is simply amazing, it's the next best thing to owning one of Adams' painstakingly printed originals.
Condition: The book is in Good condition. The slipcase is well-worn with splits at the corners.
Photographs
RICHARD AVEDON (1923-2004)
Sunny Harnett, Evening Dress by Gres, Casino, Le Touquet, August 1954
Used in the September, 1954 issue of Harper's Bazaar
17.75in x 14in. (sight size)
Signed in pencil "Avedon 31/75" on verso. Printed on the occasion of Avedon's retrospective exhibition at the Metropolitan Museum of Art, New York, September 13 - November 5, 1978.
Harper's Bazaar was known for innovative fashion photography under art director Alexey Brodovitch, and the top photographer contributing was Avedon. On this photo, Sunny Harnett, a prominent model of the day, sports a dress by designer Madame Gres.
Sunny Harnett, Evening Dress by Gres, Casino, Le Touquet, August 1954
Used in the September, 1954 issue of Harper's Bazaar
17.75in x 14in. (sight size)
Signed in pencil "Avedon 31/75" on verso. Printed on the occasion of Avedon's retrospective exhibition at the Metropolitan Museum of Art, New York, September 13 - November 5, 1978.
Harper's Bazaar was known for innovative fashion photography under art director Alexey Brodovitch, and the top photographer contributing was Avedon. On this photo, Sunny Harnett, a prominent model of the day, sports a dress by designer Madame Gres.
Paintings
Joseph L. Boulton (1896-1981)
Owl
Bronze
Approximately 9.5in.x 5in.
Stamped: Boulton
Provenance: private collection, Dallas
Condition: appears to be in good condition
Owl
Bronze
Approximately 9.5in.x 5in.
Stamped: Boulton
Provenance: private collection, Dallas
Condition: appears to be in good condition
DAVID MICHAEL BATES (American b.1952)
Birth of Venus, c.1978
Woodcut
13in.x 14in.(sight size)
Not signed
Provenance: Don Mangus collection
As an undergraduate, David Bates produced a series of intaglio and woodcut prints at Southern Methodist University where he lampooned famous works of art by replacing the traditional figures with living skeletons, in the manner of Jose Guadalupe Posada's calaveras prints. This woodcut print was reprinted by Bates' printmaking instructor Lawrence Scholder, as a demonstration of hand-printing for a later printmaking class, and thus was Not signed or numbered.
Keywords: Texas, contemporary, landscape, folk art, modern art, museum
Birth of Venus, c.1978
Woodcut
13in.x 14in.(sight size)
Not signed
Provenance: Don Mangus collection
As an undergraduate, David Bates produced a series of intaglio and woodcut prints at Southern Methodist University where he lampooned famous works of art by replacing the traditional figures with living skeletons, in the manner of Jose Guadalupe Posada's calaveras prints. This woodcut print was reprinted by Bates' printmaking instructor Lawrence Scholder, as a demonstration of hand-printing for a later printmaking class, and thus was Not signed or numbered.
Keywords: Texas, contemporary, landscape, folk art, modern art, museum
DAVID MICHAEL BATES (American b.1952)
Portrait of Laurie Hickman, c.1977
Ink on paper
18in. x 24in. (sight size)
Signed and dated lower right: David Bates '77
Inscribed: To Don, N.Y.
Provenance: Don Mangus collection
David Bates drew this portrait of one of his SMU classmates in india ink. It was done during the time of his stay at the Whitney Museum Program for Independent Study, in New York City.
Keywords: Texas, contemporary, landscape, folk art, modern art, museum
Portrait of Laurie Hickman, c.1977
Ink on paper
18in. x 24in. (sight size)
Signed and dated lower right: David Bates '77
Inscribed: To Don, N.Y.
Provenance: Don Mangus collection
David Bates drew this portrait of one of his SMU classmates in india ink. It was done during the time of his stay at the Whitney Museum Program for Independent Study, in New York City.
Keywords: Texas, contemporary, landscape, folk art, modern art, museum
DAVID MICHAEL BATES (American b.1952).
The Blues Man III, c.1984
Lithograph
12in. x 9in. (sight size)
Edition: 2/20
Signed lower right: Bates
Provenance: Don Mangus collection
The spotlight effect created as a Blues singer lights up his smoke makes for an especially dramatic vignette. This two-color lithograph was printed at Peregrine Press in Dallas, Texas, in the early to mid 1980s.
Keywords:Texas, contemporary, landscape, folk art, modern art, museum
The Blues Man III, c.1984
Lithograph
12in. x 9in. (sight size)
Edition: 2/20
Signed lower right: Bates
Provenance: Don Mangus collection
The spotlight effect created as a Blues singer lights up his smoke makes for an especially dramatic vignette. This two-color lithograph was printed at Peregrine Press in Dallas, Texas, in the early to mid 1980s.
Keywords:Texas, contemporary, landscape, folk art, modern art, museum
DAVID MICHAEL BATES (American b.1952)
Christmas wrap painting, c.1980
Acrylic paint on paper
10.75in. x 13in. (sight size)
Not signed
Inscribed lower border: Merry Christmas, to Don from David
Provenance: Don Mangus collection
David Bates painted this portrait of a jolly African-American Santa Claus on some homemade "Christmas rap" wrapping paper.
Keywords:Texas, contemporary, landscape, folk art, modern art, museum
Christmas wrap painting, c.1980
Acrylic paint on paper
10.75in. x 13in. (sight size)
Not signed
Inscribed lower border: Merry Christmas, to Don from David
Provenance: Don Mangus collection
David Bates painted this portrait of a jolly African-American Santa Claus on some homemade "Christmas rap" wrapping paper.
Keywords:Texas, contemporary, landscape, folk art, modern art, museum
DAVID MICHAEL BATES (American b.1952)
Abstract head, c.1981
Ink on paper
19in. x 11in. (sight size)
Not signed
Provenance: Don Mangus collection
David Bates occasionally worked in a more "abstract" manner as a change of pace from his more folk art and Pop Art-influenced approaches. This work was one of a large series of abstract head studies exhibited at David Bates: Paintings, Sculptures, Drawings, Ceramics, Objects at DW Gallery, in Dallas, Texas.
Keywords: Texas, contemporary, landscape, folk art, modern art, museum
Abstract head, c.1981
Ink on paper
19in. x 11in. (sight size)
Not signed
Provenance: Don Mangus collection
David Bates occasionally worked in a more "abstract" manner as a change of pace from his more folk art and Pop Art-influenced approaches. This work was one of a large series of abstract head studies exhibited at David Bates: Paintings, Sculptures, Drawings, Ceramics, Objects at DW Gallery, in Dallas, Texas.
Keywords: Texas, contemporary, landscape, folk art, modern art, museum
DAVID MICHAEL BATES (American b.1952)
Art Bra #4, 1977
Pencil on paper
30in.x 22in. (sight size)
Signed and dated lower right: David Bates '77
Inscribed: "Birthday Bra for Donald"
Provenance: Don Mangus collection
This graphite pencil drawing was done by David Bates while he attended the prestigious Program for Independent Study sponsored by the Whitney Museum in New York City. At the time he was experimenting with other approaches to art and this was perhaps influenced by the Pop Art movement or perhaps even minimalism or conceptual art.
Keywords: Texas, contemporary, landscape, folk art, modern art, museum
Art Bra #4, 1977
Pencil on paper
30in.x 22in. (sight size)
Signed and dated lower right: David Bates '77
Inscribed: "Birthday Bra for Donald"
Provenance: Don Mangus collection
This graphite pencil drawing was done by David Bates while he attended the prestigious Program for Independent Study sponsored by the Whitney Museum in New York City. At the time he was experimenting with other approaches to art and this was perhaps influenced by the Pop Art movement or perhaps even minimalism or conceptual art.
Keywords: Texas, contemporary, landscape, folk art, modern art, museum
DAVID MICHAEL BATES (American b.1952)
Cat sculpture, c.1981
Welded steel
Approximately 26in. x 28in. x 10.5in.
Signed on the bottom of the base: Bates
Provenance: Don Mangus collection
In addition to his popular portrayals of pooches, David Bates has been known to do conjure up a cat or two, on occasion. This whimsical sculpture of a cat arching its back, and raising its hackles, is made of two conjoined steel silhouettes.
Keywords: Texas, contemporary, landscape, folk art, modern art, museum
Cat sculpture, c.1981
Welded steel
Approximately 26in. x 28in. x 10.5in.
Signed on the bottom of the base: Bates
Provenance: Don Mangus collection
In addition to his popular portrayals of pooches, David Bates has been known to do conjure up a cat or two, on occasion. This whimsical sculpture of a cat arching its back, and raising its hackles, is made of two conjoined steel silhouettes.
Keywords: Texas, contemporary, landscape, folk art, modern art, museum
DAVID MICHAEL BATES (American b.1952)
David Bates: Forty Paintings, remarqued poster, 1988
Ink on paper
34in. x 24in. (sight size)
Signed lower right: David Bates
Inscribed: "To Marvin and Jane"
Provenance: Don Mangus collection
David Bates remarqued this Modern Museum of Fort Worth poster with a whimsical dog portrait in pen at the lower center; the sketch was inspired by his family dog, Clovis Lee, a frolicsome springer-spaniel. David Bates' portraits of dogs never fail to charm and amuse.
Keywords: Texas, contemporary, landscape, folk art, modern art, museum
David Bates: Forty Paintings, remarqued poster, 1988
Ink on paper
34in. x 24in. (sight size)
Signed lower right: David Bates
Inscribed: "To Marvin and Jane"
Provenance: Don Mangus collection
David Bates remarqued this Modern Museum of Fort Worth poster with a whimsical dog portrait in pen at the lower center; the sketch was inspired by his family dog, Clovis Lee, a frolicsome springer-spaniel. David Bates' portraits of dogs never fail to charm and amuse.
Keywords: Texas, contemporary, landscape, folk art, modern art, museum
DAVID MICHAEL BATES (American b.1952)
Ceramic bowl, c.1980
Ceramic with glaze
Approximately 12in. x 18in. x 12in.
Not signed
Provenance: Don Mangus collection
This folk art styled ceramic bowl was created during David Bates' time as an art instructor at Eastfield College in Mesquite, Texas. The hand-built bowl features two porcine portraits and large sweeping "handles." Due to the thickness of the clay, the right handle has a crack that developed during the firing process. Folk art ceramic jugs and sculptures have often inspired David Bates and are often suggested by aspects of his work.
Keywords: Texas, contemporary, landscape, folk art, modern art, museum
Ceramic bowl, c.1980
Ceramic with glaze
Approximately 12in. x 18in. x 12in.
Not signed
Provenance: Don Mangus collection
This folk art styled ceramic bowl was created during David Bates' time as an art instructor at Eastfield College in Mesquite, Texas. The hand-built bowl features two porcine portraits and large sweeping "handles." Due to the thickness of the clay, the right handle has a crack that developed during the firing process. Folk art ceramic jugs and sculptures have often inspired David Bates and are often suggested by aspects of his work.
Keywords: Texas, contemporary, landscape, folk art, modern art, museum
DAVID MICHAEL BATES (American b.1952)
Nude female sculpture fragment, c.1975
Papier mache and acrylic paint
Approximately 10in. x 9in. x 8in.
Not signed
Provenance: Don Mangus collection
This work is not a mask. Rather it is a surviving fragment of a larger papier mache figure. When storage became a concern for art student David Bates, that is, when his father made him clean out a household storage shed, David Bates had to dispose of some of his earliest sculptures. Rather than merely throw the sculptures away, David Bates disposed of them in novel ways, with a touch of dark humor, as a nod to the "conceptual art" movement. So it was, a large papier mache sculpture of Salvador Dali faced a firing line, and the event was filmed. This fragment is from a six-foot "nude " papier mache female figure that was set up in an alley way behind a Seven-Eleven convenience store and run over by Bates' car, "the white tomato." The figure was so sturdy that several passes had to be made. This fragment of the face was taken as a memento of "the happening." It was the Seventies and art students were running wild.
Keywords: Texas, contemporary, landscape, folk art, modern art, museum
Nude female sculpture fragment, c.1975
Papier mache and acrylic paint
Approximately 10in. x 9in. x 8in.
Not signed
Provenance: Don Mangus collection
This work is not a mask. Rather it is a surviving fragment of a larger papier mache figure. When storage became a concern for art student David Bates, that is, when his father made him clean out a household storage shed, David Bates had to dispose of some of his earliest sculptures. Rather than merely throw the sculptures away, David Bates disposed of them in novel ways, with a touch of dark humor, as a nod to the "conceptual art" movement. So it was, a large papier mache sculpture of Salvador Dali faced a firing line, and the event was filmed. This fragment is from a six-foot "nude " papier mache female figure that was set up in an alley way behind a Seven-Eleven convenience store and run over by Bates' car, "the white tomato." The figure was so sturdy that several passes had to be made. This fragment of the face was taken as a memento of "the happening." It was the Seventies and art students were running wild.
Keywords: Texas, contemporary, landscape, folk art, modern art, museum
Fine Art
DAVID MICHAEL BATES (American b.1952)
Grade school class portrait, c. 1976
Pencil on paper
22in.x 30in. (sight size)
Not signed
Provenance: Don Mangus collection
David Bates rendered a detailed group-portrait of his Garland, Texas grammar school class. David Bates' youthful self-portrait is found at the top row, the last figure on the right. Bates excels at scenes packed with detail, and is able to render subjects of enormous complexity with great facility. His early work had more of a Pop Art flavor than his later works.
Keywords:Texas, contemporary, landscape, folk art, modern art, museum
Grade school class portrait, c. 1976
Pencil on paper
22in.x 30in. (sight size)
Not signed
Provenance: Don Mangus collection
David Bates rendered a detailed group-portrait of his Garland, Texas grammar school class. David Bates' youthful self-portrait is found at the top row, the last figure on the right. Bates excels at scenes packed with detail, and is able to render subjects of enormous complexity with great facility. His early work had more of a Pop Art flavor than his later works.
Keywords:Texas, contemporary, landscape, folk art, modern art, museum
DAVID MICHAEL BATES (American b.1952)
New York street people views, 1976
Pencil on paper
21.75in. x 33in. (sight size)
Signed and dated lower right: David Bates '76 NY
Inscribed lower left: "To Don"
Provenance: Don Mangus collection
The influence of Pop Artist Red Grooms can be seen in these hilarious vignettes of New York City street people. David Bates worked with Red Grooms on several of his large scale "installations," such as "Ruckus Rodeo," and the experience had a profound effect on his early art career. A David Bates self-portrait is found on row four, the second figure from the left, with his hands in front of his face.
Keywords: Texas, contemporary, landscape, folk art, modern art, museum
New York street people views, 1976
Pencil on paper
21.75in. x 33in. (sight size)
Signed and dated lower right: David Bates '76 NY
Inscribed lower left: "To Don"
Provenance: Don Mangus collection
The influence of Pop Artist Red Grooms can be seen in these hilarious vignettes of New York City street people. David Bates worked with Red Grooms on several of his large scale "installations," such as "Ruckus Rodeo," and the experience had a profound effect on his early art career. A David Bates self-portrait is found on row four, the second figure from the left, with his hands in front of his face.
Keywords: Texas, contemporary, landscape, folk art, modern art, museum
Paintings
ROBERT CRUMB (b.1943)
Original cartoon sketch, c.1962
Caption: "The National Gallery of Art is filled with inspiring works that are easily understood by the average man. Degenerate 'abstract art' is not permitted."
Ink on paper
5in. x 8in.
Not signed.
Robert Crumb commented on the highbrow vs. lowbrow conflict inherent in the arenas of fine art and Russian museums in this early 'sixties cartoon drawing. Time magazine art critic Robert Hughes has termed Robert Crumb "the Breughel of the 20th century."
Keywords: cartoon, humor, pen, ink, drawing, underground
Original cartoon sketch, c.1962
Caption: "The National Gallery of Art is filled with inspiring works that are easily understood by the average man. Degenerate 'abstract art' is not permitted."
Ink on paper
5in. x 8in.
Not signed.
Robert Crumb commented on the highbrow vs. lowbrow conflict inherent in the arenas of fine art and Russian museums in this early 'sixties cartoon drawing. Time magazine art critic Robert Hughes has termed Robert Crumb "the Breughel of the 20th century."
Keywords: cartoon, humor, pen, ink, drawing, underground
ROBERT CRUMB (b.1943)
Original illustration, 1996
Zeke Youngblood's Dance Marathon, 1932 By Reginald Marsh
Caption: Copied Right by R. Crumb, 1996
9in. x 13.5in. (sight size)
Signed and dated lower right: R.Crumb, 1996
Robert Crumb "tips his beret" to social realist Reginald Marsh with this detailed interpretation of one of Marsh's compositions. Marsh was well known for his big-city tableaux of the amusement parks, crowded subways, vaudevillian night clubs, busy harbors, and railroad stations of New York.
Keywords: figure, dance, women, cartoon, ink, drawing, illustration
Original illustration, 1996
Zeke Youngblood's Dance Marathon, 1932 By Reginald Marsh
Caption: Copied Right by R. Crumb, 1996
9in. x 13.5in. (sight size)
Signed and dated lower right: R.Crumb, 1996
Robert Crumb "tips his beret" to social realist Reginald Marsh with this detailed interpretation of one of Marsh's compositions. Marsh was well known for his big-city tableaux of the amusement parks, crowded subways, vaudevillian night clubs, busy harbors, and railroad stations of New York.
Keywords: figure, dance, women, cartoon, ink, drawing, illustration
CHALLIS H. DAWSON (American 20th Century)
Four Landscapes, c.1948
Watercolor on paper
Winter Landscape, 7in. x 4.75in., signed on verso
Road, 4.75in. x 7in., signed on verso
Night Street, 6.5in. x 9in., signed and dated bottom center: CHD/ 48
Landscape with Figures and Animals, 6.5in. x 9in., signed on verso
Four Landscapes, c.1948
Watercolor on paper
Winter Landscape, 7in. x 4.75in., signed on verso
Road, 4.75in. x 7in., signed on verso
Night Street, 6.5in. x 9in., signed and dated bottom center: CHD/ 48
Landscape with Figures and Animals, 6.5in. x 9in., signed on verso
CHALLIS H. DAWSON (American 20th Century)
Three Landscapes, c.1949
Watercolor on paper
Cityscape, 9.5in. x 12.75in., signed and dated upper right: CHD/6/49
Autumn Road, 10.5in. x 14in.
Bank of America Building, 9.5in. x 12.75in., signed and dated upper right: CHD/ 50
Three Landscapes, c.1949
Watercolor on paper
Cityscape, 9.5in. x 12.75in., signed and dated upper right: CHD/6/49
Autumn Road, 10.5in. x 14in.
Bank of America Building, 9.5in. x 12.75in., signed and dated upper right: CHD/ 50
CHALLIS H. DAWSON (American 20th Century)
Two Landscapes, 1949
Watercolor
Road with Horses, 10.5in. x 13.75in., Signed and dated upper right: CHD/ 50
Landscape, 9in. x 12in., signed bottom right: CHD/ 49
Two Landscapes, 1949
Watercolor
Road with Horses, 10.5in. x 13.75in., Signed and dated upper right: CHD/ 50
Landscape, 9in. x 12in., signed bottom right: CHD/ 49
CHALLIS H. DAWSON (American 20th Century)
Two Landscapes, 1949
Watercolor on paper
Farm Field, 9.25in. x 12.75in., signed and dated lower right: CHD/ 1949
Fishing by a Roadside, 7.75in. x 11in., signed bottom center: CHD
Two Landscapes, 1949
Watercolor on paper
Farm Field, 9.25in. x 12.75in., signed and dated lower right: CHD/ 1949
Fishing by a Roadside, 7.75in. x 11in., signed bottom center: CHD
Fine Art
JIM DINE (American b.1935)
Kunsthalle Berne, c.1971
Offset poster
30.5in. x 22in.(sight size)
Signed lower right in pencil: J. Dine
Keywords:pop art, print, contemporary, modern art, museum
Kunsthalle Berne, c.1971
Offset poster
30.5in. x 22in.(sight size)
Signed lower right in pencil: J. Dine
Keywords:pop art, print, contemporary, modern art, museum
JIM DINE (American b.1935)
Nationalgalerie Berlin, c.1971
Offset lithograph
30.5in. x 22in.(sight size)
Signed lower right in pencil: J. Dine
Keywords:pop art, print, contemporary, modern art, museum
Nationalgalerie Berlin, c.1971
Offset lithograph
30.5in. x 22in.(sight size)
Signed lower right in pencil: J. Dine
Keywords:pop art, print, contemporary, modern art, museum
JIM DINE (American b.1935)
Museum Boymans-Van Beuningen Rotterdam, c.1971
Offset poster
30.5in. x 22in.(sight size)
Signed lower right in pencil: J. Dine
Keywords:pop art, print, contemporary, modern art, museum
Museum Boymans-Van Beuningen Rotterdam, c.1971
Offset poster
30.5in. x 22in.(sight size)
Signed lower right in pencil: J. Dine
Keywords:pop art, print, contemporary, modern art, museum
JIM DINE (American b.1935)
Petersberg Press, c.1971
Offset poster
30.5in. x 22in.(sight size)
Signed lower right in pencil: Jim Dine
Keywords:pop art, print, contemporary, modern art, museum
Petersberg Press, c.1971
Offset poster
30.5in. x 22in.(sight size)
Signed lower right in pencil: Jim Dine
Keywords:pop art, print, contemporary, modern art, museum
Paintings
WALKER EVANS (1903-1975)
Bud Fields and His Family, Hale County, Alabama, 1936
7.375in. x 9.5in.
Photographed as part of Evans' acclaimed body of work for the Farm Security Administration, which assigned photographers such as Evans, Ben Shahn, Dorothea Lange, and others to document the living conditions of Depression-era America. This item was printed under the supervision of Arthur Rothstein, Evans' erstwhile FSA colleague.
Bud Fields and His Family, Hale County, Alabama, 1936
7.375in. x 9.5in.
Photographed as part of Evans' acclaimed body of work for the Farm Security Administration, which assigned photographers such as Evans, Ben Shahn, Dorothea Lange, and others to document the living conditions of Depression-era America. This item was printed under the supervision of Arthur Rothstein, Evans' erstwhile FSA colleague.
GERALD FAIRCLOUGH (Contemporary American)
Nude, 1999
Oil on paper atop masonite
25in. x 35in.
Signed and dated lower left: 1999/ Fairclough
Nude, 1999
Oil on paper atop masonite
25in. x 35in.
Signed and dated lower left: 1999/ Fairclough
GERALD FAIRCLOUGH (Contemporary American)
Reclining Nude, 1999
Red pencil on paper
12.5in. x 19.5in.
Signed and dated lower left: Fairclough/ 1999
Reclining Nude, 1999
Red pencil on paper
12.5in. x 19.5in.
Signed and dated lower left: Fairclough/ 1999
GREG GORMAN (b. 1949)
Andy Warhol, Los Angeles 1986
Silver Print 6/25, signed and dated on verso by the photographer.
19in. x 15in.
Provenance: Private collection, Chicago, IL
Warhol, a superb photographer in his own right, was captured memorably here by Gorman in a photo taken for an advertisement for eyeglass manufacturer L. A. Eyeworks.
Andy Warhol, Los Angeles 1986
Silver Print 6/25, signed and dated on verso by the photographer.
19in. x 15in.
Provenance: Private collection, Chicago, IL
Warhol, a superb photographer in his own right, was captured memorably here by Gorman in a photo taken for an advertisement for eyeglass manufacturer L. A. Eyeworks.
GREG GORMAN (b. 1949)
Michael Jackson, Los Angeles 1987
Gelatin silver print 6/25, signed and dated on verso
19in. x 15.25in.
Provenance: Private collection, Chicago, IL
Gorman paid homage here to Edward Steichen's 1924 portrait of Gloria Swanson, in a photo that seems eerily prescient now given the musician's increasingly reclusive nature in the years to follow.
Michael Jackson, Los Angeles 1987
Gelatin silver print 6/25, signed and dated on verso
19in. x 15.25in.
Provenance: Private collection, Chicago, IL
Gorman paid homage here to Edward Steichen's 1924 portrait of Gloria Swanson, in a photo that seems eerily prescient now given the musician's increasingly reclusive nature in the years to follow.
GREG GORMAN (b. 1949)
Set of three prints:
Sisters #2 (Edition: 1/25)
Sisters #5 (Edition: 3/25)
Sisters #6 (Edition: 1/25)
14.5in. x 14.75in. (image size)
Provenance: Private collection, Chicago, IL
Set of three prints:
Sisters #2 (Edition: 1/25)
Sisters #5 (Edition: 3/25)
Sisters #6 (Edition: 1/25)
14.5in. x 14.75in. (image size)
Provenance: Private collection, Chicago, IL
Fine Art
PHILIPPE HALSMAN (1906-1979)
Portrait of Marilyn Monroe
Edition: 165/250
Has stamp of the Halsman studio, 1981
12.5in. x 9.5in. (image size)
Portrait of Marilyn Monroe
Edition: 165/250
Has stamp of the Halsman studio, 1981
12.5in. x 9.5in. (image size)
PHILIPPE HALSMAN (1906-1979)
Portrait of Marilyn Monroe
Has stamp of the Halsman studio, 1981
Edition: 186/250
12.75in. x 9.75in. (image size)
Having his subjects leap into the air was nothing new for the photographer - one of his best-known books was Philippe Halsman's Jump Book.
Portrait of Marilyn Monroe
Has stamp of the Halsman studio, 1981
Edition: 186/250
12.75in. x 9.75in. (image size)
Having his subjects leap into the air was nothing new for the photographer - one of his best-known books was Philippe Halsman's Jump Book.
PHILIPPE HALSMAN (1906-1979)
Portrait of Marilyn Monroe
Edition: 150/250
9.75in. x 12.5in. (image size)
Portrait of Marilyn Monroe
Edition: 150/250
9.75in. x 12.5in. (image size)
Paintings
PHILIPPE HALSMAN (1906-1979)
Portrait of Marilyn Monroe, 1952
Edition: 178/250
Has stamp of the Halsman studio, 1981
12.5in. x 9.5in. (image size)
One of the best-known images of Monroe, this graced the cover of the April 7 1952 issue of Life magazine.
Portrait of Marilyn Monroe, 1952
Edition: 178/250
Has stamp of the Halsman studio, 1981
12.5in. x 9.5in. (image size)
One of the best-known images of Monroe, this graced the cover of the April 7 1952 issue of Life magazine.
Fine Art
STAN HEALY (1918-1996)
Crosswalk, Missoula
8.75in. x 12.75in.
Edition: 2/100
Healy was Missoula, Montana's answer to Weegee, and as the selection of his work in our auction demonstrates, there was plenty to document in the small lumber town. He shot most of these pictures working for Missoulian newspaper. As the curator of a retrospective exhibit of his work wrote, Healy "shot the required photos of car wrecks, fires, parades and visiting dignitaries and transformed them into art." The often brutal images have drawn comparisons to the work of Diane Arbus, and Healy's reputation grows by the year as more and more collectors discover his powerful images.
Crosswalk, Missoula
8.75in. x 12.75in.
Edition: 2/100
Healy was Missoula, Montana's answer to Weegee, and as the selection of his work in our auction demonstrates, there was plenty to document in the small lumber town. He shot most of these pictures working for Missoulian newspaper. As the curator of a retrospective exhibit of his work wrote, Healy "shot the required photos of car wrecks, fires, parades and visiting dignitaries and transformed them into art." The often brutal images have drawn comparisons to the work of Diane Arbus, and Healy's reputation grows by the year as more and more collectors discover his powerful images.
STAN HEALY (1918-1996)
Tennis Shoes
10.25in. x 10.25in.
Edition: 2/100
Covering car accidents was part of Healy's duties for the Missoulian newspaper, but his skill at framing the image lent poignancy to this photo of a dead youth.
Tennis Shoes
10.25in. x 10.25in.
Edition: 2/100
Covering car accidents was part of Healy's duties for the Missoulian newspaper, but his skill at framing the image lent poignancy to this photo of a dead youth.
STAN HEALY (1918-1996)
Gayle Starr, alias Harry Upton, c.1965
9in. x 13in.
Edition: 1/100
This photo was taken by newspaper photographer Healy at a mortuary in Missoula, Montana.
Gayle Starr, alias Harry Upton, c.1965
9in. x 13in.
Edition: 1/100
This photo was taken by newspaper photographer Healy at a mortuary in Missoula, Montana.
STAN HEALY (1918-1996) RBang
10in. x 10.25in.
Edition: 2/100
A characteristically disquieting scene from the keen eye of Healy.
10in. x 10.25in.
Edition: 2/100
A characteristically disquieting scene from the keen eye of Healy.
STAN HEALY (1918-1996)
The Christ Figures
10.25in. x 10in.
Edition: 2/100
Photographed in St. Ignatius, Montana, as an old Indian Mission was being taken down.
The Christ Figures
10.25in. x 10in.
Edition: 2/100
Photographed in St. Ignatius, Montana, as an old Indian Mission was being taken down.
Paintings
STAN HEALY (1918-1996)
Nellie with Gun
12.25in. x 10in.
Edition: 2/100
Even by Healy's standards, this one is shocking. Nellie, shown here, was a madam who lived at the Priess Hotel in Missoula, Montana. Seasoned news photographer Healy somehow had the presence of mind to click the shutter at the critical moment.
Nellie with Gun
12.25in. x 10in.
Edition: 2/100
Even by Healy's standards, this one is shocking. Nellie, shown here, was a madam who lived at the Priess Hotel in Missoula, Montana. Seasoned news photographer Healy somehow had the presence of mind to click the shutter at the critical moment.
Fine Art
STAN HEALY (1918-1996)
Burning
8.75in. by 13in.
Edition: 2/100
Part of Healy's nighttime beat as a newspaper photographer was snapping pictures of auto accidents. As seen here, the power of his images made them much more than simple documentation.
Burning
8.75in. by 13in.
Edition: 2/100
Part of Healy's nighttime beat as a newspaper photographer was snapping pictures of auto accidents. As seen here, the power of his images made them much more than simple documentation.
STAN HEALY (1918-1996)
Two photographs
Self-Portrait With Mask (Edition: 1/100)
Self-Portrait in Bath (Edition: 2/100
10in. x 12.5in.
As seen here, Healy's unflinching eye spared not even himself -- his self-portraits retain the disturbing quality that characterizes the rest of his work.
Two photographs
Self-Portrait With Mask (Edition: 1/100)
Self-Portrait in Bath (Edition: 2/100
10in. x 12.5in.
As seen here, Healy's unflinching eye spared not even himself -- his self-portraits retain the disturbing quality that characterizes the rest of his work.
STAN HEALY (1918-1996)
Lost Child at Police Station, 1953
9.875in. x 10in.
Edition: 2/100
The relaxed demeanor of a Missoula, MT police sergeant is in stark contrast to the utter trauma of a lost child. Healy shot this photo for the Missoulian newspaper.
Lost Child at Police Station, 1953
9.875in. x 10in.
Edition: 2/100
The relaxed demeanor of a Missoula, MT police sergeant is in stark contrast to the utter trauma of a lost child. Healy shot this photo for the Missoulian newspaper.
HIRO (b. 1930)
Sean Penn, 1983
Gelatin silver print backed with linen
14.25in. x 14.25in.
Edition: 4/17
Signed on verso by the photographer
Published in the December 22, 1983 issue of Rolling Stone
Hiro skillfully uncovered a depth to the actor which the average moviegoer hadn't yet seen on screen at the time this photo was taken (March 28, 1983). The image was included in the book Rolling Stone: The Photographs.
Sean Penn, 1983
Gelatin silver print backed with linen
14.25in. x 14.25in.
Edition: 4/17
Signed on verso by the photographer
Published in the December 22, 1983 issue of Rolling Stone
Hiro skillfully uncovered a depth to the actor which the average moviegoer hadn't yet seen on screen at the time this photo was taken (March 28, 1983). The image was included in the book Rolling Stone: The Photographs.
Paintings
DOROTHEA LANGE (1895-1965)
Hoe Culture, Alabama, 1936
9.25in. x 14in.
One of the powerful photographs Lange took as part of her assignment from the Farm Security administration. It bears the serial number FSA 9328C, and was printed from the original negative under the supervision of Lange's FSA colleague Arthur Rothstein.
Hoe Culture, Alabama, 1936
9.25in. x 14in.
One of the powerful photographs Lange took as part of her assignment from the Farm Security administration. It bears the serial number FSA 9328C, and was printed from the original negative under the supervision of Lange's FSA colleague Arthur Rothstein.
LOUIS LUPAS (American)
Portrait of 35th U.S. President John Fitzgerald Kennedy, c.1961
Pastel on paper
28.5in. x 20in. (sight size). Framed
Signed and dated lower left: Lupas, 1961
Louis Lupas is widely acclaimed for his pastel portraits of Presidents, politicians, and other high-profile figures. Lupas first honed his drawing skills as an artist for the Herald Tribune's Theatre section. In the 1950s, Senator Barry Goldwater convinced Louis Lupas to visit Washington D.C., where he was soon solidly engaged creating portraits of high society. Although Mr. Lupas may have stayed down in Washington on occasion when he was working on portraits of Presidents and Senators, he always lived and maintained a residence in New York City on Riverside Drive during that time period. Many of Lupas' portraits were drawn from life, during portrait sittings. This stunning pastel drawing was drawn from life (Kennedy posed for him while President), and captures the vitality and charisma that made President John F. Kennedy one of America's most inspiring Presidents. Lupas' pastel strokes are bold, vigorous, and direct; they create an powerful portrait of JFK, complete with his hallmark blue eyes!
Keywords: pastel, portrait, president, drawing
Portrait of 35th U.S. President John Fitzgerald Kennedy, c.1961
Pastel on paper
28.5in. x 20in. (sight size). Framed
Signed and dated lower left: Lupas, 1961
Louis Lupas is widely acclaimed for his pastel portraits of Presidents, politicians, and other high-profile figures. Lupas first honed his drawing skills as an artist for the Herald Tribune's Theatre section. In the 1950s, Senator Barry Goldwater convinced Louis Lupas to visit Washington D.C., where he was soon solidly engaged creating portraits of high society. Although Mr. Lupas may have stayed down in Washington on occasion when he was working on portraits of Presidents and Senators, he always lived and maintained a residence in New York City on Riverside Drive during that time period. Many of Lupas' portraits were drawn from life, during portrait sittings. This stunning pastel drawing was drawn from life (Kennedy posed for him while President), and captures the vitality and charisma that made President John F. Kennedy one of America's most inspiring Presidents. Lupas' pastel strokes are bold, vigorous, and direct; they create an powerful portrait of JFK, complete with his hallmark blue eyes!
Keywords: pastel, portrait, president, drawing
Fine Art
LOUIS LUPAS (American 1963-1969)
Portrait of 36th U.S. President Lyndon Baines Johnson, c.1967
Pastel on paper
30in. x 23.5in. (sight size). Framed
Signed lower left: Lupas
LBJ posed for this portrait in person, while President. A black and white copy of a 1980 The Blood-Horse magazine article on the artist is included.
Keywords: LBJ, The Great Society, presidential portrait, thoroughbred
Portrait of 36th U.S. President Lyndon Baines Johnson, c.1967
Pastel on paper
30in. x 23.5in. (sight size). Framed
Signed lower left: Lupas
LBJ posed for this portrait in person, while President. A black and white copy of a 1980 The Blood-Horse magazine article on the artist is included.
Keywords: LBJ, The Great Society, presidential portrait, thoroughbred
PETER MAX (American b. 1937)
Figure, 1973
Acrylic on canvas
23.5in.x 35in.
Signed and dated lower right: Max 73
Peter Max was raised in Shanghai, China where he spent the first 10 years of his life. Young Max formed lasting impressions of Flash Gordon, Capitan Marvel, jazz, creativity, and freedom from American comic books, radio broadcasts, and movies. Max and his parents traveled through the Tibetan mountains, India, Africa and Israel where Max first studied with a Viennese fauve painter. It was in Israel that Max developed a keen interest in astronomy, a subject that would later impact his artwork.
In 1953, Max and his family moved to the United States, settling in New York City. After completing high school, Max studied painting at the Art Students League. He was fascinated with commercial illustration and the graphic arts, and won awards for his album covers and book jackets in his unique style. During the 1960s, Max worked in his psychedelic photo collage period, which later gave way to his "cosmic" 60s style with its distinctive line work and bold color combinations. Inspired by his meditative, spiritual teachings, Max's cosmic art captured the imagination of a generation and launched Max into fame and fortune. During the 1970s, Max dropped his commercial work and pursued canvas painting in earnest. For the 1976 Bicentennial, Max created the art book Peter Max Paints America, and began his annual tradition of painting the Statue of Liberty. A lover of music, Max has been designated the Official Artist for the Grammy's, the New Orleans Jazz Festival and the Woodstock Music Festival.
Condition: appears to be in good condition
Figure, 1973
Acrylic on canvas
23.5in.x 35in.
Signed and dated lower right: Max 73
Peter Max was raised in Shanghai, China where he spent the first 10 years of his life. Young Max formed lasting impressions of Flash Gordon, Capitan Marvel, jazz, creativity, and freedom from American comic books, radio broadcasts, and movies. Max and his parents traveled through the Tibetan mountains, India, Africa and Israel where Max first studied with a Viennese fauve painter. It was in Israel that Max developed a keen interest in astronomy, a subject that would later impact his artwork.
In 1953, Max and his family moved to the United States, settling in New York City. After completing high school, Max studied painting at the Art Students League. He was fascinated with commercial illustration and the graphic arts, and won awards for his album covers and book jackets in his unique style. During the 1960s, Max worked in his psychedelic photo collage period, which later gave way to his "cosmic" 60s style with its distinctive line work and bold color combinations. Inspired by his meditative, spiritual teachings, Max's cosmic art captured the imagination of a generation and launched Max into fame and fortune. During the 1970s, Max dropped his commercial work and pursued canvas painting in earnest. For the 1976 Bicentennial, Max created the art book Peter Max Paints America, and began his annual tradition of painting the Statue of Liberty. A lover of music, Max has been designated the Official Artist for the Grammy's, the New Orleans Jazz Festival and the Woodstock Music Festival.
Condition: appears to be in good condition
SALLY MANN (b. 1951)
Jessie In the Wind, 1989
7.375in. x 9.5in. (image size)
Provenance: Private collection, Chicago, IL
Pictured here is the photographer's daughter. Mann's controversial photographs of her children, highlighted by the 1992 exhibition "Immediate Family" and the book of the same name, made her one of the most talked-about photographers of the early 1990s.
Jessie In the Wind, 1989
7.375in. x 9.5in. (image size)
Provenance: Private collection, Chicago, IL
Pictured here is the photographer's daughter. Mann's controversial photographs of her children, highlighted by the 1992 exhibition "Immediate Family" and the book of the same name, made her one of the most talked-about photographers of the early 1990s.
Paintings
ROBERT MAPPLETHORPE (1946-1989)
Baby's Breath, 1978
Gelatin silver print
Signed, numbered 16/25
7.625in. x 7.625in. (image size)
This image was featured in Mapplethorpe's "Y Portfolio."
Baby's Breath, 1978
Gelatin silver print
Signed, numbered 16/25
7.625in. x 7.625in. (image size)
This image was featured in Mapplethorpe's "Y Portfolio."
Photographs
ROBERT MAPPLETHORPE (1946-1989)
Jack In The Pulpits, 1988
Dye transfer print
22.25in. x 22in. (image size)
Signed on verso by Mapplethorpe. Numbered 5/7 and assigned the serial number DT 1880, both notations are in Mapplethorpe's handwriting.
This photograph, taken and printed in 1988, is among the final works of the photographer, who died in 1989. A Mapplethorpe print that bears the artist's signature is quite a rarity, as most of his works that come onto the market are estate-stamped and -signed. Add to that the fact that floral dye-transfer prints have always been the rarest and most valuable of all Mapplethorpe photos, a trend that shows no signs of abating. On display here is what Mapplethorpe's friend Patti Smith called "an unflinching perception of the color, form, and personality of the flower." This remarkable piece stands as one of the highlights of our auction.
Jack In The Pulpits, 1988
Dye transfer print
22.25in. x 22in. (image size)
Signed on verso by Mapplethorpe. Numbered 5/7 and assigned the serial number DT 1880, both notations are in Mapplethorpe's handwriting.
This photograph, taken and printed in 1988, is among the final works of the photographer, who died in 1989. A Mapplethorpe print that bears the artist's signature is quite a rarity, as most of his works that come onto the market are estate-stamped and -signed. Add to that the fact that floral dye-transfer prints have always been the rarest and most valuable of all Mapplethorpe photos, a trend that shows no signs of abating. On display here is what Mapplethorpe's friend Patti Smith called "an unflinching perception of the color, form, and personality of the flower." This remarkable piece stands as one of the highlights of our auction.
Fine Art
SHEILA METZNER (b. 1939)
Untitled, 1992
Fresson print, one of a kind
19in. x 13in. (image size)
Initialed by the artist on the front of the print. On verso, "Sheila Metzner 1992 One of a kind" is written in the artist's hand.
Metzner is one of very few photographers to use the technique known as the Fresson print, a proprietary technique using color pigments rather than dyes. As this technique is only practiced by the Fresson family in France, and in low quantities owing to the many hours it takes to produce one, Fresson prints are much sought after. Metzner, who has mastered several genres, demonstrates here the skill at fashion photography which led to assignments from some of the best-known designers of the fashion world.
Untitled, 1992
Fresson print, one of a kind
19in. x 13in. (image size)
Initialed by the artist on the front of the print. On verso, "Sheila Metzner 1992 One of a kind" is written in the artist's hand.
Metzner is one of very few photographers to use the technique known as the Fresson print, a proprietary technique using color pigments rather than dyes. As this technique is only practiced by the Fresson family in France, and in low quantities owing to the many hours it takes to produce one, Fresson prints are much sought after. Metzner, who has mastered several genres, demonstrates here the skill at fashion photography which led to assignments from some of the best-known designers of the fashion world.
HERB RITTS (1952-2002)
Felicitas, Deauville
Edition: 20/25
18.75in. x 14.75in. (image size)
Felicitas, Deauville
Edition: 20/25
18.75in. x 14.75in. (image size)
Paintings
HERB RITTS (1952-2002)
Madonna I, San Pedro, 1990
Gelatin silver print,
Edition: 9/25
Signed on verso
22.5in. x 18.75in. (sight size)
Provenance: Private collection, Chicago; Catherine Edelman Galleries, Chicago
One of most acclaimed fashion, advertising, and portrait photographers of the 1980s and 1990s captured perhaps the most provocative pop star of that era.
Madonna I, San Pedro, 1990
Gelatin silver print,
Edition: 9/25
Signed on verso
22.5in. x 18.75in. (sight size)
Provenance: Private collection, Chicago; Catherine Edelman Galleries, Chicago
One of most acclaimed fashion, advertising, and portrait photographers of the 1980s and 1990s captured perhaps the most provocative pop star of that era.
MATTHEW ROLSTON
Isabella Rossellini, 1988
Toned silver gelatin print
Edition: 8/25
14.625in. x 14.5in. (image size)
Provenance: Private collection, Chicago IL
Isabella Rossellini, 1988
Toned silver gelatin print
Edition: 8/25
14.625in. x 14.5in. (image size)
Provenance: Private collection, Chicago IL
Fine Art
WALKER EVANS (1903-1975)
Bethlehem, Pennsylvania, 1936
7.25 x 9.125in.
Evans is considered one of the most important and influential of all American photographers. A Pennsylvania steel mill is the backdrop for this photo, taken when Evans was on assignment for the Farm Security Administration.
Bethlehem, Pennsylvania, 1936
7.25 x 9.125in.
Evans is considered one of the most important and influential of all American photographers. A Pennsylvania steel mill is the backdrop for this photo, taken when Evans was on assignment for the Farm Security Administration.
Paintings
LEROY NEIMAN (American b.1921)
American Bald Eagle, c.1979
Serigraph
28.5in. x 38in. (sight size)
Edition: AP/300
Signed Lower right: LeRoy Neiman
LeRoy Neiman pays tribute to America's symbol of freedom, the American Bald Eagle. Colorful mountain peaks add to the drama. Leroy Neiman's art is filled with light, bright colors, and a robust enthusiasm for portraying the highest points of human achievement in all fields of endeavor, or what Neiman has termed "the winners." His subjects are the people whom the public most admires, the sports stars, the music stars, the movie stars, the political stars, a glittering galaxy of icons who have made it into America's "Hall of Fame."
Keywords: print, lithograph, color, Americana, New York
American Bald Eagle, c.1979
Serigraph
28.5in. x 38in. (sight size)
Edition: AP/300
Signed Lower right: LeRoy Neiman
LeRoy Neiman pays tribute to America's symbol of freedom, the American Bald Eagle. Colorful mountain peaks add to the drama. Leroy Neiman's art is filled with light, bright colors, and a robust enthusiasm for portraying the highest points of human achievement in all fields of endeavor, or what Neiman has termed "the winners." His subjects are the people whom the public most admires, the sports stars, the music stars, the movie stars, the political stars, a glittering galaxy of icons who have made it into America's "Hall of Fame."
Keywords: print, lithograph, color, Americana, New York
LEROY NEIMAN (American b.1921)
Statue of Liberty, c.1986
Serigraph
38in. x 30.5in. (sight size)
Edition: 466/600
Signed lower right: LeRoy Neiman
Best known for his brilliantly colored, energetic images of sporting events and leisure activities, LeRoy Neiman is recognized as one of the most well-known living artists in the United States. He was the official artist at five Olympiads and millions of people have watched him at work on ABC TV coverage of the Olympics and as a CBS Superbowl computer artist. Here LeRoy offers his colorful vision of one of America's greatest symbols, the statue of Liberty.
Keywords: print, lithograph, color, Americana, New York
Statue of Liberty, c.1986
Serigraph
38in. x 30.5in. (sight size)
Edition: 466/600
Signed lower right: LeRoy Neiman
Best known for his brilliantly colored, energetic images of sporting events and leisure activities, LeRoy Neiman is recognized as one of the most well-known living artists in the United States. He was the official artist at five Olympiads and millions of people have watched him at work on ABC TV coverage of the Olympics and as a CBS Superbowl computer artist. Here LeRoy offers his colorful vision of one of America's greatest symbols, the statue of Liberty.
Keywords: print, lithograph, color, Americana, New York
Fine Art
AFTER NORMAN ROCKWELL
Freedom of Worship plaque
Brass relief on wood panel
23in. x 15in.
Inscribed: Outstanding Achievement Award/ Mt. Pleasant High School/ 1955-1956
Freedom of Worship plaque
Brass relief on wood panel
23in. x 15in.
Inscribed: Outstanding Achievement Award/ Mt. Pleasant High School/ 1955-1956
AFTER NORMAN ROCKWELL
Freedom from Fear plaque
Brass relief on wood panel
23in. x 15in.
Inscribed: Outstanding Achievement Award/ Mt. Pleasant High School/ 1956-1957
Freedom from Fear plaque
Brass relief on wood panel
23in. x 15in.
Inscribed: Outstanding Achievement Award/ Mt. Pleasant High School/ 1956-1957
AFTER NORMAN ROCKWELL
Freedom from Want plaque
Brass relief on wood panel
23in. x 15in.
Inscribed: Outstanding Achievement Award/ Mt. Pleasant High School/ 1955-1956
Freedom from Want plaque
Brass relief on wood panel
23in. x 15in.
Inscribed: Outstanding Achievement Award/ Mt. Pleasant High School/ 1955-1956
Paintings
BEN SHAHN (1898-1969)
Linworth, Ohio
6.625in. x 9.375in.
Shahn was inspired by his acquaintance with Walker Evans to become a photographer, and he later joined Evans in the now-legendary group that took photographs for the Farm Security Administration. Though his career as a photographer lasted only a decade or so (he returned to painting after leaving the FSA) the over 6,000 images he created left a lasting impact. Note that this print has an incorrect stamp on the back (with the wrong title), however this stamp dates from when the print was originally made.
Linworth, Ohio
6.625in. x 9.375in.
Shahn was inspired by his acquaintance with Walker Evans to become a photographer, and he later joined Evans in the now-legendary group that took photographs for the Farm Security Administration. Though his career as a photographer lasted only a decade or so (he returned to painting after leaving the FSA) the over 6,000 images he created left a lasting impact. Note that this print has an incorrect stamp on the back (with the wrong title), however this stamp dates from when the print was originally made.
Fine Art
CINDY SHERMAN (b. 1954)
Untitled, 1992
Cibachrome
26.5in. x 40in. (image size)
Signed on verso, numbered 2/6 and dated 1992, all in the artist's hand
Sherman often used mannequins in her photographs to grotesque effect, and the theme of women as sex objects or sexual stereotypes was a constant.
Untitled, 1992
Cibachrome
26.5in. x 40in. (image size)
Signed on verso, numbered 2/6 and dated 1992, all in the artist's hand
Sherman often used mannequins in her photographs to grotesque effect, and the theme of women as sex objects or sexual stereotypes was a constant.
BRUCE WEBER (b. 1946)
Isabella Rossellini, Milan, 1982
Gelatin silver print
16.375in. x 13.25in. (sight size)
Edition: 11/15
Provenance: Private collection, Chicago, IL
Weber was among the most influential fashion and advertising photographers of the 1980s and has retained that status through the present day. Weber's prints have proven to be particularly difficult to acquire.
Isabella Rossellini, Milan, 1982
Gelatin silver print
16.375in. x 13.25in. (sight size)
Edition: 11/15
Provenance: Private collection, Chicago, IL
Weber was among the most influential fashion and advertising photographers of the 1980s and has retained that status through the present day. Weber's prints have proven to be particularly difficult to acquire.
Session 2
Paintings
EDWIN AUSTIN ABBEY, N.A., R.A. (1852-1911)
Original Illustration, 1885
She Stoops to Conquer by Dr. Oliver Goldsmith, illustration page 67
Caption: "Thou Dear Dissembler"
Ink on paper
10in. x 10.75in. (sight size)
Signed lower right: Abbey
Provenance: Morris Weiss collection
A copy of the book is included with this lot.
Keywords: ink, paper, portrait, romance, book, illustration, historical
Original Illustration, 1885
She Stoops to Conquer by Dr. Oliver Goldsmith, illustration page 67
Caption: "Thou Dear Dissembler"
Ink on paper
10in. x 10.75in. (sight size)
Signed lower right: Abbey
Provenance: Morris Weiss collection
A copy of the book is included with this lot.
Keywords: ink, paper, portrait, romance, book, illustration, historical
ALAN ALDRIDGE (English, b.1943)
Original Advertising Art
Levi's poster, c.1970
Mixed-media on board
17in. x 11.5in. (sight size)
Not signed
Alan Aldridge illustrated two Beatles Illustrated Lyrics books, the children's book, Ann in the Moon, and he co-authored The Penguin Book of Comics. He won the Design and Art Direction Silver Medal and The Scotsman International Design Award twice. A photocopy of the printed poster and a letter from art director Chris Blum are included in this lot.
Keywords: poster, psychedelic, rock, jeans, fashion, airbrush, painting illustration
Original Advertising Art
Levi's poster, c.1970
Mixed-media on board
17in. x 11.5in. (sight size)
Not signed
Alan Aldridge illustrated two Beatles Illustrated Lyrics books, the children's book, Ann in the Moon, and he co-authored The Penguin Book of Comics. He won the Design and Art Direction Silver Medal and The Scotsman International Design Award twice. A photocopy of the printed poster and a letter from art director Chris Blum are included in this lot.
Keywords: poster, psychedelic, rock, jeans, fashion, airbrush, painting illustration
AMERICAN ILLUSTRATOR
Original Movie Poster Illustration, c.1929
Gouache on board
52in. x 19in. (sight size)
Not signed
In this early "talkie" William Boyd, "the flying fool", fears that Pat, played by Marie Prevost, is giving the runaround to his brother Jimmy, played by Russell Gleason. When William Boyd takes Pat out to make sure that her intentions are honorable, naturally, he falls in love with her himself. Marie Prevost sings the theme song "If I Had My Way" twice in the movie. Three WW I Aces shoot down a Fokker DR-1 in this preliminary mock-up for a poster.
Keywords: movie, poster, airplane, romance, gouache, watercolor, gouache, painting
Original Movie Poster Illustration, c.1929
Gouache on board
52in. x 19in. (sight size)
Not signed
In this early "talkie" William Boyd, "the flying fool", fears that Pat, played by Marie Prevost, is giving the runaround to his brother Jimmy, played by Russell Gleason. When William Boyd takes Pat out to make sure that her intentions are honorable, naturally, he falls in love with her himself. Marie Prevost sings the theme song "If I Had My Way" twice in the movie. Three WW I Aces shoot down a Fokker DR-1 in this preliminary mock-up for a poster.
Keywords: movie, poster, airplane, romance, gouache, watercolor, gouache, painting
AMERICAN ILLUSTRATOR
Original Movie Poster Illustration, c.1929
Gouache on board
52in. x 19in. (sight size)
Not signed
When an ace pilot returns from war he falls in love with his brother's girl, leading to a bitter duel. Large portraits of William Boyd and Marie Prevost are featured in this preliminary mock-up for a poster.
Keywords: movie, poster, airplane, romance, gouache, watercolor, gouache, painting
Original Movie Poster Illustration, c.1929
Gouache on board
52in. x 19in. (sight size)
Not signed
When an ace pilot returns from war he falls in love with his brother's girl, leading to a bitter duel. Large portraits of William Boyd and Marie Prevost are featured in this preliminary mock-up for a poster.
Keywords: movie, poster, airplane, romance, gouache, watercolor, gouache, painting
Original Illustration Art
CLARENCE PETER HELCK N.A. (1893-1988)
Original Magazine Story Illustration, c.1960
Watercolor and gouache on paper
10.5in. x 9in. (sight size)
Initialed lower right: PH
Provenance: Morris Weiss collection
Peter Helck was celebrated for his superb illustrations of cars, trains, and trucks. Helck became enamored with motor vehicles when, as a child, he attended some of the early racing competitions. He illustrated two racing books, in 1961, The Checkered Flag. and in 1976, Great Auto Races. His commercial accounts included General Electric, Chevrolet, Mack Trucks, and National Steel Corporation.
Keywords: car, truck, train, painted, illustration, magazine, landscape
Original Magazine Story Illustration, c.1960
Watercolor and gouache on paper
10.5in. x 9in. (sight size)
Initialed lower right: PH
Provenance: Morris Weiss collection
Peter Helck was celebrated for his superb illustrations of cars, trains, and trucks. Helck became enamored with motor vehicles when, as a child, he attended some of the early racing competitions. He illustrated two racing books, in 1961, The Checkered Flag. and in 1976, Great Auto Races. His commercial accounts included General Electric, Chevrolet, Mack Trucks, and National Steel Corporation.
Keywords: car, truck, train, painted, illustration, magazine, landscape
AMERICAN ILLUSTRATOR
Original Book Cover Illustration
Return of the Swallows, by Blanche Chenier, 1975
Gouache on board
17.5in. x 27in. (sight size)
Not signed
Provenance: Morris Weiss collection
Keywords: historical, book, cover, illustration, painting, romance, McGinnis, McGuire, hooks
Original Book Cover Illustration
Return of the Swallows, by Blanche Chenier, 1975
Gouache on board
17.5in. x 27in. (sight size)
Not signed
Provenance: Morris Weiss collection
Keywords: historical, book, cover, illustration, painting, romance, McGinnis, McGuire, hooks
AMERICAN ILLUSTRATOR
Original Illustration, c.1890-1910
The Bible Heroes published by McLoughlin Brothers, New York; artwork from the McLoughlin Brothers archives
Watercolor on pre-printed paper
11in. x 9in. (sight size)
Not signed
A complete booklet is included
keywords: Biblical art, King David
Original Illustration, c.1890-1910
The Bible Heroes published by McLoughlin Brothers, New York; artwork from the McLoughlin Brothers archives
Watercolor on pre-printed paper
11in. x 9in. (sight size)
Not signed
A complete booklet is included
keywords: Biblical art, King David
AMERICAN ILLUSTRATOR
Two Original Illustrations, c.1890-1910
From the McLoughlin Brothers archives for Ali Baba and the Forty Thieves
Gouache on board
13in. x 9in. (sight size)
Not signed
Gouache on board
14in. x 8in. (sight size)
Not signed
keywords: Ali Baba and the Forty Thieves, illustration, painting
Two Original Illustrations, c.1890-1910
From the McLoughlin Brothers archives for Ali Baba and the Forty Thieves
Gouache on board
13in. x 9in. (sight size)
Not signed
Gouache on board
14in. x 8in. (sight size)
Not signed
keywords: Ali Baba and the Forty Thieves, illustration, painting
AMERICAN ILLUSTRATOR
Two Original Illustrations, c.1890-1910
From the McLoughlin Brothers archives for Ali Baba and the Forty Thieves
Gouache on board
12in. x 10in. (sight size)
Not signed
Gouache on board
14in. x 10in. (sight size)
Not signed
keywords: Ali Baba and the Forty Thieves, illustration, painting
Two Original Illustrations, c.1890-1910
From the McLoughlin Brothers archives for Ali Baba and the Forty Thieves
Gouache on board
12in. x 10in. (sight size)
Not signed
Gouache on board
14in. x 10in. (sight size)
Not signed
keywords: Ali Baba and the Forty Thieves, illustration, painting
AMERICAN ILLUSTRATOR
Original Illustration, c.1890s
Mother Goose, artwork from the McLoughlin Brothers archives
Gouache and pen and ink on board
6in. x 6in. (sight size)
Not signed
keywords: illustration, Mother Goose, Little Boy Blue, tree, horn
Original Illustration, c.1890s
Mother Goose, artwork from the McLoughlin Brothers archives
Gouache and pen and ink on board
6in. x 6in. (sight size)
Not signed
keywords: illustration, Mother Goose, Little Boy Blue, tree, horn
Paintings
HAROLD N. ANDERSON (1894 -1973)
Original Illustration, c.1960
Oil on canvas
26in. x 22in. (sight size)
Not signed
Provenance: Morris Weiss collection
Keywords: Rockwell, painting, oil, canvas, large, Americana, cover, boy, music, violin, life
Original Illustration, c.1960
Oil on canvas
26in. x 22in. (sight size)
Not signed
Provenance: Morris Weiss collection
Keywords: Rockwell, painting, oil, canvas, large, Americana, cover, boy, music, violin, life
SEYMOUR ALLING BALL (b.1902)
Original Magazine Story Illustration, c.1932
Watercolor on paper
21in. x 13in. (sight size)
Signed lower left: Seymour Ball
Inscribed upper left: To Morris E Weiss with best wishes Seymour Ball"
Provenance: Morris Weiss collection
This illustration may have appeared in Red Book or The Saturday Evening Post.
Keywords: fashion, romance, girl, ink, drawing, book, illustration
Original Magazine Story Illustration, c.1932
Watercolor on paper
21in. x 13in. (sight size)
Signed lower left: Seymour Ball
Inscribed upper left: To Morris E Weiss with best wishes Seymour Ball"
Provenance: Morris Weiss collection
This illustration may have appeared in Red Book or The Saturday Evening Post.
Keywords: fashion, romance, girl, ink, drawing, book, illustration
Original Illustration Art
WALTER M. BAUMHOFER (1904-1987)
Original Magazine Story Illustration, c.1955
Caption: "I found Jean seated in the garden..gazing towards the distant mountains..and as she spoke, a familiar figure..came limping toward us up the hill."
Oil on canvas
16.5in. x 26.5in. (sight size)
Signed lower center: Walter M. Baumhofer
Provenance: Morris Weiss collection
Baumhofer is fabled for his dynamic pulp covers, especially those featuring Doc Savage. Later in his career, he made the transition to the "slick" magazines, as was the goal for many of the young Pulp painters. Baumhofer graduated from Pratt Institute in 1925.
Keywords: drawing, ink, figure, magazine, illustration, watercolor
Original Magazine Story Illustration, c.1955
Caption: "I found Jean seated in the garden..gazing towards the distant mountains..and as she spoke, a familiar figure..came limping toward us up the hill."
Oil on canvas
16.5in. x 26.5in. (sight size)
Signed lower center: Walter M. Baumhofer
Provenance: Morris Weiss collection
Baumhofer is fabled for his dynamic pulp covers, especially those featuring Doc Savage. Later in his career, he made the transition to the "slick" magazines, as was the goal for many of the young Pulp painters. Baumhofer graduated from Pratt Institute in 1925.
Keywords: drawing, ink, figure, magazine, illustration, watercolor
Paintings
WALTER M. BAUMHOFER (1904-1987)
Original Magazine Story Illustration, c.1934
Oil on canvas
14in. x 25in. (sight size)
Signed lower left: Walter M. Baumhofer
Provenance: Morris Weiss collection
Keywords: cowboy, oil, painting, magazine, portrait, historical
Original Magazine Story Illustration, c.1934
Oil on canvas
14in. x 25in. (sight size)
Signed lower left: Walter M. Baumhofer
Provenance: Morris Weiss collection
Keywords: cowboy, oil, painting, magazine, portrait, historical
CECIL CALVERT BEALL (1892-1967)
Original Magazine Story Illustration, c.1943
"Air Intelligence"
Gouache on board
15.5in. x 9in. (sight size)
Signed lower left: C.C. Beall
Provenance: Morris Weiss collection
Keywords: girl, portrait, romance, watercolor, painting, illustration, magazine, airplane
Original Magazine Story Illustration, c.1943
"Air Intelligence"
Gouache on board
15.5in. x 9in. (sight size)
Signed lower left: C.C. Beall
Provenance: Morris Weiss collection
Keywords: girl, portrait, romance, watercolor, painting, illustration, magazine, airplane
Original Illustration Art
CECIL CALVERT BEALL (1892-1967)
Original Illustration, c.1940
Watercolor on paper
19in. x 10.5in. (sight size)
Signed upper center: CC Beall
Provenance: Morris Weiss collection
Keywords: watercolor, painting, bush pilot, airplane, illustration
Original Illustration, c.1940
Watercolor on paper
19in. x 10.5in. (sight size)
Signed upper center: CC Beall
Provenance: Morris Weiss collection
Keywords: watercolor, painting, bush pilot, airplane, illustration
Paintings
HARRY BECKHOFF (1901-1979)
Original Magazine Story Illustration, c.1955
Watercolor on paper
11.5in. x 15.25in. (sight size)
Signed lower left: Harry Beckhoff
Provenance: Morris Weiss collection
Keywords: watercolor, portrait, seascape, landscape, boats, magazine, illustration
Original Magazine Story Illustration, c.1955
Watercolor on paper
11.5in. x 15.25in. (sight size)
Signed lower left: Harry Beckhoff
Provenance: Morris Weiss collection
Keywords: watercolor, portrait, seascape, landscape, boats, magazine, illustration
MICHAEL BERRY
Original Magazine Cover Art, c.1953
Pictorial Review cover
Mixed-media
13in. x 9.75in. (sight size)
Signed lower right: Michael Berry
Provenance: Morris Weiss collection
Keywords: football, sports, cartoon, humor, cover, magazine, girl, pin up, watercolor, painting, drawing
Original Magazine Cover Art, c.1953
Pictorial Review cover
Mixed-media
13in. x 9.75in. (sight size)
Signed lower right: Michael Berry
Provenance: Morris Weiss collection
Keywords: football, sports, cartoon, humor, cover, magazine, girl, pin up, watercolor, painting, drawing
Works on Paper
R.O. BLECHMAN (b.1930)
Original Cartoon Drawing
Watercolor with mixed-media on paper, mounted on board
10in. x 13in.
Signed lower left: Blechman
A lothario has a lovers' quarrel with his loveseat and orders it out of the room. Blechman's company, the Ink Tank, has animated TV commercials for Barney's, Perrier, Hershey's, and MTV.
Keywords: cartoon, humor, New Yorker, comic, collage, ink, drawing
Original Cartoon Drawing
Watercolor with mixed-media on paper, mounted on board
10in. x 13in.
Signed lower left: Blechman
A lothario has a lovers' quarrel with his loveseat and orders it out of the room. Blechman's company, the Ink Tank, has animated TV commercials for Barney's, Perrier, Hershey's, and MTV.
Keywords: cartoon, humor, New Yorker, comic, collage, ink, drawing
Paintings
R.O. BLECHMAN (b.1930)
Original Cartoon Drawing
Watercolor with ink on paper, mounted on board
10in. x 8.5in.
Signed lower left: Blechman
A delightful floral marcher asserts its flower power. In the early 1970s, Blechman started his own animation studio, The Ink Tank, which was devoted largely to producing commercials, yet even his illustrations have a feeling of life and movement.
Keywords: cartoon, humor, New Yorker, comic, collage, ink, drawing
Original Cartoon Drawing
Watercolor with ink on paper, mounted on board
10in. x 8.5in.
Signed lower left: Blechman
A delightful floral marcher asserts its flower power. In the early 1970s, Blechman started his own animation studio, The Ink Tank, which was devoted largely to producing commercials, yet even his illustrations have a feeling of life and movement.
Keywords: cartoon, humor, New Yorker, comic, collage, ink, drawing
R.O. BLECHMAN (b.1930)
Original Cartoon Drawing
Mixed-media collage with ink on board
9.5in. x 12in.
Signed lower right: Blechman
Robert O. Blechman's unique cartooning style has been featured in The New Yorker, Harper's Bazaar, Trump, Punch, and Esquire. Many of his cartoons have been sequential drawings, or comic strips, that have expressed strong social statements with wry humor. This piece has a blue house-shape fashioned from a blueprint schemata that has been collaged to the illustration board; the male figure is a pen and ink drawing.
Keywords: cartoon, humor, New Yorker, comic, collage, ink, drawing
Original Cartoon Drawing
Mixed-media collage with ink on board
9.5in. x 12in.
Signed lower right: Blechman
Robert O. Blechman's unique cartooning style has been featured in The New Yorker, Harper's Bazaar, Trump, Punch, and Esquire. Many of his cartoons have been sequential drawings, or comic strips, that have expressed strong social statements with wry humor. This piece has a blue house-shape fashioned from a blueprint schemata that has been collaged to the illustration board; the male figure is a pen and ink drawing.
Keywords: cartoon, humor, New Yorker, comic, collage, ink, drawing
R.O. BLECHMAN (b.1930)
Original Cartoon Drawing
Watercolor and ink on paper, mounted on board
12.5in.x 10in.
Signed lower right: Blechman
R.O. Blechman takes the message "fit or fat" to an alarming extreme, as "diet or die," with his biting satire. Blechman is no stranger to food-related humor; in 1967 he created the storyboard and drawings for an animated Alka-Seltzer commercial; the spot remains a classic of American TV advertising.
Keywords: cartoon, humor, New Yorker, comic, collage, ink, drawing
Original Cartoon Drawing
Watercolor and ink on paper, mounted on board
12.5in.x 10in.
Signed lower right: Blechman
R.O. Blechman takes the message "fit or fat" to an alarming extreme, as "diet or die," with his biting satire. Blechman is no stranger to food-related humor; in 1967 he created the storyboard and drawings for an animated Alka-Seltzer commercial; the spot remains a classic of American TV advertising.
Keywords: cartoon, humor, New Yorker, comic, collage, ink, drawing
R.O. BLECHMAN (b.1930)
Original Cartoon Drawing
Mixed-media with ink on paper, mounted on board
13in. x 10in.
Signed lower right: Blechman
It seems this lucky fellow has finally found the pot of gold at the end of a rainbow in this charming Blechman illustration.
Keywords: cartoon, humor, New Yorker, comic, collage, ink, drawing
Original Cartoon Drawing
Mixed-media with ink on paper, mounted on board
13in. x 10in.
Signed lower right: Blechman
It seems this lucky fellow has finally found the pot of gold at the end of a rainbow in this charming Blechman illustration.
Keywords: cartoon, humor, New Yorker, comic, collage, ink, drawing
R.O. BLECHMAN (b.1930)
Original Cartoon Drawing
Watercolor with ink on paper, mounted on board
13in. x 10in.
Signed lower right: Blechman
An anthropomorphized painter's palette with drab, neutral hues wears a frown on its face, while its vividly colored companion appears more upbeat. Blechman's brilliance at conveying complex ideas and moods through the simplest graphic means is showcased.
Keywords: cartoon, humor, New Yorker, comic, collage, ink, drawing
Original Cartoon Drawing
Watercolor with ink on paper, mounted on board
13in. x 10in.
Signed lower right: Blechman
An anthropomorphized painter's palette with drab, neutral hues wears a frown on its face, while its vividly colored companion appears more upbeat. Blechman's brilliance at conveying complex ideas and moods through the simplest graphic means is showcased.
Keywords: cartoon, humor, New Yorker, comic, collage, ink, drawing
R.O. BLECHMAN (b.1930)
Original Cartoon Drawing
Watercolor with ink on paper, mounted on board
10.75in. x 13.25in.
Signed lower right: Blechman
A smiling Sol points a ray of warmth towards a lone figure, who casts a long shadow. Blechman has illustrated covers for The New Yorker, Atlantic Monthly and Story.
Keywords: cartoon, humor, New Yorker, comic, collage, ink, drawing
Original Cartoon Drawing
Watercolor with ink on paper, mounted on board
10.75in. x 13.25in.
Signed lower right: Blechman
A smiling Sol points a ray of warmth towards a lone figure, who casts a long shadow. Blechman has illustrated covers for The New Yorker, Atlantic Monthly and Story.
Keywords: cartoon, humor, New Yorker, comic, collage, ink, drawing
RALPH LUDWIG BOYER (1879-1952)
Five Original Drawings
Watercolor and pencil on paper
Overall size 17in. x 13in., variety of sight sizes
Various signatures
Included in this lot are: a portrait of Colonel William Ransom Johnson (1762-1849), 11.5in. x 9in. (sight size), with a detailed pencil profile portrait on the reverse, Not signed; humorous figure studies of three women, 14in. x 11.25in. (sight size), Not signed.; a pencil study of a seated boy, 7.5in. x 8in. (sight size), signed lower left: R.L. Boyer; portrait of an old woman, 5.5in.x 5in. (sight size), signed lower left; humorous illustration of a portrait painter and his model, 12in. x 11in. (sight size), signed lower right.
Ralph Ludwig Boyer was active in portraiture, illustration, and landscapes and was associated with the Pennsylvania Academy of Fine Arts, Philadelphia. He drew many outdoor illustrations for The Sportsman magazine and also worked as a WPA artist painting murals. Boyer is also known for his fishing illustrations in books by Ralf Coykendall and Edmund Ware Smith.
Keywords: pencil, humor, magazine, comic, sketch, watercolor, portrait, WPA, painting
Five Original Drawings
Watercolor and pencil on paper
Overall size 17in. x 13in., variety of sight sizes
Various signatures
Included in this lot are: a portrait of Colonel William Ransom Johnson (1762-1849), 11.5in. x 9in. (sight size), with a detailed pencil profile portrait on the reverse, Not signed; humorous figure studies of three women, 14in. x 11.25in. (sight size), Not signed.; a pencil study of a seated boy, 7.5in. x 8in. (sight size), signed lower left: R.L. Boyer; portrait of an old woman, 5.5in.x 5in. (sight size), signed lower left; humorous illustration of a portrait painter and his model, 12in. x 11in. (sight size), signed lower right.
Ralph Ludwig Boyer was active in portraiture, illustration, and landscapes and was associated with the Pennsylvania Academy of Fine Arts, Philadelphia. He drew many outdoor illustrations for The Sportsman magazine and also worked as a WPA artist painting murals. Boyer is also known for his fishing illustrations in books by Ralf Coykendall and Edmund Ware Smith.
Keywords: pencil, humor, magazine, comic, sketch, watercolor, portrait, WPA, painting
Original Illustration Art
GEORGE BREHM (1878-1966)
Original Magazine Story Illustration, c.1930
Pencil on paper
24.5in.x 24in. (sight size)
Signed upper left: G. Brehm
Provenance: Morris Weiss collection
RKeywords: pencil, drama, drawing, book, illustration
Original Magazine Story Illustration, c.1930
Pencil on paper
24.5in.x 24in. (sight size)
Signed upper left: G. Brehm
Provenance: Morris Weiss collection
RKeywords: pencil, drama, drawing, book, illustration
GEORGE BREHM (1878-1966)
Original Magazine Story Illustration, c.1930
Pencil on paper
18.5in. x 12in. (sight size)
Signed lower left: Geo. Brehm
Provenance: Morris Weiss collection
There is a light stain along the lower two inches of the drawing, that does little to affect the eye-appeal of this romantic scene. Keywords: pencil, romance, girl, drawing, book, illustration, love
Original Magazine Story Illustration, c.1930
Pencil on paper
18.5in. x 12in. (sight size)
Signed lower left: Geo. Brehm
Provenance: Morris Weiss collection
There is a light stain along the lower two inches of the drawing, that does little to affect the eye-appeal of this romantic scene. Keywords: pencil, romance, girl, drawing, book, illustration, love
GEORGE BREHM (1878-1966)
Original Magazine Story Illustration, c.1934
Gouache on board
15in. x 9in. (sight size)
Not signed
Inscribed on the reverse: "July 20, 1975 -- This is a George Brehm illustration that he gave me in 1934 -- Morris S. Weiss."
Provenance: Morris Weiss collection
Keywords: watercolor, oil, painting, pulp, illustration
Original Magazine Story Illustration, c.1934
Gouache on board
15in. x 9in. (sight size)
Not signed
Inscribed on the reverse: "July 20, 1975 -- This is a George Brehm illustration that he gave me in 1934 -- Morris S. Weiss."
Provenance: Morris Weiss collection
Keywords: watercolor, oil, painting, pulp, illustration
GEORGE BREHM (1878-1966)
Original Magazine Story Illustration
The Saturday Evening Post, November 12, 1938
Caption: "Pungent clapped his hand against an ebony forehead. 'Do you mean to stand there an' tell me you has lost my ring?'"
Graphite pencil on paper
12in. x 16in. (sight size)
Signed lower left: G. Brehm
Provenance: Morris Weiss collection
George Brehm excelled at illustrating stories about children. He studied art with John Twachtman, George Bridgman, and Frank DuMond at the Art Students League in New York. Two examples of the printed illustration are included in this lot.
Keywords: pencil, drawing, magazine, illustration, African, American, black Americana, portrait, humor
Original Magazine Story Illustration
The Saturday Evening Post, November 12, 1938
Caption: "Pungent clapped his hand against an ebony forehead. 'Do you mean to stand there an' tell me you has lost my ring?'"
Graphite pencil on paper
12in. x 16in. (sight size)
Signed lower left: G. Brehm
Provenance: Morris Weiss collection
George Brehm excelled at illustrating stories about children. He studied art with John Twachtman, George Bridgman, and Frank DuMond at the Art Students League in New York. Two examples of the printed illustration are included in this lot.
Keywords: pencil, drawing, magazine, illustration, African, American, black Americana, portrait, humor
WORTH BREHM (1883-1928)
Original Magazine Story Illustration
Cosmopolitan Magazine, 1925
Pencil on board
18in. x 19in. (sight size)
Initialed lower left: WB
Provenance: Morris Weiss collection
Keywords: children, country, boy, pencil, illustration, drawing, humor
Original Magazine Story Illustration
Cosmopolitan Magazine, 1925
Pencil on board
18in. x 19in. (sight size)
Initialed lower left: WB
Provenance: Morris Weiss collection
Keywords: children, country, boy, pencil, illustration, drawing, humor
Paintings
WORTH BREHM (1883-1928)
Original Magazine Story Illustration
Good Housekeeping Magazine, 1920
Pencil on board
23.5in. x 17in. (sight size)
Initialed lower left: WB
A coverless copy of the magazine is included with this lot.
Provenance: Morris Weiss collection
Keywords: children, country, boy, pencil, illustration, drawing, humor
Original Magazine Story Illustration
Good Housekeeping Magazine, 1920
Pencil on board
23.5in. x 17in. (sight size)
Initialed lower left: WB
A coverless copy of the magazine is included with this lot.
Provenance: Morris Weiss collection
Keywords: children, country, boy, pencil, illustration, drawing, humor
Original Illustration Art
AUSTIN BRIGGS (1908-1973)
Original Magazine Story Illustration, c. 1960
Saturday Evening Post "Search for a Dead Man"
Gouache on board
16.5in. x 16.5in. (sight size)
Signed lower right
Provenance: Morris Weiss collection
Austin Briggs was a tireless innovator who was always searching for new approaches to illustration. Briggs studied at the Art Students League under George Bridgman and Walter Jack Duncan, and from 1936-1948 he assisted, succeeded, or ghosted Alex Raymond on the Secret Agent X-9, Jungle Jim, and Flash Gordon newspaper strips. In 1948 Briggs left comics to devote himself fully to magazine illustration. His work has a dynamic and spontaneous flair in its staging of action. The Society of Illustrators elected Austin Briggs to their Hall of Fame in 1969.
Keywords: painted illustration, magazine, mystery, landscape
Original Magazine Story Illustration, c. 1960
Saturday Evening Post "Search for a Dead Man"
Gouache on board
16.5in. x 16.5in. (sight size)
Signed lower right
Provenance: Morris Weiss collection
Austin Briggs was a tireless innovator who was always searching for new approaches to illustration. Briggs studied at the Art Students League under George Bridgman and Walter Jack Duncan, and from 1936-1948 he assisted, succeeded, or ghosted Alex Raymond on the Secret Agent X-9, Jungle Jim, and Flash Gordon newspaper strips. In 1948 Briggs left comics to devote himself fully to magazine illustration. His work has a dynamic and spontaneous flair in its staging of action. The Society of Illustrators elected Austin Briggs to their Hall of Fame in 1969.
Keywords: painted illustration, magazine, mystery, landscape
AUSTIN BRIGGS (1909-1973) Mixed-media
16.25in. x 20in. (sight size)
Signed lower right: Austin Briggs
Provenance: Morris Weiss collection
Keywords: pen, ink, drawing, watercolor, landscape, house, fashion, magazine, romance
16.25in. x 20in. (sight size)
Signed lower right: Austin Briggs
Provenance: Morris Weiss collection
Keywords: pen, ink, drawing, watercolor, landscape, house, fashion, magazine, romance
Paintings
ARTHUR WILLIAM BROWN (1881-1966)
Original Magazine Story Illustration, c.1935
Mixed-media on paper
14.5in. x 10.5in. (sight size)
Signed upper left: Arthur William Brown
Inscribed upper left: To Lee with best wishes
Provenance: Morris Weiss collection Keywords: girl, woman, romance . painting, drama, illustration
Original Magazine Story Illustration, c.1935
Mixed-media on paper
14.5in. x 10.5in. (sight size)
Signed upper left: Arthur William Brown
Inscribed upper left: To Lee with best wishes
Provenance: Morris Weiss collection Keywords: girl, woman, romance . painting, drama, illustration
ARTHUR WILLIAM BROWN (1881-1966)
Original Magazine Illustration, c.1933
Graphite on paper
14in. x 11in. (sight size)
Signed lower left
Inscribed lower left to cartoonist Morris Weiss.
Provenance: Morris Weiss collection
This work by the Hall of Fame illustrator may have appeared in The Saturday Evening Post.
Keywords: pencil, illustration, drawing, magazine
Original Magazine Illustration, c.1933
Graphite on paper
14in. x 11in. (sight size)
Signed lower left
Inscribed lower left to cartoonist Morris Weiss.
Provenance: Morris Weiss collection
This work by the Hall of Fame illustrator may have appeared in The Saturday Evening Post.
Keywords: pencil, illustration, drawing, magazine
Original Illustration Art
ARTHUR WILLIAM BROWN (1881-1966)
Original Magazine Story Illustration, c.1927
The Saturday Evening Post
Charcoal and ink on paper
15.5in. x 19.5in. (sight size)
Signed lower left
Inscribed lower left: "To Stan Repp with best wishes A.W.B. 1964"
Provenance: Morris Weiss collection
Keywords: charcoal, pencil, drawing, fashion, portrait, magazine, illustration.
Original Magazine Story Illustration, c.1927
The Saturday Evening Post
Charcoal and ink on paper
15.5in. x 19.5in. (sight size)
Signed lower left
Inscribed lower left: "To Stan Repp with best wishes A.W.B. 1964"
Provenance: Morris Weiss collection
Keywords: charcoal, pencil, drawing, fashion, portrait, magazine, illustration.
ARTHUR WILLIAM BROWN (1881-1966)
Original Illustration (1917)
Ink on paper
9in. x 17in. (sight size)
Signed and dated lower left
Provenance: Morris Weiss collection
Keywords: pen. ink, Gibson, magazine, portrait, illustration, drawing
Original Illustration (1917)
Ink on paper
9in. x 17in. (sight size)
Signed and dated lower left
Provenance: Morris Weiss collection
Keywords: pen. ink, Gibson, magazine, portrait, illustration, drawing
Paintings
ELMOR J. BROWN (1899-1968)
Original Book Illustration
Big Game by Francis Wallace, Grosset and Dunlap, 1936
Ink on paper
14in. x 7.25in. (sight size)
Signed lower right: Elmor J. Brown
Inscribed center right: "To my friend Morris Weiss"
Provenance: Morris Weiss collection
Keywords: pen, ink, illustration, adventure, magazine, drawing, fashion
Original Book Illustration
Big Game by Francis Wallace, Grosset and Dunlap, 1936
Ink on paper
14in. x 7.25in. (sight size)
Signed lower right: Elmor J. Brown
Inscribed center right: "To my friend Morris Weiss"
Provenance: Morris Weiss collection
Keywords: pen, ink, illustration, adventure, magazine, drawing, fashion
Original Illustration Art
PAUL BROWN (1893-1958)
Original Magazine Cover Illustration
American Weekly cover, c.1946
Marcus Daly's Gambling Magic
Gouache on paper
13.5in. x 9.25in. (sight size)
Signed left center: Paul Brown
Provenance: Morris Weiss collection Keywords: western, horse, racing, animal, cowboy, ink, drawing, cover, illustration
Original Magazine Cover Illustration
American Weekly cover, c.1946
Marcus Daly's Gambling Magic
Gouache on paper
13.5in. x 9.25in. (sight size)
Signed left center: Paul Brown
Provenance: Morris Weiss collection Keywords: western, horse, racing, animal, cowboy, ink, drawing, cover, illustration
Paintings
HOWARD CHANDLER CHRISTY (1873-1952)
Original Magazine Story Illustration, 1911
Oil on board
38in. x 25in. (sight size)
Signed, dated and inscribed lower right: "To Erika my collaborator with sincere admiration Howard Chandler Christy 1911"
Provenance: Morris Weiss collection
Keywords: portrait, painting, society, Gibson, girl
Original Magazine Story Illustration, 1911
Oil on board
38in. x 25in. (sight size)
Signed, dated and inscribed lower right: "To Erika my collaborator with sincere admiration Howard Chandler Christy 1911"
Provenance: Morris Weiss collection
Keywords: portrait, painting, society, Gibson, girl
BENTON CLARK (1895-1964)
Original Magazine Illustration Preliminary, c.1953
Oil on board
14.5in. x 11in. (sight size)
Signed and dated lower right
Provenance: Morris Weiss collection
Keywords: painted, illustration, magazine, cowboy, western
Original Magazine Illustration Preliminary, c.1953
Oil on board
14.5in. x 11in. (sight size)
Signed and dated lower right
Provenance: Morris Weiss collection
Keywords: painted, illustration, magazine, cowboy, western
MATT CLARK (1903-1972)
Original Illustration, 1941
Ink and watercolor on paper
16in. x 19.5in. (sight size)
Signed lower right
Provenance: Morris Weiss collection
Keywords: horse, ink, drawing, magazine, illustration, equestrian, drybrush
Original Illustration, 1941
Ink and watercolor on paper
16in. x 19.5in. (sight size)
Signed lower right
Provenance: Morris Weiss collection
Keywords: horse, ink, drawing, magazine, illustration, equestrian, drybrush
JOSEPH CLEMENT COLL (1881-1921)
Original Magazine Story Illustration
Every Week, December 18, 1916
Ink on paper
9.5in. x 7.5in. (sight size)
Signed lower center right: Coll
Provenance: Morris Weiss collection
Keywords: pen, ink, illustration, girl, magazine, drawing, fashion
Original Magazine Story Illustration
Every Week, December 18, 1916
Ink on paper
9.5in. x 7.5in. (sight size)
Signed lower center right: Coll
Provenance: Morris Weiss collection
Keywords: pen, ink, illustration, girl, magazine, drawing, fashion
Original Illustration Art
JOSEPH CLEMENT COLL (1881-1921)
Original Magazine Story Illustration, c.1905
Mixed media on paper
13.5in. x 10in. (sight size)
Signed lower right: Coll
Provenance: Morris Weiss collection
Keywords: pen, ink, magazine, illustration, knights, King Arthur, painting, watercolor, historical
Original Magazine Story Illustration, c.1905
Mixed media on paper
13.5in. x 10in. (sight size)
Signed lower right: Coll
Provenance: Morris Weiss collection
Keywords: pen, ink, magazine, illustration, knights, King Arthur, painting, watercolor, historical
Paintings
DEAN CORNWELL N.A. (1892-1960)
Original Magazine Story Illustration
Cosmopolitan Magazine, April 1920
"Kindred of the Dust" by Peter B. Kyne
Caption: "One thing puzzled Dirty Dan extremely. That was the perfectly frank, friendly manner in which his employer and this outcast woman greeted each other, the earnestness with which they conversed, and the effect of the woman's low-spoken words upon the color of Hector McKaye's face."
Oil on canvas
26in. x 38.5in. (sight size)
Signed middle right: Dean Cornwell
Provenance: Morris Weiss collection
Cornwell first teamed with Peter Kyne when he illustrated Kyne's serialized novel A Man's Man for Red Book in 1916. The two teamed for several more popular illustrated stories. An example of the printed illustration is included.
RKeywords: oil, painting, magazine, illustration, historical, romance, western
Original Magazine Story Illustration
Cosmopolitan Magazine, April 1920
"Kindred of the Dust" by Peter B. Kyne
Caption: "One thing puzzled Dirty Dan extremely. That was the perfectly frank, friendly manner in which his employer and this outcast woman greeted each other, the earnestness with which they conversed, and the effect of the woman's low-spoken words upon the color of Hector McKaye's face."
Oil on canvas
26in. x 38.5in. (sight size)
Signed middle right: Dean Cornwell
Provenance: Morris Weiss collection
Cornwell first teamed with Peter Kyne when he illustrated Kyne's serialized novel A Man's Man for Red Book in 1916. The two teamed for several more popular illustrated stories. An example of the printed illustration is included.
RKeywords: oil, painting, magazine, illustration, historical, romance, western
DEAN CORNWELL N.A. (1892-1960)
Original Magazine Illustration, c.1920
"Euphorbia" by Gene Stratton-Porter.
Caption: "Are you making little things?" questioned Lucy. 'No ,' said Marge. 'If this one happens to live, there will be many long years ahead of us for that."
Oil on board
28in. x 38.5in. (sight size)
Initialed center right: DC
An example of the printed illustration and two photocopied versions are included.
Provenance: Morris Weiss collection
Keywords: oil, painting, magazine, illustration, story, women, romance, drama
Original Magazine Illustration, c.1920
"Euphorbia" by Gene Stratton-Porter.
Caption: "Are you making little things?" questioned Lucy. 'No ,' said Marge. 'If this one happens to live, there will be many long years ahead of us for that."
Oil on board
28in. x 38.5in. (sight size)
Initialed center right: DC
An example of the printed illustration and two photocopied versions are included.
Provenance: Morris Weiss collection
Keywords: oil, painting, magazine, illustration, story, women, romance, drama
Original Illustration Art
DEAN CORNWELL N.A. (1892-1960)
Original Illustration, 1925
Oil on board
8.5in. x 6in. (sight size)
Initialed and dated lower center: DC, '25.
Provenance: Morris Weiss collection
Keywords: painting, oil, magazine, illustration, England, English, crime, mystery
Original Illustration, 1925
Oil on board
8.5in. x 6in. (sight size)
Initialed and dated lower center: DC, '25.
Provenance: Morris Weiss collection
Keywords: painting, oil, magazine, illustration, England, English, crime, mystery
Paintings
DEAN CORNWELL N.A. (1892-1960)
Original Magazine Story Illustration preliminary
Study for The American Magazine, 1942
"The Lady Said Good-by" by D.D. Beauchamp.
Provenance: Morris Weiss collection
Caption: "Gillette urged them on -- swearing, pushing, prodding. He knew delay would be fatal."
Charcoal and graphite on paper
15.5in. x 22in. (sight size)
Initialed lower right: DC
Keywords: drawing, pencil, preliminary, sketch, historical, study, portrait
Original Magazine Story Illustration preliminary
Study for The American Magazine, 1942
"The Lady Said Good-by" by D.D. Beauchamp.
Provenance: Morris Weiss collection
Caption: "Gillette urged them on -- swearing, pushing, prodding. He knew delay would be fatal."
Charcoal and graphite on paper
15.5in. x 22in. (sight size)
Initialed lower right: DC
Keywords: drawing, pencil, preliminary, sketch, historical, study, portrait
DEAN CORNWELL N.A. (1892-1960)
Original Illustration, c.1952
Pencil on paper
24.5in. x 18in. (sight size)
Provenance: Morris Weiss collection
There are numerous holes in the velum, outside of the figure drawing; the art has been remounted onto a stronger support paper and professionally framed. A beautiful study with great eye appeal.
Keywords: drawing, pencil, study, mural, sea, pirate, historical, portrait
Original Illustration, c.1952
Pencil on paper
24.5in. x 18in. (sight size)
Provenance: Morris Weiss collection
There are numerous holes in the velum, outside of the figure drawing; the art has been remounted onto a stronger support paper and professionally framed. A beautiful study with great eye appeal.
Keywords: drawing, pencil, study, mural, sea, pirate, historical, portrait
Original Illustration Art
BRADSHAW CRANDELL (1896-1966)
Original Illustration, c.1940
Pastel on board
23in. x 18in. (sight size)
Signed lower left: Bradshaw Crandell
Provenance: Morris Weiss collection
Bradshaw Crandell was awarded many a Cosmopolitan cover assignment after Harrison Fisher retired, and his work was also featured in The Ladies' Home Journal, Redbook, The Saturday Evening Post, and Collier's. Crandell's pastel drawings of beautiful women often showcased popular, young Hollywood starlets, and eventually his career turned mainly towards society portraiture.
Keywords: pastel, portrait, calendar, girl, wedding, illustration
Original Illustration, c.1940
Pastel on board
23in. x 18in. (sight size)
Signed lower left: Bradshaw Crandell
Provenance: Morris Weiss collection
Bradshaw Crandell was awarded many a Cosmopolitan cover assignment after Harrison Fisher retired, and his work was also featured in The Ladies' Home Journal, Redbook, The Saturday Evening Post, and Collier's. Crandell's pastel drawings of beautiful women often showcased popular, young Hollywood starlets, and eventually his career turned mainly towards society portraiture.
Keywords: pastel, portrait, calendar, girl, wedding, illustration
WILL CRAWFORD (1869-1944)
Original Illustration, c.1910
The Okenada Squaw
Caption: "I only know Okenada. Can't he talk Okenada?"
Ink on paper
17in. x 15in. (sight size)
Signed lower right: Will Crawford
Provenance: Morris Weiss collection
Keywords: pen, ink, illustration, Indian, historical, cowboy, humor
Original Illustration, c.1910
The Okenada Squaw
Caption: "I only know Okenada. Can't he talk Okenada?"
Ink on paper
17in. x 15in. (sight size)
Signed lower right: Will Crawford
Provenance: Morris Weiss collection
Keywords: pen, ink, illustration, Indian, historical, cowboy, humor
ROBERT JOEL CROFUT (b.1951)
Original Paperback Cover Art
Cheyenne Vengeance, BT books
Oil on canvas
35in. x 21.5in. (sight size)
Signed right center
Provenance: Morris Weiss collection
A terrific example of a scarce Western scene by Crofut.
Two copies of the printed book cover are included.
Keywords: oil, painted, book, cover, western, cowboy
Original Paperback Cover Art
Cheyenne Vengeance, BT books
Oil on canvas
35in. x 21.5in. (sight size)
Signed right center
Provenance: Morris Weiss collection
A terrific example of a scarce Western scene by Crofut.
Two copies of the printed book cover are included.
Keywords: oil, painted, book, cover, western, cowboy
Paintings
RAYMOND CROSBY (1876-1945)
Original Magazine Illustration, 1922
Conte crayon on paper
20in. x 24in. (sight size)
Signed lower right
Provenance: Morris Weiss collection
There is a closed tear at the upper center to the right of the male figure's head.
Keywords: drawing, pencil, romance, portrait, magazine, illustration
Original Magazine Illustration, 1922
Conte crayon on paper
20in. x 24in. (sight size)
Signed lower right
Provenance: Morris Weiss collection
There is a closed tear at the upper center to the right of the male figure's head.
Keywords: drawing, pencil, romance, portrait, magazine, illustration
Original Illustration Art
RAYMOND CROSBY (1876-1945)
Original Illustration, c.1910
Pastel on paper
22.5in. x 16.5in. (sight size)
Signed lower right
Provenance: Morris Weiss collection
Keywords: pastel, drawing, fashion, Gibson, girl, portrait
Original Illustration, c.1910
Pastel on paper
22.5in. x 16.5in. (sight size)
Signed lower right
Provenance: Morris Weiss collection
Keywords: pastel, drawing, fashion, Gibson, girl, portrait
Paintings
JOSEPH DEMARTINI (b.1927)
Original Pin-up Illustration
Brunette with Pink Earrings, c.1968
Watercolor airbrush on board
15in. x 10in. (sight size)
Signed lower right: DeMartini
Repeated circular forms create a bouncy rhythm throughout this delicately painted design.
Keywords: pin up, painting, airbrush, watercolor
Original Pin-up Illustration
Brunette with Pink Earrings, c.1968
Watercolor airbrush on board
15in. x 10in. (sight size)
Signed lower right: DeMartini
Repeated circular forms create a bouncy rhythm throughout this delicately painted design.
Keywords: pin up, painting, airbrush, watercolor
JOSEPH DEMARTINI (b.1927)
Original Pin-up Art
Reclining Brunette Nude, c.1970
Watercolor airbrush on paper
18in. x 24in. (sight size)
Signed lower right: DeMartini
Joseph DeMartini had the distinction of being the only colleague with whom Alberto Vargas shared some of his artistic secrets. Specifically, Vargas taught DeMartini his private technique of obtaining the famous "Vargas fleshtones" using watercolor and airbrush. This offering is one of DeMartini's finest renderings, a reclining raven-tressed pin-up beauty, and it demonstrates Vargas' profound influence on the artist.
Keywords: pin up, watercolor, painting, airbrush
Original Pin-up Art
Reclining Brunette Nude, c.1970
Watercolor airbrush on paper
18in. x 24in. (sight size)
Signed lower right: DeMartini
Joseph DeMartini had the distinction of being the only colleague with whom Alberto Vargas shared some of his artistic secrets. Specifically, Vargas taught DeMartini his private technique of obtaining the famous "Vargas fleshtones" using watercolor and airbrush. This offering is one of DeMartini's finest renderings, a reclining raven-tressed pin-up beauty, and it demonstrates Vargas' profound influence on the artist.
Keywords: pin up, watercolor, painting, airbrush
Original Illustration Art
HARRY DEVLIN (b.1918)
Original Magazine Story Illustration, c.1952
Congressional Investigation
Gouache on board
14.5in. x 14in. (sight size)
Signed lower right: Harry Devlin
inscribed lower right: "For Morris from Henry"
Provenance: Morris Weiss collection Keywords: editorial, painting, cartoon, humor, illustration
Original Magazine Story Illustration, c.1952
Congressional Investigation
Gouache on board
14.5in. x 14in. (sight size)
Signed lower right: Harry Devlin
inscribed lower right: "For Morris from Henry"
Provenance: Morris Weiss collection Keywords: editorial, painting, cartoon, humor, illustration
PETER DRIBEN (1903-1975)
Original Pin-up Art
Beauty Parade, June, 1948
Oil on board
30.5in. x 20.5in. (sight size)
Signed lower left: Peter Driben
Peter Driben rose to prominence after 1941, painting pin-ups for Robert Harrison's publications Beauty Parade, Flirt, Titter, Whisper, Wink, and Joker. Driben's hallmarks were leggy women wearing risque lingerie, including fishnet stockings and spike heels. Often the girls were posed as if seen through a "keyhole," using a distinctive framing silhouette. Driben studied art at the Vaesper George Art School and the Sorbonne, in Paris.
RKeywords: pin-up, bizarre, erotic, lingerie, oil, painting
Original Pin-up Art
Beauty Parade, June, 1948
Oil on board
30.5in. x 20.5in. (sight size)
Signed lower left: Peter Driben
Peter Driben rose to prominence after 1941, painting pin-ups for Robert Harrison's publications Beauty Parade, Flirt, Titter, Whisper, Wink, and Joker. Driben's hallmarks were leggy women wearing risque lingerie, including fishnet stockings and spike heels. Often the girls were posed as if seen through a "keyhole," using a distinctive framing silhouette. Driben studied art at the Vaesper George Art School and the Sorbonne, in Paris.
RKeywords: pin-up, bizarre, erotic, lingerie, oil, painting
GREGOR DUNCAN (1910-1944)
Original Magazine Cover Art, c.1932
Judge cover
Mixed-media on paper
14.5in. x 10.5in. (sight size)
Signed lower right
Provenance: Morris Weiss collection
Keywords: cartoon, illustration, drawing, pencil, charcoal, romance, humor, watercolor, magazine, illustration, cover
Original Magazine Cover Art, c.1932
Judge cover
Mixed-media on paper
14.5in. x 10.5in. (sight size)
Signed lower right
Provenance: Morris Weiss collection
Keywords: cartoon, illustration, drawing, pencil, charcoal, romance, humor, watercolor, magazine, illustration, cover
KERR EBY (1889-1946)
Original Illustrations, c.1910
Ink on paper
19in. x 12in. (sight size)
Not signed
Provenance: Morris Weiss collection
After graduating from high school in 1907, Kerr Eby moved to New York City to study art at the Pratt Institute, and the Art Students League. He formed friendships with John Henry Twachtman and Childe Hassam, and joined a summer artists' colony founded by them at Cos Cob, Connecticut. Eby supported himself by working as a magazine illustrator and at the American Lithographic Company.
Eby is also celebrated for war art he created, on location, during WW II, in a program sponsored by Abbott Laboratories. He landed with the invasion force in Tarawa and witnessed some of the fiercest fighting of the war.
There are a few small stains and a paper surface-pull in the upper center in an area by the tree, near the man and boy riding a sled.
RKeywords: pen, ink, illustration, humor, cartoon, sports, winter
Original Illustrations, c.1910
Ink on paper
19in. x 12in. (sight size)
Not signed
Provenance: Morris Weiss collection
After graduating from high school in 1907, Kerr Eby moved to New York City to study art at the Pratt Institute, and the Art Students League. He formed friendships with John Henry Twachtman and Childe Hassam, and joined a summer artists' colony founded by them at Cos Cob, Connecticut. Eby supported himself by working as a magazine illustrator and at the American Lithographic Company.
Eby is also celebrated for war art he created, on location, during WW II, in a program sponsored by Abbott Laboratories. He landed with the invasion force in Tarawa and witnessed some of the fiercest fighting of the war.
There are a few small stains and a paper surface-pull in the upper center in an area by the tree, near the man and boy riding a sled.
RKeywords: pen, ink, illustration, humor, cartoon, sports, winter
Paintings
GILLETTE ELVGREN (1914-1980)
Taking a Chance (No Bikini A Toll), 1962
Oil on linen
30.25in. x 24in. (sight size)
Signed lower right: Elvgren
Gil Elvgren showcases a leggy beauty in this teasing, yet playfully innocent scenario. This work was painted for a Brown & Bigelow calendar and is reproduced on page 195, figure 471 of Gil Elvgren: All His Glamorous American Pin-Ups. Mild conservation and restoration work has been done to clean the surface of the painting. A copy of the documented restoration services is included.
Keywords: pin up, pin-up, glamour, girl, calendar
Taking a Chance (No Bikini A Toll), 1962
Oil on linen
30.25in. x 24in. (sight size)
Signed lower right: Elvgren
Gil Elvgren showcases a leggy beauty in this teasing, yet playfully innocent scenario. This work was painted for a Brown & Bigelow calendar and is reproduced on page 195, figure 471 of Gil Elvgren: All His Glamorous American Pin-Ups. Mild conservation and restoration work has been done to clean the surface of the painting. A copy of the documented restoration services is included.
Keywords: pin up, pin-up, glamour, girl, calendar
GILLETTE ELVGREN (1914-1980)
Original Pin-up Art
Get the Picture?, c.1957
Oil on Linen
30in. x 24in. (sight size)
Signed lower right: Elvgren
This superb painting was reproduced on page 147, figure 351 of Gil Elvgren: All His Glamorous American Pin-Ups by Charles G. Martignette and Louis K. Meisel.
Keywords: pin up, pin-up, glamour, girl, tease, cheesecake
Original Pin-up Art
Get the Picture?, c.1957
Oil on Linen
30in. x 24in. (sight size)
Signed lower right: Elvgren
This superb painting was reproduced on page 147, figure 351 of Gil Elvgren: All His Glamorous American Pin-Ups by Charles G. Martignette and Louis K. Meisel.
Keywords: pin up, pin-up, glamour, girl, tease, cheesecake
GILLETTE ELVGREN (1914-1980)
Original Pin-up Art
Surprising Catch, Brown & Bigelow Calendar, 1952
Oil on canvas
30in. x 24in.
Not signed
In 1945 Elvgren accepted an exclusive contract from Brown & Bigelow, and painted calendar pin-ups for them for nearly thirty years. He also worked in advertising, with clients such as Schlitz Beer, General Electric, Serta Perfect Sleep, and General Tire. This painting is reproduced on page 164 of Gil Elvgren by Charles G. Martignette and Louis K. Meisel.
There is a small area of paint flaking out of the surface at the lower right.
Keywords: pin-up, painting, oil, humor, bathing, girl, sea
Original Pin-up Art
Surprising Catch, Brown & Bigelow Calendar, 1952
Oil on canvas
30in. x 24in.
Not signed
In 1945 Elvgren accepted an exclusive contract from Brown & Bigelow, and painted calendar pin-ups for them for nearly thirty years. He also worked in advertising, with clients such as Schlitz Beer, General Electric, Serta Perfect Sleep, and General Tire. This painting is reproduced on page 164 of Gil Elvgren by Charles G. Martignette and Louis K. Meisel.
There is a small area of paint flaking out of the surface at the lower right.
Keywords: pin-up, painting, oil, humor, bathing, girl, sea
Original Illustration Art
GILLETTE ELVGREN (1914-1980)
Original Pin-up Art
Claws for Alarm (Rude Awakening: Caught in a Pinch), 1958
Oil on Linen
30in. x 24in. (sight size)
Signed middle left: Elvgren
This playful platinum blonde bears more than a passing resemblance to Marilyn Monroe. The expression on the young lady's face is priceless and really sells the gag. This painting is reproduced on page 113, figure 263 of Gil Elvgren: All His Glamorous American Pin-Ups. There are a few surface stains at the left and right edges of the canvas, but they do not affect the central image. Elvgren's handling of light and reflected color shows the influence of his mentor, Haddon Sundblom.
Keywords: pin up, pin-up, glamour, girl, tease, cheesecake
Original Pin-up Art
Claws for Alarm (Rude Awakening: Caught in a Pinch), 1958
Oil on Linen
30in. x 24in. (sight size)
Signed middle left: Elvgren
This playful platinum blonde bears more than a passing resemblance to Marilyn Monroe. The expression on the young lady's face is priceless and really sells the gag. This painting is reproduced on page 113, figure 263 of Gil Elvgren: All His Glamorous American Pin-Ups. There are a few surface stains at the left and right edges of the canvas, but they do not affect the central image. Elvgren's handling of light and reflected color shows the influence of his mentor, Haddon Sundblom.
Keywords: pin up, pin-up, glamour, girl, tease, cheesecake
Paintings
GILLETTE ELVGREN (1914-1980)
Original Pin-up Art
Free Wheeling, 1937
Oil on canvas
31in. x 24.5in. (sight size)
Not signed
Inscribed on verso: Copyrighted Louis F. Dow Co., April 20, 1937
Gil Elvgren studied art at the Minnesota Art Institute and, as is evidenced by his mastery of reflected light and color, was highly influenced by the works of John Singer Sargent and Haddon Sundblom. From 1937 to 1944, Elvgren painted calendar and mutoscope pin-ups for the Louis F. Dow Company. Because of the innocent fun of his pin-ups, some have dubbed Elvgren the "Norman Rockwell of cheesecake." This painting is reproduced on page 44 of Gil Elvgren by Charles G. Martignette and Louis K. Meisel.
Keywords: pin-up, girl, bicycle, humor, oil, painting, portrait
Original Pin-up Art
Free Wheeling, 1937
Oil on canvas
31in. x 24.5in. (sight size)
Not signed
Inscribed on verso: Copyrighted Louis F. Dow Co., April 20, 1937
Gil Elvgren studied art at the Minnesota Art Institute and, as is evidenced by his mastery of reflected light and color, was highly influenced by the works of John Singer Sargent and Haddon Sundblom. From 1937 to 1944, Elvgren painted calendar and mutoscope pin-ups for the Louis F. Dow Company. Because of the innocent fun of his pin-ups, some have dubbed Elvgren the "Norman Rockwell of cheesecake." This painting is reproduced on page 44 of Gil Elvgren by Charles G. Martignette and Louis K. Meisel.
Keywords: pin-up, girl, bicycle, humor, oil, painting, portrait
JOHN FALTER (1910-1982)
Original Preliminary Book Illustration
Treasure Island by Robert Louis Stevenson, MacMillan, 1963
"At the Admiral Benbow"
Mixed-media on board
9.5in. x 6in. (sight size)
Signed lower left: J. Falter
Inscribed lower left: "Sketch for Treasure Island"
Provenance: Morris Weiss collection
John Falter was elected to the Society of Illustrators' Hall of Fame in 1976.
Keywords: pen, ink, illustration, adventure, magazine, drawing, book, pirate
Original Preliminary Book Illustration
Treasure Island by Robert Louis Stevenson, MacMillan, 1963
"At the Admiral Benbow"
Mixed-media on board
9.5in. x 6in. (sight size)
Signed lower left: J. Falter
Inscribed lower left: "Sketch for Treasure Island"
Provenance: Morris Weiss collection
John Falter was elected to the Society of Illustrators' Hall of Fame in 1976.
Keywords: pen, ink, illustration, adventure, magazine, drawing, book, pirate
JOHN FALTER (1910-1982)
Original Magazine Story Illustration, c.1940
Oil on board
28.5in. x 30in. (sight size)
Signed lower right: John Falter
Provenance: Morris Weiss collection
Born in Plattsmouth, Nebraska, John Falter was a renowned illustrator, portrait artist, and Western history painter. In 1928, Falter studied at the Kansas City Art Institute, and later, at the Art Students League in New York City. Falter also attended classes at the Grand Central School of Art and studied under George Wright, an illustrator for The Century, Harper's, Scribner's, and The Saturday Evening Post. Falter began his career by illustrating pulp magazines and in 1933, he received an assignment from Liberty magazine to produce three illustrations a week. His first Saturday Evening Post cover, a portrait of Ben Franklin, appeared in September, 1943. By 1969, he had done nearly 200 Post covers and he worked for the Post until it ceased publication. In 1943, Falter joined the Navy and produced over 300 recruiting posters, and also painted a war hero series for Esquire. Among Falter's many clients were Good Housekeeping, The Ladies Home Journal, Life, Cosmopolitan, McCalls, Gulf Oil Company, Four Roses Whiskey, and Arrow Shirts. Throughout the 1970s and 1980s, Falter painted hundreds of Western scenes, many depicting the history of the westward migration from the Missouri River to the Rocky Mountains. In 1976, Falter was inducted into the Illustrators Hall of Fame and his work was also exhibited at the National Cowboy Hall of Fame.
Keywords: sailing, boat, ship, book, illustration, Western, art
Original Magazine Story Illustration, c.1940
Oil on board
28.5in. x 30in. (sight size)
Signed lower right: John Falter
Provenance: Morris Weiss collection
Born in Plattsmouth, Nebraska, John Falter was a renowned illustrator, portrait artist, and Western history painter. In 1928, Falter studied at the Kansas City Art Institute, and later, at the Art Students League in New York City. Falter also attended classes at the Grand Central School of Art and studied under George Wright, an illustrator for The Century, Harper's, Scribner's, and The Saturday Evening Post. Falter began his career by illustrating pulp magazines and in 1933, he received an assignment from Liberty magazine to produce three illustrations a week. His first Saturday Evening Post cover, a portrait of Ben Franklin, appeared in September, 1943. By 1969, he had done nearly 200 Post covers and he worked for the Post until it ceased publication. In 1943, Falter joined the Navy and produced over 300 recruiting posters, and also painted a war hero series for Esquire. Among Falter's many clients were Good Housekeeping, The Ladies Home Journal, Life, Cosmopolitan, McCalls, Gulf Oil Company, Four Roses Whiskey, and Arrow Shirts. Throughout the 1970s and 1980s, Falter painted hundreds of Western scenes, many depicting the history of the westward migration from the Missouri River to the Rocky Mountains. In 1976, Falter was inducted into the Illustrators Hall of Fame and his work was also exhibited at the National Cowboy Hall of Fame.
Keywords: sailing, boat, ship, book, illustration, Western, art
ROBERT FAWCETT A.N.A. (1903-1967)
Original Magazine Story Illustration, c.1956
Ink on paper
16in. x 21in. (sight size)
Initialed lower right: RF
Provenance: Morris Weiss collection Keywords: adventure, historical, magazine, ink, drawing, illustration
Original Magazine Story Illustration, c.1956
Ink on paper
16in. x 21in. (sight size)
Initialed lower right: RF
Provenance: Morris Weiss collection Keywords: adventure, historical, magazine, ink, drawing, illustration
ROBERT FAWCETT A.N.A. (1903-1967)
Original Magazine Story Illustration, c.1960
Mixed-media on paper
7.5in. x 9in. (sight size)
Not signed
Provenance: Morris Weiss collection
Robert Fawcett's mastery of ink drawing made him a legend among other illustrators. Fawcett recounted his deeply felt artistic philosophies in his classic art instruction book, On the Art of Drawing. He remains ranked among illustration's elite draftsmen.
drama, illustration, pen, ink, drawing, magazine
Original Magazine Story Illustration, c.1960
Mixed-media on paper
7.5in. x 9in. (sight size)
Not signed
Provenance: Morris Weiss collection
Robert Fawcett's mastery of ink drawing made him a legend among other illustrators. Fawcett recounted his deeply felt artistic philosophies in his classic art instruction book, On the Art of Drawing. He remains ranked among illustration's elite draftsmen.
drama, illustration, pen, ink, drawing, magazine
Original Illustration Art
ROBERT FAWCETT A.N.A. (1903-1967)
Original Magazine Story Illustration, c.1946
Caption: "The survivors of the original 12 marines were holding at bay at least two hundred Japs."
Mixed media on board
11in. x 14in. (sight size)
Initialed and dated lower right: RF
Provenance: Morris Weiss collection
Inscribed "To the Morris Weisses -- Best Wishes of Robert Fawcett" in the matt, lower right.
The matt has some foxing and stains, but these do not affect the illustration
A tear sheet of the printed illustration is included with this lot
Keywords: drawing, ink, magazine, illustration, war, military, story
Original Magazine Story Illustration, c.1946
Caption: "The survivors of the original 12 marines were holding at bay at least two hundred Japs."
Mixed media on board
11in. x 14in. (sight size)
Initialed and dated lower right: RF
Provenance: Morris Weiss collection
Inscribed "To the Morris Weisses -- Best Wishes of Robert Fawcett" in the matt, lower right.
The matt has some foxing and stains, but these do not affect the illustration
A tear sheet of the printed illustration is included with this lot
Keywords: drawing, ink, magazine, illustration, war, military, story
ROBERT FAWCETT, A.N.A. (1903-1967)
Original Magazine Cover Illustration
This Week cover illustration, September 6, 1964.
Caption: "The young Winston Churchill -- here, decision became his life."
Mixed media on paper
16.25in. x 11.75in. (sight size)
Initialed lower right: RF
Provenance: Morris Weiss collection
A tearsheet of the cover is included, as is a clipped newspaper article of Winston Churchill.
Keywords: mixed media, illustration, historical, portrait,magazine, cover
Original Magazine Cover Illustration
This Week cover illustration, September 6, 1964.
Caption: "The young Winston Churchill -- here, decision became his life."
Mixed media on paper
16.25in. x 11.75in. (sight size)
Initialed lower right: RF
Provenance: Morris Weiss collection
A tearsheet of the cover is included, as is a clipped newspaper article of Winston Churchill.
Keywords: mixed media, illustration, historical, portrait,magazine, cover
VIRGIL FINLAY (1914-1971)
Original pulp cover illustration
Argosy Weekly, August 30, 1941
Caption: Fascinating Novel of Adventure and Mystery in the Florida Keys.
Ink on paper
5.25in. x 8.5in. (sight size)
Signed center right: Virgil Finlay
Virgil Finlay created this detailed image using a scratchboard technique. A copy of the magazine is included in this lot.
Keywords: fantasy, science fiction, ink, drawing, cover, pulp, magazine
Original pulp cover illustration
Argosy Weekly, August 30, 1941
Caption: Fascinating Novel of Adventure and Mystery in the Florida Keys.
Ink on paper
5.25in. x 8.5in. (sight size)
Signed center right: Virgil Finlay
Virgil Finlay created this detailed image using a scratchboard technique. A copy of the magazine is included in this lot.
Keywords: fantasy, science fiction, ink, drawing, cover, pulp, magazine
Paintings
VIRGIL FINLAY (1914-1971).
Original Pulp Magazine Cover Art
Famous Fantastic Mysteries, October, 1942, Frank A. Munsey
Oil on board
10in. x 14in. (sight size). Framed
Signed lower right: Virgil Finlay
A scientist ponders the images of a man and a woman held in his two test tubes. Virgil Finlay's cover is rendered with the same attention to detail that he lavished on his renowned ink illustrations. Quite a bit of his painting was cropped out by type elements when it appeared on the printed cover. There are a few light wrinkles on the surface of the board that do very little to detract from the enormous eye-appeal of this sensational cover; otherwise it is in Very Good condition. A Very Good copy of the pulp magazine is included in this lot.
Keywords: sf, science fiction, fantasy, pulp, cover, oil, painting
Original Pulp Magazine Cover Art
Famous Fantastic Mysteries, October, 1942, Frank A. Munsey
Oil on board
10in. x 14in. (sight size). Framed
Signed lower right: Virgil Finlay
A scientist ponders the images of a man and a woman held in his two test tubes. Virgil Finlay's cover is rendered with the same attention to detail that he lavished on his renowned ink illustrations. Quite a bit of his painting was cropped out by type elements when it appeared on the printed cover. There are a few light wrinkles on the surface of the board that do very little to detract from the enormous eye-appeal of this sensational cover; otherwise it is in Very Good condition. A Very Good copy of the pulp magazine is included in this lot.
Keywords: sf, science fiction, fantasy, pulp, cover, oil, painting
HARRISON FISHER (1875-1934)
Original Illustration, 1902
Watercolor on paper
28in. x 17.5in. (sight size)
Signed and dated lower left: Harrison Fisher, 1902
Provenance: Morris Weiss collection
Keywords: glamor, girl, romance, illustration, book, magazine, drawing, pencil, ink, watercolor
Original Illustration, 1902
Watercolor on paper
28in. x 17.5in. (sight size)
Signed and dated lower left: Harrison Fisher, 1902
Provenance: Morris Weiss collection
Keywords: glamor, girl, romance, illustration, book, magazine, drawing, pencil, ink, watercolor
JAMES MONTGOMERY FLAGG (1877-1960)
Original Magazine Story Illustration, c.1925
Ink on board
20in. x 16in. (sight size)
Signed lower left: James Montgomery Flagg
Inscribed on reverse: "Lady Larkspur"
James Montgomery Flagg's pen and ink elan rivals that of his peers, Charles Dana Gibson and J.C. Leyendecker.
The five-ply layers of the art board are beginning to separate, paper aging is apparent, and light foxing appears on the reverse of the paper.
Keywords: romance, portrait, fashion, illustration magazine, ink, drawing
Original Magazine Story Illustration, c.1925
Ink on board
20in. x 16in. (sight size)
Signed lower left: James Montgomery Flagg
Inscribed on reverse: "Lady Larkspur"
James Montgomery Flagg's pen and ink elan rivals that of his peers, Charles Dana Gibson and J.C. Leyendecker.
The five-ply layers of the art board are beginning to separate, paper aging is apparent, and light foxing appears on the reverse of the paper.
Keywords: romance, portrait, fashion, illustration magazine, ink, drawing
Original Illustration Art
FRANK FRAZETTA
Li'l Abner and Daisy Mae
Watercolor original art, c.1950s
6in. x 7.5in.
This watercolor painting depicts the two key characters from the Li'l Abner comic strip. Frank Frazetta worked on this strip from 1952 until 1959, and his portrayals of the Dogpatch gang are very popular with strip art collectors. Although there were about six small watercolors by Frazetta of the Li'l Abner characters, this is the only one to feature the big guy himself alongside his one true love (outside Mammy Yokum's cooking and "Fearless Fosdick" comic books), Daisy Mae. The colors used in this piece reflect the actual colors used in the Sunday pages. Li'l Abner ran from 1934 until Al Capp's death in 1976; Capp had determined that the strip would not continue after his passing. It was a wonderful, beautifully drawn strip that kept America laughing for many years.
The painting is in Very Good condition.
Li'l Abner and Daisy Mae
Watercolor original art, c.1950s
6in. x 7.5in.
This watercolor painting depicts the two key characters from the Li'l Abner comic strip. Frank Frazetta worked on this strip from 1952 until 1959, and his portrayals of the Dogpatch gang are very popular with strip art collectors. Although there were about six small watercolors by Frazetta of the Li'l Abner characters, this is the only one to feature the big guy himself alongside his one true love (outside Mammy Yokum's cooking and "Fearless Fosdick" comic books), Daisy Mae. The colors used in this piece reflect the actual colors used in the Sunday pages. Li'l Abner ran from 1934 until Al Capp's death in 1976; Capp had determined that the strip would not continue after his passing. It was a wonderful, beautifully drawn strip that kept America laughing for many years.
The painting is in Very Good condition.
FRANK FRAZETTA (b.1928)
Original drawing
Ink and watercolor on paper
9in. x 7.25in. (sight size)
Signed lower right: Frazetta
Master fantasy artist demonstrates his unparalleled draftsmanship with detailed studies of human and animal figures in action. Frazetta is renowned for his works illustrating the stories of E.R. Burroughs and R.E. Howard, and was featured in the May, 1976 issue of American Artist magazine.
Keywords: cartoon, fantasy, conan, burroughs. comic, sketch, watercolor, ink, drawing
Original drawing
Ink and watercolor on paper
9in. x 7.25in. (sight size)
Signed lower right: Frazetta
Master fantasy artist demonstrates his unparalleled draftsmanship with detailed studies of human and animal figures in action. Frazetta is renowned for his works illustrating the stories of E.R. Burroughs and R.E. Howard, and was featured in the May, 1976 issue of American Artist magazine.
Keywords: cartoon, fantasy, conan, burroughs. comic, sketch, watercolor, ink, drawing
Paintings
ARTHUR B. FROST (1851-1928)
Original Magazine Illustration
Scribner's Magazine, August, 1915,
"Her First Marrying" by Una Hunt.
Caption: "The 'no-count' station loafer'"
Watercolor on paper
20in. x 14.5in. (sight size)
Signed lower right
Provenance: Morris Weiss collection
This lot includes a photocopy of the printed illustration.
Keywords: black, americana, african, humor, cartoon, ink, drawing, magazine, illustration, uncle remus
Original Magazine Illustration
Scribner's Magazine, August, 1915,
"Her First Marrying" by Una Hunt.
Caption: "The 'no-count' station loafer'"
Watercolor on paper
20in. x 14.5in. (sight size)
Signed lower right
Provenance: Morris Weiss collection
This lot includes a photocopy of the printed illustration.
Keywords: black, americana, african, humor, cartoon, ink, drawing, magazine, illustration, uncle remus
BERNARD FUCHS (b.1932)
Original Illustration, c.1970
Oil on canvas
28.5in. x 50in. (sight size)
Initialed lower right: BF
Provenance: Morris Weiss collection
Keywords: oil, painting, landscape, magazine, sports illustrated
Original Illustration, c.1970
Oil on canvas
28.5in. x 50in. (sight size)
Initialed lower right: BF
Provenance: Morris Weiss collection
Keywords: oil, painting, landscape, magazine, sports illustrated
ARTHUR FULLER (1889-1966)
Original Illustration
Oil on canvas
36in. x 26in. (sight size)
Signed lower right
Provenance: Morris Weiss collection
There is a closed tear at the upper center to the right of the male figure's head.
Keywords: fishing. portrait. oil, painting, cover, illustration,sport
Original Illustration
Oil on canvas
36in. x 26in. (sight size)
Signed lower right
Provenance: Morris Weiss collection
There is a closed tear at the upper center to the right of the male figure's head.
Keywords: fishing. portrait. oil, painting, cover, illustration,sport
Original Illustration Art
JOHN RUSSELL FULTON (b.1896)
Original Magazine Story Illustration, c.1944
Gouache on board
20.25in. x 14in. (sight size)
Signed lower right: John Fulton
Provenance: Morris Weiss collection
There is a crack horizontally across the art board, 4in. down from the top edge. Keywords: war, soldier, adventure, world war, watercolor, painting, illustration
Original Magazine Story Illustration, c.1944
Gouache on board
20.25in. x 14in. (sight size)
Signed lower right: John Fulton
Provenance: Morris Weiss collection
There is a crack horizontally across the art board, 4in. down from the top edge. Keywords: war, soldier, adventure, world war, watercolor, painting, illustration
Paintings
JOHN RUSSELL FULTON (b.1896)
Original Magazine Cover Art
Blue Book, January, 1951
"These United States... XLVII -- Connecticut"
Oil on canvas
23in. x 35in. (sight size)
Not signed
Provenance: Morris Weiss collection
John Russell Fulton was primarily associated with two periodicals, Redbook and Blue Book, where he excelled at vigorous adventure illustrations, much in the manner of Harvey Dunn. He also worked as a newspaper artist on the Wichita Beacon, the Kansas City Star and the Chicago Tribune.
A tearsheet of the printed cover is included with this lot, as well as a photocopy of the illustration, as it was printed above an article.
Keywords: historical, adventure, illustration. pulp, oil, painting, Dunn
Original Magazine Cover Art
Blue Book, January, 1951
"These United States... XLVII -- Connecticut"
Oil on canvas
23in. x 35in. (sight size)
Not signed
Provenance: Morris Weiss collection
John Russell Fulton was primarily associated with two periodicals, Redbook and Blue Book, where he excelled at vigorous adventure illustrations, much in the manner of Harvey Dunn. He also worked as a newspaper artist on the Wichita Beacon, the Kansas City Star and the Chicago Tribune.
A tearsheet of the printed cover is included with this lot, as well as a photocopy of the illustration, as it was printed above an article.
Keywords: historical, adventure, illustration. pulp, oil, painting, Dunn
JOHN GANNAM A.N.A. (1907-1965)
Original Magazine Story Illustration
Watercolor on paper.
16in. x 26.5in. (sight size)
Signed and dated lower left: John Gannam, May, 1930
Inscribed lower left: To Morris Weiss
Provenance: Morris Weiss collection
John Gannam's mastery of the watercolor medium enabled him to add elan to any subject, even a roadside heist by highwaymen. Gannam was a member of the American Watercolor Society, was on the faculty of the Danbury Academy of Arts, and was elected to the Society of Illustrators' Hall of Fame in 1981.
Keywords: magazine, illustration, crime, drama, mystery, watercolor
Original Magazine Story Illustration
Watercolor on paper.
16in. x 26.5in. (sight size)
Signed and dated lower left: John Gannam, May, 1930
Inscribed lower left: To Morris Weiss
Provenance: Morris Weiss collection
John Gannam's mastery of the watercolor medium enabled him to add elan to any subject, even a roadside heist by highwaymen. Gannam was a member of the American Watercolor Society, was on the faculty of the Danbury Academy of Arts, and was elected to the Society of Illustrators' Hall of Fame in 1981.
Keywords: magazine, illustration, crime, drama, mystery, watercolor
CHARLES DANA GIBSON (1867-1944)
Original Magazine Illustration, c.1900
Ink on paper
15.5in. x 11.5in. (sight size)
Signed at the lower center and again at the upper left.
Keywords: pen, ink, portrait, illustration, life, magazine, drawing
Original Magazine Illustration, c.1900
Ink on paper
15.5in. x 11.5in. (sight size)
Signed at the lower center and again at the upper left.
Keywords: pen, ink, portrait, illustration, life, magazine, drawing
CHARLES DANA GIBSON (1867-1944)
Original Magazine Story Illustration, c.1905
Ink on paper
19in. x 13.5in. (sight size)
Signed lower center: C.D. Gibson
Charles Dana Gibson's flawless pen and ink hatching technique is showcased in this handsome drawing.
Keywords: cartoon, humor, magazine, comic, life, ink, drawing, portrait
Original Magazine Story Illustration, c.1905
Ink on paper
19in. x 13.5in. (sight size)
Signed lower center: C.D. Gibson
Charles Dana Gibson's flawless pen and ink hatching technique is showcased in this handsome drawing.
Keywords: cartoon, humor, magazine, comic, life, ink, drawing, portrait
Original Illustration Art
LOUIS M. GLACKENS (1866-1933)
Original Magazine Story Illustration
Puck, c.1901
Pencil and ink on paper
15in. x 21in. (sight size)
Signed lower left: L.M. Glackens
Provenance: Morris Weiss collection
Keywords: cartoon, humor, Indian, ink, drawing, book, illustration
Original Magazine Story Illustration
Puck, c.1901
Pencil and ink on paper
15in. x 21in. (sight size)
Signed lower left: L.M. Glackens
Provenance: Morris Weiss collection
Keywords: cartoon, humor, Indian, ink, drawing, book, illustration
FRANK GODWIN (1889-1959) Original Book Illustration, c.1930
The Book of Courage by Hermann Hagedorn, page 27
Caption: "The rafts are cut loose and the elephants are on their way."
Ink on paper
20in. x 13.5in. (sight size)
Signed lower left: Frank Godwin
Provenance: Morris Weiss collection
Frank Godwin illustrated many children's books for the John C. Winston Company before he established his career as a comic strip artist on Connie and Rusty Riley. He also worked in advertising for such accounts as Coca-Cola, Texaco, and Prince Albert Tobacco.
A copy of the book is included with this lot.
Keywords:ink, paper, historical, illustration, war
The Book of Courage by Hermann Hagedorn, page 27
Caption: "The rafts are cut loose and the elephants are on their way."
Ink on paper
20in. x 13.5in. (sight size)
Signed lower left: Frank Godwin
Provenance: Morris Weiss collection
Frank Godwin illustrated many children's books for the John C. Winston Company before he established his career as a comic strip artist on Connie and Rusty Riley. He also worked in advertising for such accounts as Coca-Cola, Texaco, and Prince Albert Tobacco.
A copy of the book is included with this lot.
Keywords:ink, paper, historical, illustration, war
FRANK GODWIN(1889-1959)
Original Magazine Story Illustration, c.1930
Pen and ink on paper
16in. x 25in. (sight size)
Signed at the lower right: Frank Godwin
Provenance: Morris Weiss collection
Keywords: pen, ink, drawing, illustration, cartoon
Original Magazine Story Illustration, c.1930
Pen and ink on paper
16in. x 25in. (sight size)
Signed at the lower right: Frank Godwin
Provenance: Morris Weiss collection
Keywords: pen, ink, drawing, illustration, cartoon
FRANK GODWIN (1889-1959)
Original Magazine Illustration Art, c.1934
Ink and gouache on paper
16.5in.x 23in. (sight size)
Signed at dated lower left: Frank Godwin 1934
Inscribed lower left: "To Morris Weiss from"
Provenance: Morris Weiss collection
Frank Godwin's mastery at figure drawing was honed over a 50 year career of book, magazine, advertising, and comic strip illustrations. He is solidly grounded in the tradition of glamorous illustration established by Charles Dana Gibson and James Montgomery Flagg.
Keywords: drawing, ink, figure, magazine, illustration, watercolor
Original Magazine Illustration Art, c.1934
Ink and gouache on paper
16.5in.x 23in. (sight size)
Signed at dated lower left: Frank Godwin 1934
Inscribed lower left: "To Morris Weiss from"
Provenance: Morris Weiss collection
Frank Godwin's mastery at figure drawing was honed over a 50 year career of book, magazine, advertising, and comic strip illustrations. He is solidly grounded in the tradition of glamorous illustration established by Charles Dana Gibson and James Montgomery Flagg.
Keywords: drawing, ink, figure, magazine, illustration, watercolor
FRANK GODWIN (1889-1959)
Original Magazine Story Illustration
Liberty, c.1933
Perry Mason, "The Case of the Howling Dog"
Caption: "Put on that coat, sister, and then grab a taxi and drive to the Breedmont Hotel."
Ink on paper
18in. x 19.5in. (sight size)
Signed center right: Frank Godwin
Inscribed center right: "To Morris Weiss
Provenance: Morris Weiss collection
A tearsheet of the printed illustration with just the male figure is included
Keywords: pen, ink, illustration, mystery, magazine, drawing, fashion
Original Magazine Story Illustration
Liberty, c.1933
Perry Mason, "The Case of the Howling Dog"
Caption: "Put on that coat, sister, and then grab a taxi and drive to the Breedmont Hotel."
Ink on paper
18in. x 19.5in. (sight size)
Signed center right: Frank Godwin
Inscribed center right: "To Morris Weiss
Provenance: Morris Weiss collection
A tearsheet of the printed illustration with just the male figure is included
Keywords: pen, ink, illustration, mystery, magazine, drawing, fashion
Paintings
FRANK GODWIN (1889-1959)
Original Magazine Story Illustration
Liberty, c.1945
Ink on paper
6.75in. x 9in. (sight size)
Not signed
Provenance: Morris Weiss collection
Keywords: pen, ink, illustration, magazine, drawing, Christian, Jesus
Original Magazine Story Illustration
Liberty, c.1945
Ink on paper
6.75in. x 9in. (sight size)
Not signed
Provenance: Morris Weiss collection
Keywords: pen, ink, illustration, magazine, drawing, Christian, Jesus
RUBE GOLDBERG (1883-1970)
Original magazine story art
Newspaper Editorial Cartoon, Tuesday, August 24, 1948
Caption: "One Runner You Never See --"
Ink and pencil on coquille paper
15.5in. x 13in. (sight size)
Signed lower right: Rube Goldberg
Rube Goldberg pioneered the modern era of political cartooning, and he was such a beloved figure in cartooning that the National Cartoonist Society named their annual award for excellence "The Reuben" in recognition of his importance to the art form. This drawing is executed in ink and crayon on coquille board, the traditional media of the editorial cartoonist. The idea is instantly grasped visually.
Keywords:cartoon, humor, editoral, ink, illustration
Original magazine story art
Newspaper Editorial Cartoon, Tuesday, August 24, 1948
Caption: "One Runner You Never See --"
Ink and pencil on coquille paper
15.5in. x 13in. (sight size)
Signed lower right: Rube Goldberg
Rube Goldberg pioneered the modern era of political cartooning, and he was such a beloved figure in cartooning that the National Cartoonist Society named their annual award for excellence "The Reuben" in recognition of his importance to the art form. This drawing is executed in ink and crayon on coquille board, the traditional media of the editorial cartoonist. The idea is instantly grasped visually.
Keywords:cartoon, humor, editoral, ink, illustration
Original Illustration Art
JOHN F. GOULD (1906-1996)
Original Magazine Story Illustration, c.1940
The Saturday Evening Post illustration.
Graphite on paper
8.75in. x 14in. (sight size)
Signed lower right
Provenance: Morris Weiss collection
Keywords: pencil, drawing, illustration, historical, black, african, american, mexican, historical, magazine
Original Magazine Story Illustration, c.1940
The Saturday Evening Post illustration.
Graphite on paper
8.75in. x 14in. (sight size)
Signed lower right
Provenance: Morris Weiss collection
Keywords: pencil, drawing, illustration, historical, black, african, american, mexican, historical, magazine
JOHN F. GOULD (1906-1996)
Original Illustration, c.1930
Saturday Evening Post
Charcoal on paper
11.5in. x 10.5in. (sight size)
Signed lower center: JF Gould
Provenance: Morris Weiss collection
Keywords: boxing, african american, americana, illustration, drawing, pencil, charcoal
Original Illustration, c.1930
Saturday Evening Post
Charcoal on paper
11.5in. x 10.5in. (sight size)
Signed lower center: JF Gould
Provenance: Morris Weiss collection
Keywords: boxing, african american, americana, illustration, drawing, pencil, charcoal
JOHN F. GOULD (1906-1996)
Original Illustration, c.1930
Saturday Evening Post
Charcoal on paper
9.5in. x 9in. (sight size)
Signed lower left: JF Gould
Provenance: Morris Weiss collection
Keywords: boxing, african american, americana, illustration, drawing, pencil, charcoal
Original Illustration, c.1930
Saturday Evening Post
Charcoal on paper
9.5in. x 9in. (sight size)
Signed lower left: JF Gould
Provenance: Morris Weiss collection
Keywords: boxing, african american, americana, illustration, drawing, pencil, charcoal
MARCUS GREY
Original Pin-up Illustration, c.2000
Mixed-media on paper
18.5in. x 12.5in. (sight size)
Initialed lower right: MG
Marcus Grey specializes in pin-up art for outre publications featuring leather, latex, and "bizarre" pin-ups. A book of his work, Skin Tight: The Art of Marcus Grey, was published in 2002.
Keywords: erotic, latex, ink, drawing
Original Pin-up Illustration, c.2000
Mixed-media on paper
18.5in. x 12.5in. (sight size)
Initialed lower right: MG
Marcus Grey specializes in pin-up art for outre publications featuring leather, latex, and "bizarre" pin-ups. A book of his work, Skin Tight: The Art of Marcus Grey, was published in 2002.
Keywords: erotic, latex, ink, drawing
FREDERIC RODRIGO GRUGER (1871-1953)
Original Illustration, c.1920
Pencil on paper
10.25in. x 16.5in. (sight size)
Signed lower right: F.R. Gruger
Provenance: Morris Weiss collection
Keywords: illustration, pencil, drawing, portrait
Original Illustration, c.1920
Pencil on paper
10.25in. x 16.5in. (sight size)
Signed lower right: F.R. Gruger
Provenance: Morris Weiss collection
Keywords: illustration, pencil, drawing, portrait
H.R. HAMMOND
Original Pulp Back Cover Illustration
Amazing Stories, March 1940
Caption: "The Earth's Core"
Gouache on paper
13.5in. x 20in. (sight size)
Not signed
This painting was done for the back cover of Amazing Stories and features hallmark SF technology and two alien antagonists. The caption reads, "The Earth's Core. Is the earth hollow? Many theorists claim that an opening to an inner world exists at the North Pole. They base their theory on unusual speeds made by polar explorers, auroral phenomenon, weird magnetic effects, and other factors." A copy of the pulp is included with this lot.
science fiction, pulp, cover, watercolor, painting, fantasy
Original Pulp Back Cover Illustration
Amazing Stories, March 1940
Caption: "The Earth's Core"
Gouache on paper
13.5in. x 20in. (sight size)
Not signed
This painting was done for the back cover of Amazing Stories and features hallmark SF technology and two alien antagonists. The caption reads, "The Earth's Core. Is the earth hollow? Many theorists claim that an opening to an inner world exists at the North Pole. They base their theory on unusual speeds made by polar explorers, auroral phenomenon, weird magnetic effects, and other factors." A copy of the pulp is included with this lot.
science fiction, pulp, cover, watercolor, painting, fantasy
LOUIS HANLON (1882-1950)
Original Newspaper Illustration
Sunday Mirror Magazine, April 1, 1934
Caption: "'Poor, Little Flower,' He Murmured. 'Poor, Little Flower.'"
Ink on paper
13.5in. x 12in. (approximate sight size)
Signed center right: Lou Hanlon
Inscribed center right: "To my friend Morris Weiss from Lou Hanlon, Mar. 27, 1934"
Provenance: Morris Weiss collection
Two examples of the printed illustration are included.
Keywords: pen, ink, drawing, fashion, girl
Original Newspaper Illustration
Sunday Mirror Magazine, April 1, 1934
Caption: "'Poor, Little Flower,' He Murmured. 'Poor, Little Flower.'"
Ink on paper
13.5in. x 12in. (approximate sight size)
Signed center right: Lou Hanlon
Inscribed center right: "To my friend Morris Weiss from Lou Hanlon, Mar. 27, 1934"
Provenance: Morris Weiss collection
Two examples of the printed illustration are included.
Keywords: pen, ink, drawing, fashion, girl
CARL HANTMAN (b.1935)
Original Illustration, c.1965
Gouache on board
19.25in. x 14.75in. (sight size)
Signed lower left
Provenance: Morris Weiss collection
Keywords: acrylic, gouache, painting, cowboy, cover, book, magazine, western, gun
Original Illustration, c.1965
Gouache on board
19.25in. x 14.75in. (sight size)
Signed lower left
Provenance: Morris Weiss collection
Keywords: acrylic, gouache, painting, cowboy, cover, book, magazine, western, gun
PETER HELCK N.A. (1893-1988)
Original Magazine Story Illustration, c.1960
Mixed-media on board
17.25in. x 22in. (sight size)
Signed lower left: Helck
Provenance: Morris Weiss collection
Keywords: landscape, silos, farmlands, illustration, drawing
Original Magazine Story Illustration, c.1960
Mixed-media on board
17.25in. x 22in. (sight size)
Signed lower left: Helck
Provenance: Morris Weiss collection
Keywords: landscape, silos, farmlands, illustration, drawing
PETER HELCK, N.A. (1893-1988)
Original Illustration, c.1970
Ink on paper
10.5in. x 17in. (sight size)
Signed lower right
Provenance: Morris Weiss collection
Keywords: pen, ink, drawing, landscape, magazine, illustration, wyeth
Original Illustration, c.1970
Ink on paper
10.5in. x 17in. (sight size)
Signed lower right
Provenance: Morris Weiss collection
Keywords: pen, ink, drawing, landscape, magazine, illustration, wyeth
PETER HELCK, N.A. (1893-1988)
Original Illustration, c.1937
The Old Ashburn Place by Margaret Flint
Ink on paper
13in. x 20in. (sight size)
Signed lower right: Helck
Provenance: Morris Weiss collection
Peter Helck illustrated Margaret Flint's novel which was the winning entry in "Pictorial Review's $10,000 contest" An article on this drawing appeared in Art Instruction, volume one, number four, August 1937.
A copy of the Art Instruction magazine and two tearsheets are included.
Original Illustration, c.1937
The Old Ashburn Place by Margaret Flint
Ink on paper
13in. x 20in. (sight size)
Signed lower right: Helck
Provenance: Morris Weiss collection
Peter Helck illustrated Margaret Flint's novel which was the winning entry in "Pictorial Review's $10,000 contest" An article on this drawing appeared in Art Instruction, volume one, number four, August 1937.
A copy of the Art Instruction magazine and two tearsheets are included.
PETER HELCK, N.A. (1893-1988)
Original Magazine Story Illustration
Woman's Home Companion January, 1934,
"A Comedian Sees the World, Part V Holiday Trails Wind to an End" by Charles Chaplin.
Ink and watercolor on paper
10.5in. x 17in. (sight size)
Signed and dated lower right
Inscribed to Morris Weiss lower right.
A tear sheet of the painted illustration (cropped to just the art) and a photocopy of the tear sheet are included in this lot.
Provenance: Morris Weiss collection
Keywords: watercolor, painting, ink, drawing, illustration, historical, movie, chaplin, travel
Original Magazine Story Illustration
Woman's Home Companion January, 1934,
"A Comedian Sees the World, Part V Holiday Trails Wind to an End" by Charles Chaplin.
Ink and watercolor on paper
10.5in. x 17in. (sight size)
Signed and dated lower right
Inscribed to Morris Weiss lower right.
A tear sheet of the painted illustration (cropped to just the art) and a photocopy of the tear sheet are included in this lot.
Provenance: Morris Weiss collection
Keywords: watercolor, painting, ink, drawing, illustration, historical, movie, chaplin, travel
JOHN HELD JR. (1889-1958)
Original Book Illustration
Nocturne
Saturday to Monday, by Newman Levy and John Held Jr., 1930
Ink on paper
10.75in. x 7in. (sight size)
John Held Jr.'s art was in very much in sync with the flapper era, with its celebration of jazz, bootleg gin, and collegiate capers. A copy of the book is included in this lot.
RKeywords: cartoon, ink, drawing, humor, jazz age
Original Book Illustration
Nocturne
Saturday to Monday, by Newman Levy and John Held Jr., 1930
Ink on paper
10.75in. x 7in. (sight size)
John Held Jr.'s art was in very much in sync with the flapper era, with its celebration of jazz, bootleg gin, and collegiate capers. A copy of the book is included in this lot.
RKeywords: cartoon, ink, drawing, humor, jazz age
FRANK HOFFMAN (1888-1958)
Original Magazine Story Illustration, c.1930
"Riders in the Hills"
Ink and watercolor on paper
21.5in. x 20in. (sight size)
Signed lower left: Hoffman
Provenance: Morris Weiss collection
Frank Hoffman's father raced horses and the young Frank spent all of his spare time studying and drawing them. From 1940 on, Hoffman worked exclusively for Brown & Bigelow rendering Old West scenes for their calendars.
Keywords: western, watercolor, cowboy, horse, calendar, magazine, ink, drawing
Original Magazine Story Illustration, c.1930
"Riders in the Hills"
Ink and watercolor on paper
21.5in. x 20in. (sight size)
Signed lower left: Hoffman
Provenance: Morris Weiss collection
Frank Hoffman's father raced horses and the young Frank spent all of his spare time studying and drawing them. From 1940 on, Hoffman worked exclusively for Brown & Bigelow rendering Old West scenes for their calendars.
Keywords: western, watercolor, cowboy, horse, calendar, magazine, ink, drawing
FRANK HOLT (1911-1987)
Original Illustration, c.1980
Acrylic on board
20.5in. x 30.5in. (sight size)
Signed lower center: Frank Holt
Keywords: fantasy, erotic, pin up, girl, science fiction
Original Illustration, c.1980
Acrylic on board
20.5in. x 30.5in. (sight size)
Signed lower center: Frank Holt
Keywords: fantasy, erotic, pin up, girl, science fiction
Paintings
GAYLE HOSKINS (1887-1962)
Original Magazine Story Illustration
Man Clutching Crucifix
The Red Book, c.1920
Charcoal on board
17in. x 11in. (sight size)
Signed lower right: Hoskins
Keywords: pulp, adventure, Western, illustration, ink, pe, pencil, illustration, drawing
Original Magazine Story Illustration
Man Clutching Crucifix
The Red Book, c.1920
Charcoal on board
17in. x 11in. (sight size)
Signed lower right: Hoskins
Keywords: pulp, adventure, Western, illustration, ink, pe, pencil, illustration, drawing
ATTRIBUTED TO JOHN NEWTON HOWITT (1855-1958).
Original Magazine Story Illustration, c.1954
Oil on board
19.5in. x 15.5in. (sight size)
Intialed lower left: H.
This dramatic World War II naval scene may have been painted for a men's magazine or illustration, or it may have been been used as a cover on a pulp, such as Adventure.
Keywords: adventure, war, pulp, men's magazine, pulp, drama, painted, illustration, naval, ship, oil
Original Magazine Story Illustration, c.1954
Oil on board
19.5in. x 15.5in. (sight size)
Intialed lower left: H.
This dramatic World War II naval scene may have been painted for a men's magazine or illustration, or it may have been been used as a cover on a pulp, such as Adventure.
Keywords: adventure, war, pulp, men's magazine, pulp, drama, painted, illustration, naval, ship, oil
Original Illustration Art
GEORGE E. HUGHES (1907-1990)
Original Magazine Story Illustration
Readers Digest, August, 1967
"Johnny Carson: TV's Midnight Idol"
Ink on paper
10.5in. x 7in. (sight size)
Not signed
A terrific portrait of "The Tonight Show's" Johnny Carson, from the era when he ruled late-night TV.
Keywords: cartoon, celebrity, tv, guide, comic, ink, drawing
Original Magazine Story Illustration
Readers Digest, August, 1967
"Johnny Carson: TV's Midnight Idol"
Ink on paper
10.5in. x 7in. (sight size)
Not signed
A terrific portrait of "The Tonight Show's" Johnny Carson, from the era when he ruled late-night TV.
Keywords: cartoon, celebrity, tv, guide, comic, ink, drawing
Paintings
WALTER BEACH HUMPHREY (1892-1966)
Original Calendar Art, c.1950
Oil on canvas
25.5in. x 36in. (sight size)
Signed lower right: Walter Beach Humphrey
Provenance: Morris Weiss collection
A superb calendar image, masterfully painted by Walter Beach Humphrey, with George Washington tending to a wounded soldier. Humphrey was celebrated for his historical paintings, and throughout his career his work appeared on many of the major magazines, including The Saturday Evening Post, Collier's, and Liberty.
RKeywords: historical, portrait, washington, Western, oil, painting, Americana, calendar
Original Calendar Art, c.1950
Oil on canvas
25.5in. x 36in. (sight size)
Signed lower right: Walter Beach Humphrey
Provenance: Morris Weiss collection
A superb calendar image, masterfully painted by Walter Beach Humphrey, with George Washington tending to a wounded soldier. Humphrey was celebrated for his historical paintings, and throughout his career his work appeared on many of the major magazines, including The Saturday Evening Post, Collier's, and Liberty.
RKeywords: historical, portrait, washington, Western, oil, painting, Americana, calendar
WALTER BEACH HUMPHREY (1892-1966)
Original Magazine Cover Art
The Eks, May, 1935
Caption: "With a hey and a ho, and a hey nonino,. Sweet lovers love the Spring -- Shakespeare."
Oil on canvas
30in. x 24in. (sight size)
Signed lower right
Provenance: Morris Weiss collection
An example of the printed cover is included.
RKeywords: oil, painting, cover, magazine, humor, cartoon, portrait, shakespeare
Original Magazine Cover Art
The Eks, May, 1935
Caption: "With a hey and a ho, and a hey nonino,. Sweet lovers love the Spring -- Shakespeare."
Oil on canvas
30in. x 24in. (sight size)
Signed lower right
Provenance: Morris Weiss collection
An example of the printed cover is included.
RKeywords: oil, painting, cover, magazine, humor, cartoon, portrait, shakespeare
Original Illustration Art
EARL OLIVER HURST (1895-1958)
Original Magazine Story Illustration, c.1940
Mixed-media on board
13in. x 18in. (sight size)
Signed lower left: Hurst
Inscribed lower right: "Here's another idea for your collection, Morris S. (signed) Hurst
Provenance: Morris Weiss collection.
Earl Oliver Hurst made it his practice to render two preliminaries for each of his illustrations. These studies enabled him to craft stylish scenes with an air of light-hearted fun.
Keywords: drawing, humor, watercolor, ink, painting, cartoon, humor, romance, good girl, magazine, illustration
Original Magazine Story Illustration, c.1940
Mixed-media on board
13in. x 18in. (sight size)
Signed lower left: Hurst
Inscribed lower right: "Here's another idea for your collection, Morris S. (signed) Hurst
Provenance: Morris Weiss collection.
Earl Oliver Hurst made it his practice to render two preliminaries for each of his illustrations. These studies enabled him to craft stylish scenes with an air of light-hearted fun.
Keywords: drawing, humor, watercolor, ink, painting, cartoon, humor, romance, good girl, magazine, illustration
Paintings
EMMETT KAYE
Original Magazine Story Illustration, c.1965
"The Day the Daltons Died" by Homer Croy
Caption: "They tried to outdo Jesse James, but robbing two banks at once proved fatal."
Mixed-media on paper
16in. x 25.5in. (sight size)
Signed lower right: Emmett Kaye
Photocopies of the printed illustration are included.
Provenance: Morris Weiss collection
Keywords: cowboy, painting, gouache, illustration
Original Magazine Story Illustration, c.1965
"The Day the Daltons Died" by Homer Croy
Caption: "They tried to outdo Jesse James, but robbing two banks at once proved fatal."
Mixed-media on paper
16in. x 25.5in. (sight size)
Signed lower right: Emmett Kaye
Photocopies of the printed illustration are included.
Provenance: Morris Weiss collection
Keywords: cowboy, painting, gouache, illustration
EDWARD WINDSOR KEMBLE (1861-1933)
Original Illustration, c. 1885
Caption: "Looking After Him"
Ink on paper
13in. x 9.5in. (sight size)
Signed and dated lower left: Edw. W. Kemble '85
Provenance: Morris Weiss collection
Keywords: pen, ink, drawing, south, dog, portrait
Original Illustration, c. 1885
Caption: "Looking After Him"
Ink on paper
13in. x 9.5in. (sight size)
Signed and dated lower left: Edw. W. Kemble '85
Provenance: Morris Weiss collection
Keywords: pen, ink, drawing, south, dog, portrait
Original Illustration Art
EDWARD WINDSOR KEMBLE (1861-1933)
Two Original Magazine Story Illustrations, c.1890
Ink on paper
6.75in. x 9.75in. and 6.5in. x 8.5in. (sight sizes)
Signed lower right: Kemble
These two cartoon scenes have been matted together
Provenance: Morris Weiss collection
Keyword: pen, ink, humor, cartoon, dog, magazine, comic strip
Two Original Magazine Story Illustrations, c.1890
Ink on paper
6.75in. x 9.75in. and 6.5in. x 8.5in. (sight sizes)
Signed lower right: Kemble
These two cartoon scenes have been matted together
Provenance: Morris Weiss collection
Keyword: pen, ink, humor, cartoon, dog, magazine, comic strip
WARD WALRATH KIMBALL (1914-2002)
Original Illustration, 1949
The Committee
Oil on masonite
24in. x 42in. (sight size)
Signed lower right
Reproduced (reversed) in Walt Disney's Nine Old Men and the Art of Animation (Canemaker), page 117
Keywords: Les Clark, Marc Davis, Ollie Johnston, Milt Kahl, Ward Kimball, Eric Larson, John Lounsbery, Woolie Reitherman, Frank Thomas, Oscar winning "Toot, Whistle, Plunk and Boom", Snow White and the Seven Dwarfs artist, Jiminy Cricket animator, Academy Award winner, jazz trombonist, Donald Duck, Mickey Mouse
Original Illustration, 1949
The Committee
Oil on masonite
24in. x 42in. (sight size)
Signed lower right
Reproduced (reversed) in Walt Disney's Nine Old Men and the Art of Animation (Canemaker), page 117
Keywords: Les Clark, Marc Davis, Ollie Johnston, Milt Kahl, Ward Kimball, Eric Larson, John Lounsbery, Woolie Reitherman, Frank Thomas, Oscar winning "Toot, Whistle, Plunk and Boom", Snow White and the Seven Dwarfs artist, Jiminy Cricket animator, Academy Award winner, jazz trombonist, Donald Duck, Mickey Mouse
Paintings
STANLEY KLIMLEY
Original Magazine Illustration
Good Housekeeping, c.1952
Gouache on board
26.5in.x 10.25in. (sight size)
Signed lower right: Stan Klimley
Keywords: romance, family, hospital, baby, paining, illustration, magazine
Original Magazine Illustration
Good Housekeeping, c.1952
Gouache on board
26.5in.x 10.25in. (sight size)
Signed lower right: Stan Klimley
Keywords: romance, family, hospital, baby, paining, illustration, magazine
Original Illustration Art
DICK KOHFIELD
Original Magazine Story Illustration, c.1950
Gouache on board
14in. x 12in. (sight size)
Signed lower left
Provenance: Morris Weiss collection
Keywords: painted, illustration, magazine
Original Magazine Story Illustration, c.1950
Gouache on board
14in. x 12in. (sight size)
Signed lower left
Provenance: Morris Weiss collection
Keywords: painted, illustration, magazine
Paintings
SOL KORBY (b.1923)
Original Original Illustration, c.1960
Oil on board
14in. x 1in. (sight size)
Signed lower right
Provenance: Morris Weiss collection
Keywords: cowboy, oil, painting, cover, paperback, magazine, western, illustration
Original Original Illustration, c.1960
Oil on board
14in. x 1in. (sight size)
Signed lower right
Provenance: Morris Weiss collection
Keywords: cowboy, oil, painting, cover, paperback, magazine, western, illustration
Original Illustration Art
MORTON KUNSTLER (b.1931)
Original Illustration, c.1960
Pencil on paper
15.75in. x 13in. (sight size)
Signed lower left
Provenance: Morris Weiss collection
Keywords: Algier Rose, pencil, drawing, historical, civil war
Original Illustration, c.1960
Pencil on paper
15.75in. x 13in. (sight size)
Signed lower left
Provenance: Morris Weiss collection
Keywords: Algier Rose, pencil, drawing, historical, civil war
Paintings
BILL LAYNE
Original Pin-up Art
Louis F. Dow calendar art, 1947
Watercolor on paper
21in. x 15in. (sight size)
Signed center left: Layne
Bill Layne is noted for his humorous approach to pin-up art. Often his subjects were portrayed as hillbillies or cowgirls. He was one of Brown & Bigelow's star artists in their later years, and specialized in adorable, yet "cute and sassy" girls.
Keywords: humor, watercolor, pin-up, mountain
Original Pin-up Art
Louis F. Dow calendar art, 1947
Watercolor on paper
21in. x 15in. (sight size)
Signed center left: Layne
Bill Layne is noted for his humorous approach to pin-up art. Often his subjects were portrayed as hillbillies or cowgirls. He was one of Brown & Bigelow's star artists in their later years, and specialized in adorable, yet "cute and sassy" girls.
Keywords: humor, watercolor, pin-up, mountain
JOSEPH CHRISTIAN LEYENDECKER (1874-1951)
Original Illustration, c.1900
Ink on paper
10in. x 7.25in. (sight size)
Initialed lower left: JCL
Provenance: Morris Weiss collection
This piece has drawings on both sides of the paper, and has been framed so that both are visible. A portrait of a man holding a candle is on one side; on the other, a portrait of a girl.
Keywords: girl, portrait, ink, gibson, drawing, illustration, twenties
Original Illustration, c.1900
Ink on paper
10in. x 7.25in. (sight size)
Initialed lower left: JCL
Provenance: Morris Weiss collection
This piece has drawings on both sides of the paper, and has been framed so that both are visible. A portrait of a man holding a candle is on one side; on the other, a portrait of a girl.
Keywords: girl, portrait, ink, gibson, drawing, illustration, twenties
JOSEPH CHRISTIAN LEYENDECKER (1874-1951)
Saturday Evening Post cover, October 19, 1935
Going South
Oil on canvas
29in. x 22in. (sight size)
Signed lower right: JC Leyendecker
Leyendecker titled his painting "Going South." Although Leyendecker's early Saturday Evening Post covers illustrated stories inside the issue, the vast majority of his later Post covers had more general and conceptualized themes such as "Fall," "Christmas," and "New Years." This painting is reproduced on page 155 of J.C. Leyendecker by Michael Schau.
Leyendecker studied at the Chicago Art Institute and the Acadamie Julian in Paris. This superb painting showcases Joseph Leyendecker's mastery of reflected light and color. The subject's shadowed forms are infused with a golden "fill light," so that the unlit hues never become dominated by stark value contrasts and lose their chromatic sparkle. This successful colorist approach to painting affected generations of illustrators and cartoonists for decades to come. The young Norman Rockwell was such an avid devotee of the Leyendecker Post covers, that, in Michael Schau's book, it was revealed, "Once Rockwell confided to a model, who had also worked for Leyendecker, that as a teenager in New Rochelle, New York, where the Leyendeckers later lived, Rockwell would take every opportunity just to catch a glimpse of Joe."
Keywords: oil, painting, post, African, American, humor, cover, portrait
Saturday Evening Post cover, October 19, 1935
Going South
Oil on canvas
29in. x 22in. (sight size)
Signed lower right: JC Leyendecker
Leyendecker titled his painting "Going South." Although Leyendecker's early Saturday Evening Post covers illustrated stories inside the issue, the vast majority of his later Post covers had more general and conceptualized themes such as "Fall," "Christmas," and "New Years." This painting is reproduced on page 155 of J.C. Leyendecker by Michael Schau.
Leyendecker studied at the Chicago Art Institute and the Acadamie Julian in Paris. This superb painting showcases Joseph Leyendecker's mastery of reflected light and color. The subject's shadowed forms are infused with a golden "fill light," so that the unlit hues never become dominated by stark value contrasts and lose their chromatic sparkle. This successful colorist approach to painting affected generations of illustrators and cartoonists for decades to come. The young Norman Rockwell was such an avid devotee of the Leyendecker Post covers, that, in Michael Schau's book, it was revealed, "Once Rockwell confided to a model, who had also worked for Leyendecker, that as a teenager in New Rochelle, New York, where the Leyendeckers later lived, Rockwell would take every opportunity just to catch a glimpse of Joe."
Keywords: oil, painting, post, African, American, humor, cover, portrait
JOSEPH CHRISTIAN LEYENDECKER (1874-1951)
Original Advertising Art
The House of Kuppenheimer
Merry Christmas from Kuppenheimer's, c.1924
Oil on canvas, mounted on board
30.5in. x 25.5in. (sight size)
Signed lower left: JC Leyendecker
J.C. Leyendecker's portrayals of handsome, stylishly dressed men soon became the symbol of fashionable American manhood, just as Charles Dana Gibson's portrayals had become the symbol of elegant young women. As author Michael Schau points out in his superb monograph, J.C. Leyendecker, "The characters of F. Scott Fitzgerald's The Great Gatsby come to mind in many Leyendecker pictures of the twenties: well-to-do civilized people with self-confidence reinforced by breeding, education, position, and taste. They were sophisticated but not above gaiety." Indeed, Fitzgerald himself paid tribute to Leyendecker in his 1929 story, The Last of the Belles, with this passage, "She showed me his picture -- it was a handsome, earnest face with a Leyendecker forelock -- and told me that when she met someone who measures up to him she'd marry."
Leyendecker's success with his Arrow Collar campaign soon had other clothiers seeking him out, and his ads were touted as among the most stylish ever produced. Illustrator Haddon Sundblom has often been credited with "branding" the image of Santa Claus with his Coca-Cola ads. The authors of The American Magazine write, "There was nothing elfin about Sundblom's painting, except perhaps the twinkle in his eye. He was a ruddy-faced fellow, with a hearty smile and a lap ample enough to accommodate a child or two. Not incidentally, his suit and cap were red and white, the colors of the soft drink's logo." Other Santa-philes however, credit Leyendecker with establishing the modern Santa Claus image with his Post covers. Key Leyendecker images of Santa appear on Post covers dated December 22, 1923; December 26, 1925; and December 20, 1930. Other famous illustrators including Thomas Nast and Norman Rockwell also helped standardize the image of Santa in the popular press. Their precedents influenced the Santa that Haddon Sundblom created for Coca-Cola in 1931. Leyendecker's vision of Santa in this Kuppenheimer piece is robust and atheletic; more strapping woodsman than jolly suburbanite soda-sipper! Thus this sensational painting presents a winning pair of icons, the modern successful American male and the modern Santa Claus.
Keywords: oil, painting, advertisement, fashion, Gibson, portrait, Santa Claus, Christmas
Original Advertising Art
The House of Kuppenheimer
Merry Christmas from Kuppenheimer's, c.1924
Oil on canvas, mounted on board
30.5in. x 25.5in. (sight size)
Signed lower left: JC Leyendecker
J.C. Leyendecker's portrayals of handsome, stylishly dressed men soon became the symbol of fashionable American manhood, just as Charles Dana Gibson's portrayals had become the symbol of elegant young women. As author Michael Schau points out in his superb monograph, J.C. Leyendecker, "The characters of F. Scott Fitzgerald's The Great Gatsby come to mind in many Leyendecker pictures of the twenties: well-to-do civilized people with self-confidence reinforced by breeding, education, position, and taste. They were sophisticated but not above gaiety." Indeed, Fitzgerald himself paid tribute to Leyendecker in his 1929 story, The Last of the Belles, with this passage, "She showed me his picture -- it was a handsome, earnest face with a Leyendecker forelock -- and told me that when she met someone who measures up to him she'd marry."
Leyendecker's success with his Arrow Collar campaign soon had other clothiers seeking him out, and his ads were touted as among the most stylish ever produced. Illustrator Haddon Sundblom has often been credited with "branding" the image of Santa Claus with his Coca-Cola ads. The authors of The American Magazine write, "There was nothing elfin about Sundblom's painting, except perhaps the twinkle in his eye. He was a ruddy-faced fellow, with a hearty smile and a lap ample enough to accommodate a child or two. Not incidentally, his suit and cap were red and white, the colors of the soft drink's logo." Other Santa-philes however, credit Leyendecker with establishing the modern Santa Claus image with his Post covers. Key Leyendecker images of Santa appear on Post covers dated December 22, 1923; December 26, 1925; and December 20, 1930. Other famous illustrators including Thomas Nast and Norman Rockwell also helped standardize the image of Santa in the popular press. Their precedents influenced the Santa that Haddon Sundblom created for Coca-Cola in 1931. Leyendecker's vision of Santa in this Kuppenheimer piece is robust and atheletic; more strapping woodsman than jolly suburbanite soda-sipper! Thus this sensational painting presents a winning pair of icons, the modern successful American male and the modern Santa Claus.
Keywords: oil, painting, advertisement, fashion, Gibson, portrait, Santa Claus, Christmas
JOSEPH CHRISTIAN LEYENDECKER (1874-1951)
Saturday Evening Post cover, November 24, 1928
Oil on canvas
28.5in. x 20.5in. (sight size)
Initialed lower left: JCL
As Michael Schau noted in J.C. Leyendecker, "Leyendecker painted his first Saturday Evening Post cover in 1899 and he continued to work for the magazine until 1943, creating 322 covers for The Post. The reputation gained as a result of his magazine covers established Leyendecker as one of America's most popular illustrators." This painting is reproduced on page 142 of Michael Schau's book. Leyendecker was elected to the Society of Illustrators' Hall of Fame in 1977.
This sensational painting shows America's evolution over three centuries of Thanksgiving holidays. From the accomplishments of the stern, pioneering, and freedom-fighting colonists of 1628, to the entertainments provided by the battered, yet playful grid-iron stalwarts of 1928, this blessed country has plenty to celebrate each November. Both figures regard each other as they are each given a heroic and monumental presence by Leyendecker. His vigorous and energetic brushwork bathes the figures in a sparkling light, creating a noble vision of pure Americana.
RKeywords: oil, painting, post , cover, football, portrait
Saturday Evening Post cover, November 24, 1928
Oil on canvas
28.5in. x 20.5in. (sight size)
Initialed lower left: JCL
As Michael Schau noted in J.C. Leyendecker, "Leyendecker painted his first Saturday Evening Post cover in 1899 and he continued to work for the magazine until 1943, creating 322 covers for The Post. The reputation gained as a result of his magazine covers established Leyendecker as one of America's most popular illustrators." This painting is reproduced on page 142 of Michael Schau's book. Leyendecker was elected to the Society of Illustrators' Hall of Fame in 1977.
This sensational painting shows America's evolution over three centuries of Thanksgiving holidays. From the accomplishments of the stern, pioneering, and freedom-fighting colonists of 1628, to the entertainments provided by the battered, yet playful grid-iron stalwarts of 1928, this blessed country has plenty to celebrate each November. Both figures regard each other as they are each given a heroic and monumental presence by Leyendecker. His vigorous and energetic brushwork bathes the figures in a sparkling light, creating a noble vision of pure Americana.
RKeywords: oil, painting, post , cover, football, portrait
TOM LOVELL (1901-1997)
Original Illustration Preliminary, c.1960
Caption: IV -- I Will Keep Faith With My Fellow Soldiers"
Gouache on paper
12.5in. x 8.5in.(sight size)
Not signed
Inscribed on the reverse: Tom Lovell [and mailing address]
Provenance: Morris Weiss collection
Keywords: painting, gouache, illustration, military, war, soldier, marine corps
Original Illustration Preliminary, c.1960
Caption: IV -- I Will Keep Faith With My Fellow Soldiers"
Gouache on paper
12.5in. x 8.5in.(sight size)
Not signed
Inscribed on the reverse: Tom Lovell [and mailing address]
Provenance: Morris Weiss collection
Keywords: painting, gouache, illustration, military, war, soldier, marine corps
Original Illustration Art
TOM LOVELL (1901-1997)
Original Illustration, 1974
Gouache on board
6in. x 8.5in. (sight size)
Signed and dated lower left
Inscribed to "To Morris Weiss" lower left.
Provenance: Morris Weiss collection
Keywords: painting, gouache, horse, equestrian, race, kentucky, derby, jockey
Original Illustration, 1974
Gouache on board
6in. x 8.5in. (sight size)
Signed and dated lower left
Inscribed to "To Morris Weiss" lower left.
Provenance: Morris Weiss collection
Keywords: painting, gouache, horse, equestrian, race, kentucky, derby, jockey
Paintings
ORSON BYRON LOWELL (1871-1956)
Original Magazine Story Illustration, c.1905
Ink on paper
23in. x 32in. (sight size)
Signed lower right: Orson Lowell
Provenance: Morris Weiss collection
Keywords: pen, ink. magazine, drawing, illustration, Gibson
Original Magazine Story Illustration, c.1905
Ink on paper
23in. x 32in. (sight size)
Signed lower right: Orson Lowell
Provenance: Morris Weiss collection
Keywords: pen, ink. magazine, drawing, illustration, Gibson
Original Illustration Art
ORSON BYRON LOWELL (1871-1956)
Original Magazine Story Illustration, c.1917
Caption:"Getting Down to Brass Tactics. 'And this is one of our valiant knights who are to make the world safe for democracy!' "Mm' -- I dunno about that Ma'am, but if they'll just get me over there I'll sure give them Germans Hell, and don't you let nobody tell you diff'rent.'"
Ink on paper
24.5in. x 18.5in. (sight size)
Signed lower right: Orson Lowell
There is some wear, and minor staining at the lower left.
Provenance: Morris Weiss collection
Keywords: ink, drawing, world, war, military, soldier, marine, life, gibson, magazine
Original Magazine Story Illustration, c.1917
Caption:"Getting Down to Brass Tactics. 'And this is one of our valiant knights who are to make the world safe for democracy!' "Mm' -- I dunno about that Ma'am, but if they'll just get me over there I'll sure give them Germans Hell, and don't you let nobody tell you diff'rent.'"
Ink on paper
24.5in. x 18.5in. (sight size)
Signed lower right: Orson Lowell
There is some wear, and minor staining at the lower left.
Provenance: Morris Weiss collection
Keywords: ink, drawing, world, war, military, soldier, marine, life, gibson, magazine
ORSON BYRON LOWELL (1871-1956)
Original Magazine Story Illustration, c.1917
Ink on paper
26.5in. x 23in. (sight size)
Signed lower center: Orson Lowell
Provenance: Morris Weiss collection
Keywords: pen, ink. magazine, drawing, illustration, Gibson
Original Magazine Story Illustration, c.1917
Ink on paper
26.5in. x 23in. (sight size)
Signed lower center: Orson Lowell
Provenance: Morris Weiss collection
Keywords: pen, ink. magazine, drawing, illustration, Gibson
FRED LUDEKENS (1900-1982)
Original Magazine Story Illustration, c. 1950
Saturday Evening Post R<"Vengeance Valley"
Caption: "'I'm going to tell Lily what's happening,' Jen said. 'You'll be dead if I don't.'"
Gouache on paper
7.5in. x 12in.
Provenance: Morris Weiss collection
Signed center left
A tear sheet showing the printed illustration is included.
Keywords: magazine, painted, illustration, western, cowboy, watercolor
Original Magazine Story Illustration, c. 1950
Saturday Evening Post R<"Vengeance Valley"
Caption: "'I'm going to tell Lily what's happening,' Jen said. 'You'll be dead if I don't.'"
Gouache on paper
7.5in. x 12in.
Provenance: Morris Weiss collection
Signed center left
A tear sheet showing the printed illustration is included.
Keywords: magazine, painted, illustration, western, cowboy, watercolor
WILLIAM MACKENZIE (American)
Original Calendar Art c.1934
The Indian Love Call
Oil on canvas
21in. x 26in.
Signed lower right
Published by Joseph C. Hoover and Sons Calendar Company, Philadelphia
Three examples of the published version are included
Original Calendar Art c.1934
The Indian Love Call
Oil on canvas
21in. x 26in.
Signed lower right
Published by Joseph C. Hoover and Sons Calendar Company, Philadelphia
Three examples of the published version are included
Paintings
FRANK C. MCCARTHY (1924-2002)
Original Illustration, c.1966
The Adversary
Casein on board
18in. x 14in. (sight size)
Signed lower center-left
Provenance: Morris Weiss collection
Keywords: casein, painting, cover, illustration, viking, knight, historical
Original Illustration, c.1966
The Adversary
Casein on board
18in. x 14in. (sight size)
Signed lower center-left
Provenance: Morris Weiss collection
Keywords: casein, painting, cover, illustration, viking, knight, historical
FRANK C. MCCARTHY (1924-2002)
Original Illustration, c.1955
Gouache on board
14in. x 22in. (sight size)
Signed lower left: McCarthy.
Provenance: Morris Weiss collection
Frank McCarthy studied at the Art Students League under George Bridgman and Reginald Marsh. Several art books have chronicled his career, including Western Paintings of Frank C. McCarthy, Frank C. McCarthy, the Old West, and The Art of Frank McCarthy.
Keywords: hunting, deer, calendar, art, landscape, gouache, painting, cover, magazine
Original Illustration, c.1955
Gouache on board
14in. x 22in. (sight size)
Signed lower left: McCarthy.
Provenance: Morris Weiss collection
Frank McCarthy studied at the Art Students League under George Bridgman and Reginald Marsh. Several art books have chronicled his career, including Western Paintings of Frank C. McCarthy, Frank C. McCarthy, the Old West, and The Art of Frank McCarthy.
Keywords: hunting, deer, calendar, art, landscape, gouache, painting, cover, magazine
Original Illustration Art
FRANK C. MCCARTHY (1924-2002)
Original Magazine Illustration, c.1960
The Sins of Herod
Casein on board
13.5in. x 11in. (sight size)
Signed lower left
Provenance: Morris Weiss collection
Keywords: casein, illustration, historical, roman, magazine, painting, color
Original Magazine Illustration, c.1960
The Sins of Herod
Casein on board
13.5in. x 11in. (sight size)
Signed lower left
Provenance: Morris Weiss collection
Keywords: casein, illustration, historical, roman, magazine, painting, color
Paintings
WINSOR MCCAY
Political Cartoon Original Art, undated
11.75in. x 17in.
Signed lower right: Winsor McCay
Winsor McCay was a master at drawing complex tableaux in correct perspective, and could draw any subject, from any angle. His work was influenced by book illustrations and the then current Art Nouveau style. In addition to his famous comic strips and animated films, Winsor McCay also drew editorial cartoons for Arthur Brisbane's conservative editorials at the Hearst papers. Along with these political statements, he drew large, meticulously executed Sunday illustrations of moral ideas, using such subject matter as education, the danger of drugs and alcohol, and the values of hard work. The graphic sophistication of Winsor McCay's art is unparalleled in American comics.
The art is in Very Good condition.
Political Cartoon Original Art, undated
11.75in. x 17in.
Signed lower right: Winsor McCay
Winsor McCay was a master at drawing complex tableaux in correct perspective, and could draw any subject, from any angle. His work was influenced by book illustrations and the then current Art Nouveau style. In addition to his famous comic strips and animated films, Winsor McCay also drew editorial cartoons for Arthur Brisbane's conservative editorials at the Hearst papers. Along with these political statements, he drew large, meticulously executed Sunday illustrations of moral ideas, using such subject matter as education, the danger of drugs and alcohol, and the values of hard work. The graphic sophistication of Winsor McCay's art is unparalleled in American comics.
The art is in Very Good condition.
JOHN R. MCDERMOTT (1919-1977)
Original Illustration, c.1958
Gouache on paper
16.5in.x 23.5in.(sight size)
Initialed lower right: MCD
Provenance: Morris Weiss collection
John McDermott began his art career as an animator for Walt Disney Studios. He served in the Marine Corps and made war drawings of the action in the Pacific Theatre. McDermott also authored four books, as "J.M. Ryan," including Loving which served as the springboard for a 1970 film starring George Segal and Eva-Marie Saint.
Keywords: drawing, ink, figure, magazine, illustration, watercolor
Original Illustration, c.1958
Gouache on paper
16.5in.x 23.5in.(sight size)
Initialed lower right: MCD
Provenance: Morris Weiss collection
John McDermott began his art career as an animator for Walt Disney Studios. He served in the Marine Corps and made war drawings of the action in the Pacific Theatre. McDermott also authored four books, as "J.M. Ryan," including Loving which served as the springboard for a 1970 film starring George Segal and Eva-Marie Saint.
Keywords: drawing, ink, figure, magazine, illustration, watercolor
Original Illustration Art
BENI MONTRESOR (1926-2001)
Four Original Book Illustrations, c.1969
A is for Angel: Beni Montresor's A-B-C Picture-Stories NY:Knopf 1969
Mixed media on paper
10.5in. x 23in. (sight size)
Signed lower right
These artworks are hand-colored collage prints which may have been used in the book's actual production, or may have been experimental tests for various color combinations. Each is signed in full by the artist.
keywords: director screenwriter, art director, costume designer, scenic designer, set designer, illustrator, writer, Broadway
Four Original Book Illustrations, c.1969
A is for Angel: Beni Montresor's A-B-C Picture-Stories NY:Knopf 1969
Mixed media on paper
10.5in. x 23in. (sight size)
Signed lower right
These artworks are hand-colored collage prints which may have been used in the book's actual production, or may have been experimental tests for various color combinations. Each is signed in full by the artist.
keywords: director screenwriter, art director, costume designer, scenic designer, set designer, illustrator, writer, Broadway
Paintings
WALLACE MORGAN, N.A. (1873-1948)
Original Magazine Illustration, c.1950
Charcoal with blue watercolor wash on illustration board, 19.5in. x 28in. (sight size)
Signed lower right: W. Morgan.
Provenance: Morris Weiss collection
Keywords: pencil, drawing, illustration. magazine, historical
Original Magazine Illustration, c.1950
Charcoal with blue watercolor wash on illustration board, 19.5in. x 28in. (sight size)
Signed lower right: W. Morgan.
Provenance: Morris Weiss collection
Keywords: pencil, drawing, illustration. magazine, historical
ZOE MOZERT (1907-1993)
Calendar Art
Pastel on board
30in. x 24in. (sight size)
Signed lower center: Zoe Mozert
Zoe Mozert studied art at the Philadelphia School of Industrial Art under Thorton Oakley. She painted over four hundred covers for movie magazines, worked in the pulps, and did advertising art for Wing cigarettes. In 1941, Brown & Bigelow signed her to an exclusive calendar contract, and during World War II, she drew a popular series of pin-ups known as "Victory Girls." Zoe's subject in this drawing, Jane Wyatt, co-starred in the 1954 TV series "Father Knows Best" as Margaret Anderson.
Keywords: movie, magazine, portrait, pastel, drawing, calendar, pin-up, glamour
Calendar Art
Pastel on board
30in. x 24in. (sight size)
Signed lower center: Zoe Mozert
Zoe Mozert studied art at the Philadelphia School of Industrial Art under Thorton Oakley. She painted over four hundred covers for movie magazines, worked in the pulps, and did advertising art for Wing cigarettes. In 1941, Brown & Bigelow signed her to an exclusive calendar contract, and during World War II, she drew a popular series of pin-ups known as "Victory Girls." Zoe's subject in this drawing, Jane Wyatt, co-starred in the 1954 TV series "Father Knows Best" as Margaret Anderson.
Keywords: movie, magazine, portrait, pastel, drawing, calendar, pin-up, glamour
ZOE MOZERT (1907-1993)
Original Pin-up Art, c.1940
Mutoscope card art
Caption: "I never knew a horse could run out of oats."
Pastel on paper
22.5in. x 16.5in. (sight size)
Signed lower right: Zoe Mozert.
This image, published as a mutoscope card, is reproduced in The Great American Pin-up by Charles G. Martignette and Louis K.Meisel, on page 232 as figure 525. Two copies of the published mutoscope card are included.
Keywords: cartoon, humor, pastel, pin-up, drawing, girl, mutoscope
Original Pin-up Art, c.1940
Mutoscope card art
Caption: "I never knew a horse could run out of oats."
Pastel on paper
22.5in. x 16.5in. (sight size)
Signed lower right: Zoe Mozert.
This image, published as a mutoscope card, is reproduced in The Great American Pin-up by Charles G. Martignette and Louis K.Meisel, on page 232 as figure 525. Two copies of the published mutoscope card are included.
Keywords: cartoon, humor, pastel, pin-up, drawing, girl, mutoscope
Original Illustration Art
PATRICK NAGEL (1945-1984)
Original Magazine Story Illustration
Acrylic on board
Playboy, 1976/ Playboy Advisor
8.75in. x 5.5in. (sight size)
Not signed
Inscribed on reverse: Sept '76 Pat Nagel "PB Advisor"
The Nagel woman defined the 80s -- her sultry figure, her simplistic lines, her distant look. Nagel's art could be seen on the cover to Duran Duran's Rio album, on advertisements, in the pages of Playboy, and in a series of extremely popular prints and posters that found their way into almost every neighborhood in America. Nagel's influence can still be seen in graphic arts today.
This provocative illustration, published in the Playboy Advisor column of the September 1976 issue of Playboy, clearly demonstrates Nagel's influences from Japanese art and art deco.
Before his untimely death at the age of 38, Patrick Nagel reinvented the pin-up with his art deco inspired style. He attended Pasadena's Art Center School of Design, then Chouinard Art Institute, and in 1969 received his Bachelor of Fine Arts degree from California State University at Fullerton.
Keywords: cartoon, humor, playboy, erotic, painting, ink, drawing
Original Magazine Story Illustration
Acrylic on board
Playboy, 1976/ Playboy Advisor
8.75in. x 5.5in. (sight size)
Not signed
Inscribed on reverse: Sept '76 Pat Nagel "PB Advisor"
The Nagel woman defined the 80s -- her sultry figure, her simplistic lines, her distant look. Nagel's art could be seen on the cover to Duran Duran's Rio album, on advertisements, in the pages of Playboy, and in a series of extremely popular prints and posters that found their way into almost every neighborhood in America. Nagel's influence can still be seen in graphic arts today.
This provocative illustration, published in the Playboy Advisor column of the September 1976 issue of Playboy, clearly demonstrates Nagel's influences from Japanese art and art deco.
Before his untimely death at the age of 38, Patrick Nagel reinvented the pin-up with his art deco inspired style. He attended Pasadena's Art Center School of Design, then Chouinard Art Institute, and in 1969 received his Bachelor of Fine Arts degree from California State University at Fullerton.
Keywords: cartoon, humor, playboy, erotic, painting, ink, drawing
Paintings
LEROY NEIMAN (b.1921)
Original Magazine Illustration
Playboy, December, 1965
Femlin illustration
Acrylic on paper
7.5in. x 6in. (sight size)
Not signed
Keywords: cartoon, pin up, ink, drawing,girl
Original Magazine Illustration
Playboy, December, 1965
Femlin illustration
Acrylic on paper
7.5in. x 6in. (sight size)
Not signed
Keywords: cartoon, pin up, ink, drawing,girl
LEROY NEIMAN (b.1921)
Original Magazine Illustration
Playboy, December, 1965
Femlin illustration
Acrylic on paper
7.5in. x 6in. (sight size)
Not signed
Keywords: cartoon, pin up, ink, drawing,girl
Original Magazine Illustration
Playboy, December, 1965
Femlin illustration
Acrylic on paper
7.5in. x 6in. (sight size)
Not signed
Keywords: cartoon, pin up, ink, drawing,girl
Original Illustration Art
G. PATRICK NELSON
Original Magazine Story Illustration, c.1910
Ink on paper
13in. x 10in. (sight size)
Signed lower right: G. Patrick Nelson
Provenance: Morris Weiss collection
Keywords: pen, ink, illustration, drawing, illustration
Original Magazine Story Illustration, c.1910
Ink on paper
13in. x 10in. (sight size)
Signed lower right: G. Patrick Nelson
Provenance: Morris Weiss collection
Keywords: pen, ink, illustration, drawing, illustration
NEIL O'KEEFFE (1893 -198? )
Original Magazine Story Illustration, 1938
Ink on paper
10.5in. x 13in. (sight size)
Signed and dated lower right: Neil O'Keeffe, 1938
Provenance: Morris Weiss collection
Keywords: pulp, illustration, western, cowboy, adventure, pen, ink, drawing
Original Magazine Story Illustration, 1938
Ink on paper
10.5in. x 13in. (sight size)
Signed and dated lower right: Neil O'Keeffe, 1938
Provenance: Morris Weiss collection
Keywords: pulp, illustration, western, cowboy, adventure, pen, ink, drawing
FREDERICK BURR OPPER (1857-1937)
Original Magazine Story Illustration
Puck cartoon, c.1896
Ink on paper
13in. x 12.5in. (sight size)
Signed lower right: F. Opper
Provenance: Morris Weiss collection Keywords: cartoon, humor, railroad, train, ink, drawing, book, illustration
Original Magazine Story Illustration
Puck cartoon, c.1896
Ink on paper
13in. x 12.5in. (sight size)
Signed lower right: F. Opper
Provenance: Morris Weiss collection Keywords: cartoon, humor, railroad, train, ink, drawing, book, illustration
RUSSELL PATTERSON (1896 -1977)
Original Illustration, c.1965
Oil on canvas
12.5in. x 24in.(sight size)
Signed lower right
Provenance: Morris Weiss collection
Keywords: nude, girl, oil, painting, illustration, pin up
Original Illustration, c.1965
Oil on canvas
12.5in. x 24in.(sight size)
Signed lower right
Provenance: Morris Weiss collection
Keywords: nude, girl, oil, painting, illustration, pin up
FRANK R. PAUL (1884-1963)
Original Magazine Story Illustration, c.1942
Ink on board
20in. x 17.25in. (sight size)
Not signed
Frank R. Paul studied art and architecture in Europe before he was discovered in 1914 by SF publisher Hugo Gernsback. A young lady's soul seems to be reuniting with a young man's in a ghostly encounter. This illustration appeared in one of the pulps published by Frank A. Munsey.
Keywords: space, science fiction, magazine, ink, drawing
Original Magazine Story Illustration, c.1942
Ink on board
20in. x 17.25in. (sight size)
Not signed
Frank R. Paul studied art and architecture in Europe before he was discovered in 1914 by SF publisher Hugo Gernsback. A young lady's soul seems to be reuniting with a young man's in a ghostly encounter. This illustration appeared in one of the pulps published by Frank A. Munsey.
Keywords: space, science fiction, magazine, ink, drawing
FRANK R. PAUL (1884-1963)
Original Magazine Story Illustration, c.1942
Ink on board
20in. x 17.25in. (sight size)
Signed lower right: Paul
One of the titans of science fiction, Frank R. Paul's influence on other artists in the genre can hardly be overstated. A fair maiden hurls a bouquet at a space hero. This illustration appeared in one of the pulps published by Frank A. Munsey.
Keywords: space, science fiction, magazine, ink, drawing
Original Magazine Story Illustration, c.1942
Ink on board
20in. x 17.25in. (sight size)
Signed lower right: Paul
One of the titans of science fiction, Frank R. Paul's influence on other artists in the genre can hardly be overstated. A fair maiden hurls a bouquet at a space hero. This illustration appeared in one of the pulps published by Frank A. Munsey.
Keywords: space, science fiction, magazine, ink, drawing
FRANK R. PAUL (1884-1963)
Original Pulp Back Cover Illustration
Amazing Stories, July, 1940
Caption: "As Mars Sees Us"
Watercolor on paper
21in. x 16in. (sight size)
Signed lower right: Paul
This startling alien tableau epitomizes Frank Paul's unmatchable imagination at play. In this image, we see ourselves "As Mars Sees Us." The accompanying text reads: "A Martian reconstruction of the Earthman, deduced from what he can discover of our world by observation and analysis, might very logically be such a creature as is shown here." Inside the pulp, author Henry Gade elaborates: "Using his observations with scientific instruments a Martian would reconstruct the Earthman on theory, most likely as artist Frank R. Paul has so cleverly depicted him." Gade continues, "Let us 'quote' the Martian scientist: The Man From Earth would be a very fortunate man, considering our own standards of existence. He has at his disposal, the richest, most livable world in the solar system. No doubt, he would be a fat, contented creature with a large body, bullet-head, short legs, and webbed hands and feet. Much of his time would be spent in eating, and his civilization would be simple. We of Mars can well be jealous of Earth and its inhabitants. For a future of millions of years of plenty, full of possibility for intellectual and scientific advance as the planet grows older, is in store for her." A copy of the pulp is included in this lot.
science fiction, pulp, cover, watercolor, painting, fantasy
Original Pulp Back Cover Illustration
Amazing Stories, July, 1940
Caption: "As Mars Sees Us"
Watercolor on paper
21in. x 16in. (sight size)
Signed lower right: Paul
This startling alien tableau epitomizes Frank Paul's unmatchable imagination at play. In this image, we see ourselves "As Mars Sees Us." The accompanying text reads: "A Martian reconstruction of the Earthman, deduced from what he can discover of our world by observation and analysis, might very logically be such a creature as is shown here." Inside the pulp, author Henry Gade elaborates: "Using his observations with scientific instruments a Martian would reconstruct the Earthman on theory, most likely as artist Frank R. Paul has so cleverly depicted him." Gade continues, "Let us 'quote' the Martian scientist: The Man From Earth would be a very fortunate man, considering our own standards of existence. He has at his disposal, the richest, most livable world in the solar system. No doubt, he would be a fat, contented creature with a large body, bullet-head, short legs, and webbed hands and feet. Much of his time would be spent in eating, and his civilization would be simple. We of Mars can well be jealous of Earth and its inhabitants. For a future of millions of years of plenty, full of possibility for intellectual and scientific advance as the planet grows older, is in store for her." A copy of the pulp is included in this lot.
science fiction, pulp, cover, watercolor, painting, fantasy
HERBERT PAUS (1880-1946)
Original Magazine Story Illustration, c. 1920
Mixed-media on paper
14in. x 10in. (sight size)
Signed lower left: Paus
Provenance: Morris Weiss collection
Keywords: pen, ink, watercolor, historical, portrait, magazine, illustration
Original Magazine Story Illustration, c. 1920
Mixed-media on paper
14in. x 10in. (sight size)
Signed lower left: Paus
Provenance: Morris Weiss collection
Keywords: pen, ink, watercolor, historical, portrait, magazine, illustration
EDWARD PENFIELD (1866-1925)
Original Illustration c.1910
Gouache on board
13.25in. x 10.75in. (sight size)
Signed with a monograph lower right.
Provenance: Morris Weiss collection
Edward Penfield published two books of his drawings, Holland Sketches in 1907 and Spanish Sketches in 1911
Keywords: watercolor, drawing, illustration, matador, bull, historical, painting, illustration, Spain
Original Illustration c.1910
Gouache on board
13.25in. x 10.75in. (sight size)
Signed with a monograph lower right.
Provenance: Morris Weiss collection
Edward Penfield published two books of his drawings, Holland Sketches in 1907 and Spanish Sketches in 1911
Keywords: watercolor, drawing, illustration, matador, bull, historical, painting, illustration, Spain
EDWARD PENFIELD (1866-1925)
Original Advertising Art, c.1910
Gouache on paper
17in. x 14in. (sight size)
Initialed monogram lower left.
Provenance: Morris Weiss collection
Keywords: gouache, painting, ad, magazine, Thanksgiving, holiday
Original Advertising Art, c.1910
Gouache on paper
17in. x 14in. (sight size)
Initialed monogram lower left.
Provenance: Morris Weiss collection
Keywords: gouache, painting, ad, magazine, Thanksgiving, holiday
Paintings
K. GUNNOR PETERSEN
Original Illustration Life magazine, c.1940
Gouache on board
14in. x 10.5in. (approximate sight size)
Not signed
Three kids celebrate a merry and noisy Christmas in this charming illustration, possibly done as advertising art.
Keywords: cartoon, humor, magazine, comic, christmas, gouache, watercolor, gouache, painting
Original Illustration Life magazine, c.1940
Gouache on board
14in. x 10.5in. (approximate sight size)
Not signed
Three kids celebrate a merry and noisy Christmas in this charming illustration, possibly done as advertising art.
Keywords: cartoon, humor, magazine, comic, christmas, gouache, watercolor, gouache, painting
GEORGE PETTY (1894-1975)
Original Pin-Up Art
Ad for Old Gold cigarettes, c.1937
Watercolor on board
39in. x 26in. (sight size)
Signed center left: Petty
George Petty painted this image for an Old Gold poster. The Old Gold Poster, a rarity in itself, is included. The painting has also been reproduced on page 252, figures 578 and 579 of The Great American Pin-up by Charles G. Martignette and Louis K. Meisel.
Keywords: painting, pin up, pin-up, glamor, girl, advertising, painting
Condition: The board has a horizontal crack, beginning in the left background, crossing the figure, and ending in the right background, in a flattened "m" shape. It is most visible at the shadow of the figure's right arm, near the strap.
Original Pin-Up Art
Ad for Old Gold cigarettes, c.1937
Watercolor on board
39in. x 26in. (sight size)
Signed center left: Petty
George Petty painted this image for an Old Gold poster. The Old Gold Poster, a rarity in itself, is included. The painting has also been reproduced on page 252, figures 578 and 579 of The Great American Pin-up by Charles G. Martignette and Louis K. Meisel.
Keywords: painting, pin up, pin-up, glamor, girl, advertising, painting
Condition: The board has a horizontal crack, beginning in the left background, crossing the figure, and ending in the right background, in a flattened "m" shape. It is most visible at the shadow of the figure's right arm, near the strap.
Original Illustration Art
PAUL ALBERT PLASCHKE (1880-1954)
Original Magazine Cartoon, c.1900
Ink on paper
16in. x 13in. (sight size)
Signed lower left: Plaschke
Keywords: cartoon, humor, romance, illustration, magazine, cards, pen, ink, drawing, Christy, Howard
Original Magazine Cartoon, c.1900
Ink on paper
16in. x 13in. (sight size)
Signed lower left: Plaschke
Keywords: cartoon, humor, romance, illustration, magazine, cards, pen, ink, drawing, Christy, Howard
Paintings
GENE PRESSLER
Original Illustration Art, c.1926
Pastel on canvas
32in. x 24in. (sight size)
Signed lower left: Gene Pressler
This work may have been drawn for a Peters Calender as indicated by writing on the reverse of this work.
Keywords: girl, pin up, pastel, glamor girl, poster, Parrish
Original Illustration Art, c.1926
Pastel on canvas
32in. x 24in. (sight size)
Signed lower left: Gene Pressler
This work may have been drawn for a Peters Calender as indicated by writing on the reverse of this work.
Keywords: girl, pin up, pastel, glamor girl, poster, Parrish
Original Illustration Art
NORMAN PRICE (1877-1951)
Original Magazine Story Illustration, c.1940
Gouache on paper
14.5in. x 26in. (sight size)
Signed lower right: Norman Price
Provenance: Morris Weiss collection
Keywords: painted, illustration, historical, military, magazine, illustration
Original Magazine Story Illustration, c.1940
Gouache on paper
14.5in. x 26in. (sight size)
Signed lower right: Norman Price
Provenance: Morris Weiss collection
Keywords: painted, illustration, historical, military, magazine, illustration
NORMAN PRICE (1877-1951)
Original Magazine Story Illustration, c.1940
Gouache on paper
13in. x 13in. (sight size)
Signed lower right: Norman Price
Provenance: Morris Weiss collection
Keywords: gouache, magazine, illustration. mexican, western, historical
Original Magazine Story Illustration, c.1940
Gouache on paper
13in. x 13in. (sight size)
Signed lower right: Norman Price
Provenance: Morris Weiss collection
Keywords: gouache, magazine, illustration. mexican, western, historical
NORMAN PRICE (1877-1951)
Original Magazine Story Illustration
"Whistling Cat," part nine c.1933
Caption: "Conway's features became iron-grim."
Ink on paper
4.5in. x 5.75in. (sight size)
Initialed lower right: N. P.
Provenance: Morris Weiss collection
Keywords: pen, ink, illustration, drama, magazine, drawing, historical
Original Magazine Story Illustration
"Whistling Cat," part nine c.1933
Caption: "Conway's features became iron-grim."
Ink on paper
4.5in. x 5.75in. (sight size)
Initialed lower right: N. P.
Provenance: Morris Weiss collection
Keywords: pen, ink, illustration, drama, magazine, drawing, historical
NORMAN PRICE (1877-1951)
Original Advertising Art, c.1948
Gouache on board
20in. x 15.5in. (sight size)
Signed lower right: Norman Price
Two incomplete examples of the ad tearsheets are included in this lot.
Provenance: Morris Weiss collection
Keywords: cowboy, painting, magazine, illustration, western, stagecoach
Original Advertising Art, c.1948
Gouache on board
20in. x 15.5in. (sight size)
Signed lower right: Norman Price
Two incomplete examples of the ad tearsheets are included in this lot.
Provenance: Morris Weiss collection
Keywords: cowboy, painting, magazine, illustration, western, stagecoach
Paintings
NORMAN PRICE (1877-1951)
Original Book Illustration, c.1947
Treasure Island by R.L. Stevenson, Chapter 31 illustration
Caption: "I Was Led Like A Dancing Bear."
Ink on paper
6.75in. x 9.75in. (sight size)
Signed lower left: Norman Price
Provenance: Morris Weiss collection
A sensational group portrait of Long John Silver and his band of blood-thirsty pirates.
Keywords: pen, ink, illustration, book, pirates, drawing, children
Original Book Illustration, c.1947
Treasure Island by R.L. Stevenson, Chapter 31 illustration
Caption: "I Was Led Like A Dancing Bear."
Ink on paper
6.75in. x 9.75in. (sight size)
Signed lower left: Norman Price
Provenance: Morris Weiss collection
A sensational group portrait of Long John Silver and his band of blood-thirsty pirates.
Keywords: pen, ink, illustration, book, pirates, drawing, children
NORMAN PRICE (1877-1951)
Original Magazine Story Illustration
Woman's Home Companion for "Love and the Lieutenant" by Robert W. Chambers, May, 1934.
Caption: "I cantered back to quarters followed by Phipps and Beckwith who were bawling witticisms at me."
Ink on paper
8in. x 9.5in. (sight size)
Signed lower left: Norman Price
Provenance: Morris Weiss collection
A copy of the magazine as well as a tearsheet of the printed illustration are included.
Keywords: oil, painting, magazine illustration, western, cowboy, miner, story
Original Magazine Story Illustration
Woman's Home Companion for "Love and the Lieutenant" by Robert W. Chambers, May, 1934.
Caption: "I cantered back to quarters followed by Phipps and Beckwith who were bawling witticisms at me."
Ink on paper
8in. x 9.5in. (sight size)
Signed lower left: Norman Price
Provenance: Morris Weiss collection
A copy of the magazine as well as a tearsheet of the printed illustration are included.
Keywords: oil, painting, magazine illustration, western, cowboy, miner, story
NORMAN PRICE (1877-1951)
Original Magazine Story Illustration, c.1934
"John Gaillard Rides" by Robert W. Chambers
Caption: "The shrieking, roaring tumult nearly deafened Operator 13; yelling men, boys and women swarmed past, shouldering her ahead with them."
Pencil on paper
18in. x 24in. (sight size)
Signed lower right: Norman Price
Provenance: Morris Weiss collection
A tearsheet of the printed illustration and a black and white photograph of the work are included Keywords: girl, glamor, romance, pin up, fashion, pencil, drawing, book, illustration
Original Magazine Story Illustration, c.1934
"John Gaillard Rides" by Robert W. Chambers
Caption: "The shrieking, roaring tumult nearly deafened Operator 13; yelling men, boys and women swarmed past, shouldering her ahead with them."
Pencil on paper
18in. x 24in. (sight size)
Signed lower right: Norman Price
Provenance: Morris Weiss collection
A tearsheet of the printed illustration and a black and white photograph of the work are included Keywords: girl, glamor, romance, pin up, fashion, pencil, drawing, book, illustration
Original Illustration Art
NORMAN PRICE (1877-1951)
Original Book Illustration, c.1936
The Fortunate Shipwreck by Gladys Blake.
Caption, inscribed on the reverse: "Two panting slaves were turning a stone mill that ground the grain into flour. (galley 2)."
Ink on paper
4.75in. x 6.25in. (sight size)
Signed lower right.
Provenance: Morris Weiss collection
Keywords: pen, ink, drawing, book, illustration, pirates, historical, adventure
Original Book Illustration, c.1936
The Fortunate Shipwreck by Gladys Blake.
Caption, inscribed on the reverse: "Two panting slaves were turning a stone mill that ground the grain into flour. (galley 2)."
Ink on paper
4.75in. x 6.25in. (sight size)
Signed lower right.
Provenance: Morris Weiss collection
Keywords: pen, ink, drawing, book, illustration, pirates, historical, adventure
NORMAN PRICE (1877-1951)
Original Illustration (1939)
Leif Erikson The Lucky by Frederic A. Kummer, The John C. Winston Company, 1939, page 24
Caption: "After Spoiling A Town on the Frankish Coast."
Ink on paper
6.25in. x 10in. (sight size)
Signed the lower left: Norman Price
Provenance: Morris Weiss collection
A copy of the book is included with this lot.
Keywords: pen, ink, illustration, viking, historical, book, drawing
Original Illustration (1939)
Leif Erikson The Lucky by Frederic A. Kummer, The John C. Winston Company, 1939, page 24
Caption: "After Spoiling A Town on the Frankish Coast."
Ink on paper
6.25in. x 10in. (sight size)
Signed the lower left: Norman Price
Provenance: Morris Weiss collection
A copy of the book is included with this lot.
Keywords: pen, ink, illustration, viking, historical, book, drawing
Paintings
NORMAN PRICE (1877-1951)
Original Illustration, c.1930
Ink on paper
12.25in. x 25in. (sight size)
Signed lower right: Norman Price
Provenance: Morris Weiss collection
Keywords: ink, pen, drawing, book, illustration, train, civil war. historical
Original Illustration, c.1930
Ink on paper
12.25in. x 25in. (sight size)
Signed lower right: Norman Price
Provenance: Morris Weiss collection
Keywords: ink, pen, drawing, book, illustration, train, civil war. historical
Original Illustration Art
NORMAN PRICE (1877-1951)
Original Illustration, c.1900
Charcoal on paper
22in. x 15in. (sight size)
Signed on a typed story regarding the creation of the work, lower right: Norman Price
Provenance: Morris Weiss collection
Keywords: charcoal, pencil, drawing, illustration, historical
Original Illustration, c.1900
Charcoal on paper
22in. x 15in. (sight size)
Signed on a typed story regarding the creation of the work, lower right: Norman Price
Provenance: Morris Weiss collection
Keywords: charcoal, pencil, drawing, illustration, historical
NORMAN PRICE (1877-1951)
Original Illustration, c.1910
Tales from Shakespeare by Charles and Mary Lamb, Scribners, no date (circa 1910), illustration, page 219
Caption: "Olivia, 'But we will draw the curtain and show you the picture.' (The Twelfth Night--Act I. Scene 5)."
Gouache on paper
11.75in. x 8in. (sight size)
Signed lower left: Norman Price
Provenance: Morris Weiss collection
A copy of the Scribner's book is included with this lot.
Keywords: painting, gouache, painted, paper, book, shakespeare, portrait
Original Illustration, c.1910
Tales from Shakespeare by Charles and Mary Lamb, Scribners, no date (circa 1910), illustration, page 219
Caption: "Olivia, 'But we will draw the curtain and show you the picture.' (The Twelfth Night--Act I. Scene 5)."
Gouache on paper
11.75in. x 8in. (sight size)
Signed lower left: Norman Price
Provenance: Morris Weiss collection
A copy of the Scribner's book is included with this lot.
Keywords: painting, gouache, painted, paper, book, shakespeare, portrait
WILLIAM MEADE PRINCE (1893-1951)
Original Magazine Story Illustration, c.1940
Collier's
Pencil and white gouache on toned paper
16in. x 19in. (sight size)
Signed lower right
Provenance: Morris Weiss collection
Keywords: African American, Americana, pencil, drawing, illustration, cartoon
Original Magazine Story Illustration, c.1940
Collier's
Pencil and white gouache on toned paper
16in. x 19in. (sight size)
Signed lower right
Provenance: Morris Weiss collection
Keywords: African American, Americana, pencil, drawing, illustration, cartoon
Paintings
WILLIAM MEADE PRINCE (1893-1951)
Original Magazine Story Illustration
Collier's, April 3, 1943
"The Side-Splitter's Split" by Roark Bradford
Pencil on paper
14in. x 17in.
Signed center right: Wm. Meade Prince
Provenance: Morris Weiss collection
Keywords: african american, humor, cartoon, pencil, illustration
Original Magazine Story Illustration
Collier's, April 3, 1943
"The Side-Splitter's Split" by Roark Bradford
Pencil on paper
14in. x 17in.
Signed center right: Wm. Meade Prince
Provenance: Morris Weiss collection
Keywords: african american, humor, cartoon, pencil, illustration
Original Illustration Art
WILLIAM MEADE PRINCE (1893-1951)
Original Magazine Story Illustration, c.1920
Collier's illustration
"1-A Johnson" by Roark Bradford.
Caption: "'Hold everything!' Giles ordered. 'She got a right, Mis' Duch. Hit's her money and she can do like she want.'"
Graphite and gouache on illustration board
14.25in. x 18.5in.(sight size)
Signed lower right
Provenance: Morris Weiss collection
Keywords: pencil, drawing, cartoon, illustration, black, americana, african, american, humor, horse
Original Magazine Story Illustration, c.1920
Collier's illustration
"1-A Johnson" by Roark Bradford.
Caption: "'Hold everything!' Giles ordered. 'She got a right, Mis' Duch. Hit's her money and she can do like she want.'"
Graphite and gouache on illustration board
14.25in. x 18.5in.(sight size)
Signed lower right
Provenance: Morris Weiss collection
Keywords: pencil, drawing, cartoon, illustration, black, americana, african, american, humor, horse
HOWARD PYLE N.A. (American 1853-1911)
Street Scene
Ink on paper
7in. x 4in. (sight size)
Inscribed lower left: HP
Long considered to be the father of American illustration, Howard Pyle was born in Delaware, where he lived his whole life aside from two years spent at the Art Students League in New York City. While still a student, Pyle illustrated for Century Magazine. Other commissions soon followed from Collier's Weekly, Everybody's Magazine, Harper's Weekly, Harper's Monthly, Cosmopolitan, The Ladies' Home Journal, McClure's Magazine, Scribner's, Wide Awake, and St. Nicholas magazines. In 1879, Pyle returned to Delaware and wrote and illustrated a number of books, including Book of Pirates, The Story of King Arthur and his Knights, Men of Iron, The Merry Adventures of Robin Hood, and he also illustrated for the publishers Riverside Press, The Bibliophile Society, Century, Little Brown and Company, Scribner's, and Houghton Mifflin Company.
Pyle was a master of all forms of media. He excelled in pen and ink, watercolors, oils, pencil, and charcoal, equally well. From his experiences as an art student, he realized that there were no classes geared toward teaching the art of illustration and founded the first school in the nation for illustration at Drexel Institute in Philadelphia. Subsequently, Pyle started the Howard Pyle School of Art in Wilmington, Delaware. Pyle's school made Wilmington the center of illustration during the turn of the 19th/20th century. Pyle had about 200 students over the course of his teaching career, and helped launch over 80 well-known and very successful illustrators, including Maxfield Parrish, Jessie Wilcox Smith, and N.C. Wyeth. During his career, Pyle produced illustrations for nearly 3,500 publications. The Delaware Museum of Art was founded to house Pyle's art work, and his other works can be found in museums, including the Philadelphia Museum of Art, Gilcrease Museum, NewYork Historical Society, Saint Louis Art Museum, and the Brandywine River Museum.
Street Scene
Ink on paper
7in. x 4in. (sight size)
Inscribed lower left: HP
Long considered to be the father of American illustration, Howard Pyle was born in Delaware, where he lived his whole life aside from two years spent at the Art Students League in New York City. While still a student, Pyle illustrated for Century Magazine. Other commissions soon followed from Collier's Weekly, Everybody's Magazine, Harper's Weekly, Harper's Monthly, Cosmopolitan, The Ladies' Home Journal, McClure's Magazine, Scribner's, Wide Awake, and St. Nicholas magazines. In 1879, Pyle returned to Delaware and wrote and illustrated a number of books, including Book of Pirates, The Story of King Arthur and his Knights, Men of Iron, The Merry Adventures of Robin Hood, and he also illustrated for the publishers Riverside Press, The Bibliophile Society, Century, Little Brown and Company, Scribner's, and Houghton Mifflin Company.
Pyle was a master of all forms of media. He excelled in pen and ink, watercolors, oils, pencil, and charcoal, equally well. From his experiences as an art student, he realized that there were no classes geared toward teaching the art of illustration and founded the first school in the nation for illustration at Drexel Institute in Philadelphia. Subsequently, Pyle started the Howard Pyle School of Art in Wilmington, Delaware. Pyle's school made Wilmington the center of illustration during the turn of the 19th/20th century. Pyle had about 200 students over the course of his teaching career, and helped launch over 80 well-known and very successful illustrators, including Maxfield Parrish, Jessie Wilcox Smith, and N.C. Wyeth. During his career, Pyle produced illustrations for nearly 3,500 publications. The Delaware Museum of Art was founded to house Pyle's art work, and his other works can be found in museums, including the Philadelphia Museum of Art, Gilcrease Museum, NewYork Historical Society, Saint Louis Art Museum, and the Brandywine River Museum.
Paintings
HOWARD PYLE N.A. (1853-1911) and W.H.W. BICKNELL (1860-1947)
Original Bibliophile Society Print, 1903
Ink on paper
18in. x 10.25in.(sight size)
Signed lower left: Howard Pyle, lower right, W.H. W. Bicknell
William Harry Waren Bicknell etched this Howard Pyle composition for the members of The Bibliophile Society. This print is from a portfolio of five prints, limited to an edition of 302. Boston: The Bibliophile Society, 1903. The print has full margins, with the Bibliophile Society stamp. Signed in pencil by both Bicknell and Pyle.
Keywords: etching, print, ink, drawing
Original Bibliophile Society Print, 1903
Ink on paper
18in. x 10.25in.(sight size)
Signed lower left: Howard Pyle, lower right, W.H. W. Bicknell
William Harry Waren Bicknell etched this Howard Pyle composition for the members of The Bibliophile Society. This print is from a portfolio of five prints, limited to an edition of 302. Boston: The Bibliophile Society, 1903. The print has full margins, with the Bibliophile Society stamp. Signed in pencil by both Bicknell and Pyle.
Keywords: etching, print, ink, drawing
ALEX RAYMOND (1909-1956)
Original Magazine Story Illustration, c.1936
Ink on paper
22in. x 20in. (sight size)
Signed lower right: Alex Raymond
This breathtaking illustration has an eerie and haunting resonance -- the grim reaper goads a beautiful couple to race on in their convertible. Twenty years later, Heart of Juliet Jones cartoonist Stan Drake and Alex Raymond suffered their own deadly high-speed crash.
Writer Arlen Schumer interviewed Drake about the accident in an article for Hogan's Alley #3. To Drake, Alex Raymond was a striking figure; matinee-idol handsome with a pencil-thin mustache, virile, hugely talented and admired among his peers. Alex Raymond wanted to test drive Drake's new 1956 Corvette convertible, which boasted 450 horsepower, and a four-second acceleration from 0 to 60 miles per hour. On that day, September 6th, 1956, a steady rain was falling, and the top was up on the Corvette. At first, Drake took the wheel, traveling around Westport while Raymond admired the automobile. "Finally, we were on a road over by the highway, and he said, 'Can I drive?' and I said, 'Sure.' " Raymond began driving down South Morningside Drive to Clapboard Road, where Raymond began driving as if he were on his favorite race course.
As he sped down the steeply graded Clapboard, he failed to see a stop sign that was hidden by overgrown weeds. Racing through the intersection, Raymond and Drake were suddenly in a free fall. Clapboard Road dropped off precipitously after the stop sign, and the velocity of the car launched it into midair. "By not stopping, we shot out about sixty feet into the air," Drake said. "They calculated where the wheels hit the road, and it was about sixty feet. The last thing I remember, we were coming right at these trees. There was a pencil on the dashboard, and it was floating in the air. That's the last thing I remember before we hit." Raymond was killed but Drake was thrown clear, and survived the crash. While he was recovering, a doctor told him that this had been the fourth time in the past month Raymond had been hospitalized due to injuries sustained in auto accidents. "He had been trying to kill himself," Drake said.
The flawless "painterly" drybrush technique used in this drawing shows the 1930s influence of illustrator Matt Clark on Raymond. Many Raymond aficionados consider 1935-36 to be the artistic peak of Alex Raymond's career, and after marveling at this masterful drawing, it would be hard to refute that opinion.
Original Magazine Story Illustration, c.1936
Ink on paper
22in. x 20in. (sight size)
Signed lower right: Alex Raymond
This breathtaking illustration has an eerie and haunting resonance -- the grim reaper goads a beautiful couple to race on in their convertible. Twenty years later, Heart of Juliet Jones cartoonist Stan Drake and Alex Raymond suffered their own deadly high-speed crash.
Writer Arlen Schumer interviewed Drake about the accident in an article for Hogan's Alley #3. To Drake, Alex Raymond was a striking figure; matinee-idol handsome with a pencil-thin mustache, virile, hugely talented and admired among his peers. Alex Raymond wanted to test drive Drake's new 1956 Corvette convertible, which boasted 450 horsepower, and a four-second acceleration from 0 to 60 miles per hour. On that day, September 6th, 1956, a steady rain was falling, and the top was up on the Corvette. At first, Drake took the wheel, traveling around Westport while Raymond admired the automobile. "Finally, we were on a road over by the highway, and he said, 'Can I drive?' and I said, 'Sure.' " Raymond began driving down South Morningside Drive to Clapboard Road, where Raymond began driving as if he were on his favorite race course.
As he sped down the steeply graded Clapboard, he failed to see a stop sign that was hidden by overgrown weeds. Racing through the intersection, Raymond and Drake were suddenly in a free fall. Clapboard Road dropped off precipitously after the stop sign, and the velocity of the car launched it into midair. "By not stopping, we shot out about sixty feet into the air," Drake said. "They calculated where the wheels hit the road, and it was about sixty feet. The last thing I remember, we were coming right at these trees. There was a pencil on the dashboard, and it was floating in the air. That's the last thing I remember before we hit." Raymond was killed but Drake was thrown clear, and survived the crash. While he was recovering, a doctor told him that this had been the fourth time in the past month Raymond had been hospitalized due to injuries sustained in auto accidents. "He had been trying to kill himself," Drake said.
The flawless "painterly" drybrush technique used in this drawing shows the 1930s influence of illustrator Matt Clark on Raymond. Many Raymond aficionados consider 1935-36 to be the artistic peak of Alex Raymond's career, and after marveling at this masterful drawing, it would be hard to refute that opinion.
Original Illustration Art
WILLIAM REUSSWIG (1902-1978)
Original Illustration, c.1960
Oil on board
23in. x 17in. (sight size)
Signed lower right: Reusswig
Provenance: Morris Weiss collection
Reusswig specialized in masculine adventure subjects, especially outdoor scenes in the Western genre. He studied at Amherst College and the Art Students League in New York.
Keywords: drawing, ink, figure, magazine, illustration, watercolor
Original Illustration, c.1960
Oil on board
23in. x 17in. (sight size)
Signed lower right: Reusswig
Provenance: Morris Weiss collection
Reusswig specialized in masculine adventure subjects, especially outdoor scenes in the Western genre. He studied at Amherst College and the Art Students League in New York.
Keywords: drawing, ink, figure, magazine, illustration, watercolor
HARRY HERMAN ROSELAND (American 1866-1950)
Sunshine and Rain: Two Babies
Oil on canvas 18.5in. x 13.75in. (sight size)
Signed lower left: Harry Roseland
Old Sears and Roebuck label on verso inscribed: Harry Roseland/ [S]unshine and Rai[n]
Provenance: Butterfield's December 8, 1998, lot 1814
Harry Herman Roseland was one of America's most notable painters of genre scenes during the late 19th and early 20th centuries. Born in Brooklyn, New York in 1868, he lived and worked in Brooklyn for his entire career. He studied art under Thomas Eakins, Charles Beckwith and J. B. Whittaker in Brooklyn. He first painted landscapes and still lifes, but his natural penchant was for narrative genre painting. He was known for his sentimental subjects heavily influenced by fashionable taste, such as smartly dressed young women, old folks, idealized farm scenes, and post-Civil War African Americans.
Roseland never left his native Brooklyn, and he died in New York in 1950, but enjoyed a remarkable success as an artist in his chosen specialty, continually improving and maturing. The epitome of the independent American artist, Roseland never traveled to Europe to study or observe, choosing to carve his own path. He exhibited his paintings at the Brooklyn Art Club, 1888 (gold), Boston Art Club 1900 (medal), 1904 (gold), Charleston Expo, 1902 (medal), National Academy of Design, 1898 (prize), Brooklyn Society of Artists, 1930 (prize), American Art Society, Philadelphia, 1902 (medal), 1907 (gold), Pennsylvania Academy of the Fine Arts, and the Art Institute of Chicago. Roseland was a member of the Brooklyn Arts Club, Brooklyn Society of Artists, Brooklyn Painters Society, and the Salmagundi Club. His paintings are housed in public collections, including the Huntington Art Museum, Brooklyn Institute of Arts and Sciences, Brooklyn Museums, Charleston Art Museum, and the Heckscher Museum, Long Island, New York.
Condition: small area of inpaint upper right and bottom right and middle
Sunshine and Rain: Two Babies
Oil on canvas 18.5in. x 13.75in. (sight size)
Signed lower left: Harry Roseland
Old Sears and Roebuck label on verso inscribed: Harry Roseland/ [S]unshine and Rai[n]
Provenance: Butterfield's December 8, 1998, lot 1814
Harry Herman Roseland was one of America's most notable painters of genre scenes during the late 19th and early 20th centuries. Born in Brooklyn, New York in 1868, he lived and worked in Brooklyn for his entire career. He studied art under Thomas Eakins, Charles Beckwith and J. B. Whittaker in Brooklyn. He first painted landscapes and still lifes, but his natural penchant was for narrative genre painting. He was known for his sentimental subjects heavily influenced by fashionable taste, such as smartly dressed young women, old folks, idealized farm scenes, and post-Civil War African Americans.
Roseland never left his native Brooklyn, and he died in New York in 1950, but enjoyed a remarkable success as an artist in his chosen specialty, continually improving and maturing. The epitome of the independent American artist, Roseland never traveled to Europe to study or observe, choosing to carve his own path. He exhibited his paintings at the Brooklyn Art Club, 1888 (gold), Boston Art Club 1900 (medal), 1904 (gold), Charleston Expo, 1902 (medal), National Academy of Design, 1898 (prize), Brooklyn Society of Artists, 1930 (prize), American Art Society, Philadelphia, 1902 (medal), 1907 (gold), Pennsylvania Academy of the Fine Arts, and the Art Institute of Chicago. Roseland was a member of the Brooklyn Arts Club, Brooklyn Society of Artists, Brooklyn Painters Society, and the Salmagundi Club. His paintings are housed in public collections, including the Huntington Art Museum, Brooklyn Institute of Arts and Sciences, Brooklyn Museums, Charleston Art Museum, and the Heckscher Museum, Long Island, New York.
Condition: small area of inpaint upper right and bottom right and middle
GEORGE JEROME ROZEN (1895-1974)
Original pulp magazine cover
The Shadow #138 for "Double Death," 1938
Oil on canvas
21in. x 30in. (sight size)
The Shadow sees all, with the help of a body-piercing light, in this breathtaking scene. This striking and highly detailed illustration was created by famed pulp artist George Jerome Rozen who, along with his twin brother, Jerome George Rozen, did many of covers for The Shadow, as well as other pulps. George Rozen also worked for Colliers and The Saturday Evening Post. The work has been professionally cleaned and restored to its original bright condition.
Keyword: shadow, pulp, cover, hero, drama, illustration, painting
Original pulp magazine cover
The Shadow #138 for "Double Death," 1938
Oil on canvas
21in. x 30in. (sight size)
The Shadow sees all, with the help of a body-piercing light, in this breathtaking scene. This striking and highly detailed illustration was created by famed pulp artist George Jerome Rozen who, along with his twin brother, Jerome George Rozen, did many of covers for The Shadow, as well as other pulps. George Rozen also worked for Colliers and The Saturday Evening Post. The work has been professionally cleaned and restored to its original bright condition.
Keyword: shadow, pulp, cover, hero, drama, illustration, painting
Paintings
JEROME ROZEN (1895-1974)
Original Magazine Story Illustration, c.1926
West Grew
Ink on paper
17in. x 13in. (sight size)
Signed and dated lower right: J. Rozen '26
Provenance: Morris Weiss collection
Keywords: western, pulp, cowboy, ink, drawing, book, illustration
Original Magazine Story Illustration, c.1926
West Grew
Ink on paper
17in. x 13in. (sight size)
Signed and dated lower right: J. Rozen '26
Provenance: Morris Weiss collection
Keywords: western, pulp, cowboy, ink, drawing, book, illustration
JEROME ROZEN (1895-1974)
Original Magazine Story Illustration, c.1926
Ink on paper
18in. x 12.5in. (sight size)
Signed lower center: J. Rozen
Provenance: Morris Weiss collection Keywords: western, pulp, cowboy, ink, drawing, book, illustration
Original Magazine Story Illustration, c.1926
Ink on paper
18in. x 12.5in. (sight size)
Signed lower center: J. Rozen
Provenance: Morris Weiss collection Keywords: western, pulp, cowboy, ink, drawing, book, illustration
TONY SARG (1880-1942)
Original Magazine Illustration, c.1932
Caption: "I'll Tell You Who I Am, Wilfred the Bullfrog! I'm the Man That's Going to Marry This Girl."
Mixed-media on paper
9.25in. x 17.5in. (sight size)
Signed lower left
Inscribed to Morris Weiss lower left.
Provenance: Morris Weis collection
Two photocopies of the printed illustration are included.
Keywords: cartoon, humor, ink, drawing, painting, watercolor, magazine
Original Magazine Illustration, c.1932
Caption: "I'll Tell You Who I Am, Wilfred the Bullfrog! I'm the Man That's Going to Marry This Girl."
Mixed-media on paper
9.25in. x 17.5in. (sight size)
Signed lower left
Inscribed to Morris Weiss lower left.
Provenance: Morris Weis collection
Two photocopies of the printed illustration are included.
Keywords: cartoon, humor, ink, drawing, painting, watercolor, magazine
Original Illustration Art
TONY SARG (1880 -1942)
Original Illustration, c.1920
At the Crossroads
Mixed-media on board
20in. x 18in. (sight size)
Signed lower left
Provenance: Morris Weiss collection
Keywords: cartoon, watercolor, humor, panorama, funny, magazine, illustration, drawing
Original Illustration, c.1920
At the Crossroads
Mixed-media on board
20in. x 18in. (sight size)
Signed lower left
Provenance: Morris Weiss collection
Keywords: cartoon, watercolor, humor, panorama, funny, magazine, illustration, drawing
MARTHA SAWYERS (1902-1988)
Original Magazine Story Illustration, c.1944
Pastel on paper
29.5in. x 11.5in. (sight size)
Signed lower right: Martha Sawyers
Provenance: Morris Weiss collection
Martha Sawyers was elected into the Society of Illustrators' Hall of Fame in 1998. She specialized in drawings of the Far East in exotic locales such as Bali, Peking, and Nepal.
Keywords: pastel, drawing, pencil, adventure, pulp, exotic, illustration, magazine, mystery
Original Magazine Story Illustration, c.1944
Pastel on paper
29.5in. x 11.5in. (sight size)
Signed lower right: Martha Sawyers
Provenance: Morris Weiss collection
Martha Sawyers was elected into the Society of Illustrators' Hall of Fame in 1998. She specialized in drawings of the Far East in exotic locales such as Bali, Peking, and Nepal.
Keywords: pastel, drawing, pencil, adventure, pulp, exotic, illustration, magazine, mystery
ALWIN SCHMIDT
Original Magazine Illustration, c.1950
Oil on board
13.5in. x 17in. (sight size)
Initialed lower right: AS
Provenance: Morris Weiss collection
Keywords: cowboy, horse, portrait, oil, canvas, magazine, illustration, western
Original Magazine Illustration, c.1950
Oil on board
13.5in. x 17in. (sight size)
Initialed lower right: AS
Provenance: Morris Weiss collection
Keywords: cowboy, horse, portrait, oil, canvas, magazine, illustration, western
MAURICE SENDAK
Original Signed Print
Print on paper
13in. x 17.5in. (image size)
Signed lower right.
keywords: The Nutshell Library, Where the Wild Things Are, Wild things, In the Night Kitchen, Outside Over There, children's author, Illustrator, Caldecott Medalist, Hans Christian Andersen International Medalist, Laura Ingalls Wilder Award, Jewish Cultural Achievement Award, National Medal of Arts, F.A.O. Schwarz window display designer, bakers, chef, cakes, butter, monsters
Original Signed Print
Print on paper
13in. x 17.5in. (image size)
Signed lower right.
keywords: The Nutshell Library, Where the Wild Things Are, Wild things, In the Night Kitchen, Outside Over There, children's author, Illustrator, Caldecott Medalist, Hans Christian Andersen International Medalist, Laura Ingalls Wilder Award, Jewish Cultural Achievement Award, National Medal of Arts, F.A.O. Schwarz window display designer, bakers, chef, cakes, butter, monsters
MAURICE SENDAK
Original Signed Print, 1990
Print on paper, 16in. x 20in.
Signed lower right.
Keywords: The Nutshell Library, Where the Wild Things Are, Wild things, In the Night Kitchen, Outside Over There, children's author, Illustrator, Caldecott Medalist, Hans Christian Andersen International Medalist, Laura Ingalls Wilder Award, Jewish Cultural Achievement Award, National Medal of Arts, F.A.O. Schwarz window display designer, Chicken Soup, Night Kitchen, Little Bear, monsters
Original Signed Print, 1990
Print on paper, 16in. x 20in.
Signed lower right.
Keywords: The Nutshell Library, Where the Wild Things Are, Wild things, In the Night Kitchen, Outside Over There, children's author, Illustrator, Caldecott Medalist, Hans Christian Andersen International Medalist, Laura Ingalls Wilder Award, Jewish Cultural Achievement Award, National Medal of Arts, F.A.O. Schwarz window display designer, Chicken Soup, Night Kitchen, Little Bear, monsters
Paintings
After MAURICE SENDAK - Cayard Animation Studios
Three Original Celluloid Panels, 1970
Seven Monsters for "Sesame Street," after Maurice Sendak's ideas and artwork
Pen and ink on hand-painted acetate, with high-definition color printed backgrounds
7.5in. x 9.5in. (sight size)
Not signed, two are stamped on back with the Cayard authentification stamp
Although later the Seven Monsters would evolve into a popular animated television show for Nickelodeon, these cels are from their seminal project: a segment to teach counting to be used for PBS' "Sesame Street" -- but the project was never completed, when initial testing revealed children were frightened when the seventh monster unscrewed his head!
Keywords: The Nutshell Library, Where the Wild Things Are, Wild things, In the Night Kitchen, Outside Over There, children's author, Illustrator, Caldecott Medalist, Hans Christian Andersen International Medalist, Laura Ingalls Wilder Award, Jewish Cultural Achievement Award, National Medal of Arts, F.A.O. Schwarz window display designer, Chicken Soup, Night Kitchen, Little Bear, monsters
Three Original Celluloid Panels, 1970
Seven Monsters for "Sesame Street," after Maurice Sendak's ideas and artwork
Pen and ink on hand-painted acetate, with high-definition color printed backgrounds
7.5in. x 9.5in. (sight size)
Not signed, two are stamped on back with the Cayard authentification stamp
Although later the Seven Monsters would evolve into a popular animated television show for Nickelodeon, these cels are from their seminal project: a segment to teach counting to be used for PBS' "Sesame Street" -- but the project was never completed, when initial testing revealed children were frightened when the seventh monster unscrewed his head!
Keywords: The Nutshell Library, Where the Wild Things Are, Wild things, In the Night Kitchen, Outside Over There, children's author, Illustrator, Caldecott Medalist, Hans Christian Andersen International Medalist, Laura Ingalls Wilder Award, Jewish Cultural Achievement Award, National Medal of Arts, F.A.O. Schwarz window display designer, Chicken Soup, Night Kitchen, Little Bear, monsters
Original Illustration Art
AMOS SEWELL (1901-1983)
Original Illustration, c.1945
Ink on paper
12.5in. x 9.5in. (sight size)
Initialed lower left: AS
There is a bit of mild paper aging apparent
Provenance: Morris Weiss collection
Keywords: pen, ink, drawing, magazine, story
Original Illustration, c.1945
Ink on paper
12.5in. x 9.5in. (sight size)
Initialed lower left: AS
There is a bit of mild paper aging apparent
Provenance: Morris Weiss collection
Keywords: pen, ink, drawing, magazine, story
AMOS SEWELL (1901-1983)
Original Magazine Story Illustration, c.1957
The Saturday Evening Post
Prairie Schooner
Charcoal on paper
11.5in. x 16in. (sight size)
Signed lower right
Provenance: Morris Weiss collection
Keywords: charcoal, drawing, pencil, illustration, portrait, Western, romance, historical, magazine, illustration
Original Magazine Story Illustration, c.1957
The Saturday Evening Post
Prairie Schooner
Charcoal on paper
11.5in. x 16in. (sight size)
Signed lower right
Provenance: Morris Weiss collection
Keywords: charcoal, drawing, pencil, illustration, portrait, Western, romance, historical, magazine, illustration
Paintings
CHARLES GATES SHELDON (American 1889-1960)
Original magazine cover art
Joan Crawford for Screenland magazine, May 1933
Pastel on board
15in. x 11in. (sight size)
Signed lower left
An example of the published cover is included
Original magazine cover art
Joan Crawford for Screenland magazine, May 1933
Pastel on board
15in. x 11in. (sight size)
Signed lower left
An example of the published cover is included
EVERETT SHINN, N.A. (1876-1953)
Original Illustration, 1917
Watercolor on paper
19in. x 13.5in. (sight size)
Signed and dated lower left: Everett Shinn/ 1917
Provenance: Morris Weiss collection
Keywords: illustration, watercolor, painted, book, magazine, portrait, ashcan, eight
Original Illustration, 1917
Watercolor on paper
19in. x 13.5in. (sight size)
Signed and dated lower left: Everett Shinn/ 1917
Provenance: Morris Weiss collection
Keywords: illustration, watercolor, painted, book, magazine, portrait, ashcan, eight
DAN SMITH (1865-1934)
Original Illustration, c.1920
Oil on board
23in. x 16.75in. (sight size)
Signed lower right
Provenance: Morris Weiss collection
Keywords: hunt, fox. hound, horse, jumper, oil, magazine, cover, painting
Original Illustration, c.1920
Oil on board
23in. x 16.75in. (sight size)
Signed lower right
Provenance: Morris Weiss collection
Keywords: hunt, fox. hound, horse, jumper, oil, magazine, cover, painting
MODEST STEIN (1871-1958)
Original Illustration, c.1920
Ink on paper
8.75in. x 5.5in. (sight size)
Signed lower right: M. Stein
Provenance: Morris Weiss collection
Keywords: pen, ink, illustration, portrait, magazine, drawing
Original Illustration, c.1920
Ink on paper
8.75in. x 5.5in. (sight size)
Signed lower right: M. Stein
Provenance: Morris Weiss collection
Keywords: pen, ink, illustration, portrait, magazine, drawing
Original Illustration Art
MARLAND STONE (d.1975)
Original Magazine Cover Art, c.1930
Pastel on paper
14.25in. x 14.25in. (approximate sight size)
Signed lower right.
A lovely portrait of actress Norma Shearer probably, created for a movie magazine.
Keywords: portrait, movie, star, magazine, cover, film, pastel, drawing
Original Magazine Cover Art, c.1930
Pastel on paper
14.25in. x 14.25in. (approximate sight size)
Signed lower right.
A lovely portrait of actress Norma Shearer probably, created for a movie magazine.
Keywords: portrait, movie, star, magazine, cover, film, pastel, drawing
Paintings
HERBERT MORTON STOOPS (1888-1948)
Original Illustration Art
Blue Book magazine cover, c.1945
Oil on canvas
24in. x 35in. (sight size)
Not signed
Provenance: Morris Weiss collection
This cover painting was likely done for one of the historical scenes of the states, perhaps Louisiana. In addition to those for Blue Book, Stoops also did illustrations for Collier's, This Week, and Cosmopolitan.
Keywords: historical. oil, painting, magazine, illustration
Original Illustration Art
Blue Book magazine cover, c.1945
Oil on canvas
24in. x 35in. (sight size)
Not signed
Provenance: Morris Weiss collection
This cover painting was likely done for one of the historical scenes of the states, perhaps Louisiana. In addition to those for Blue Book, Stoops also did illustrations for Collier's, This Week, and Cosmopolitan.
Keywords: historical. oil, painting, magazine, illustration
Original Illustration Art
HERBERT MORTON STOOPS (1888-1948)
Original Illustration Art, c.1930
Oil on canvas
24in. x 24in. (sight size)
Signed lower right: Herbert Morton Stoops
Provenance: Morris Weiss collection
Herbert Morton Stoops excelled at adventure story illustrations and had a long association with Blue Book magazine. Near the end of his life, he began a series of covers that was to showcase historical scenes from each of the 48 states, and had completed 17 before he passed away. Stoops studied art at The Chicago Art Institute in 1916.
Keywords: historical. oil, painting, magazine, illustration
Original Illustration Art, c.1930
Oil on canvas
24in. x 24in. (sight size)
Signed lower right: Herbert Morton Stoops
Provenance: Morris Weiss collection
Herbert Morton Stoops excelled at adventure story illustrations and had a long association with Blue Book magazine. Near the end of his life, he began a series of covers that was to showcase historical scenes from each of the 48 states, and had completed 17 before he passed away. Stoops studied art at The Chicago Art Institute in 1916.
Keywords: historical. oil, painting, magazine, illustration
HERBERT MORTON STOOPS (1888-1948)
Original Magazine Story Illustration, c.1930
"A Gentleman at Arms" by George Creel
Ink on paper
13.5in. x 16in. (sight size)
Signed lower right: HM Stoops
Provenance: Morris Weiss collection
Keywords: pen, ink, drawing, pulp, magazine, illustration, adventure
Original Magazine Story Illustration, c.1930
"A Gentleman at Arms" by George Creel
Ink on paper
13.5in. x 16in. (sight size)
Signed lower right: HM Stoops
Provenance: Morris Weiss collection
Keywords: pen, ink, drawing, pulp, magazine, illustration, adventure
Paintings
HADDON SUNDBLOM (1899-1976)
Original Illustration, c.1930
Oil on canvas
28in. x 31in. (sight size)
Signed lower right: Sundblom
Provenance: Morris Weiss collection
Keywords: genre, painting, oil, baby, portrait, magazine, illustration
Original Illustration, c.1930
Oil on canvas
28in. x 31in. (sight size)
Signed lower right: Sundblom
Provenance: Morris Weiss collection
Keywords: genre, painting, oil, baby, portrait, magazine, illustration
Original Illustration Art
GENE SZAFRAN (b.1941)
Original Magazine Story Illustration,c.1970
Gouache on board
11.25in. x 21in.(sight size)
Not signed
Name stamp on verso
Keywords: romance, humor, painting, psychedelic, painting, illustration
Original Magazine Story Illustration,c.1970
Gouache on board
11.25in. x 21in.(sight size)
Not signed
Name stamp on verso
Keywords: romance, humor, painting, psychedelic, painting, illustration
ENRICH TORRES
Original Book Cover Preliminary Art
Image of the Beast by Philip Jose Farmer, Playboy Press, 1979
Graphite pencil on paper
18in. x 11in. (sight size)
Signed lower right: Enric
Inscribed on verso: Playboy, "Image of the Beast", Enrich
Enrich, a modern master of romantic illustration, uses traditional Old Master art techniques to add drama and beauty to his fantasy works. He is celebrated for his Vampirella covers for Warren Publications. Enrich drew this detailed pencil study for his painted cover for the Philip Jose Farmer novel. The bat and the snake are collaged on elements.
Keywords: book, cover, horror, vampire, girl, pin-up
Original Book Cover Preliminary Art
Image of the Beast by Philip Jose Farmer, Playboy Press, 1979
Graphite pencil on paper
18in. x 11in. (sight size)
Signed lower right: Enric
Inscribed on verso: Playboy, "Image of the Beast", Enrich
Enrich, a modern master of romantic illustration, uses traditional Old Master art techniques to add drama and beauty to his fantasy works. He is celebrated for his Vampirella covers for Warren Publications. Enrich drew this detailed pencil study for his painted cover for the Philip Jose Farmer novel. The bat and the snake are collaged on elements.
Keywords: book, cover, horror, vampire, girl, pin-up
Paintings
ENRICH TORRES
Original Calendar Art
Aries, 1979
Oil on paper
26in. x 23in. (sight size)
Signed and dated lower left: Enric, 1979
Enrich's talent for macabre subject matter is showcased in this calendar plate for Aries, or the month of April. A preliminary pencil sketch is included in this lot, and it measures an overall 8.5in. x 11in. There is some light foxing on the dark background.
Keywords: vampirella, fantasy, calendar, pin-up
Original Calendar Art
Aries, 1979
Oil on paper
26in. x 23in. (sight size)
Signed and dated lower left: Enric, 1979
Enrich's talent for macabre subject matter is showcased in this calendar plate for Aries, or the month of April. A preliminary pencil sketch is included in this lot, and it measures an overall 8.5in. x 11in. There is some light foxing on the dark background.
Keywords: vampirella, fantasy, calendar, pin-up
ENRICH TORRES
Original Calendar Art
Cancer, c.1979
Oil on paper
14in. x 9in. (sight size)
Signed lower left: Enrich
Cancer the crab has met its end at the hands of a femme fatale.
Keywords: vampirella, fantasy, calendar, pin-up, zodiac
Original Calendar Art
Cancer, c.1979
Oil on paper
14in. x 9in. (sight size)
Signed lower left: Enrich
Cancer the crab has met its end at the hands of a femme fatale.
Keywords: vampirella, fantasy, calendar, pin-up, zodiac
DEALTON VALENTINE (1889-1936)
Original Magazine Story Illustration (1932)
Liberty February 6, 1932 for "You Can't Tell"
Ink on paper
17in. x 14in. (sight size)
Signed lower right.
Inscribed lower right: "To Morris Weiss"
An example of the printed illustration is included.
Provenance: Morris Weiss collection
Keywords: drawing, ink, paper, cartoon. portrait. Liberty, illustration. magazine
Original Magazine Story Illustration (1932)
Liberty February 6, 1932 for "You Can't Tell"
Ink on paper
17in. x 14in. (sight size)
Signed lower right.
Inscribed lower right: "To Morris Weiss"
An example of the printed illustration is included.
Provenance: Morris Weiss collection
Keywords: drawing, ink, paper, cartoon. portrait. Liberty, illustration. magazine
RAEBURN VAN BUREN (1891-1987)
Original Magazine Story Illustration
The Saturday Evening Post, September 5, 1931
Caption: "There Were No Chain Stores in San Estaban in the Early 1900's."
Charcoal on board
16in. x 14in. (sight size)
Signed and dated lower right: R.Van Buren, '30
An example of the printed illustration is included.
Provenance: Morris Weiss collection
Keywords: charcoal, pencil, drawing, illustration, girl, glamor, portrait
Original Magazine Story Illustration
The Saturday Evening Post, September 5, 1931
Caption: "There Were No Chain Stores in San Estaban in the Early 1900's."
Charcoal on board
16in. x 14in. (sight size)
Signed and dated lower right: R.Van Buren, '30
An example of the printed illustration is included.
Provenance: Morris Weiss collection
Keywords: charcoal, pencil, drawing, illustration, girl, glamor, portrait
RAEBURN VAN BUREN (1891-1987)
Original Magazine Story Illustrations, lot of 14, c.1925-1930
The Saturday Evening Post
Charcoal on board
Various (sight size), most approximately 17in. x 15in.
Each signed and dated lower right: R.Van Buren
Provenance: Morris Weiss collection
Before Raeburn Van Buren began his Abbie an' Slats newspaper comic strip, he had an illustration career and drew for The Saturday Evening Post, Redbook, Cosmopolitan, Popular Magazine, and other magazines.
Keywords: charcoal, pencil, drawing, illustration, girl, glamor, portrait
Original Magazine Story Illustrations, lot of 14, c.1925-1930
The Saturday Evening Post
Charcoal on board
Various (sight size), most approximately 17in. x 15in.
Each signed and dated lower right: R.Van Buren
Provenance: Morris Weiss collection
Before Raeburn Van Buren began his Abbie an' Slats newspaper comic strip, he had an illustration career and drew for The Saturday Evening Post, Redbook, Cosmopolitan, Popular Magazine, and other magazines.
Keywords: charcoal, pencil, drawing, illustration, girl, glamor, portrait
ALBERTO VARGAS (1896-1982)
Original Pin-Up Art
American Fantasy, 1953
Watercolor on paper
29in. x 20in. (sight size)
Signed and dated lower right: Vargas, 1953
Feast your eyes on this sensational package! Here she is -- American Fantasy, the very first Vargas girl ever to appear in the pages of Playboy, and as the saying goes, you never forget your first time! The March, 1957 issue of Playboy featured Jon Campbell's ground-breaking pictorial, "The Vargas Girl." The spread opened with a large reproduction of American Fantasy, and it was a delicious taste of the "cheesecake" yet to come; reader response was so enthusiastic that starting with its September, 1960 issue, Playboy commissioned Vargas to produce a masterwork for each issue. Quoting from Campbell's paean, "The Forties belonged to Vargas and his Vargas Girl -- and we'll concede the Fifties too, if pressed. The Vargas Girl possesses something more than the sum of her perky parts; she is Anatomical Perfection, put together in a way certain to set the most unfeeling amongst us aquiver and amumbling in our Martinis." Indeed, Playboy had officially appointed Vargas its "High Priest of Va-Va-Voom."
The sensual, tactile qualities of the airbrush painting technique were showcased at their most perfect in American Fantasy. Pure color was applied as a fine mist, and the hues were carefully built up, even as forms were delicately modeled. The see-through, sheer fabric of the American Fantasy's negligee made her especially sultry and glamorous, in a most teasing manner, and her auburn hair glowed invitingly with its lustrous sheen. As Ray Bradbury noted in The Art of Playboy, for the U.S. male, Alberto Vargas often ran fevers with his selection of bonbons and midnight truffles. Ray quipped, "I don't know if this is what G.I. Joe was fighting for, but -- forgive me, ladies -- it was better than apple pie."
In addition to a copy of the historic March, 1957 issue of Playboy, this lot also includes a copy of Laff the Humorous Picture Magazine dated December, 1950, with its cover-touted, three-page pictorial entitled "Varga Girl." On page twenty-two of the article Alberto Vargas demonstrates to model Harlene Whitlock a sultry pose he wishes her to assume, and it's the very one he used for American Fantasy. Accompanying the magazine is a vintage 7.5in. x 9.5in. black and white print of the photograph used in the article. The captions in Laff read, "We prefer Harlene's legs. How about you?" and "Varga's quick eye for curves -- plus hard work -- resulted in fame, fortune, and femmes." American Fantasy was also showcased as the album cover of Bedside Companion for Playboys from Omega records, and the album is also included in this lot. Thus, the ultra-cool piano jazz of the Dick Marx combo can serve as a soundtrack to your original art. This spectacular lot offers an unparalleled collectibles smorgasbord of Vargas treats!
Original Pin-Up Art
American Fantasy, 1953
Watercolor on paper
29in. x 20in. (sight size)
Signed and dated lower right: Vargas, 1953
Feast your eyes on this sensational package! Here she is -- American Fantasy, the very first Vargas girl ever to appear in the pages of Playboy, and as the saying goes, you never forget your first time! The March, 1957 issue of Playboy featured Jon Campbell's ground-breaking pictorial, "The Vargas Girl." The spread opened with a large reproduction of American Fantasy, and it was a delicious taste of the "cheesecake" yet to come; reader response was so enthusiastic that starting with its September, 1960 issue, Playboy commissioned Vargas to produce a masterwork for each issue. Quoting from Campbell's paean, "The Forties belonged to Vargas and his Vargas Girl -- and we'll concede the Fifties too, if pressed. The Vargas Girl possesses something more than the sum of her perky parts; she is Anatomical Perfection, put together in a way certain to set the most unfeeling amongst us aquiver and amumbling in our Martinis." Indeed, Playboy had officially appointed Vargas its "High Priest of Va-Va-Voom."
The sensual, tactile qualities of the airbrush painting technique were showcased at their most perfect in American Fantasy. Pure color was applied as a fine mist, and the hues were carefully built up, even as forms were delicately modeled. The see-through, sheer fabric of the American Fantasy's negligee made her especially sultry and glamorous, in a most teasing manner, and her auburn hair glowed invitingly with its lustrous sheen. As Ray Bradbury noted in The Art of Playboy, for the U.S. male, Alberto Vargas often ran fevers with his selection of bonbons and midnight truffles. Ray quipped, "I don't know if this is what G.I. Joe was fighting for, but -- forgive me, ladies -- it was better than apple pie."
In addition to a copy of the historic March, 1957 issue of Playboy, this lot also includes a copy of Laff the Humorous Picture Magazine dated December, 1950, with its cover-touted, three-page pictorial entitled "Varga Girl." On page twenty-two of the article Alberto Vargas demonstrates to model Harlene Whitlock a sultry pose he wishes her to assume, and it's the very one he used for American Fantasy. Accompanying the magazine is a vintage 7.5in. x 9.5in. black and white print of the photograph used in the article. The captions in Laff read, "We prefer Harlene's legs. How about you?" and "Varga's quick eye for curves -- plus hard work -- resulted in fame, fortune, and femmes." American Fantasy was also showcased as the album cover of Bedside Companion for Playboys from Omega records, and the album is also included in this lot. Thus, the ultra-cool piano jazz of the Dick Marx combo can serve as a soundtrack to your original art. This spectacular lot offers an unparalleled collectibles smorgasbord of Vargas treats!
Original Illustration Art
ALBERTO VARGAS (1896-1983)
Original Pin-up Art
Permanent Wave: Redhead, 1941
Cold Wave Permanent Wave advertisement
Caption: "It's new. it's different..It's the miracle in permanent waving."
Gouache on paper mounted on board
28in. x 24in. (sight size)
Signed center right: a. Varga
At a young age Alberto Vargas was taught the use of the airbrush by his father Max, who was a noted photographer. Vargas was hired by Esquire to replace George Petty as their pin-up artist, and the magazine required Vargas "Americanize" his name by dropping the "s". Esquire hired Vargas with a draconian exclusive contract and even copyrighted the "Varga" name. After the contract expired, Vargas signed on with Playboy and continued to paint his popular pin-up feature, signing the newer work as Vargas. This painting is reproduced on page 170 of Vargas: The Esquire Years, a Catalogue Raisonne.
For this work, the figure was cut out and mounted to a larger paper; the edges of the figure are beginning to lift off the surface slightly.
Keywords: pin-up, painting, redhead, advertisement, portrait, girl, fashion, glamour
Original Pin-up Art
Permanent Wave: Redhead, 1941
Cold Wave Permanent Wave advertisement
Caption: "It's new. it's different..It's the miracle in permanent waving."
Gouache on paper mounted on board
28in. x 24in. (sight size)
Signed center right: a. Varga
At a young age Alberto Vargas was taught the use of the airbrush by his father Max, who was a noted photographer. Vargas was hired by Esquire to replace George Petty as their pin-up artist, and the magazine required Vargas "Americanize" his name by dropping the "s". Esquire hired Vargas with a draconian exclusive contract and even copyrighted the "Varga" name. After the contract expired, Vargas signed on with Playboy and continued to paint his popular pin-up feature, signing the newer work as Vargas. This painting is reproduced on page 170 of Vargas: The Esquire Years, a Catalogue Raisonne.
For this work, the figure was cut out and mounted to a larger paper; the edges of the figure are beginning to lift off the surface slightly.
Keywords: pin-up, painting, redhead, advertisement, portrait, girl, fashion, glamour
Paintings
ALBERTO VARGAS (1896-1982)
Original pin-up art, 1944
Bombs Away!
Watercolor and airbrush on paper
19in. x 15.5in. (sight size)
Signed lower left
Literature: Reproduced in Varga The Esquire Years, A Catalog Raisonne (Van Der Marck), page 175
Bombs Away! was a mascot design for World War II bombing squadrons. Notes in Vargas' hand on the verso reference the subject and the period.
Original pin-up art, 1944
Bombs Away!
Watercolor and airbrush on paper
19in. x 15.5in. (sight size)
Signed lower left
Literature: Reproduced in Varga The Esquire Years, A Catalog Raisonne (Van Der Marck), page 175
Bombs Away! was a mascot design for World War II bombing squadrons. Notes in Vargas' hand on the verso reference the subject and the period.
Original Illustration Art
HAROLD VON SCHMIDT (1893-1982)
Original Illustration, c.1934
Hand-written note on the reverse: "Color sketch for 'Tugboat Annie' Sat Eve Post -- (signed) Harold Von Schmidt.
Oil on board
7.25in. x 12in. (sight size)
Signed lower right
Provenance: Morris Weiss collection
Keywords: oil, paint, magazine, illustration, naval, ship, boat, marine, sea
Original Illustration, c.1934
Hand-written note on the reverse: "Color sketch for 'Tugboat Annie' Sat Eve Post -- (signed) Harold Von Schmidt.
Oil on board
7.25in. x 12in. (sight size)
Signed lower right
Provenance: Morris Weiss collection
Keywords: oil, paint, magazine, illustration, naval, ship, boat, marine, sea
Paintings
HAROLD VON SCHMIDT (1893-1982)
Original Magazine Story Illustration, c.1940
Caption: "He Swaggered Back Towards The Car With Cynthia In His Arms."
Gouache on illustration board
21in. x 21in. (sight size)
Signed and dated lower right
Some very minor foxing to the illustration board.
Provenance: Morris Weiss collection
Keywords: magazine, painting, illustration, gouache, watercolor, crime, drama, detective
Original Magazine Story Illustration, c.1940
Caption: "He Swaggered Back Towards The Car With Cynthia In His Arms."
Gouache on illustration board
21in. x 21in. (sight size)
Signed and dated lower right
Some very minor foxing to the illustration board.
Provenance: Morris Weiss collection
Keywords: magazine, painting, illustration, gouache, watercolor, crime, drama, detective
Original Illustration Art
HAROLD VON SCHMIDT (1893-1982)
Original Magazine Story Illustration
American Magazine, April, 1950
"The Ghost Lode" by William Brandon.
Caption: "The old man shouted, 'Hey!' The young man smiled, but he didn't answer."
Oil on canvas
30in. x 30in. (sight size)
Signed lower left: Von Schmidt
Provenance: Morris Weiss collection
A Japanese language Harold Von Schmidt catalog picturing the work is included. This work was pictured in Harold Von Schmidt Draws and Paints the Old West by Walt Reed.
Keywords: oil, painting, magazine illustration, western, cowboy, miner, story
Original Magazine Story Illustration
American Magazine, April, 1950
"The Ghost Lode" by William Brandon.
Caption: "The old man shouted, 'Hey!' The young man smiled, but he didn't answer."
Oil on canvas
30in. x 30in. (sight size)
Signed lower left: Von Schmidt
Provenance: Morris Weiss collection
A Japanese language Harold Von Schmidt catalog picturing the work is included. This work was pictured in Harold Von Schmidt Draws and Paints the Old West by Walt Reed.
Keywords: oil, painting, magazine illustration, western, cowboy, miner, story
Paintings
EDMUND F. WARD (1892-1990)
Original magazine story illustration
Spinster watching romantic, 1935
Oil on canvas
23in. x 33.5in. (sight size)
Signed and dated lower right: E.F. Ward, 1935
Provenance: Morris Weiss collection
Edmund Ward had early success as an illustrator, working in his twenties for The Saturday Evening Post. He was renowned for his illustrations for the Alexander Botts and Assistant District Attorney Doowinkle series in the Post. Ward studied at the Art Students League, and was a classmate of Norman Rockwell. Ward's teachers included George Bridgman and Thomas Fogarty, and Ward was a member of the Salmagundi Club and the Society of Illustrators. This handsome illustration spotlights a classic romance theme of unrequited love.
Keywords: romance, illustration, portrait, oil, painting
Original magazine story illustration
Spinster watching romantic, 1935
Oil on canvas
23in. x 33.5in. (sight size)
Signed and dated lower right: E.F. Ward, 1935
Provenance: Morris Weiss collection
Edmund Ward had early success as an illustrator, working in his twenties for The Saturday Evening Post. He was renowned for his illustrations for the Alexander Botts and Assistant District Attorney Doowinkle series in the Post. Ward studied at the Art Students League, and was a classmate of Norman Rockwell. Ward's teachers included George Bridgman and Thomas Fogarty, and Ward was a member of the Salmagundi Club and the Society of Illustrators. This handsome illustration spotlights a classic romance theme of unrequited love.
Keywords: romance, illustration, portrait, oil, painting
Original Illustration Art
PAUL WEBB (b.1902)
Calendar Illustration, c.1955
Gouache on paper
16.5in. x 14.5in. (sight size)
Signed lower right: P. Webb
Provenance: Morris Weiss collection
Provenance: Morris Weiss collection Keywords: cartoon, humor, hillbilly, calender, watercolor, painting, drawing, illustration
Calendar Illustration, c.1955
Gouache on paper
16.5in. x 14.5in. (sight size)
Signed lower right: P. Webb
Provenance: Morris Weiss collection
Provenance: Morris Weiss collection Keywords: cartoon, humor, hillbilly, calender, watercolor, painting, drawing, illustration
ALBERT BECK WENZELL (1864-1917)
Original Magazine Story Illustration, c.1890
Gouache on paper
31in. x 22in. (sight size)
Signed lower left: A B Wenzell
Provenance: Morris Weiss collection
A. B. Wenzel's work left a stylish record of the costumes and world of high society at the turn of the century. He won a Silver Medal at the Pan American Exposition in Buffalo in 1901 and another at the St. Louis Exposition in 1904.
Keywords: illustration, female, figure, portrait, society, oil, watercolor, society
Original Magazine Story Illustration, c.1890
Gouache on paper
31in. x 22in. (sight size)
Signed lower left: A B Wenzell
Provenance: Morris Weiss collection
A. B. Wenzel's work left a stylish record of the costumes and world of high society at the turn of the century. He won a Silver Medal at the Pan American Exposition in Buffalo in 1901 and another at the St. Louis Exposition in 1904.
Keywords: illustration, female, figure, portrait, society, oil, watercolor, society
Paintings
JON WHITCOMB (1906-1988)
Original Book Illustration
All About Girls by Jon Whitcomb, Prentice Hall, 1962
Pencil and ink on paper
11in. x 6in. (sight size)
Signed lower left: Jon Whitcomb
Provenance: Morris Weiss collection Keywords: girl, glamor, romance, pin up, fashion, pencil, drawing, book, illustration
Original Book Illustration
All About Girls by Jon Whitcomb, Prentice Hall, 1962
Pencil and ink on paper
11in. x 6in. (sight size)
Signed lower left: Jon Whitcomb
Provenance: Morris Weiss collection Keywords: girl, glamor, romance, pin up, fashion, pencil, drawing, book, illustration
Original Illustration Art
LAWRENCE WILBUR (d.1988)
Original Illustration
Oil on canvas, c.1944
32in. x 24in. (sight size)
Signed lower left: Lawrence Wilbur
Lawrence Wilbur presents a patriotic tableau with a U.S. soldier posed in front of the Statue of Liberty. This painting was most likely published as a magazine cover or calendar image.
Keywords:military, portrait, historical, oil, painting, armed forces, ww II
Original Illustration
Oil on canvas, c.1944
32in. x 24in. (sight size)
Signed lower left: Lawrence Wilbur
Lawrence Wilbur presents a patriotic tableau with a U.S. soldier posed in front of the Statue of Liberty. This painting was most likely published as a magazine cover or calendar image.
Keywords:military, portrait, historical, oil, painting, armed forces, ww II
FRITZ WILLIS (unknown-1979)
Original Pin-Up Art, c.1965
Oil on canvas, mounted on board
20in. x 27in. (sight size)
Signed center right: Fritz Willis
Fritz Willis modernized the pin-up with his first published work for Esquire in 1946. His wife, Pat, served as the model for many of his paintings. Willis also worked for the "slicks," for such magazines as Collier's, Redbook, The Saturday Evening Post, and had a fifteen-year run of "Artist Sketchbook" calendars for Brown & Bigelow. His art instruction books for Walter Foster publishers have instructed many beginning painters on the art of the pin-up.
Keywords: pin-up, model, nude, glamor, portrait, oil, painting, fashion
Original Pin-Up Art, c.1965
Oil on canvas, mounted on board
20in. x 27in. (sight size)
Signed center right: Fritz Willis
Fritz Willis modernized the pin-up with his first published work for Esquire in 1946. His wife, Pat, served as the model for many of his paintings. Willis also worked for the "slicks," for such magazines as Collier's, Redbook, The Saturday Evening Post, and had a fifteen-year run of "Artist Sketchbook" calendars for Brown & Bigelow. His art instruction books for Walter Foster publishers have instructed many beginning painters on the art of the pin-up.
Keywords: pin-up, model, nude, glamor, portrait, oil, painting, fashion
Paintings
MORTIMER WILSON JR. (1906-1966)
Original Advertising Art, c.1944
Published as an ad for Maxwell House Coffee
Oil on canvas
30in. x 40in. (sight size)
Not signed
Provenance: Morris Weiss collection
A copy of the 124th Annual of Advertising Art, The Art Director's Club of New York which has a reproduction of the ad is included
Keywords: portrait, painting, magazine, ad, coffee, maxwell, oil, large Q
Original Advertising Art, c.1944
Published as an ad for Maxwell House Coffee
Oil on canvas
30in. x 40in. (sight size)
Not signed
Provenance: Morris Weiss collection
A copy of the 124th Annual of Advertising Art, The Art Director's Club of New York which has a reproduction of the ad is included
Keywords: portrait, painting, magazine, ad, coffee, maxwell, oil, large Q
Original Illustration Art
LAWSON WOOD (English, 1878-1957)
Original Illustration, 1909
Caption: "Polly Put The Kettle On."
Watercolor on paper
10in. x 13.25in. (sight size)
Signed and dated lower left
Provenance: Morris Weiss collection
Keywords: english, book, magazine, illustration, fairy tale, nursery rhyme, fantasy, girl, cat
Original Illustration, 1909
Caption: "Polly Put The Kettle On."
Watercolor on paper
10in. x 13.25in. (sight size)
Signed and dated lower left
Provenance: Morris Weiss collection
Keywords: english, book, magazine, illustration, fairy tale, nursery rhyme, fantasy, girl, cat
GEORGE HAND WRIGHT, N.A. (1872-1951)
Original Magazine Story Illustration, c.1915
Gouache on paper
10in. x 31in. (sight size)
Signed lower left
Provenance: Morris Weiss collection
Keywords: watercolor, painting, cartoon, humor, illustration, horse, england, drawing
Original Magazine Story Illustration, c.1915
Gouache on paper
10in. x 31in. (sight size)
Signed lower left
Provenance: Morris Weiss collection
Keywords: watercolor, painting, cartoon, humor, illustration, horse, england, drawing
Paintings
JESSE DUBOIS (American)
Four Lithographs, c.1980
Native American still life, color off-set lithograph, 22in. x 17.5in. (sight size); Native American boy with red bandana, 20in. x 14.5in.(sight size); Native American girl, lithograph, 13.5in. x 11.5in. (sight size), edition: 280/780; signed lower right in pencil: DuBois; and Native American woman, lithograph, 15.5in. x 11.75in. (sight size), edition: 200/780, signed lower right in pencil: DuBois.
Keywords: native american, indian, portraits, prints
Four Lithographs, c.1980
Native American still life, color off-set lithograph, 22in. x 17.5in. (sight size); Native American boy with red bandana, 20in. x 14.5in.(sight size); Native American girl, lithograph, 13.5in. x 11.5in. (sight size), edition: 280/780; signed lower right in pencil: DuBois; and Native American woman, lithograph, 15.5in. x 11.75in. (sight size), edition: 200/780, signed lower right in pencil: DuBois.
Keywords: native american, indian, portraits, prints
STANLEY JAMES HERD (American b.1950) and SHANNON ST. INNES (attributed)
Two color offset lithographs
Stanley James Herd
Color offset lithograph, 1980
15in. x 21in. (sight size)
Edition: 213/400
Signed lower center in pencil: Stanley James Herd
Signed again at lower right: Stanley James Herd '80
Stanley Herd attended art school at Wichita State University, before launching a career as both an indoor and outdoor muralist in Dodge City, Kansas. There, Herd created his first "field art" projects, 160-acre portraits of Chief Satanta, and Will Rogers, both of which drew national attention in such publications as the National Geographic and Smithsonian magazines. With those images, Herd had pioneered an art form that has flourished within the broader category of earthwork art. These detailed portrait of work animals reflect Herd's intimate knowledge of farming, gained as a youth in Southwest Kansas.
Shannon St. Innes
Color offset lithograph, c.1975
16in. x 22in. (sight size)
Edition: 292/300
Signed lower right in pencil: Shannon St. Innes (attributed)
Keywords: equine, horse, mule, Western, cowboy, print
Two color offset lithographs
Stanley James Herd
Color offset lithograph, 1980
15in. x 21in. (sight size)
Edition: 213/400
Signed lower center in pencil: Stanley James Herd
Signed again at lower right: Stanley James Herd '80
Stanley Herd attended art school at Wichita State University, before launching a career as both an indoor and outdoor muralist in Dodge City, Kansas. There, Herd created his first "field art" projects, 160-acre portraits of Chief Satanta, and Will Rogers, both of which drew national attention in such publications as the National Geographic and Smithsonian magazines. With those images, Herd had pioneered an art form that has flourished within the broader category of earthwork art. These detailed portrait of work animals reflect Herd's intimate knowledge of farming, gained as a youth in Southwest Kansas.
Shannon St. Innes
Color offset lithograph, c.1975
16in. x 22in. (sight size)
Edition: 292/300
Signed lower right in pencil: Shannon St. Innes (attributed)
Keywords: equine, horse, mule, Western, cowboy, print
VIC HERMAN (American b.1919)
Two Color Offset Lithographs, with matching edition numbers
Country Pride, c.1975
Sugar Cane Man, c.1975
Edition: 249/300
26in. x 12in. (sight size)
Signed lower right in pencil: Vic Herman
During a career that began with World War II, the multi-talented Vic Herman created many advertising characters such as "Elsie the Cow" for the Borden Company, "Johnny" for Philip Morris, "Winnie the Wac" for the United States Navy, and "Sad Shad" for Johnson & Johnson. Here, Vic Herman shows another facet of his artistry, with these two detailed genre portraits.
Keywords: Western, portrait, print, cowboy
Two Color Offset Lithographs, with matching edition numbers
Country Pride, c.1975
Sugar Cane Man, c.1975
Edition: 249/300
26in. x 12in. (sight size)
Signed lower right in pencil: Vic Herman
During a career that began with World War II, the multi-talented Vic Herman created many advertising characters such as "Elsie the Cow" for the Borden Company, "Johnny" for Philip Morris, "Winnie the Wac" for the United States Navy, and "Sad Shad" for Johnson & Johnson. Here, Vic Herman shows another facet of his artistry, with these two detailed genre portraits.
Keywords: Western, portrait, print, cowboy
MAXFIELD PARRISH (1870-1966)
Thy Rocks and Rills, 1944
Original vintage print on paper
9.5in. x 9.5in. (sight size). Framed
Published by Brown & Bigelow
Thy Rocks and Rills, 1944
Original vintage print on paper
9.5in. x 9.5in. (sight size). Framed
Published by Brown & Bigelow
Original Illustration Art
MAXFIELD PARRISH (1870-1966)
Solitude, 1932
Original vintage print on paper
9in. x 6in. (sight size). Framed
Published by Edison Mazda Calendars
Solitude, 1932
Original vintage print on paper
9in. x 6in. (sight size). Framed
Published by Edison Mazda Calendars
Paintings
MAXFIELD PARRISH (1870-1966)
Solitude, 1931
Original vintage print on paper
6in. x 9in. (sight size). Framed
Published by Edison Mazda
Solitude, 1931
Original vintage print on paper
6in. x 9in. (sight size). Framed
Published by Edison Mazda
MAXFIELD PARRISH (1870-1966)
Reveries, 1926, large 1927 Edison Mazda calendar
Original vintage print on paper
38in. x 19in. (sight size)
Calendar pad has minor sealed tears, otherwise near mint
keywords: Collier's magazine artist, Scribner's Magazine artist, Century magazine artist, Harpers Weekly artist, Hearst's artist, Ladies' Home Journal artist, Life artist, McClures artist, Edison Mazda artist, The Knave of Hearts artist, Italian Villas and Their Gardens artist, Poems of Childhood artist, The Arabian Nights artist, muralist, painter, illustrator
Reveries, 1926, large 1927 Edison Mazda calendar
Original vintage print on paper
38in. x 19in. (sight size)
Calendar pad has minor sealed tears, otherwise near mint
keywords: Collier's magazine artist, Scribner's Magazine artist, Century magazine artist, Harpers Weekly artist, Hearst's artist, Ladies' Home Journal artist, Life artist, McClures artist, Edison Mazda artist, The Knave of Hearts artist, Italian Villas and Their Gardens artist, Poems of Childhood artist, The Arabian Nights artist, muralist, painter, illustrator
MAXFIELD PARRISH (1870-1966)
Reveries, 1927
Original vintage calendar print on paper
16in. x 7in. (sight size). Framed
Published by Edison Mazda
Reveries, 1927
Original vintage calendar print on paper
16in. x 7in. (sight size). Framed
Published by Edison Mazda
Original Illustration Art
MAXFIELD PARRISH (1870-1966)
Reveries, 1927
Original vintage print on paper
10in. x 6.5in. (sight size). Framed
Published by Edison Mazda
Reveries, 1927
Original vintage print on paper
10in. x 6.5in. (sight size). Framed
Published by Edison Mazda
Paintings
MAXFIELD PARRISH (1870-1966)
The Golden Hours, 1927, large 1929 Edison Mazda calendar
Original vintage print on paper
40.5in. x 18in. (sight size). Framed
Near mint. Uncirculated colors with only the most minor snakes. Full calendar pad. The original Edison Mazda sheet is included.
keywords: Collier's magazine artist, Scribner's Magazine artist, Century magazine artist, Harpers Weekly artist, Hearst's artist, Ladies' Home Journal artist, Life artist, McClures artist, Edison Mazda artist, The Knave of Hearts artist, Italian Villas and Their Gardens artist, Poems of Childhood artist, The Arabian Nights artist, muralist, painter, illustrator
The Golden Hours, 1927, large 1929 Edison Mazda calendar
Original vintage print on paper
40.5in. x 18in. (sight size). Framed
Near mint. Uncirculated colors with only the most minor snakes. Full calendar pad. The original Edison Mazda sheet is included.
keywords: Collier's magazine artist, Scribner's Magazine artist, Century magazine artist, Harpers Weekly artist, Hearst's artist, Ladies' Home Journal artist, Life artist, McClures artist, Edison Mazda artist, The Knave of Hearts artist, Italian Villas and Their Gardens artist, Poems of Childhood artist, The Arabian Nights artist, muralist, painter, illustrator
MAXFIELD PARRISH (1870-1966)
Golden Hours, 1927
Original vintage print on paper
22in. x 14in. (sight size). Framed
Published by Edison Lamp Works of General Electric
Golden Hours, 1927
Original vintage print on paper
22in. x 14in. (sight size). Framed
Published by Edison Lamp Works of General Electric
MAXFIELD PARRISH (1870-1966)
Hilltop, c.1926
Original vintage print on paper
19.5in. x 11.5in. (sight size). Framed
Published by House of Art
Hilltop, c.1926
Original vintage print on paper
19.5in. x 11.5in. (sight size). Framed
Published by House of Art
MAXFIELD PARRISH (1870-1966)
Enchantment, 1926, large 1926 Edison Mazda calendar
Original vintage print on paper
36.5in. x 16.5in. (sight size). Framed
Uncirculated colors and a full calendar pad
Slight water stain on entire length of left side, 2.5 inch tear at lower left edge, 2.5 inch tear at lower middle edge. Minor creases.
keywords: Collier's magazine artist, Scribner's Magazine artist, Century magazine artist, Harpers Weekly artist, Hearst's artist, Ladies' Home Journal artist, Life artist, McClures artist, Edison Mazda artist, The Knave of Hearts artist, Italian Villas and Their Gardens artist, Poems of Childhood artist, The Arabian Nights artist, muralist, painter, illustrator
Enchantment, 1926, large 1926 Edison Mazda calendar
Original vintage print on paper
36.5in. x 16.5in. (sight size). Framed
Uncirculated colors and a full calendar pad
Slight water stain on entire length of left side, 2.5 inch tear at lower left edge, 2.5 inch tear at lower middle edge. Minor creases.
keywords: Collier's magazine artist, Scribner's Magazine artist, Century magazine artist, Harpers Weekly artist, Hearst's artist, Ladies' Home Journal artist, Life artist, McClures artist, Edison Mazda artist, The Knave of Hearts artist, Italian Villas and Their Gardens artist, Poems of Childhood artist, The Arabian Nights artist, muralist, painter, illustrator
MAXFIELD PARRISH (1870-1966)
Lady Violetta about to Make the Tarts from Knave of Hearts, 1925
Original vintage print on paper
11.5in. x 9in. (sight size). Framed
Published by Charles Scribner's Sons
Lady Violetta about to Make the Tarts from Knave of Hearts, 1925
Original vintage print on paper
11.5in. x 9in. (sight size). Framed
Published by Charles Scribner's Sons
MAXFIELD PARRISH (1870-1866)
The Knave of Hearts from The Knave of Hearts, 1925
Original vintage print on paper
13.5 x 10.5 in. (sight size). Framed
Published by Charles Scribner's Sons
The Knave of Hearts from The Knave of Hearts, 1925
Original vintage print on paper
13.5 x 10.5 in. (sight size). Framed
Published by Charles Scribner's Sons
MAXFIELD PARRISH (1870-1966)
The Characters from Knave of Hearts, 1925
Original vintage print on paper
12in. x 10in. (sight size). Framed
Published by Charles Scribner's Sons
The Characters from Knave of Hearts, 1925
Original vintage print on paper
12in. x 10in. (sight size). Framed
Published by Charles Scribner's Sons
MAXFIELD PARRISH (1870-1966)
Two Chefs at Table from Knave of Hearts, 1925
Original vintage print on paper
4.5in. x 9.5in. (sight size). Framed
Published by Charles Scribner's Sons
Two Chefs at Table from Knave of Hearts, 1925
Original vintage print on paper
4.5in. x 9.5in. (sight size). Framed
Published by Charles Scribner's Sons
Original Illustration Art
MAXFIELD PARRISH (1870-1966)
The Manager Draws the Curtains from Knave of Hearts, 1925
Original vintage print on paper
8in. x 9.5in. (sight size). Framed
Published by Charles Scribner's Sons
The Manager Draws the Curtains from Knave of Hearts, 1925
Original vintage print on paper
8in. x 9.5in. (sight size). Framed
Published by Charles Scribner's Sons
Paintings
MAXFIELD PARRISH (1870-1966)
Two Pastry Cooks: Blue Hose and Yellow Hose from Knave of Hearts, 1925
Original vintage print on paper
12in. x 9.5in. (sight size). Framed
Published by Charles Scribner's Sons
Two Pastry Cooks: Blue Hose and Yellow Hose from Knave of Hearts, 1925
Original vintage print on paper
12in. x 9.5in. (sight size). Framed
Published by Charles Scribner's Sons
MAXFIELD PARRISH (1870-1966)
Chef Carrying Cauldron from Knave of Hearts, 1925
Original vintage print on paper
4in. x 9in. (sight size). Framed
Published by Charles Scribner's Sons
Chef Carrying Cauldron from Knave of Hearts, 1925
Original vintage print on paper
4in. x 9in. (sight size). Framed
Published by Charles Scribner's Sons
MAXFIELD PARRISH (1870-1966)
Entrance of Pompdebile, King of Hearts from Knave of Hearts, 1925
Original vintage print on paper
12in. x 9.5in. (sight size). Framed
Published by Charles Scribner's Sons
Entrance of Pompdebile, King of Hearts from Knave of Hearts, 1925
Original vintage print on paper
12in. x 9.5in. (sight size). Framed
Published by Charles Scribner's Sons
MAXFIELD PARRISH (1870-1966)
Chef Between Two Lobsters from Knave of Hearts, 1925
Original vintage print on paper
4.5in. x 9.5in. (sight size). Framed
Published by Charles Scribner's Sons
Chef Between Two Lobsters from Knave of Hearts, 1925
Original vintage print on paper
4.5in. x 9.5in. (sight size). Framed
Published by Charles Scribner's Sons
MAXFIELD PARRISH (1870-1966)
Lady Ursula Kneeling before Pompdebile, King of Hearts from Knave of Hearts, 1925
Original vintage print on paper
11.5in. x 9in. (sight size). Framed
Published by Charles Scribner's Sons
Lady Ursula Kneeling before Pompdebile, King of Hearts from Knave of Hearts, 1925
Original vintage print on paper
11.5in. x 9in. (sight size). Framed
Published by Charles Scribner's Sons
MAXFIELD PARRISH (1870-1966)
The Youth and Frog from Knave of Hearts, 1925
Original vintage print on paper
4in. x 9in. (sight size). Framed
Published by Charles Scribner's Sons
The Youth and Frog from Knave of Hearts, 1925
Original vintage print on paper
4in. x 9in. (sight size). Framed
Published by Charles Scribner's Sons
MAXFIELD PARRISH (1870-1966)
The Six Little Ingredients from Knave of Hearts, 1925
Original vintage print on paper
12in. x 9.5in. (sight size). Framed
Published by Charles Scribner's Sons
The Six Little Ingredients from Knave of Hearts, 1925
Original vintage print on paper
12in. x 9.5in. (sight size). Framed
Published by Charles Scribner's Sons
MAXFIELD PARRISH (1870-1966)
Violetta and Knave Examining the Tarts from Knave of Hearts, 1925
Original vintage print on paper
12in. x 9.5in. (sight size). Framed
Published by Charles Scribner's Sons
Violetta and Knave Examining the Tarts from Knave of Hearts, 1925
Original vintage print on paper
12in. x 9.5in. (sight size). Framed
Published by Charles Scribner's Sons
MAXFIELD PARRISH (1870-1966)
The Gardener Wheeling Vegetables from Knave of Hearts, 1925
Original vintage print on paper
4in. x 9in. (sight size). Framed
Published by Charles Scribner's Sons
The Gardener Wheeling Vegetables from Knave of Hearts, 1925
Original vintage print on paper
4in. x 9in. (sight size). Framed
Published by Charles Scribner's Sons
MAXFIELD PARRISH (1870-1966)
The King and Chancellor at the Kitchen Door from Knave of Hearts, 1925
Original vintage print on paper
11.5in. x 9in. (sight size). Framed
Published by Charles Scribner's Sons
The King and Chancellor at the Kitchen Door from Knave of Hearts, 1925
Original vintage print on paper
11.5in. x 9in. (sight size). Framed
Published by Charles Scribner's Sons
MAXFIELD PARRISH (1870-1966)
Two Cooks Peeling Potatoes from Knave of Hearts, 1925
Original vintage print on paper
4in. x 9in. (sight size). Framed
Published by Charles Scribner's Sons
Two Cooks Peeling Potatoes from Knave of Hearts, 1925
Original vintage print on paper
4in. x 9in. (sight size). Framed
Published by Charles Scribner's Sons
Original Illustration Art
MAXFIELD PARRISH (1870-1966)
The Knave from Knave of Hearts, 1925
Original vintage print on paper
12in. x 9in. (sight size). Framed
Published by Charles Scribner's Sons
The Knave from Knave of Hearts, 1925
Original vintage print on paper
12in. x 9in. (sight size). Framed
Published by Charles Scribner's Sons
Paintings
MAXFIELD PARRISH (1870-1966)
Fool In Green from Knave of Hearts, 1925
Original vintage print on paper
4in. x 9in. (sight size). Framed
Published by Charles Scribner's Sons
Fool In Green from Knave of Hearts, 1925
Original vintage print on paper
4in. x 9in. (sight size). Framed
Published by Charles Scribner's Sons
MAXFIELD PARRISH (1870-1966)
The King Tastes the Tarts from Knave of Hearts, 1925
Original vintage print on paper
12in. x 9.5in. (sight size). Framed
Published by Charles Scribner's Sons
The King Tastes the Tarts from Knave of Hearts, 1925
Original vintage print on paper
12in. x 9.5in. (sight size). Framed
Published by Charles Scribner's Sons
MAXFIELD PARRISH (1870-1966)
The Knave Watches Violetta Depart from Knave of Hearts, 1925
Original vintage print on paper
12in. x 9.5in. (sight size). Framed
Published by Charles Scribner's Sons
The Knave Watches Violetta Depart from Knave of Hearts, 1925
Original vintage print on paper
12in. x 9.5in. (sight size). Framed
Published by Charles Scribner's Sons
MAXFIELD PARRISH (1870-1966)
The End from Knave of Hearts, 1925
Original vintage print on paper
13.5in. x 11in. (sight size). Framed
Published by Charles Scribner's Sons
The End from Knave of Hearts, 1925
Original vintage print on paper
13.5in. x 11in. (sight size). Framed
Published by Charles Scribner's Sons
MAXFIELD PARRISH (1870-1966)
A Good Mixer, 1924
Original Life Magazine cover
10.5in. x 8.5in. (sight size). Framed
Published by Life
A Good Mixer, 1924
Original Life Magazine cover
10.5in. x 8.5in. (sight size). Framed
Published by Life
MAXFIELD PARRISH (1870-1966)
The Lamp Seller of Baghdad, 1923, large 1923 Edison Mazda calendar
Original vintage print on paper
37in. x 17in. (sight size). Framed
Minor creases but exceptional near mint with uncirculated colors and a full calendar pad
keywords: Collier's magazine artist, Scribner's Magazine artist, Century magazine artist, Harpers Weekly artist, Hearst's artist, Ladies' Home Journal artist, Life artist, McClures artist, Edison Mazda artist, The Knave of Hearts artist, Italian Villas and Their Gardens artist, Poems of Childhood artist, The Arabian Nights artist, muralist, painter, illustrator
The Lamp Seller of Baghdad, 1923, large 1923 Edison Mazda calendar
Original vintage print on paper
37in. x 17in. (sight size). Framed
Minor creases but exceptional near mint with uncirculated colors and a full calendar pad
keywords: Collier's magazine artist, Scribner's Magazine artist, Century magazine artist, Harpers Weekly artist, Hearst's artist, Ladies' Home Journal artist, Life artist, McClures artist, Edison Mazda artist, The Knave of Hearts artist, Italian Villas and Their Gardens artist, Poems of Childhood artist, The Arabian Nights artist, muralist, painter, illustrator
Maxfield Parrish (1870-1966)
The Venetian Lamplighter, 1923, large 1924 Edison Lamp Works of General Electric calendar
Original vintage print on paper
42.5in. x 22.5in. (sight size). Framed
Slight roll folds, especially at top quarter. Restoration on calendar pad, otherwise, near mint.
keywords: Collier's magazine artist, Scribner's Magazine artist, Century magazine artist, Harpers Weekly artist, Hearst's artist, Ladies' Home Journal artist, Life artist, McClures artist, Edison Mazda artist, The Knave of Hearts artist, Italian Villas and Their Gardens artist, Poems of Childhood artist, The Arabian Nights artist, muralist, painter, illustrator
The Venetian Lamplighter, 1923, large 1924 Edison Lamp Works of General Electric calendar
Original vintage print on paper
42.5in. x 22.5in. (sight size). Framed
Slight roll folds, especially at top quarter. Restoration on calendar pad, otherwise, near mint.
keywords: Collier's magazine artist, Scribner's Magazine artist, Century magazine artist, Harpers Weekly artist, Hearst's artist, Ladies' Home Journal artist, Life artist, McClures artist, Edison Mazda artist, The Knave of Hearts artist, Italian Villas and Their Gardens artist, Poems of Childhood artist, The Arabian Nights artist, muralist, painter, illustrator
MAXFIELD PARRISH (1870-1966)
Daybreak, 1923 -- A later reprint, probably from the 1960's or 1970's
Print on textured board
17.5in. x 29.5in. (sight size). Framed
Daybreak is one of the most famous and widely owned prints of all time. It made its way into American homes as part of the Maxfield Parrish sensation in early 20th century. A nude girl stands over another maiden reclining in front of the trees, mountains, and mountain lake in the background of this landmark image.
Daybreak, 1923 -- A later reprint, probably from the 1960's or 1970's
Print on textured board
17.5in. x 29.5in. (sight size). Framed
Daybreak is one of the most famous and widely owned prints of all time. It made its way into American homes as part of the Maxfield Parrish sensation in early 20th century. A nude girl stands over another maiden reclining in front of the trees, mountains, and mountain lake in the background of this landmark image.
MAXFIELD PARRISH (1870-1966)
Daybreak, 1923
Original vintage print on paper
5.5in. x 10in. (sight size). Framed
Published by Reinthal and Newman
Daybreak, 1923
Original vintage print on paper
5.5in. x 10in. (sight size). Framed
Published by Reinthal and Newman
MAXFIELD PARRISH (1870-1966)
Daybreak, 1923
Original vintage print on paper
5.5in. x 9.5in. (sight size). Framed
Published by Reinthal and Newman
Daybreak, 1923
Original vintage print on paper
5.5in. x 9.5in. (sight size). Framed
Published by Reinthal and Newman
MAXFIELD PARRISH (1870-1966)
Daybreak, 1923
Original vintage print on paper
17.5in. x 29.5in. (sight size). Framed
Published by House of Art
Daybreak, 1923
Original vintage print on paper
17.5in. x 29.5in. (sight size). Framed
Published by House of Art
MAXFIELD PARRISH (1870-1966)
Evening, 1922
Original vintage print on paper
9.5in. x 6in. (sight size). Framed
Published by House of Art
Evening, 1922
Original vintage print on paper
9.5in. x 6in. (sight size). Framed
Published by House of Art
Original Illustration Art
MAXFIELD PARRISH (1870-1966)
Primitive Man, 1920, large 1921 Edison Lamp Works of General Electric calendar
Original vintage print on paper
35in. x 16.5in. (sight size). Framed
Very minor paper pull on top sheet of calendar pad. Near mint, exquisite and rare.
keywords: Collier's magazine artist, Scribner's Magazine artist, Century magazine artist, Harpers Weekly artist, Hearst's artist, Ladies' Home Journal artist, Life artist, McClures artist, Edison Mazda artist, The Knave of Hearts artist, Italian Villas and Their Gardens artist, Poems of Childhood artist, The Arabian Nights artist, muralist, painter, illustrator
Primitive Man, 1920, large 1921 Edison Lamp Works of General Electric calendar
Original vintage print on paper
35in. x 16.5in. (sight size). Framed
Very minor paper pull on top sheet of calendar pad. Near mint, exquisite and rare.
keywords: Collier's magazine artist, Scribner's Magazine artist, Century magazine artist, Harpers Weekly artist, Hearst's artist, Ladies' Home Journal artist, Life artist, McClures artist, Edison Mazda artist, The Knave of Hearts artist, Italian Villas and Their Gardens artist, Poems of Childhood artist, The Arabian Nights artist, muralist, painter, illustrator
MAXFIELD PARRISH (1870-1966)
The Spirit of Transportation, 1920, Clark Equipment Company, 1920.
Original vintage print on paper
19.5in. x 15.5in. (sight size). Framed
Near mint.
keywords: Collier's magazine artist, Scribner's Magazine artist, Century magazine artist, Harpers Weekly artist, Hearst's artist, Ladies' Home Journal artist, Life artist, McClures artist, Edison Mazda artist, The Knave of Hearts artist, Italian Villas and Their Gardens artist, Poems of Childhood artist, The Arabian Nights artist, muralist, painter, illustrator
The Spirit of Transportation, 1920, Clark Equipment Company, 1920.
Original vintage print on paper
19.5in. x 15.5in. (sight size). Framed
Near mint.
keywords: Collier's magazine artist, Scribner's Magazine artist, Century magazine artist, Harpers Weekly artist, Hearst's artist, Ladies' Home Journal artist, Life artist, McClures artist, Edison Mazda artist, The Knave of Hearts artist, Italian Villas and Their Gardens artist, Poems of Childhood artist, The Arabian Nights artist, muralist, painter, illustrator
Paintings
MAXFIELD PARRISH (1870-1966)
Garden of Allah, 1918
Original vintage print on paper
4in. x 8in. (sight size). Framed
Published by House of Art
Garden of Allah, 1918
Original vintage print on paper
4in. x 8in. (sight size). Framed
Published by House of Art
MAXFIELD PARRISH (1870-1966)
Garden of Allah, 1918
Original vintage print on paper
8.5in. x 17.5in. (sight size). Framed
Published by House of Art
Garden of Allah, 1918
Original vintage print on paper
8.5in. x 17.5in. (sight size). Framed
Published by House of Art
Original Illustration Art
MAXFIELD PARRISH (1870-1966)
The Rubaiyat, 1917
Original vintage print on paper
7.5in. x 29.5 in. (sight size). Framed
Published by House of Art
The Rubaiyat, 1917
Original vintage print on paper
7.5in. x 29.5 in. (sight size). Framed
Published by House of Art
Paintings
MAXFIELD PARRISH (1870-1966)
The Dream Garden, 1916
Original vintage print on paper, with center fold
6.5in. x 19in. (sight size). Framed
Published by The Curtis Publishing Company
The Dream Garden, 1916
Original vintage print on paper, with center fold
6.5in. x 19in. (sight size). Framed
Published by The Curtis Publishing Company
MAXFIELD PARRISH (1870-1966)
The Rubaiyat, 1916, decoration for Crane's Chocolates, 1916
Original vintage print on paper
7.5in. x 29.5in. (sight size). Framed
Mint with uncirculated colors. Rare so fine.
keywords: Collier's magazine artist, Scribner's Magazine artist, Century magazine artist, Harpers Weekly artist, Hearst's artist, Ladies' Home Journal artist, Life artist, McClures artist, Edison Mazda artist, The Knave of Hearts artist, Italian Villas and Their Gardens artist, Poems of Childhood artist, The Arabian Nights artist, muralist, painter, illustrator
The Rubaiyat, 1916, decoration for Crane's Chocolates, 1916
Original vintage print on paper
7.5in. x 29.5in. (sight size). Framed
Mint with uncirculated colors. Rare so fine.
keywords: Collier's magazine artist, Scribner's Magazine artist, Century magazine artist, Harpers Weekly artist, Hearst's artist, Ladies' Home Journal artist, Life artist, McClures artist, Edison Mazda artist, The Knave of Hearts artist, Italian Villas and Their Gardens artist, Poems of Childhood artist, The Arabian Nights artist, muralist, painter, illustrator
MAXFIELD PARRISH (1870-1966)
The Dream Garden, 1915
Original vintage print on paper, with center fold
8.5in. x 20in. (sight size). Framed
Published by The Curtis Publishing Company
The Dream Garden, 1915
Original vintage print on paper, with center fold
8.5in. x 20in. (sight size). Framed
Published by The Curtis Publishing Company
Original Illustration Art
MAXFIELD PARRISH (1870-1966)
Call to Joy, 1912
Original vintage print on paper
15.5in. x 10in. (sight size). Framed
Published by The Curtis Publishing Company
Call to Joy, 1912
Original vintage print on paper
15.5in. x 10in. (sight size). Framed
Published by The Curtis Publishing Company
Paintings
MAXFIELD PARRISH (1870-1966)
Pied Piper, 1909
Original vintage print on paper
6.5in. x 20.5in. (sight size). Framed
Printed signature lower right
Published by P.F. Collier & Son
Pied Piper, 1909
Original vintage print on paper
6.5in. x 20.5in. (sight size). Framed
Printed signature lower right
Published by P.F. Collier & Son
MAXFIELD PARRISH (1870-1966)
The Pied Piper, 1909, for P. F. Collier & Son, 1909
Original vintage print on paper
6.5in. x 20.5in. (sight size). Framed
Printed signature lower right
Near mint. Unusually vivid colors.
keywords: Collier's magazine artist, Scribner's Magazine artist, Century magazine artist, Harpers Weekly artist, Hearst's artist, Ladies' Home Journal artist, Life artist, McClures artist, Edison Mazda artist, The Knave of Hearts artist, Italian Villas and Their Gardens artist, Poems of Childhood artist, The Arabian Nights artist, muralist, painter, illustrator
The Pied Piper, 1909, for P. F. Collier & Son, 1909
Original vintage print on paper
6.5in. x 20.5in. (sight size). Framed
Printed signature lower right
Near mint. Unusually vivid colors.
keywords: Collier's magazine artist, Scribner's Magazine artist, Century magazine artist, Harpers Weekly artist, Hearst's artist, Ladies' Home Journal artist, Life artist, McClures artist, Edison Mazda artist, The Knave of Hearts artist, Italian Villas and Their Gardens artist, Poems of Childhood artist, The Arabian Nights artist, muralist, painter, illustrator
MAXFIELD PARRISH (1870-1966)
Aladdin from The Arabian Nights, 1909
Original vintage print on paper
13.5in. x 11in. (sight size). Framed
Published by P.F. Collier & Son
Aladdin from The Arabian Nights, 1909
Original vintage print on paper
13.5in. x 11in. (sight size). Framed
Published by P.F. Collier & Son
Original Illustration Art
MAXFIELD PARRISH (1870-1966)
History of the Fisherman and the Genie from The Arabian Nights, 1906
Original vintage print on paper
10.5in. x 8.5in. (sight size). Framed
Published by P.F. Collier & Son
History of the Fisherman and the Genie from The Arabian Nights, 1906
Original vintage print on paper
10.5in. x 8.5in. (sight size). Framed
Published by P.F. Collier & Son
Paintings
MAXFIELD PARRISH (1870-1966)
Cassim in the Cave of the Forty Thieves from The Arabian Nights, 1906
Original vintage print on paper
11in. x 9in. (sight size). Framed
Published by P.F. Collier & Son
Cassim in the Cave of the Forty Thieves from The Arabian Nights, 1906
Original vintage print on paper
11in. x 9in. (sight size). Framed
Published by P.F. Collier & Son
MAXFIELD PARRISH (1870-1966)
Cassim in the Cave of the Forty Thieves from The Arabian Nights, 1906
Original vintage print on paper
11in. x 9in. (sight size). Framed
Published by P.F. Collier & Son
Cassim in the Cave of the Forty Thieves from The Arabian Nights, 1906
Original vintage print on paper
11in. x 9in. (sight size). Framed
Published by P.F. Collier & Son
NORMAN ROCKWELL (1894-1978)
Color Lithograph, 1971
The Medicine
17in. x 13.5in. (sight size)
Signed lower right: Norman Rockwell
Edition number lower left: 125/200
This plate from the Tom Sawyer Color Folio shows Tom taking his medicine.
RKeywords: print, lithograph, Tom sawyer, signed, print, Mark Twain, Americana Q
Color Lithograph, 1971
The Medicine
17in. x 13.5in. (sight size)
Signed lower right: Norman Rockwell
Edition number lower left: 125/200
This plate from the Tom Sawyer Color Folio shows Tom taking his medicine.
RKeywords: print, lithograph, Tom sawyer, signed, print, Mark Twain, Americana Q
NORMAN ROCKWELL (1894-1978)
Color Lithograph, 1971
The Cave
22in. x 18in. (sight size)
Signed lower right: Norman Rockwell
Edition number lower left: 125/200
From the Tom Sawyer Color Folio comes this plate of a frightened Becky and Tom in the cave.
Keywords: The Saturday Evening Post artist, Literary Digest artist, Popular Science artist, Tom Sawyer artist, Huckleberry Finn artist, Look Magazine artist, Brown & Bigelow Calendar artist, Boy's Life artist, American Boy artist, Youth's Companion artist, artist, illustrator
Color Lithograph, 1971
The Cave
22in. x 18in. (sight size)
Signed lower right: Norman Rockwell
Edition number lower left: 125/200
From the Tom Sawyer Color Folio comes this plate of a frightened Becky and Tom in the cave.
Keywords: The Saturday Evening Post artist, Literary Digest artist, Popular Science artist, Tom Sawyer artist, Huckleberry Finn artist, Look Magazine artist, Brown & Bigelow Calendar artist, Boy's Life artist, American Boy artist, Youth's Companion artist, artist, illustrator
NORMAN ROCKWELL (1894-1978)
Color Lithograph, 1971
Sneaking Out
22in. x 18in. (sight size)
Signed lower right: Norman Rockwell
Edition number lower left: 125/200
Tom makes his exit, in this plate from the Tom Sawyer Color Folio.
Keywords: The Saturday Evening Post artist, Literary Digest artist, Popular Science artist, Tom Sawyer artist, Huckleberry Finn artist, Look Magazine artist, Brown & Bigelow Calendar artist, Boy's Life artist, American Boy artist, Youth's Companion artist, artist, illustrator
Color Lithograph, 1971
Sneaking Out
22in. x 18in. (sight size)
Signed lower right: Norman Rockwell
Edition number lower left: 125/200
Tom makes his exit, in this plate from the Tom Sawyer Color Folio.
Keywords: The Saturday Evening Post artist, Literary Digest artist, Popular Science artist, Tom Sawyer artist, Huckleberry Finn artist, Look Magazine artist, Brown & Bigelow Calendar artist, Boy's Life artist, American Boy artist, Youth's Companion artist, artist, illustrator
NORMAN ROCKWELL (1894-1978)
Color Lithograph, 1971
First Smoke
20in. x 15in. (sight size)
Signed lower right: Norman Rockwell
Edition number lower left: 125/200
This plate from the Tom Sawyer Color Folio shows Tom enjoying his first smoke.
Keywords: print, lithograph, Tom Sawyer, signed, print, Mark Twain, Americana
Color Lithograph, 1971
First Smoke
20in. x 15in. (sight size)
Signed lower right: Norman Rockwell
Edition number lower left: 125/200
This plate from the Tom Sawyer Color Folio shows Tom enjoying his first smoke.
Keywords: print, lithograph, Tom Sawyer, signed, print, Mark Twain, Americana
MICHAEL YOUNG (b.1952)
The Pleasure of Your Company
Color Lithograph
32in. x 24in. (sight size)
Edition: 248/300
Signed lower left: Michael Young
This twenty-three-color, hand-drawn flatbed lithograph quickly sold out soon after its release. With paintings in several museums, Young's fantastical, and often romantic and humorous, works enjoy tremendous popularity around the world.
Keywords: Art Deco, print, landscapes, illustration, streamlined
The Pleasure of Your Company
Color Lithograph
32in. x 24in. (sight size)
Edition: 248/300
Signed lower left: Michael Young
This twenty-three-color, hand-drawn flatbed lithograph quickly sold out soon after its release. With paintings in several museums, Young's fantastical, and often romantic and humorous, works enjoy tremendous popularity around the world.
Keywords: Art Deco, print, landscapes, illustration, streamlined
MICHAEL YOUNG (b.1952)
Ladies Ready to Wear, c.1987
Color Serigraph
24in. x 44in. (sight size)
Edition: AP 48/50
Signed lower right: Michael Young
Michael Young's work has been included in many private and corporate collections both in North America and abroad. Fashion from the 1940's is the focus of this nostalgic look at shopping.
Keywords: Art Deco, print, landscapes, illustration, streamlined
Ladies Ready to Wear, c.1987
Color Serigraph
24in. x 44in. (sight size)
Edition: AP 48/50
Signed lower right: Michael Young
Michael Young's work has been included in many private and corporate collections both in North America and abroad. Fashion from the 1940's is the focus of this nostalgic look at shopping.
Keywords: Art Deco, print, landscapes, illustration, streamlined
MICHAEL YOUNG (b.1952)
Pink Parrot
Color Serigraph
25in. x 40in. (sight size)
Edition: AP 40/50
Signed lower right: Michael Young
Young's fascination for nightlife in the 1940's showcases his unique style of illustrating people and places in America; sixty-seven colors were used in this print. Michael Young has had one-man shows in Beverly Hills, San Francisco, Carmel, Maui, Boston, Chicago and New York City.
Keywords: Art Deco, print, landscapes, illustration, streamlined
Pink Parrot
Color Serigraph
25in. x 40in. (sight size)
Edition: AP 40/50
Signed lower right: Michael Young
Young's fascination for nightlife in the 1940's showcases his unique style of illustrating people and places in America; sixty-seven colors were used in this print. Michael Young has had one-man shows in Beverly Hills, San Francisco, Carmel, Maui, Boston, Chicago and New York City.
Keywords: Art Deco, print, landscapes, illustration, streamlined
MICHAEL YOUNG (b.1952)
Flamingo Club
Color Serigraph
40in. x 30in. (sight size)
Edition: AP 41/50
Signed lower right: Michael Young
Michael Young has been dubbed a "master of modern nostalgia." Young creates an environment that entices the viewer to "step into" it. He studied art at the Art Students' League and was an artist for Red Rose art and Andrew Kolb and Sons Gallery.
Keywords: Art Deco, print, landscapes, illustration, streamlined
Flamingo Club
Color Serigraph
40in. x 30in. (sight size)
Edition: AP 41/50
Signed lower right: Michael Young
Michael Young has been dubbed a "master of modern nostalgia." Young creates an environment that entices the viewer to "step into" it. He studied art at the Art Students' League and was an artist for Red Rose art and Andrew Kolb and Sons Gallery.
Keywords: Art Deco, print, landscapes, illustration, streamlined
Original Illustration Art
MICHAEL YOUNG (b.1952)
Tribute to Erte
Color Print, c.1987
20in. x 30in. (sight size)
Edition: 13/20
Signed lower right: Michael Young
Michael Young has received tremendous response to his artwork, pieces that showcase his talent and love of the night life and fashions of the past; subjects that evoke a strong and lively romantic statement with the people and places of America's nostalgic periods of the 1930s, '40s, and '50s.
Keywords: Art Deco, print, landscapes, illustration, streamlined
Tribute to Erte
Color Print, c.1987
20in. x 30in. (sight size)
Edition: 13/20
Signed lower right: Michael Young
Michael Young has received tremendous response to his artwork, pieces that showcase his talent and love of the night life and fashions of the past; subjects that evoke a strong and lively romantic statement with the people and places of America's nostalgic periods of the 1930s, '40s, and '50s.
Keywords: Art Deco, print, landscapes, illustration, streamlined
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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