2008 October Signature Illustration Art Auction
| Sale Number: | 7001 |
| Location: | Heritage Auctions - Design District Showroom 1518 Slocum Street Dallas, TX 75207 |
| Auction Date: | October 15th at 1 PM CT |
Featured Collections
The Mort Künstler Collection
The Jane and Howard Frank Collection
Playboy - The Art of Beauty
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Session 1
Paintings
MORT KÜNSTLER (American b. 1931)
The Rape of the Kazakhs, Stag story illustration, circa 1955
Gouache on board
13.5 x 21 in.
Signed lower right
The Rape of the Kazakhs, Stag story illustration, circa 1955
Gouache on board
13.5 x 21 in.
Signed lower right
MORT KÜNSTLER (American b. 1931)
Double Trouble, The Giant Manta-Ray, Adventure cover, February 1956
Gouache on board
18 x 20 in.
Signed lower right
This painting is reproduced on page 88 of It's a Man's World, Men's Adventure Magazines, the Postwar Pulps by Adam Parfrey.
Double Trouble, The Giant Manta-Ray, Adventure cover, February 1956
Gouache on board
18 x 20 in.
Signed lower right
This painting is reproduced on page 88 of It's a Man's World, Men's Adventure Magazines, the Postwar Pulps by Adam Parfrey.
MORT KÜNSTLER (American b. 1931)
The Hardboiled Lineup, Lion Library paperback cover, 1956
Gouache and oil on board
18 x 21.5 in.
Signed lower right
This macabre montage scene was created for the cover of The Hardboiled Lineup, Lion Library, 1956.
"Here are the tough guys, and their women, driven by the savage hungers of crime."
The Hardboiled Lineup, Lion Library paperback cover, 1956
Gouache and oil on board
18 x 21.5 in.
Signed lower right
This macabre montage scene was created for the cover of The Hardboiled Lineup, Lion Library, 1956.
"Here are the tough guys, and their women, driven by the savage hungers of crime."
MORT KÜNSTLER (American b. 1931)
Zulu Rescue From the Rhinos, My Forty Years In a Jungle World, Hunting Adventures story illustration, Winter, circa 1956
Gouache on board
20 x 30 in.
Signed lower right
This painting also appeared in Sportsman, August 1965.
Zulu Rescue From the Rhinos, My Forty Years In a Jungle World, Hunting Adventures story illustration, Winter, circa 1956
Gouache on board
20 x 30 in.
Signed lower right
This painting also appeared in Sportsman, August 1965.
MORT KÜNSTLER (American b. 1931)
In a Hot Spot, True Adventures cover, September, 1957
Gouache on board
20 x 15.5 in.
Signed lower left
This painting is reproduced on page 56 of Men's Adventure Magazines by Max Allan Collins, George Hagenauer, and Steven Heller.
In a Hot Spot, True Adventures cover, September, 1957
Gouache on board
20 x 15.5 in.
Signed lower left
This painting is reproduced on page 56 of Men's Adventure Magazines by Max Allan Collins, George Hagenauer, and Steven Heller.
MORT KÜNSTLER (American b. 1931)
Staked Out In The Desert, True Adventures Cover, March 1957
Gouache on board
24 x 18 in.
Signed lower right
This painting is reproduced on page 83 of It's a Man's World, Men's Adventure Magazines, the Postwar Pulps by Adam Parfrey, and pages 68-69 of Men's Adventure Magazine In Postwar America by Max Allan Collins, George Hagenauer, and Steven Heller.
Staked Out In The Desert, True Adventures Cover, March 1957
Gouache on board
24 x 18 in.
Signed lower right
This painting is reproduced on page 83 of It's a Man's World, Men's Adventure Magazines, the Postwar Pulps by Adam Parfrey, and pages 68-69 of Men's Adventure Magazine In Postwar America by Max Allan Collins, George Hagenauer, and Steven Heller.
MORT KÜNSTLER (American b. 1931)
The Line Up, Lion Library paperback cover, circa 1957
Mixed-media on board
23 x 16 in.
Signed lower left
This painting was done for a Lion Library paperback, circa 1957.
The Line Up, Lion Library paperback cover, circa 1957
Mixed-media on board
23 x 16 in.
Signed lower left
This painting was done for a Lion Library paperback, circa 1957.
MORT KÜNSTLER (American b. 1931)
Indian Boarding Party, For Men Only cover, October, 1958
Gouache on board
20 x 15 in.
Signed lower right
Indian Boarding Party, For Men Only cover, October, 1958
Gouache on board
20 x 15 in.
Signed lower right
MORT KÜNSTLER (American b. 1931)
The West's Wildest Hell-Raiser, Stag story illustration, January 1958
Gouache on board
17 x 26 in.
Signed lower left
This painting is reproduced on page 62 of It's a Man's World, Men's Adventure Magazines, the Postwar Pulps by Adam Parfrey.
The West's Wildest Hell-Raiser, Stag story illustration, January 1958
Gouache on board
17 x 26 in.
Signed lower left
This painting is reproduced on page 62 of It's a Man's World, Men's Adventure Magazines, the Postwar Pulps by Adam Parfrey.
MORT KÜNSTLER (American b. 1931)
Survivor Carmody's Two Girl Paradise, True Action cover, January, 1959
Gouache on board
22 x 16 in.
Signed lower left
This painting is reproduced on page 124 of Men's Adventure Magazines by Max Allan Collins, George Hagenauer, and Steven Heller.
Survivor Carmody's Two Girl Paradise, True Action cover, January, 1959
Gouache on board
22 x 16 in.
Signed lower left
This painting is reproduced on page 124 of Men's Adventure Magazines by Max Allan Collins, George Hagenauer, and Steven Heller.
MORT KÜNSTLER (American b. 1931)
I'm Taking Over the Boat, Male story illustration, April, 1959
Gouache on board
16.5 x 25.5 in.
Signed lower right
I'm Taking Over the Boat, Male story illustration, April, 1959
Gouache on board
16.5 x 25.5 in.
Signed lower right
MORT KÜNSTLER (American b. 1931)
Come On In, Male story illustration, circa 1960
Gouache on board
8 x 12 in.
Signed lower left
Come On In, Male story illustration, circa 1960
Gouache on board
8 x 12 in.
Signed lower left
MORT KÜNSTLER (American b. 1931)
The Lufftwaffe Liar, Men story illustration, March, 1960
Gouache on board
17 x 19 in.
Signed lower right
This painting was also used in Man's World, August 1962.
The Lufftwaffe Liar, Men story illustration, March, 1960
Gouache on board
17 x 19 in.
Signed lower right
This painting was also used in Man's World, August 1962.
MORT KÜNSTLER (American b. 1931)
The Bed Sheet Escape, Male or Stag cover, circa 1960
Gouache on board
22 x 15.5 in.
Signed lower right
This scene also appeared on the cover of Sucesos Para Todos, published in Mexico on February 26, 1963.
The Bed Sheet Escape, Male or Stag cover, circa 1960
Gouache on board
22 x 15.5 in.
Signed lower right
This scene also appeared on the cover of Sucesos Para Todos, published in Mexico on February 26, 1963.
MORT KÜNSTLER (American b. 1931)
The Stubborn Leatherneck Who Took China Wall, Men cover, March, 1960
Gouache on board
19 x 14.5 in.
Signed lower left
The Stubborn Leatherneck Who Took China Wall, Men cover, March, 1960
Gouache on board
19 x 14.5 in.
Signed lower left
MORT KÜNSTLER (American b. 1931)
The White Rajah of Sarawak, Male cover, February, 1960
Gouache on board
21 x 16 in.
Signed lower left
The White Rajah of Sarawak, Male cover, February, 1960
Gouache on board
21 x 16 in.
Signed lower left
MORT KÜNSTLER (American b. 1931)
Robbing the Government Mint, Stag cover, August, 1960
Gouache on board
19.5 x 15 in.
Signed lower left
This scene was also used in Man's World in February, 1962.
This painting is reproduced on page 247 of It's a Man's World, Men's Adventure Magazines, the Postwar Pulps by Adam Parfrey.
Robbing the Government Mint, Stag cover, August, 1960
Gouache on board
19.5 x 15 in.
Signed lower left
This scene was also used in Man's World in February, 1962.
This painting is reproduced on page 247 of It's a Man's World, Men's Adventure Magazines, the Postwar Pulps by Adam Parfrey.
MORT KÜNSTLER (American b. 1931)
Strange Suicide Crate, Male cover, September, 1961
Gouache on board
20.5 x 15.5 in.
Signed lower right
Strange Suicide Crate, Male cover, September, 1961
Gouache on board
20.5 x 15.5 in.
Signed lower right
MORT KÜNSTLER (American b. 1931)
A New Look at America's Mystery Giant, True story illustration, circa 1960
Gouache on board
17.5 x 26 in.
Signed lower left
A New Look at America's Mystery Giant, True story illustration, circa 1960
Gouache on board
17.5 x 26 in.
Signed lower left
MORT KÜNSTLER (American b. 1931)
Yank Who Stole a Strange Nazi Suicide Missile, Male story illustration, September 1961
Gouache on board
18 x 27 in.
Signed lower left
Yank Who Stole a Strange Nazi Suicide Missile, Male story illustration, September 1961
Gouache on board
18 x 27 in.
Signed lower left
MORT KÜNSTLER (American b. 1931)
The Ace, Yankee Hero of Squadron 60, Men story illustration, February, 1960
Gouache on board
16.5 x 25 in.
Signed lower right
The Ace, Yankee Hero of Squadron 60, Men story illustration, February, 1960
Gouache on board
16.5 x 25 in.
Signed lower right
MORT KÜNSTLER (American b. 1931)
Tokyo Sally and the Great Japanese Manhunt, Male cover, July, 1960
Gouache on board
23.5 x 16.5 in.
Signed lower right
Tokyo Sally and the Great Japanese Manhunt, Male cover, July, 1960
Gouache on board
23.5 x 16.5 in.
Signed lower right
MORT KÜNSTLER (American b. 1931)
"Silence Is Golden" Male or Stag story illustration, circa 1960
Gouache on board
16.5 x 25.5 in.
Signed lower left
"Silence Is Golden" Male or Stag story illustration, circa 1960
Gouache on board
16.5 x 25.5 in.
Signed lower left
MORT KÜNSTLER (American b. 1931)
The Marines Who Manned a Geisha Prison Boat, For Men Only cover, June, 1961
Gouache on board
15 x 15 in.
Signed lower right
The Marines Who Manned a Geisha Prison Boat, For Men Only cover, June, 1961
Gouache on board
15 x 15 in.
Signed lower right
MORT KÜNSTLER (American b. 1931)
The Yank Who Fouled Up Rommel's Desert Assault, Stag story illustration, October, 1961
Gouache on board
16.5 x 25.5 in.
Signed lower left
The Yank Who Fouled Up Rommel's Desert Assault, Stag story illustration, October, 1961
Gouache on board
16.5 x 25.5 in.
Signed lower left
MORT KÜNSTLER (American b. 1931)
Never Fly With Elephants, Argosy story illustration, October 1961
Oil on board
20 x 19 in.
Signed lower right
Never Fly With Elephants, Argosy story illustration, October 1961
Oil on board
20 x 19 in.
Signed lower right
MORT KÜNSTLER (American b. 1931)
Attack On the Red Army's Female Barracks, For Men Only cover, October, 1962
Gouache on board
19 x 15 in.
Signed lower right
Attack On the Red Army's Female Barracks, For Men Only cover, October, 1962
Gouache on board
19 x 15 in.
Signed lower right
MORT KÜNSTLER (American b. 1931)
America's Worst Naval Defeat, Stag cover, May, 1962
Gouache on board
19.5 x 15 in.
Signed lower right
America's Worst Naval Defeat, Stag cover, May, 1962
Gouache on board
19.5 x 15 in.
Signed lower right
MORT KÜNSTLER (American b. 1931)
I Ran Hitler's Toughest P.O.W. Camp, Stag cover, July 1962
Gouache on board
19 x 15 in.
Signed lower right
I Ran Hitler's Toughest P.O.W. Camp, Stag cover, July 1962
Gouache on board
19 x 15 in.
Signed lower right
MORT KÜNSTLER (American b. 1931)
Fight For the Gunboat, Male or Stag cover, circa 1962
Gouache on board
21 x 16 in.
Signed lower right
Fight For the Gunboat, Male or Stag cover, circa 1962
Gouache on board
21 x 16 in.
Signed lower right
MORT KÜNSTLER (American b. 1931)
Air Fight with Zeppelins and Planes, Male cover, circa 1963
Gouache on board
15 x 16 in.
Signed lower right
Air Fight with Zeppelins and Planes, Male cover, circa 1963
Gouache on board
15 x 16 in.
Signed lower right
MORT KÜNSTLER (American b. 1931)
Fraulein Stockade, Stag story illustration, March 1961
Gouache on board
14 x 15.5 in.
Signed lower left
Fraulein Stockade, Stag story illustration, March 1961
Gouache on board
14 x 15.5 in.
Signed lower left
MORT KÜNSTLER (American b. 1931)
Only 17 Survived the Atrocity Sub, Stag cover, October, 1963
Gouache on board
17 x 15 in.
Signed lower left
Only 17 Survived the Atrocity Sub, Stag cover, October, 1963
Gouache on board
17 x 15 in.
Signed lower left
MORT KÜNSTLER (American b. 1931)
Lucky Laycock's Raid That Won Salerno, Male cover, March, 1963
Gouache on board
20 x 15 in.
Signed lower right
Lucky Laycock's Raid That Won Salerno, Male cover, March, 1963
Gouache on board
20 x 15 in.
Signed lower right
MORT KÜNSTLER (American b. 1931)
The Bedford Incident, Male cover, September, 1964
Gouache on board
14 x 13 in.
Signed lower right
The Bedford Incident, Male cover, September, 1964
Gouache on board
14 x 13 in.
Signed lower right
MORT KÜNSTLER (American b. 1931)
G. I. Tiger-Bandit of Saipan, Male story illustration
Gouache on board
17 x 25.5 in.
Signed lower left
G. I. Tiger-Bandit of Saipan, Male story illustration
Gouache on board
17 x 25.5 in.
Signed lower left
MORT KÜNSTLER (American b. 1931)
Belly Dancer Raid to Spring Russia's Top Rocket Man, For Men Only cover, May, 1964
Gouache on board
19 x 15 in.
Signed lower right
Belly Dancer Raid to Spring Russia's Top Rocket Man, For Men Only cover, May, 1964
Gouache on board
19 x 15 in.
Signed lower right
MORT KÜNSTLER (American b. 1931)
Freedom Girl's Iron Curtain Escape, For Men Only Cover, June 1964
Gouache on board
19.25 x 14.75 in.
Signed lower right
Freedom Girl's Iron Curtain Escape, For Men Only Cover, June 1964
Gouache on board
19.25 x 14.75 in.
Signed lower right
MORT KÜNSTLER (American b. 1931)
Candle Light and Music, Male cover, circa 1965
Gouache on board
13 x 7 in.
Signed lower right
Candle Light and Music, Male cover, circa 1965
Gouache on board
13 x 7 in.
Signed lower right
MORT KÜNSTLER (American b. 1931)
Holding Them Off at the Cantina, For Men Only cover, circa 1965
Gouache on board
12 x 17.5 in.
Signed lower left
Holding Them Off at the Cantina, For Men Only cover, circa 1965
Gouache on board
12 x 17.5 in.
Signed lower left
MORT KÜNSTLER (American b. 1931)
Fire Fight for the Village, Stag story illustration, circa 1965
Gouache on board
17 x 25 in.
Signed lower right
Fire Fight for the Village, Stag story illustration, circa 1965
Gouache on board
17 x 25 in.
Signed lower right
MORT KÜNSTLER (American b. 1931)
The Four Who Escaped the Dynamite Kite, Male story illustration, circa 1965
Gouache on board
17 x 25.5 in.
Signed lower right
The Four Who Escaped the Dynamite Kite, Male story illustration, circa 1965
Gouache on board
17 x 25.5 in.
Signed lower right
MORT KÜNSTLER (American b. 1931)
To the Rescue, men's magazine cover
Gouache on board
21 x 16 in.
Signed lower right
To the Rescue, men's magazine cover
Gouache on board
21 x 16 in.
Signed lower right
MORT KÜNSTLER (American b. 1931)
Shootout With Russians in Barn, Male or Stag cover, circa 1965
Gouache on board
15.75 x 15.5 in.
Signed lower left
Shootout With Russians in Barn, Male or Stag cover, circa 1965
Gouache on board
15.75 x 15.5 in.
Signed lower left
MORT KÜNSTLER (American b. 1931)
Tojo's Monster Sub, Male story illustration, circa 1965
Gouache on board
16.5 x 25.5 in.
Signed lower left
This painting also appeared in Action for Men magazine.
Tojo's Monster Sub, Male story illustration, circa 1965
Gouache on board
16.5 x 25.5 in.
Signed lower left
This painting also appeared in Action for Men magazine.
MORT KÜNSTLER (American b.1931)
Dillinger Bank Robbery, Stag story illustration, July 1965
Gouache on board
18 x 27 in.
Signed lower right
Dillinger Bank Robbery, Stag story illustration, July 1965
Gouache on board
18 x 27 in.
Signed lower right
MORT KÜNSTLER (American b. 1931)
The Welcoming Committee, Male or Stag cover, circa 1965
Gouache on board
20.5 x 15 in.
Signed lower right
The Welcoming Committee, Male or Stag cover, circa 1965
Gouache on board
20.5 x 15 in.
Signed lower right
MORT KÜNSTLER (American b. 1931)
The Lost Tribe of Komodo, Stag cover, July, 1965
Gouache on board
20 x 16 in.
Signed lower right
This painting is reproduced on page 113 of It's a Man's World, Men's Adventure Magazines, the Postwar Pulps by Adam Parfrey.
The Lost Tribe of Komodo, Stag cover, July, 1965
Gouache on board
20 x 16 in.
Signed lower right
This painting is reproduced on page 113 of It's a Man's World, Men's Adventure Magazines, the Postwar Pulps by Adam Parfrey.
MORT KÜNSTLER (American b. 1931)
The French Doll, Hell's Angel of Paris, For Men Only cover, August 1966
Gouache on board
11 x 16 in.
Signed lower left
The French Doll, Hell's Angel of Paris, For Men Only cover, August 1966
Gouache on board
11 x 16 in.
Signed lower left
MORT KÜNSTLER (American b. 1931)
The Three Couple Affair, Stag story illustration, May, 1967
Gouache on board
23 x 15 in.
Signed lower right
The Three Couple Affair, Stag story illustration, May, 1967
Gouache on board
23 x 15 in.
Signed lower right
MORT KÜNSTLER (American b. 1931)
The Raid, Stag cover, circa 1968
Gouache on board
7 x 11 in.
Signed lower center
The Raid, Stag cover, circa 1968
Gouache on board
7 x 11 in.
Signed lower center
MORT KÜNSTLER (American b. 1931)
Four For One, Male cover, February 1968
Gouache on board
15 x 15 in.
Signed lower right
Four For One, Male cover, February 1968
Gouache on board
15 x 15 in.
Signed lower right
MORT KÜNSTLER (American b. 1931)
Bank Vault Heist, For Men Only cover, June, 1968
Gouache on board
12 x 17.5 in.
Signed (as Emmett Kaye) lower right
Bank Vault Heist, For Men Only cover, June, 1968
Gouache on board
12 x 17.5 in.
Signed (as Emmett Kaye) lower right
MORT KÜNSTLER (American b. 1931)
Cast For the Part, Stag Magazine story illustration, August 1968
Gouache on board
16.5 x 19 in.
Signed (as Emmett Kaye) lower right
Cast For the Part, Stag Magazine story illustration, August 1968
Gouache on board
16.5 x 19 in.
Signed (as Emmett Kaye) lower right
MORT KÜNSTLER (American b. 1931)
The G. I. s Who Took Over Germany's Castle, Stag cover, January, 1968
Gouache on board
12.5 x 16 in.
Signed lower right
The G. I. s Who Took Over Germany's Castle, Stag cover, January, 1968
Gouache on board
12.5 x 16 in.
Signed lower right
MORT KÜNSTLER (American b. 1931)
Attacking the Stockade, Male or Stag story illustration, circa 1968
Gouache on board
17 x 26 in.
Signed lower left
Attacking the Stockade, Male or Stag story illustration, circa 1968
Gouache on board
17 x 26 in.
Signed lower left
MORT KÜNSTLER (American b. 1931)
Shark Attack, Adrift for 43 Days, Male magazine front cover, April 1968
Gouache on board
23.5 x 18 in.
Signed lower right
Shark Attack, Adrift for 43 Days, Male magazine front cover, April 1968
Gouache on board
23.5 x 18 in.
Signed lower right
MORT KÜNSTLER (American b. 1931)
The Day They Captured the Empire State Building, For Men Only cover, August, 1970
Gouache on board
21.5 x 11 in.
Signed lower right
This painting is reproduced on page 227 of It's a Man's World, Men's Adventure Magazines, the Postwar Pulps by Adam Parfrey.
The Day They Captured the Empire State Building, For Men Only cover, August, 1970
Gouache on board
21.5 x 11 in.
Signed lower right
This painting is reproduced on page 227 of It's a Man's World, Men's Adventure Magazines, the Postwar Pulps by Adam Parfrey.
MORT KÜNSTLER (American b. 1931)
Breaking Out, Stag or Male story illustration, circa 1970
Gouache on board
17 x 24.5 in.
Signed lower left, and right (as Emmett Kaye)
Breaking Out, Stag or Male story illustration, circa 1970
Gouache on board
17 x 24.5 in.
Signed lower left, and right (as Emmett Kaye)
MORT KÜNSTLER (American b. 1931)
The Impossible Escape, Stag story illustration, August, 1972
Gouache on board
16.5 x 24.5 in.
Signed lower left, and lower right (as Emmett Kaye)
The Impossible Escape, Stag story illustration, August, 1972
Gouache on board
16.5 x 24.5 in.
Signed lower left, and lower right (as Emmett Kaye)
MORT KÜNSTLER (American b. 1931)
Sea of Rats, Male story illustration, July, 1973
Gouache on board
16.5 x 25 in.
Signed lower left
Sea of Rats, Male story illustration, July, 1973
Gouache on board
16.5 x 25 in.
Signed lower left
CHRIS ACHILLEOS (English b.1947)
Armies of Death, paperback cover, 1987
Mixed-media on board
28 x 19.5 in.
Signed lower left with a monogram
This savage scene appeared on the cover of Ian Livingstone's book, Armies of Death (Fighting Fantasy Series), Puffin Books, 1988, a paperback copy of which is included here.
"The kingdom of Allansia is under threat. Agglax the evil Zombie-Lord is amassing an army of undead warriors in eastern Allansia, beyond the Forest of Fiends. You are Allansia's only hope."
Armies of Death, paperback cover, 1987
Mixed-media on board
28 x 19.5 in.
Signed lower left with a monogram
This savage scene appeared on the cover of Ian Livingstone's book, Armies of Death (Fighting Fantasy Series), Puffin Books, 1988, a paperback copy of which is included here.
"The kingdom of Allansia is under threat. Agglax the evil Zombie-Lord is amassing an army of undead warriors in eastern Allansia, beyond the Forest of Fiends. You are Allansia's only hope."
PAUL ALEXANDER (American b.1937)
Return of Count Von Zeppelin, Oui magazine illustration
Gouache on board
18 x 30.5 in.
Not signed
Return of Count Von Zeppelin, Oui magazine illustration
Gouache on board
18 x 30.5 in.
Not signed
Mainstream Illustration
JOHN AMENDOLA (American 20th Century)
Automobile illustrations, Aurora Model Kit Box Art, group of 2, 1974
Gouache on board
9.5 x 14.5 in.
Each signed
These two Aurora model kit box illustrations feature a 1909 Stanley Steamer Model E2 Runabout and a 1913 Mercer Type 35J Raceabout.
Automobile illustrations, Aurora Model Kit Box Art, group of 2, 1974
Gouache on board
9.5 x 14.5 in.
Each signed
These two Aurora model kit box illustrations feature a 1909 Stanley Steamer Model E2 Runabout and a 1913 Mercer Type 35J Raceabout.
AMERICAN ILLUSTRATOR (20th Century)
Magazine story illustration, 58
Mixed-media on paper
10.25 x 7.5 in.
Not signed
Magazine story illustration, 58
Mixed-media on paper
10.25 x 7.5 in.
Not signed
Paintings
AMERICAN ILLUSTRATOR (20th Century)
Alka-Seltzer advertising illustration
Oil on canvas
42.5 x 32.5 in.
Not signed
The influence of Haddon Sunblom can be seen in this lighthearted, sunlit scene, advertising Alka-Seltzer.
Alka-Seltzer advertising illustration
Oil on canvas
42.5 x 32.5 in.
Not signed
The influence of Haddon Sunblom can be seen in this lighthearted, sunlit scene, advertising Alka-Seltzer.
Mainstream Illustration
AMERICAN ILLUSTRATOR (20th Century)
Miller Beer Girl, advertising poster illustration, circa 1930-1940
Gouache on board
22 x 17 in.
Not signed
This piece, commissioned by the A. C. Schulz Lithographic Company, was recently discovered in an abandoned Milwaukee, Wisconsin warehouse. This piece is a splendid example of a nostalgic, post-Prohibition look back at turn-of-the-century German beer advertising. Original breweryiana illustration is quite scarce.
Miller Beer Girl, advertising poster illustration, circa 1930-1940
Gouache on board
22 x 17 in.
Not signed
This piece, commissioned by the A. C. Schulz Lithographic Company, was recently discovered in an abandoned Milwaukee, Wisconsin warehouse. This piece is a splendid example of a nostalgic, post-Prohibition look back at turn-of-the-century German beer advertising. Original breweryiana illustration is quite scarce.
Paintings
AMERICAN ILLUSTRATOR (20th Century)
Walt Disney's Pinocchio, Little Golden Book illustration, group of 21, 1939
Mixed-media on paper
7 x 6 in.
Not signed
This lot features 21 illustrations for the Little Golden Book, Walt Disney's Pinocchio, Simon and Shuster, 1948
A copy of the book is included in this lot.
Walt Disney's Pinocchio, Little Golden Book illustration, group of 21, 1939
Mixed-media on paper
7 x 6 in.
Not signed
This lot features 21 illustrations for the Little Golden Book, Walt Disney's Pinocchio, Simon and Shuster, 1948
A copy of the book is included in this lot.
AMERICAN ILLUSTRATOR (20th Century)
Pulp preliminary paintings
Watercolor on paper
10 x 7 in.
Signed lower right
Pulp preliminary paintings
Watercolor on paper
10 x 7 in.
Signed lower right
AMERICAN ILLUSTRATOR (20th Century)
Editorial cartoon
Crayon and chalk on paper
14 x 18.5 in.
Signed lower left
From the Tom Rainone Collection.
Editorial cartoon
Crayon and chalk on paper
14 x 18.5 in.
Signed lower left
From the Tom Rainone Collection.
AMERICAN ILLUSTRATOR (20th Century)
Walt Disney's Snow White and the Seven Dwarfs, Little Golden Book illustration, 1948
Gouache on paper
4.5 x 6 in.
Not signed
Walt Disney's Snow White and the Seven Dwarfs, Little Golden Book illustration, 1948
Gouache on paper
4.5 x 6 in.
Not signed
AMERICAN ILLUSTRATOR (20th Century)
Walt Disney's Bambi, Little Golden Book illustration, 1948
Watercolor on board
8 x 12.5 in.
Not signed
This illustration was used on pages 26 and 27 of the Little Golden Book.
Walt Disney's Bambi, Little Golden Book illustration, 1948
Watercolor on board
8 x 12.5 in.
Not signed
This illustration was used on pages 26 and 27 of the Little Golden Book.
AMERICAN ILLUSTRATOR (20th Century)
Mickey Mouse, Golden Book illustration, group of 2, circa 1949
Ink on paper and gouache on paper
5 x 5.5 in.
Not signed
The ink drawing in this lot, drawn by Richard "Sparky" Moore and Manuel Gonzales, hails from Walt Disney's Mystery in Disneyville, A Golden Book Story, Simon and Schuster, 1949, a copy of which is included here.
The gouache painting is from an unidentified Mickey Mouse Little Golden Book.
Mickey Mouse, Golden Book illustration, group of 2, circa 1949
Ink on paper and gouache on paper
5 x 5.5 in.
Not signed
The ink drawing in this lot, drawn by Richard "Sparky" Moore and Manuel Gonzales, hails from Walt Disney's Mystery in Disneyville, A Golden Book Story, Simon and Schuster, 1949, a copy of which is included here.
The gouache painting is from an unidentified Mickey Mouse Little Golden Book.
AMERICAN ILLUSTRATOR (20th Century)
They Call Her "Easy"/Private Club, paperback cover, 1951-1959
Gouache on board
20 x 15 in.
Not signed
This torrid scene appeared on at least two paperback covers, Gwen Lyons' They Call Her "Easy," Falcon Books, Inc., 1951, and Orrie Hitt's Private Club, Beacon, 1959, a copy of each being included in this group.
"The word 'no' wasn't in her vocabulary..."
"At the Shamrock, guests always got what they wanted..."
They Call Her "Easy"/Private Club, paperback cover, 1951-1959
Gouache on board
20 x 15 in.
Not signed
This torrid scene appeared on at least two paperback covers, Gwen Lyons' They Call Her "Easy," Falcon Books, Inc., 1951, and Orrie Hitt's Private Club, Beacon, 1959, a copy of each being included in this group.
"The word 'no' wasn't in her vocabulary..."
"At the Shamrock, guests always got what they wanted..."
AMERICAN ILLUSTRATOR (20th Century)
Space Surveyor
Gouache on board
18 x 13 in.
Not signed
Space Surveyor
Gouache on board
18 x 13 in.
Not signed
AMERICAN ILLUSTRATOR (20th Century)
Christmas Coloring Book cover, 1955
Acrylic on board
15 x 12 in.
Not signed
A copy of the coloring book is included in this lot
Christmas Coloring Book cover, 1955
Acrylic on board
15 x 12 in.
Not signed
A copy of the coloring book is included in this lot
AMERICAN ILLUSTRATOR (20th Century)
Walt Disney's Donald Duck, Little Golden Book illustration, group of 4, circa 1956
Gouache on paper
9 x 7 in.
Not signed
Three of these illustrations hail from Walt Disney's Donald Duck Prize Driver, while the merry-go-round scene hails from a different, unidentified Little Golden Book, a copy of which is included with the lot.
Walt Disney's Donald Duck, Little Golden Book illustration, group of 4, circa 1956
Gouache on paper
9 x 7 in.
Not signed
Three of these illustrations hail from Walt Disney's Donald Duck Prize Driver, while the merry-go-round scene hails from a different, unidentified Little Golden Book, a copy of which is included with the lot.
Mainstream Illustration
AMERICAN ILLUSTRATOR (20th Century)
Little Golden Book, Donald Duck story illustration
Gouache on paper
9 x 13 in.
Not signed
Little Golden Book, Donald Duck story illustration
Gouache on paper
9 x 13 in.
Not signed
Paintings
AMERICAN ILLUSTRATOR (20th Century)
Walt Disney's Snow White and the Seven Dwarfs, children's book illustration
Ink on board
20 x 13.5 in.
Not signed
Walt Disney's Snow White and the Seven Dwarfs, children's book illustration
Ink on board
20 x 13.5 in.
Not signed
AMERICAN ILLUSTRATOR (20th Century)
Mickey Mouse Club, Little Golden Books back cover illustration
Acrylic on paper
15 x 12.5 in.
Not signed
Mickey Mouse Club, Little Golden Books back cover illustration
Acrylic on paper
15 x 12.5 in.
Not signed
Pulp, Pulp-like, Digests, and Paperback Art
AMERICAN ILLUSTRATOR (20th Century)Lust in Paradise, paperback cover, 1961
Gouache on board
20 x 13 in.
Not signed
This painting was used on the cover of William Vaneer's novel, Lust in Paradise, Beacon Books, 1961, a paperback copy of which is included here.
"Vicky knew all the tricks of the Hawaiian brothels. Island paradise -- or tourist trap? Blissful isle -- or haven of lechery?"
Gouache on board
20 x 13 in.
Not signed
This painting was used on the cover of William Vaneer's novel, Lust in Paradise, Beacon Books, 1961, a paperback copy of which is included here.
"Vicky knew all the tricks of the Hawaiian brothels. Island paradise -- or tourist trap? Blissful isle -- or haven of lechery?"
Paintings
AMERICAN ILLUSTRATOR (20th Century)
Science fiction scenes, group of 2
Gouache on board
13.5 x 26 in.
Not signed
These dramatic pieces may have been done as film production art for an unidentified project
Science fiction scenes, group of 2
Gouache on board
13.5 x 26 in.
Not signed
These dramatic pieces may have been done as film production art for an unidentified project
AMERICAN ILLUSTRATOR (20th Century)
Lucifer Was Tall, paperback cover, 1976
Gouache on board
16 x 12 in.
Not signed
This spooky scene was used as the cover illustration for Elizabeth Gresham's novel, Lucifer Was Tall, Popular Library, 1976.
"Two sisters in love with the same man -- and shadowed by the same evil. A novel of mounting terror and satanic shock."
Lucifer Was Tall, paperback cover, 1976
Gouache on board
16 x 12 in.
Not signed
This spooky scene was used as the cover illustration for Elizabeth Gresham's novel, Lucifer Was Tall, Popular Library, 1976.
"Two sisters in love with the same man -- and shadowed by the same evil. A novel of mounting terror and satanic shock."
AMERICAN ILLUSTRATOR (20th Century)
Inheritors of the Earth, paperback cover, 1976
Acrylic on board
10 x 7 in.
Not signed
This piece was used for the cover of Gordon Eklund and Poul Anderson's novel, Inheritors of the Earth, Pyramid Books, 1976, a copy of the paperback included here.
"Three forms of humanity -- only one could survive."
Inheritors of the Earth, paperback cover, 1976
Acrylic on board
10 x 7 in.
Not signed
This piece was used for the cover of Gordon Eklund and Poul Anderson's novel, Inheritors of the Earth, Pyramid Books, 1976, a copy of the paperback included here.
"Three forms of humanity -- only one could survive."
AMERICAN ILLUSTRATOR (20th Century)
Pin up illustration, c. late 1950s
Gouache on board
22 x 14.5 in.
Signed indistinctly lower right
Pin up illustration, c. late 1950s
Gouache on board
22 x 14.5 in.
Signed indistinctly lower right
Mainstream Illustration
AMERICAN ILLUSTRATOR (20th Century)
Hardy Boys Mystery, jigsaw puzzle art, 1978
Acrylic on board
20 x 16 in.
Not signed
A copy of the puzzle is included in this lot.
Hardy Boys Mystery, jigsaw puzzle art, 1978
Acrylic on board
20 x 16 in.
Not signed
A copy of the puzzle is included in this lot.
Paintings
AMERICAN ILLUSTRATOR (20th Century)
Bettie
Pastel on paper
31 x 19 in.
Not signed
Bettie
Pastel on paper
31 x 19 in.
Not signed
DAVID LEE ANDERSON (American 20th Century)
Heaven Knows, 1988
Acrylic on board
18.5 x 28.5 in.
Signed lower right
Heaven Knows, 1988
Acrylic on board
18.5 x 28.5 in.
Signed lower right
R. ARMSTRONG (American 20th Century)
Original pinup illustration
Watercolor on paper
15 x 11 in.
Signed upper right
Original pinup illustration
Watercolor on paper
15 x 11 in.
Signed upper right
ROLF ARMSTRONG (American 1889 - 1960)
Bikini Bound study, 1949
Pastel on craft paper
34 x 27.5 in.
Signed lower right
This piece was inscribed and signed, "To Olga, ukulele protegé and island gal extraordinary without whom this sketch would never have been made, Rolf Armstrong, 1949"
Bikini Bound study, 1949
Pastel on craft paper
34 x 27.5 in.
Signed lower right
This piece was inscribed and signed, "To Olga, ukulele protegé and island gal extraordinary without whom this sketch would never have been made, Rolf Armstrong, 1949"
ROLF ARMSTRONG (American 1889 - 1960)
Blonde, circa 1925
Pastel on board
15.75 x 11.75 in.
Not signed
Blonde, circa 1925
Pastel on board
15.75 x 11.75 in.
Not signed
ROLF ARMSTRONG (American 1889 - 1960)
Remember Me?, calendar illustration, circa 1945
Pastel on board
28.5 x 21.5 in.
Signed lower right
This pastel drawing was reproduced on page 190 of Pin-Up Dreams The Glamour Art of Rolf Armstrong by Janet Dobson and Michael Wooldridge.
Inscribed and signed, "Beautiful -- all the way through Xmas 1951"
A copy of the vintage calendar is included in this lot.
Remember Me?, calendar illustration, circa 1945
Pastel on board
28.5 x 21.5 in.
Signed lower right
This pastel drawing was reproduced on page 190 of Pin-Up Dreams The Glamour Art of Rolf Armstrong by Janet Dobson and Michael Wooldridge.
Inscribed and signed, "Beautiful -- all the way through Xmas 1951"
A copy of the vintage calendar is included in this lot.
ROLF ARMSTRONG (American 1889 - 1960)
Art Deco Girl in a Hammock
Pastel on board
28.5 x 18.5 in.
Signed lower right
Art Deco Girl in a Hammock
Pastel on board
28.5 x 18.5 in.
Signed lower right
JOYCE BALLANTYNE (American 1918 - 2006)
Sitting Pretty, preliminary study
Oil on board
19.5 x 13.5 in.
Signed lower right
The finished painting, based on this study, was reproduced as figure 99 in The Great American Pin-Up by Charles G. Martignette and Louis K. Meisel.
Sitting Pretty, preliminary study
Oil on board
19.5 x 13.5 in.
Signed lower right
The finished painting, based on this study, was reproduced as figure 99 in The Great American Pin-Up by Charles G. Martignette and Louis K. Meisel.
JAMES BAMA (American b.1926)
Beloved, paperback cover, 1958
Oil on board
25.5 x 17.5 in.
Signed lower center-left
Beloved, paperback cover, 1958
Oil on board
25.5 x 17.5 in.
Signed lower center-left
MECLELLAND BARCLAY (American 1889 - 1943)
Nude, circa 1940
Graphite on paper
10.5 x 14.75 in.
Signed lower left
Nude, circa 1940
Graphite on paper
10.5 x 14.75 in.
Signed lower left
Mainstream Illustration
MECLELLAND BARCLAY (American 1889 - 1943)
Magazine illustration
Oil on canvas
32.5 x 35 in.
Signed lower right
Magazine illustration
Oil on canvas
32.5 x 35 in.
Signed lower right
Paintings
GEORGE BARR (American b.1937)
Tolkemec from Red Nails, book illustration, 1975
Ballpoint pen and watercolor
11 x 7 in.
Signed lower left
This illustration was created for the Robert E. Howard Conan book and story, Red Nails, Donald M. Grant, 1975.
Caption: "There was nothing at all human about the eyes that blazed from the tangle of white hair."
Tolkemec from Red Nails, book illustration, 1975
Ballpoint pen and watercolor
11 x 7 in.
Signed lower left
This illustration was created for the Robert E. Howard Conan book and story, Red Nails, Donald M. Grant, 1975.
Caption: "There was nothing at all human about the eyes that blazed from the tangle of white hair."
Mainstream Illustration
WALTER BAUMHOFER (American 1904 - 1987)
Stampede
Gouache on paper
7.25 x 9.75 in.
Signed lower right
From the Tom Rainone Collection.
Stampede
Gouache on paper
7.25 x 9.75 in.
Signed lower right
From the Tom Rainone Collection.
Paintings
WALTER BAUMHOFER (American 1904 - 1987)
White-Tail Deer
Gouache on board
6.5 x 8.75 in.
Signed (as Martin Walters) lower left
Walter Baumhofer signed this piece using the pseudonym of Martin Walters. From the Tom Rainone Collection.
White-Tail Deer
Gouache on board
6.5 x 8.75 in.
Signed (as Martin Walters) lower left
Walter Baumhofer signed this piece using the pseudonym of Martin Walters. From the Tom Rainone Collection.
Mainstream Illustration
WALTER BAUMHOFER (American 1904 - 1987)
Bushman Taboo, Argosy story illustration, July 1953
Oil on canvas
22 x 32 in.
Signed lower left
Caption: "Bannerman leaped from the plane in a frenzy of anger and threw the useless pistol at the trees."
A tearsheet of the printed piece is included in this lot
Bushman Taboo, Argosy story illustration, July 1953
Oil on canvas
22 x 32 in.
Signed lower left
Caption: "Bannerman leaped from the plane in a frenzy of anger and threw the useless pistol at the trees."
A tearsheet of the printed piece is included in this lot
Paintings
BEN-HUR BAZ (American b.1906)
Nude with Mink
Gouache on board
10.5 x 8 in.
Not signed
Nude with Mink
Gouache on board
10.5 x 8 in.
Not signed
FRANK C. BENSING (American 1893 - 1993)
Shady Tree, McCall's illustration, 1937
Oil on canvas
29.5 x 44 in.
Signed lower right
A commercial artist with a longtime association with General Electric, Frank C. Bensing did ad work for a variety of products including Coca-Cola and Post Toasties. He also did movie posters for RKO Studios and worked for many magazines doing covers and interiors including Coronet, The Saturday Evening Post and Redbook.
Shady Tree, McCall's illustration, 1937
Oil on canvas
29.5 x 44 in.
Signed lower right
A commercial artist with a longtime association with General Electric, Frank C. Bensing did ad work for a variety of products including Coca-Cola and Post Toasties. He also did movie posters for RKO Studios and worked for many magazines doing covers and interiors including Coronet, The Saturday Evening Post and Redbook.
Mainstream Illustration
EDWIN DANIEL BETTS JR. (American 1879 - 1915)
An Aztec Ambush, magazine story illustration, circa 1900-1910
Oil on canvas
40 x 26 in.
Signed lower right
Edwin Betts Jr. was a Chicago based illustrator and he painted his blood-chilling scene in a belle epoque, beaux arts style
Caption: "Up to this time Izac had uttered no sound."
An Aztec Ambush, magazine story illustration, circa 1900-1910
Oil on canvas
40 x 26 in.
Signed lower right
Edwin Betts Jr. was a Chicago based illustrator and he painted his blood-chilling scene in a belle epoque, beaux arts style
Caption: "Up to this time Izac had uttered no sound."
REGINALD BIRCH (American 1856 - 1943)
Jim: A Tame Crow, St. Nicholas magazine illustration, February 1895
Ink on paper
15 x 15 in.
Signed lower right
This pen and ink drawing by the famous illustrator of Little Lord Fauntleroy and The Mill On the Floss was done for the St Nicholas magazine story, Jim: A Tame Crow, by Malcolm Douglas.
Caption: "He would shout out 'Stop!' to the farmers who went by in their wagons."
Jim: A Tame Crow, St. Nicholas magazine illustration, February 1895
Ink on paper
15 x 15 in.
Signed lower right
This pen and ink drawing by the famous illustrator of Little Lord Fauntleroy and The Mill On the Floss was done for the St Nicholas magazine story, Jim: A Tame Crow, by Malcolm Douglas.
Caption: "He would shout out 'Stop!' to the farmers who went by in their wagons."
Paintings
HANNES BOK (American 1914 - 1964)
Untitled illustration, 1946
Gouache on paper
8.5 x 6.75 in.
Signed lower left
This piece was inscribed in pencil, "For Dudi, Xmas."
Untitled illustration, 1946
Gouache on paper
8.5 x 6.75 in.
Signed lower left
This piece was inscribed in pencil, "For Dudi, Xmas."
HANNES BOK (American 1914 - 1964)
Fantasy Landscape With Figures
Oil on board
36 x 30 in.
Not signed
A printed copy of the image is attached to the back of the art board.
Fantasy Landscape With Figures
Oil on board
36 x 30 in.
Not signed
A printed copy of the image is attached to the back of the art board.
ENOCH BOLLES (American 1883 - 1976)
Untitled pulp cover, circa 1932
Oil on canvas
30 x 22 in.
Not signed
Untitled pulp cover, circa 1932
Oil on canvas
30 x 22 in.
Not signed
ALFRED LAURENS BRENNAN (American 1853 - 1921)
Thor at Utgard
Mixed-media on board
14 x 10 in.
Signed upper right
Alfred Laurens Brennan studied art at the School of Design, and he later worked with Frank Duveneck and H. F. Farny. Brennan designed book and magazine covers which appeared in the Century, St. Nicholas, Life, and other periodicals. He also painted in watercolor and oils.
Thor at Utgard
Mixed-media on board
14 x 10 in.
Signed upper right
Alfred Laurens Brennan studied art at the School of Design, and he later worked with Frank Duveneck and H. F. Farny. Brennan designed book and magazine covers which appeared in the Century, St. Nicholas, Life, and other periodicals. He also painted in watercolor and oils.
EDWARD V. BREWER (American 1883 - 1971)
Ali Baba and the Forty Thieves, Cream of Wheat advertising illustration, 1914
Oil on canvas
40 x 28 in.
Signed lower right
This piece was created for the imaginative Cream of Wheat advertising campaign, and this image appeared as a full page advertisement in hundreds of American magazines. The Cream of Wheat campaign, featuring the iconic African-American chef, Rastus, was rich with Victorian and Black Americana iconography, and this is a first-rate example from the series. A printed tear sheet is included in this lot.
Ali Baba and the Forty Thieves, Cream of Wheat advertising illustration, 1914
Oil on canvas
40 x 28 in.
Signed lower right
This piece was created for the imaginative Cream of Wheat advertising campaign, and this image appeared as a full page advertisement in hundreds of American magazines. The Cream of Wheat campaign, featuring the iconic African-American chef, Rastus, was rich with Victorian and Black Americana iconography, and this is a first-rate example from the series. A printed tear sheet is included in this lot.
Mainstream Illustration
REYNOLD BROWN (American 1917 - 1991)
Magazine illustration
Gouache on board
15 x 30 in.
Signed lower right
Magazine illustration
Gouache on board
15 x 30 in.
Signed lower right
REYNOLD BROWN (American 1917 - 1991)
Man Without a Star, key line art for the half-sheet movie poster and title card, circa 1955
Gouache on paper
6.5 x 14.5 in.
Signed lower right
"A love-bargain is like barbed-wire -- fight it and you'll get hurt."
Man Without a Star, key line art for the half-sheet movie poster and title card, circa 1955
Gouache on paper
6.5 x 14.5 in.
Signed lower right
"A love-bargain is like barbed-wire -- fight it and you'll get hurt."
REYNOLD BROWN (American 1917 - 1991)
Walk the Proud Land, movie poster illustration, 1956
Gouache on board
17.5 x 30 in.
Signed lower left
The standing female figure, the technicolor caption, and the woman's portrait (Pat Crowley) are pasted-on original art elements.
"Out of the pages of the West's most thrilling history comes the saga of Indian Agent John Philip Clum -- whose Faith built a fortress in a wilderness of hate -- and tamed the fury of Geronimo's last desperate stand."
Walk the Proud Land, movie poster illustration, 1956
Gouache on board
17.5 x 30 in.
Signed lower left
The standing female figure, the technicolor caption, and the woman's portrait (Pat Crowley) are pasted-on original art elements.
"Out of the pages of the West's most thrilling history comes the saga of Indian Agent John Philip Clum -- whose Faith built a fortress in a wilderness of hate -- and tamed the fury of Geronimo's last desperate stand."
Paintings
FREDERICK SANDS BRUNNER (American 1886 - 1954)
On Top of the World, Clicquot Club Advertising Illustration, circa 1940-1950
Oil on canvas
34 x 24 in.
Signed lower left
This piece is a rare, large scale commissioned soda advertisement, created for Clicquot Club Soda, and the painting features their Eskimo Boy mascot, Clicquot.
This painting is framed in a period gessoed frame
On Top of the World, Clicquot Club Advertising Illustration, circa 1940-1950
Oil on canvas
34 x 24 in.
Signed lower left
This piece is a rare, large scale commissioned soda advertisement, created for Clicquot Club Soda, and the painting features their Eskimo Boy mascot, Clicquot.
This painting is framed in a period gessoed frame
DUANE BRYERS (American b.1911)
Hilda, calendar illustration
Gouache on board
16 x 12 in.
Signed lower right
Hilda, calendar illustration
Gouache on board
16 x 12 in.
Signed lower right
DANIEL BUCKLEY (American 20th Century)
Boots
Acrylic on board
36 x 22 in.
Lower left
Boots
Acrylic on board
36 x 22 in.
Lower left
Mainstream Illustration
DANIEL BUCKLEY (American 20th Century)
Boots, preliminary illustration
Acrylic on board
20 x 15 in.
Not signed
Boots, preliminary illustration
Acrylic on board
20 x 15 in.
Not signed
Paintings
AL BUELL (American 1910 - 1996)
Pin up pencil study, circa 1950
Pencil on paper
17.5 x 15.5 in.
Signed lower right
Pin up pencil study, circa 1950
Pencil on paper
17.5 x 15.5 in.
Signed lower right
AL BUELL (American 1910 - 1996)
Curious Blonde
Oil on board
20 x 16 in.
Signed lower right
Curious Blonde
Oil on board
20 x 16 in.
Signed lower right
AL BUELL (American 1910 - 1996)
Brunette Mowing Grass
Oil on board
20 x 16 in.
Signed lower right
Brunette Mowing Grass
Oil on board
20 x 16 in.
Signed lower right
AL BUELL (American 1910 - 1996)
Brunette in Shower
Oil on board
20 x 16 in.
Signed lower right
Brunette in Shower
Oil on board
20 x 16 in.
Signed lower right
PETER CARAS (American b.1941)
Paperback cover
Oil on board
17.5 x 13 in.
Not signed
Paperback cover
Oil on board
17.5 x 13 in.
Not signed
Mainstream Illustration
PETER CARAS (American b.1941)
The Basket Case, paperback cover
Oil on board
17 x 10 in.
Signed lower right
This piece was used on the cover of Ralph McInerny's Father Dowling novel, Basket Case, St. Martin's Press, 1987, a cover proof of which in included.
"An abandoned baby brings Father Dowling face-to-face with crimes of the heart."
The Basket Case, paperback cover
Oil on board
17 x 10 in.
Signed lower right
This piece was used on the cover of Ralph McInerny's Father Dowling novel, Basket Case, St. Martin's Press, 1987, a cover proof of which in included.
"An abandoned baby brings Father Dowling face-to-face with crimes of the heart."
PETER CARAS (American b.1941)
Paperback cover
Oil on board
28 x 17 in.
Not signed
Paperback cover
Oil on board
28 x 17 in.
Not signed
Paintings
ROY CARNON (American 20th Century)
First Blood, book cover
Gouache on board
19.5 x 13 in.
Signed lower right
From the Tom Rainone Collection.
First Blood, book cover
Gouache on board
19.5 x 13 in.
Signed lower right
From the Tom Rainone Collection.
Attributed to CHARLES EDWARD CHAMBERS (American 1883 - 1941)
Gone with the Wind-Inspired Fisher Body Magazine Advertising Illustration, circa 1939
Oil on board
13.5 x 15 in.
Not signed
This piece, a final comprehensive preliminary advertising piece, was painted in high Edwardian style and it mimics a climactic scene from the film Gone with the Wind, starring Clark Gable and Vivian Leigh.
PROVENANCE:
This piece was purchased from the estate of the family of painters Nicholas and Edward Brewer in St. Paul, Minnesota
Gone with the Wind-Inspired Fisher Body Magazine Advertising Illustration, circa 1939
Oil on board
13.5 x 15 in.
Not signed
This piece, a final comprehensive preliminary advertising piece, was painted in high Edwardian style and it mimics a climactic scene from the film Gone with the Wind, starring Clark Gable and Vivian Leigh.
PROVENANCE:
This piece was purchased from the estate of the family of painters Nicholas and Edward Brewer in St. Paul, Minnesota
Mainstream Illustration
CHARO (20th Century)
Galaxy of Terror, movie poster Illustration, 1981
Mixed-media on board
36 x 22 in.
Signed lower right
"A distant planet hides a secret --an artifact buried deep -- it makes your nightmares come alive -- and then you die. Hell has just been relocated."
From the Tom Rainone Collection.
Galaxy of Terror, movie poster Illustration, 1981
Mixed-media on board
36 x 22 in.
Signed lower right
"A distant planet hides a secret --an artifact buried deep -- it makes your nightmares come alive -- and then you die. Hell has just been relocated."
From the Tom Rainone Collection.
ELIE CHEVERLANGE (American 20th Century)
Fish illustration, group of 2
Mixed-media on board
10 x 7 in.
Signed lower right
Fish illustration, group of 2
Mixed-media on board
10 x 7 in.
Signed lower right
Paintings
ELIE CHEVERLANGE (American 20th Century)
Black Bear, book illustration, circa 1935
Oil on board
22 x 17 in.
Signed lower left
Black Bear, book illustration, circa 1935
Oil on board
22 x 17 in.
Signed lower left
JACK COLE (American 1914-1958)
Breezy #5, men's magazine cartoon, October 1954
Ink on paper
12 x 9 in.
Signed "Jake" (Jack Cole's pen name) lower left
Caption: "Junior, Can't you do your chin-ups on something else around the house?"
Breezy #5, men's magazine cartoon, October 1954
Ink on paper
12 x 9 in.
Signed "Jake" (Jack Cole's pen name) lower left
Caption: "Junior, Can't you do your chin-ups on something else around the house?"
HOWARD CONNOLLY (American b.1903)
Flower of the Orient Study (after Rolf Armstrong's Flower of the Orient), circa 1930s
Oil on canvas
11.5 x 8.5 in.
Not signed
Howard Connolly consistently credited Rolf Armstrong as his greatest artistic inspiration.
This piece, a Howard Connolly oil painting study of Rolf Armstrong's 1931 pastel, Flower of the Orient, was purchased directly from the Connolly estate by a leading authority on pin up art many years ago. A printed postcard spotlighting the Rolf Armstrong Flower of the Orient is included in this lot.
Flower of the Orient Study (after Rolf Armstrong's Flower of the Orient), circa 1930s
Oil on canvas
11.5 x 8.5 in.
Not signed
Howard Connolly consistently credited Rolf Armstrong as his greatest artistic inspiration.
This piece, a Howard Connolly oil painting study of Rolf Armstrong's 1931 pastel, Flower of the Orient, was purchased directly from the Connolly estate by a leading authority on pin up art many years ago. A printed postcard spotlighting the Rolf Armstrong Flower of the Orient is included in this lot.
HOWARD CONNOLLY (American b.1903)
1952 Calendar Girl Eloise Saunders, 1951
Gouache on board
17 x 14 in.
Signed lower left
This wonderful painting of masquerade party girl Eloise Saunders was done for a 1952 calendar, and this beautiful scene is "good girl" art personified. Three black and white reference photographs of the model, Eloise Saunders, are included in this lot.
1952 Calendar Girl Eloise Saunders, 1951
Gouache on board
17 x 14 in.
Signed lower left
This wonderful painting of masquerade party girl Eloise Saunders was done for a 1952 calendar, and this beautiful scene is "good girl" art personified. Three black and white reference photographs of the model, Eloise Saunders, are included in this lot.
Pin-up and Glamour Art
BRADSHAW CRANDELL (American 1896 - 1966)
Portrait painting, 1960
Oil on canvas
35 x 40 in.
Signed lower right
Portrait painting, 1960
Oil on canvas
35 x 40 in.
Signed lower right
Paintings
EDWARD D'ANCONA (American 20th Century)
Look What I've Got, 1942
Oil on canvas
30 x 24 in.
Signed lower right
This piece, in addition to being used for calendar and advertising purposes by the Louis F. Dow Company, was also used for a mutoscope card.
Look What I've Got, 1942
Oil on canvas
30 x 24 in.
Signed lower right
This piece, in addition to being used for calendar and advertising purposes by the Louis F. Dow Company, was also used for a mutoscope card.
EDWARD D'ANCONA (American 20th Century)
The Brush Off, pin up illustration, circa 1943-48
Oil on canvas
32.5 x 22.5 in.
Signed lower center-right
This painting was reproduced as figure 210 in The Great American Pin-Up by Charles G. Martignette and Louis K. Meisel.
The Brush Off, pin up illustration, circa 1943-48
Oil on canvas
32.5 x 22.5 in.
Signed lower center-right
This painting was reproduced as figure 210 in The Great American Pin-Up by Charles G. Martignette and Louis K. Meisel.
EDWARD D'ANCONA (American 20th Century)
Wood Nymph, circa 1950
Oil on canvas
30 x 24 in.
Signed lower right
Wood Nymph, circa 1950
Oil on canvas
30 x 24 in.
Signed lower right
BERNARD D'ANDREA (American b.1923)
Saturday Evening Post preliminary magazine story illustration, circa 1960
Gouache on paper
13.5 x 14 in.
Not signed
Saturday Evening Post preliminary magazine story illustration, circa 1960
Gouache on paper
13.5 x 14 in.
Not signed
CLARA D. DAVIDSON (American 1874 - 1962)
Isabella Charnalay, 1906
Mixed-media on paper
25 x 15 in.
Signed lower center
Isabella Charnalay, 1906
Mixed-media on paper
25 x 15 in.
Signed lower center
Pin-up and Glamour Art
HUBERT DE LARTIGUE (French b.1963)
Miss Xmas, pin up illustration, 1998
Watercolor on paper
24 x 15 in.
Not signed
Miss Xmas, pin up illustration, 1998
Watercolor on paper
24 x 15 in.
Not signed
Paintings
HUBERT DE LARTIGUE (French b.1963)
Jennifer Aniston (first version), 1998
Watercolor on paper
16.75 x 11 in.
Not signed
Jennifer Aniston (first version), 1998
Watercolor on paper
16.75 x 11 in.
Not signed
HUBERT DE LARTIGUE (French b.1963)
French pin up, 1999
Gouache and acrylic on paper
23.5 x 17.5 in.
Not signed
French pin up, 1999
Gouache and acrylic on paper
23.5 x 17.5 in.
Not signed
BILLY DEVORSS (American d.1985)
Pin up illustration
Pastel on board
22 x 17 in.
Signed lower left
This painting was reproduced as figure 242 in The Great American Pin-Up by Charles G. Martignette and Louis K. Meisel.
Pin up illustration
Pastel on board
22 x 17 in.
Signed lower left
This painting was reproduced as figure 242 in The Great American Pin-Up by Charles G. Martignette and Louis K. Meisel.
VINCENT DI FATE (American b.1945)
Star Sabre, Imperium Cutter Class Space Ship
Gouache on board
6 x 8 in.
Not signed
Star Sabre, Imperium Cutter Class Space Ship
Gouache on board
6 x 8 in.
Not signed
VINCENT DI FATE (American b.1945)
The Other Side of Tomorrow, cover illustration, group of 2, 1975
Acrylic on board, and pencil on paper
13.5 x 8 in.
Signed lower center
This scene appeared on the cover of Roger Elwood's book, The Other Side of Tomorrow, Pyramid Books, 1975. This piece has the pencil preliminary study matted alongside the finished painting.
The Other Side of Tomorrow, cover illustration, group of 2, 1975
Acrylic on board, and pencil on paper
13.5 x 8 in.
Signed lower center
This scene appeared on the cover of Roger Elwood's book, The Other Side of Tomorrow, Pyramid Books, 1975. This piece has the pencil preliminary study matted alongside the finished painting.
Mainstream Illustration
MICHAEL DONATO (American 20th Century)
Illustration, group of 3
7 x 9 in.; 10 x 12 in.; 12 x 20 in.
Mixed-media on board
Not signed
These pieces, Scene from Squanto and the First Thanksgiving and Whale were created for Squanto and the First Thanksgiving, a Rabbit Ears animatic video. Voyage Up the Nile was created for a CD ROM game for the Metropolitan Museum of Art.
Illustration, group of 3
7 x 9 in.; 10 x 12 in.; 12 x 20 in.
Mixed-media on board
Not signed
These pieces, Scene from Squanto and the First Thanksgiving and Whale were created for Squanto and the First Thanksgiving, a Rabbit Ears animatic video. Voyage Up the Nile was created for a CD ROM game for the Metropolitan Museum of Art.
Paintings
PETER DRIBEN (American 1903 - 1975)
Puppy Love, circa 1949-51
Oil on board
32 x 24.5 in.
Not signed
Puppy Love, circa 1949-51
Oil on board
32 x 24.5 in.
Not signed
PETER DRIBEN (American 1903 - 1975)
Men's magazine cover
Oil on board
35 x 27 in.
Signed lower center-right
Men's magazine cover
Oil on board
35 x 27 in.
Signed lower center-right
PETER DRIBEN (American 1903 - 1975)
Pin up illustration
Oil on board
35 x 26.75 in.
Signed lower left
Pin up illustration
Oil on board
35 x 26.75 in.
Signed lower left
PETER DRIBEN (American 1903 - 1975)
Moo, pin up illustration, circa 1949-1951
Oil on board
34.5 x 26.5 in.
Signed lower center-right
This painting was reproduced as figure 273 in The Great American Pin-Up by Charles G. Martignette and Louis K. Meisel
Moo, pin up illustration, circa 1949-1951
Oil on board
34.5 x 26.5 in.
Signed lower center-right
This painting was reproduced as figure 273 in The Great American Pin-Up by Charles G. Martignette and Louis K. Meisel
Pin-up and Glamour Art
Attributed to PETER DRIBEN (American 1903 - 1975)
Joker #16, pulp cover, circa 1945-1955
Oil on board
22 x 17 in.
Not signed
Joker #16, pulp cover, circa 1945-1955
Oil on board
22 x 17 in.
Not signed
Paintings
PETER DRIBEN (American 1903 - 1975)
The Veil, circa 1949-51
Oil on board
34.25 x 26.5 in.
Signed lower left
The Veil, circa 1949-51
Oil on board
34.25 x 26.5 in.
Signed lower left
Mainstream Illustration
HARVEY T. DUNN (American 1884 - 1952)
Reclining Nude
Oil on canvas
30 x 40 in.
Not signed
Harvey Dunn began his training at the Art Institute of Chicago but was soon accepted into Howard Pyle's School of Illustration in Wilmington, Delaware. He quickly began accepting commissions, illustrating both novels and stories. Much of his work was done for The Saturday Evening Post, with which he had a fruitful relationship lasting almost thirty years.
Although Dunn's bold strokes and thick impasto made him a natural choice for Westerns and adventure stories, he was equally capable of conveying softer emotions. His sense of drama was such that he was one of eight illustrators chosen to join the American Expeditionary Force during World War I. Dunn never lost his admiration for Howard Pyle and went on to become a superlative teacher in his own right, introducing a new generation of illustrators to the methods of the master.
Reclining Nude
Oil on canvas
30 x 40 in.
Not signed
Harvey Dunn began his training at the Art Institute of Chicago but was soon accepted into Howard Pyle's School of Illustration in Wilmington, Delaware. He quickly began accepting commissions, illustrating both novels and stories. Much of his work was done for The Saturday Evening Post, with which he had a fruitful relationship lasting almost thirty years.
Although Dunn's bold strokes and thick impasto made him a natural choice for Westerns and adventure stories, he was equally capable of conveying softer emotions. His sense of drama was such that he was one of eight illustrators chosen to join the American Expeditionary Force during World War I. Dunn never lost his admiration for Howard Pyle and went on to become a superlative teacher in his own right, introducing a new generation of illustrators to the methods of the master.
Paintings
ALEX EBEL (American 20th Century)
Ability Quotient, paperback cover, 1975
Acrylic on board
15 x 9.5 in.
Signed lower left
This illustration was used on the cover of Mack Reynolds' novel, Ability Quotient, Ace Books, 1975. A tear sheet of the printed cover has been matted alongside the painting.
Ability Quotient, paperback cover, 1975
Acrylic on board
15 x 9.5 in.
Signed lower left
This illustration was used on the cover of Mack Reynolds' novel, Ability Quotient, Ace Books, 1975. A tear sheet of the printed cover has been matted alongside the painting.
Pin-up and Glamour Art
PAT EGAN (American 20th Century)
Portrait of Joan Crawford
Pastel on paper
15.5 x 19 in.
Signed lower left
From the Tom Rainone Collection.
Portrait of Joan Crawford
Pastel on paper
15.5 x 19 in.
Signed lower left
From the Tom Rainone Collection.
Paintings
HARRY EKMAN (American 1923 - 1999)
Blonde with Purple Negligee and Red Shoes, pin up illustration, circa 1950s
Oil on canvas
30 x 25 in.
Signed lower left
This painting was reproduced as figure 334 in The Great American Pin-Up by Charles G. Martignette and Louis K. Meisel.
Blonde with Purple Negligee and Red Shoes, pin up illustration, circa 1950s
Oil on canvas
30 x 25 in.
Signed lower left
This painting was reproduced as figure 334 in The Great American Pin-Up by Charles G. Martignette and Louis K. Meisel.
DICK ELLESCAS (American 20th Century)
The Magic Christian, movie poster illustration, circa 1969
Ink and watercolor on paper
25 x 20 in.
Signed lower right
"The Magic Christian is: antiestablishmentarian, antibellum, antitrust, antiseptic, antibiotic, antisocial, and antipasto."
The Magic Christian, movie poster illustration, circa 1969
Ink and watercolor on paper
25 x 20 in.
Signed lower right
"The Magic Christian is: antiestablishmentarian, antibellum, antitrust, antiseptic, antibiotic, antisocial, and antipasto."
GIL ELVGREN (American 1914 - 1980)
Marjorie
Oil on board
24 x 20 in.
Signed lower left
Marjorie Shuttleworth was one of Gil Elvgren's favorite models of the sixties. Some time after the death of his wife Janet in 1966, Elvgren began to spend time with Ms. Shuttleworth. While he dated her, he never remarried, and ultimately dedicated himself totally to his work, creating some of the finest art of his career until his retirement from commercial work in 1970.
Marjorie
Oil on board
24 x 20 in.
Signed lower left
Marjorie Shuttleworth was one of Gil Elvgren's favorite models of the sixties. Some time after the death of his wife Janet in 1966, Elvgren began to spend time with Ms. Shuttleworth. While he dated her, he never remarried, and ultimately dedicated himself totally to his work, creating some of the finest art of his career until his retirement from commercial work in 1970.
GIL ELVGREN (American 1914 - 1980)
Marjorie
Charcoal on paper
21 x 16 in.
Signed lower right
Marjorie
Charcoal on paper
21 x 16 in.
Signed lower right
GIL ELVGREN (American 1914 - 1980)
Marge
Charcoal on paper
23 x 17.5 in.
Signed lower right
Marge
Charcoal on paper
23 x 17.5 in.
Signed lower right
GIL ELVGREN (American 1914 - 1980)
Girl Fishing, NAPA ad illustration
Oil on canvas
30 x 27 in.
Signed lower right
Girl Fishing, NAPA ad illustration
Oil on canvas
30 x 27 in.
Signed lower right
GIL ELVGREN (American 1914 - 1980)
Girl Playing Shuffleboard, NAPA ad illustration
Oil on canvas
31 x 28 in.
Signed lower left
This painting was reproduced as figure 566 in Gil Elvgren All His Glamorous American Pin-Ups by Charles G. Martignette and Louis K. Meisel.
Girl Playing Shuffleboard, NAPA ad illustration
Oil on canvas
31 x 28 in.
Signed lower left
This painting was reproduced as figure 566 in Gil Elvgren All His Glamorous American Pin-Ups by Charles G. Martignette and Louis K. Meisel.
GIL ELVGREN (American 1914 - 1980)
This Is the Skin I Love to Touch, 1947
Oil on canvas
30 x 24 in.
Signed lower right
This painting was reproduced as figure 211 in Gil Elvgren All His Glamorous American Pin-Ups by Charles G. Martignette and Louis K. Meisel.
This Is the Skin I Love to Touch, 1947
Oil on canvas
30 x 24 in.
Signed lower right
This painting was reproduced as figure 211 in Gil Elvgren All His Glamorous American Pin-Ups by Charles G. Martignette and Louis K. Meisel.
GIL ELVGREN (American 1914 - 1980)
A Christmas Eve (Waiting For Santa), 1954
Oil on canvas
30 x 24 in.
Signed lower right
This painting was reproduced as figure 245 in Gil Elvgren All His Glamorous American Pin-Ups by Charles G. Martignette and Louis K. Meisel.
A Christmas Eve (Waiting For Santa), 1954
Oil on canvas
30 x 24 in.
Signed lower right
This painting was reproduced as figure 245 in Gil Elvgren All His Glamorous American Pin-Ups by Charles G. Martignette and Louis K. Meisel.
GIL ELVGREN (American 1914 - 1980)
Hi-Ho, Sliver, 1969
Oil on canvas
32 x 24 in.
Signed lower left
This painting was reproduced as figure 444 in Gil Elvgren All His Glamorous American Pin-Ups by Charles G. Martignette and Louis K. Meisel.
Hi-Ho, Sliver, 1969
Oil on canvas
32 x 24 in.
Signed lower left
This painting was reproduced as figure 444 in Gil Elvgren All His Glamorous American Pin-Ups by Charles G. Martignette and Louis K. Meisel.
GIL ELVGREN (American 1914 - 1980)
Doggone Good (Puppy Love), 1959
Oil on canvas
30 x 24 in.
Signed lower right
This painting was reproduced as figure 319 in Gil Elvgren All His Glamorous American Pin-Ups by Charles G. Martignette and Louis K. Meisel.
Doggone Good (Puppy Love), 1959
Oil on canvas
30 x 24 in.
Signed lower right
This painting was reproduced as figure 319 in Gil Elvgren All His Glamorous American Pin-Ups by Charles G. Martignette and Louis K. Meisel.
GIL ELVGREN (American 1914 - 1980)
What a View, 1957
Oil on canvas
30 x 24 in.
Signed lower right
This painting was reproduced as figure 372 in Gil Elvgren All His Glamorous American Pin-Ups by Charles G. Martignette and Louis K. Meisel.
What a View, 1957
Oil on canvas
30 x 24 in.
Signed lower right
This painting was reproduced as figure 372 in Gil Elvgren All His Glamorous American Pin-Ups by Charles G. Martignette and Louis K. Meisel.
GIL ELVGREN (American 1914 - 1980)
Sitting Pretty, 1953
Oil on canvas
30 x 24 in.
Signed lower right
This painting was reproduced as figure 5 in Gil Elvgren All His Glamorous American Pin-Ups by Charles G. Martignette and Louis K. Meisel.
Sitting Pretty, 1953
Oil on canvas
30 x 24 in.
Signed lower right
This painting was reproduced as figure 5 in Gil Elvgren All His Glamorous American Pin-Ups by Charles G. Martignette and Louis K. Meisel.
ERTE - ROMAINE DE TIRTOFF (French 1892 - 1990)
1978
Silk Screen Print
17.5 x 13 in.
Signed lower right
Edition:165/300
Published by Circle Fine Arts Corporation
1978
Silk Screen Print
17.5 x 13 in.
Signed lower right
Edition:165/300
Published by Circle Fine Arts Corporation
ERTE - ROMAINE DE TIRTOFF (French 1892 - 1990)
Silkscreen
28.5 x 20.5 in.
Signed lower right
Edition:17/300
Silkscreen
28.5 x 20.5 in.
Signed lower right
Edition:17/300
EYRE (20th Century)
Bathing Beauty
Oil on board
23.5 x 18.5 in.
Signed lower right
Bathing Beauty
Oil on board
23.5 x 18.5 in.
Signed lower right
EYRE (20th Century)
Playtime
Oil on board
24.5 x 17 in.
Signed lower right
Playtime
Oil on board
24.5 x 17 in.
Signed lower right
EYRE (20th Century)
Bathing Beauty With Binoculars
Oil on board
21 x 18 in.
Not signed
Bathing Beauty With Binoculars
Oil on board
21 x 18 in.
Not signed
EYRE (20th Century)
Girl With a Fan
Oil on board
19.5 x 14 in.
Signed lower left
Girl With a Fan
Oil on board
19.5 x 14 in.
Signed lower left
STEPHEN FABIAN (American b.1930)
Daughter of the Bright Moon, book illustration, 1981
Acrylic on paper
9.5 x 5.5 in.
Initialed lower center-right
Daughter of the Bright Moon, book illustration, 1981
Acrylic on paper
9.5 x 5.5 in.
Initialed lower center-right
STEPHEN FABIAN (American b. 1930)
Three Aliens - Destinies 5, book illustration, group of 3
Acrylic on paper
Initialed
These three pieces range in size from 4.25 x 6 in. to 10 x 6 in.
Three Aliens - Destinies 5, book illustration, group of 3
Acrylic on paper
Initialed
These three pieces range in size from 4.25 x 6 in. to 10 x 6 in.
STEPHEN FABIAN (American b. 1930)
Survey Ship, book illustration, group of 2, 1981
Acrylic on paper
6.5 x 10.25 in.
Initialed
These illustrations were done for Marion Zimmer Bradley's novel, Survey Ship, Ace Books, 1981
"Six of Earth's finest young people, perfect in mind and body, have been trained from the cradle for one task -- to brave the infinite dangers of space, to find new homes for Man...."
Survey Ship, book illustration, group of 2, 1981
Acrylic on paper
6.5 x 10.25 in.
Initialed
These illustrations were done for Marion Zimmer Bradley's novel, Survey Ship, Ace Books, 1981
"Six of Earth's finest young people, perfect in mind and body, have been trained from the cradle for one task -- to brave the infinite dangers of space, to find new homes for Man...."
JOHN PHILIP FALTER (American 1910 - 1982)
Winter Scene for Goodyear Tire, circa 1950
Oil on canvas
34.5 x 32.5 in.
Not signed
A classic realist, John Falter created unforgettable scenes of pure Americana, often showcased in his covers for the Saturday Evening Post, or his illustrations for books published by Reader's Digest and Macmillan Books. He left behind a rich legacy of art at his passing in 1982. A true perfectionist, when Falter was asked to look back over his career he remarked that he never painted a painting that he wouldn't like to paint over again - - he always saw something he could improve on. Falter once told an interviewer that what he tried to accomplish was "to put down on canvas a piece of America, a stage set, a framework for the imagination to travel around in."
Winter Scene for Goodyear Tire, circa 1950
Oil on canvas
34.5 x 32.5 in.
Not signed
A classic realist, John Falter created unforgettable scenes of pure Americana, often showcased in his covers for the Saturday Evening Post, or his illustrations for books published by Reader's Digest and Macmillan Books. He left behind a rich legacy of art at his passing in 1982. A true perfectionist, when Falter was asked to look back over his career he remarked that he never painted a painting that he wouldn't like to paint over again - - he always saw something he could improve on. Falter once told an interviewer that what he tried to accomplish was "to put down on canvas a piece of America, a stage set, a framework for the imagination to travel around in."
JOHN PHILIP FALTER (American 1910 - 1982)
American West, 1974
Tempera on board
25 x 40 in.
Signed lower center
In the seventies and eighties, John Philip Falter turned his talents to historical and Western themes, and as a result, he was commissioned by the 3M Company to create a special series of paintings to commemorate the United States of America's Bicentennial. This series was titled From Sea to Shining Sea, and it numbered over 200 Western paintings, and placed an emphasis on the Westward migration of 1843 to 1880 from the Missouri River to the Rocky Mountains.
John Falter was named by his peers in the Society of Illustrators to the Illustrators' Hall of Fame in 1976. He became a member of the National Academy of Western Art in 1978.
American West, 1974
Tempera on board
25 x 40 in.
Signed lower center
In the seventies and eighties, John Philip Falter turned his talents to historical and Western themes, and as a result, he was commissioned by the 3M Company to create a special series of paintings to commemorate the United States of America's Bicentennial. This series was titled From Sea to Shining Sea, and it numbered over 200 Western paintings, and placed an emphasis on the Westward migration of 1843 to 1880 from the Missouri River to the Rocky Mountains.
John Falter was named by his peers in the Society of Illustrators to the Illustrators' Hall of Fame in 1976. He became a member of the National Academy of Western Art in 1978.
JOHN PHILIP FALTER (American 1910 - 1982)
Winter Fun in Bucks County, Pennsylvania, Saturday Evening Post cover, Winter 1971
Oil on board
27 x 42 in.
Signed lower left
In the 1950s, readers of the Saturday Evening Post eagerly anticipated their mailmen to enjoy the graphic cover art executed by America's greatest illustrators, created during the "Golden Age" of Illustration Art. John Philip Falter created over 175 cover artworks for the magazine, almost as many as his long-time friend and colleague, Norman Rockwell. Even Rockwell was inspired by the artist, and experienced his own "Falter period." Rockwell called Falter "one of America's most gifted illustrators."
A detail of this painting was used as the cover of the Winter 1971 issue of the Post. The full painting was also reproduced on page 56 of the magazine with the caption, "While John Falter was painting the cover for this issue of the Post, his brush simply wouldn't stop and he continued on into this holiday panorama."
PROVENANCE:
Estate of Jack Warner
Winter Fun in Bucks County, Pennsylvania, Saturday Evening Post cover, Winter 1971
Oil on board
27 x 42 in.
Signed lower left
In the 1950s, readers of the Saturday Evening Post eagerly anticipated their mailmen to enjoy the graphic cover art executed by America's greatest illustrators, created during the "Golden Age" of Illustration Art. John Philip Falter created over 175 cover artworks for the magazine, almost as many as his long-time friend and colleague, Norman Rockwell. Even Rockwell was inspired by the artist, and experienced his own "Falter period." Rockwell called Falter "one of America's most gifted illustrators."
A detail of this painting was used as the cover of the Winter 1971 issue of the Post. The full painting was also reproduced on page 56 of the magazine with the caption, "While John Falter was painting the cover for this issue of the Post, his brush simply wouldn't stop and he continued on into this holiday panorama."
PROVENANCE:
Estate of Jack Warner
JOHN PHILIP FALTER (American 1910 - 1982)
Young Astronaut, Saturday Evening Post cover, June 20, 1953
Oil on canvas
25 x 23.5 in.
Signed lower left
John Falter's riveting scene captures a tragicomic domestic crisis as it unfolds. Young Astronaut, created for the Post cover of June 20, 1953, captures the essence of childhood in the fifties with imagination and wit. To the horror of his family and neighbors, a precocious boy, playing the role of a homespun Icarus, is about to launch himself off the garage roof.
Falter incorporated portraits of his wife, Mary Elizabeth, and his daughter, Suzanne, in this painting. In the background, Falter included the actual water tower from his hometown, which he climbed as an adult "in order to see the world with an eagle's eye." In an article in the Winter 1971 issue of the Post, Falter referred to the tower as a talisman. "To the boy, the high structure was a tower of magic -- to the man, it is the magic of boyhood".
The 1953 Post's caption for This Week's Cover reads, "Little Harry Helicopter is now getting bawled out for being the only person in John Falter's picture exhibiting any signs of imagination, daring, enterprise, and inventive genius. If memory serves, people also used to counsel the Wright brothers to come right down from there and stop being silly. Wouldn't it be a charming twist if the inventor had something in that fuselage enabling him to fly straight up into the air? Anyway, instead of the lad's parents' being critical, they should admire his judgment in deciding not to take off from that water tower. By the way, who stove in pap's fender -- papa? If they'd let Harry drive, he could do better. Grandpa is saying, "Let Harry be! I used to jump farther than that. Without wings."
This piece, as well as several of the others by Falter, is being offered from the Estate of Jack Warner, a Philadelphia businessman and amateur painter who befriended Falter when he moved there in the seventies.
PROVENANCE:
Estate of Jack Warner
Young Astronaut, Saturday Evening Post cover, June 20, 1953
Oil on canvas
25 x 23.5 in.
Signed lower left
John Falter's riveting scene captures a tragicomic domestic crisis as it unfolds. Young Astronaut, created for the Post cover of June 20, 1953, captures the essence of childhood in the fifties with imagination and wit. To the horror of his family and neighbors, a precocious boy, playing the role of a homespun Icarus, is about to launch himself off the garage roof.
Falter incorporated portraits of his wife, Mary Elizabeth, and his daughter, Suzanne, in this painting. In the background, Falter included the actual water tower from his hometown, which he climbed as an adult "in order to see the world with an eagle's eye." In an article in the Winter 1971 issue of the Post, Falter referred to the tower as a talisman. "To the boy, the high structure was a tower of magic -- to the man, it is the magic of boyhood".
The 1953 Post's caption for This Week's Cover reads, "Little Harry Helicopter is now getting bawled out for being the only person in John Falter's picture exhibiting any signs of imagination, daring, enterprise, and inventive genius. If memory serves, people also used to counsel the Wright brothers to come right down from there and stop being silly. Wouldn't it be a charming twist if the inventor had something in that fuselage enabling him to fly straight up into the air? Anyway, instead of the lad's parents' being critical, they should admire his judgment in deciding not to take off from that water tower. By the way, who stove in pap's fender -- papa? If they'd let Harry drive, he could do better. Grandpa is saying, "Let Harry be! I used to jump farther than that. Without wings."
This piece, as well as several of the others by Falter, is being offered from the Estate of Jack Warner, a Philadelphia businessman and amateur painter who befriended Falter when he moved there in the seventies.
PROVENANCE:
Estate of Jack Warner
JACK M. FAULKS (English 20th Century)
Stevie Ward Sister
Oil on board
15 x 13.25 in.
Signed lower left
Stevie Ward Sister
Oil on board
15 x 13.25 in.
Signed lower left
JACK M. FAULKS (English 20th Century)
Woman Reading
Oil on board
18 x 13 in.
Signed lower left
Woman Reading
Oil on board
18 x 13 in.
Signed lower left
JACK M. FAULKS (English 20th Century)
The Gentle Surgeon, book cover, 1964
Oil on board
13 x 13.5 in.
Signed upper right
This piece appeared on the cover of Hilda Pressley's book, The Gentle Surgeon, Mills and Boon, 1964.
The Gentle Surgeon, book cover, 1964
Oil on board
13 x 13.5 in.
Signed upper right
This piece appeared on the cover of Hilda Pressley's book, The Gentle Surgeon, Mills and Boon, 1964.
JACK M. FAULKS (English 20th Century)
South to Forget, book cover
Oil on board
13.5 x 13.5 in.
Not signed
South to Forget, book cover
Oil on board
13.5 x 13.5 in.
Not signed
JACK M. FAULKS (English 20th Century)
A Partner for Doctor Philip, book cover
Oil on board
13 x 14 in.
Signed lower right
A Partner for Doctor Philip, book cover
Oil on board
13 x 14 in.
Signed lower right
JACK M. FAULKS (English 20th Century)
Night Sister, book cover
Oil on board
15.5 x 14 in.
Signed lower right
Night Sister, book cover
Oil on board
15.5 x 14 in.
Signed lower right
JACK M. FAULKS (English 20th Century)
Apple Island, book cover
Oil on board
15.5 x 13.5 in.
Signed lower center
Apple Island, book cover
Oil on board
15.5 x 13.5 in.
Signed lower center
JACK M. FAULKS (English 20th Century)
The Ordeal of Nurse Thompson, book cover
Oil on board
14.25 x 14 in.
Signed upper right
The Ordeal of Nurse Thompson, book cover
Oil on board
14.25 x 14 in.
Signed upper right
JACK M. FAULKS (English 20th Century)
Hospital Under the Jacarandas, book cover
Oil on board
13.5 x 13.75 in.
Signed lower left
Hospital Under the Jacarandas, book cover
Oil on board
13.5 x 13.75 in.
Signed lower left
ROBERT FAWCETT (American 1903 - 1967)
Magazine story illustration
Ink and gouache on paper
15 x 25 in.
Initialed lower right
Magazine story illustration
Ink and gouache on paper
15 x 25 in.
Initialed lower right
ROBERT FAWCETT (American 1903 - 1967)
Magazine story illustration, circa 1958
Ink and watercolor on paper
15.5 x 15.5 in.
Initialed lower right
Magazine story illustration, circa 1958
Ink and watercolor on paper
15.5 x 15.5 in.
Initialed lower right
Mainstream Illustration
BELA FISCHER (America 20th Century)
Hot Jazz, circa 1940s
Gouache on board
14.5 x 12 in.
Signed lower right
Bela Fischer's colorful scene offers a late night, booze-fueled take on a hot jam session, and this piece may have been used in a vaudeville, burlesque, or jazz band program of the era.
Hot Jazz, circa 1940s
Gouache on board
14.5 x 12 in.
Signed lower right
Bela Fischer's colorful scene offers a late night, booze-fueled take on a hot jam session, and this piece may have been used in a vaudeville, burlesque, or jazz band program of the era.
Paintings
ROBERT FOSTER (American 1895 - 1982)
The Beastly Beatitudes of Balthazar B, paperback cover, 1969
Oil on board
23 x 30 in.
Signed lower center-right
This illustration appeared on the cover of J. P. Donleavy's novel, The Beastly Beatitudes of Balthazar B, Dell Books, 1969.
The Beastly Beatitudes of Balthazar B, paperback cover, 1969
Oil on board
23 x 30 in.
Signed lower center-right
This illustration appeared on the cover of J. P. Donleavy's novel, The Beastly Beatitudes of Balthazar B, Dell Books, 1969.
ART FRAHM (American 1907 - 1981)
O-Ooh!, 1950
Oil on canvas
32 x 24 in.
Signed lower right
This painting was reproduced as figure 434 in The Great American Pin-Up by Charles G. Martignette and Louis K. Meisel.
O-Ooh!, 1950
Oil on canvas
32 x 24 in.
Signed lower right
This painting was reproduced as figure 434 in The Great American Pin-Up by Charles G. Martignette and Louis K. Meisel.
FRANK KELLY FREAS (American 1922 - 2005)
But What of Earth?, paperback cover, 1976
Acrylic on board
16 x 11.5 in.
Signed lower center
This piece was used on the cover of Piers Anthony's novel, But What of Earth?, Laser Books, 1976.
But What of Earth?, paperback cover, 1976
Acrylic on board
16 x 11.5 in.
Signed lower center
This piece was used on the cover of Piers Anthony's novel, But What of Earth?, Laser Books, 1976.
Mainstream Illustration
FRANK KELLY FREAS (American 1922 - 2005)
The Healer's War, book illustration, 2001
Acrylic on board
17 x 13 in.
Signed lower center
This illustration was used for the frontispiece of Elizabeth Ann Scarborough's novel, The Healer's War, Easton Press, 2001.
"No one could have told Lieutenant Kitty McCulley that this was what it meant to be a war nurse. No one could have told her that she was going to Vietnam, not to heal, but to ready her patients for the real pain. Not to alleviate suffering, but to become an object of contempt and misdirected lust. Not to try to save all victims, but to choose sides against people she thought she was there to help. No one could have told her. And it wouldn't have made any difference anyway."
The Healer's War, book illustration, 2001
Acrylic on board
17 x 13 in.
Signed lower center
This illustration was used for the frontispiece of Elizabeth Ann Scarborough's novel, The Healer's War, Easton Press, 2001.
"No one could have told Lieutenant Kitty McCulley that this was what it meant to be a war nurse. No one could have told her that she was going to Vietnam, not to heal, but to ready her patients for the real pain. Not to alleviate suffering, but to become an object of contempt and misdirected lust. Not to try to save all victims, but to choose sides against people she thought she was there to help. No one could have told her. And it wouldn't have made any difference anyway."
Paintings
FRANK KELLY FREAS (American 1922 - 2005)
Ipomoea, paperback cover
Acrylic on board
14.5 x 10.5 in.
Initialed lower left
This piece was used for the cover of John Rackham's novel, Ipomoea, Ace Double #37250, 1969.
Ipomoea, paperback cover
Acrylic on board
14.5 x 10.5 in.
Initialed lower left
This piece was used for the cover of John Rackham's novel, Ipomoea, Ace Double #37250, 1969.
A. B. FROST (American 1851 - 1928)
The Lesson of the Day, political cartoon illustration, September 10, 1874
Ink on paper
17.75 x 14.5 in.
Signed lower left
The Lesson of the Day, political cartoon illustration, September 10, 1874
Ink on paper
17.75 x 14.5 in.
Signed lower left
A. B. FROST (American 1851 - 1928)
What Are you Going to Do About It?, political cartoon, August 28, 1874
Ink on paper
17.25 x 15 in.
Signed lower right
This piece was printed in the New York Daily Graphic on August 28, 1874.
What Are you Going to Do About It?, political cartoon, August 28, 1874
Ink on paper
17.25 x 15 in.
Signed lower right
This piece was printed in the New York Daily Graphic on August 28, 1874.
PEARL FRUSH-MANN (American 20th Century)
Pin up calendar illustration, circa 1954
Oil on canvas
38 x 25.5 in.
Signed lower center
A copy of the calendar is included in this lot.
Pin up calendar illustration, circa 1954
Oil on canvas
38 x 25.5 in.
Signed lower center
A copy of the calendar is included in this lot.
BERNARD FUCHS (American b.1932)
Parnell and the Englishwoman, TV Guide illustration, circa 1990
Oil on canvas
19 x 13 in.
Signed lower right
Parnell and the Englishwoman, TV Guide illustration, circa 1990
Oil on canvas
19 x 13 in.
Signed lower right
JACK GAUGHAN (American 1930 - 1985)
Alpha Bets, The Magazine of Fantasy and Science Fiction cover, November 1970
Mixed-media on board
15 x 10 in.
Not signed
A copy of the magazine is included in this lot
Alpha Bets, The Magazine of Fantasy and Science Fiction cover, November 1970
Mixed-media on board
15 x 10 in.
Not signed
A copy of the magazine is included in this lot
EDWIN A. GEORGI (American 1896 - 1941)
Redbook magazine illustration, circa 1955
Gouache on board
16.5 x 15 in.
Signed lower left
Redbook magazine illustration, circa 1955
Gouache on board
16.5 x 15 in.
Signed lower left
Mainstream Illustration
BOB GIADROSICH (American 20th Century)
Water Baby, 1989
Ink on board
17.5 x 13 in.
Signed lower right
Water Baby, 1989
Ink on board
17.5 x 13 in.
Signed lower right
Paintings
CHARLES GILSON (American 20th Century)
Automobile illustration, group of 2, circa 1950s
Gouache on board
14 x 15 in.
Not signed
These illustrations feature Imperial models dating from the fifties.
Automobile illustration, group of 2, circa 1950s
Gouache on board
14 x 15 in.
Not signed
These illustrations feature Imperial models dating from the fifties.
Mainstream Illustration
GEORGE GIUSTI (American 1908 - 1990)
The Last Snapshot, Saturday Evening Post illustration
Ink and acrylic on board
12 x 11.5 in.
Signed lower left
The Last Snapshot, Saturday Evening Post illustration
Ink and acrylic on board
12 x 11.5 in.
Signed lower left
Paintings
LOUIS M. GLACKENS (American 1866 - 1933)
Trading with the Indians, circa 1901
Pencil and ink on paper
17 x 21 in.
Signed lower left
This piece appeared in an issue of Puck, circa 1901.
Trading with the Indians, circa 1901
Pencil and ink on paper
17 x 21 in.
Signed lower left
This piece appeared in an issue of Puck, circa 1901.
Mainstream Illustration
LOUIS S. GLANZMAN (American b.1922)
War Chief, book illustration
Mixed-media on board
17 x 41.5 in.
Signed lower right
War Chief, book illustration
Mixed-media on board
17 x 41.5 in.
Signed lower right
Paintings
GERALD B. GREGG (American 1907 - 1985)
Double or Quits, paperback cover, 1947
Mixed-media on board
13 x 8.5 in.
Signed lower left
This scene was used as the cover to Double or Quits by A. A. Fair (a pen name of Erle Stanley Gardner), Dell Publishing Co., 1947
"Donald Lam and Bertha were hired by the doctor to investigate some stolen jewels, but they are soon in a fight for their lives against a killer who thought murder was the best medicine."
Double or Quits, paperback cover, 1947
Mixed-media on board
13 x 8.5 in.
Signed lower left
This scene was used as the cover to Double or Quits by A. A. Fair (a pen name of Erle Stanley Gardner), Dell Publishing Co., 1947
"Donald Lam and Bertha were hired by the doctor to investigate some stolen jewels, but they are soon in a fight for their lives against a killer who thought murder was the best medicine."
GEORGE GROSS (American 20th Century)
Edge #13: The Hated, paperback cover, 1975
Oil on board
8 x 12.5 in.
Lower right
This illustration appeared on the cover of George Gilman's Edge novel, The Hated, Pinnacle Books, 1975
"In a town called Hate only one man ruled, and his double-barreled shotgun was the law.... "
.
Edge #13: The Hated, paperback cover, 1975
Oil on board
8 x 12.5 in.
Lower right
This illustration appeared on the cover of George Gilman's Edge novel, The Hated, Pinnacle Books, 1975
"In a town called Hate only one man ruled, and his double-barreled shotgun was the law.... "
.
GEORGE GROSS (American 20th Century)
Nick Carter paperback cover
Oil on board
13.5 x 8.25 in.
Signed lower right
Nick Carter paperback cover
Oil on board
13.5 x 8.25 in.
Signed lower right
GEORGE GROSS (American 20th Century)
Nick Carter, Killmaster #235: Bloodtrail to Mecca, paperback cover, 1988
Oil on board
9 x 12 in.
Signed lower left
This illustration appeared on the cover of Nick Carter's Killmaster novel, Bloodtrail to Mecca, Jove Books, 1988.
Nick Carter, Killmaster #235: Bloodtrail to Mecca, paperback cover, 1988
Oil on board
9 x 12 in.
Signed lower left
This illustration appeared on the cover of Nick Carter's Killmaster novel, Bloodtrail to Mecca, Jove Books, 1988.
GEORGE GROSS (American 20th Century)
Nick Carter paperback cover
Oil on board
13 x 9 in.
Signed lower left
Nick Carter paperback cover
Oil on board
13 x 9 in.
Signed lower left
GEORGE GROSS (American 20th Century)
The Avenger #19, Pictures of Death, paperback cover
Oil on board
15 x 9.5 in.
Signed lower right
This illustration appeared on the cover of Kenneth Robeson's The Avenger novel, Pictures of Death, Warner Books, 1973.
The Avenger #19, Pictures of Death, paperback cover
Oil on board
15 x 9.5 in.
Signed lower right
This illustration appeared on the cover of Kenneth Robeson's The Avenger novel, Pictures of Death, Warner Books, 1973.
GEORGE GROSS (American 20th Century)
The Avenger, paperback cover
Oil on board
16.5 x 10.25 in.
Signed lower right
The Avenger, paperback cover
Oil on board
16.5 x 10.25 in.
Signed lower right
GEORGE GROSS (American 20th Century)
Paperback cover
Oil on board
17 x 10.5 in.
Signed lower left
Paperback cover
Oil on board
17 x 10.5 in.
Signed lower left
GEORGE GROSS (American 20th Century)
Nick Carter, Killmaster #226: Blood Raid, paperback cover, 1987
Oil on board
11.5 x 11.5 in.
Signed lower right
This illustration appeared on the cover of Nick Carter's Killmaster novel, Blood Raid, Charter Books, 1987.
"Agent N3 versus a death-for-sale band of super-terrorists. They claim no allegiance to any country and these international hit-man have set their sights on an entire continent. Carter has seen their kind before but never on such a grand or ambitious scale."
Nick Carter, Killmaster #226: Blood Raid, paperback cover, 1987
Oil on board
11.5 x 11.5 in.
Signed lower right
This illustration appeared on the cover of Nick Carter's Killmaster novel, Blood Raid, Charter Books, 1987.
"Agent N3 versus a death-for-sale band of super-terrorists. They claim no allegiance to any country and these international hit-man have set their sights on an entire continent. Carter has seen their kind before but never on such a grand or ambitious scale."
Mainstream Illustration
ERIC GURNEY (American 1910 - 1992)
Eric's Best Friends, cartoon illustration, circa 1975
Ink on paper
11 x 23 in.
Signed lower right
This piece was a display drawing produced for a proposed Sunday newspaper series of animal cartoons featuring "Eric's best friends," his inimitable paws, claws, and jaws. Gurney was the bestselling and award-winning writer and illustrator of books for children and adults, including The King, the Mouse, and the Cheese, How to Live With a Pampered Pet, and How to Live With a Calculating Cat.
This lot includes Gurney's hand-painted color guide for the drawing.
Eric's Best Friends, cartoon illustration, circa 1975
Ink on paper
11 x 23 in.
Signed lower right
This piece was a display drawing produced for a proposed Sunday newspaper series of animal cartoons featuring "Eric's best friends," his inimitable paws, claws, and jaws. Gurney was the bestselling and award-winning writer and illustrator of books for children and adults, including The King, the Mouse, and the Cheese, How to Live With a Pampered Pet, and How to Live With a Calculating Cat.
This lot includes Gurney's hand-painted color guide for the drawing.
Paintings
MICHAEL HAGUE (American b.1948)
Queen of the Black Coast, Conan book illustration, 1978
Ink and watercolor on board
14 x 10 in.
Signed upper left
This illustration was done for the Robert E. Howard book and Conan short story, Queen of the Black Coast, Donald M. Grant, 1978, a copy of the book included here.
Caption: "Invulnerable in his armor, his back to the mast."
Queen of the Black Coast, Conan book illustration, 1978
Ink and watercolor on board
14 x 10 in.
Signed upper left
This illustration was done for the Robert E. Howard book and Conan short story, Queen of the Black Coast, Donald M. Grant, 1978, a copy of the book included here.
Caption: "Invulnerable in his armor, his back to the mast."
MICHAEL HAGUE (American b. 1948)
Queen of the Black Coast, book illustration, 1978
Mixed-media on paper
14.5 x 10.5 in.
Signed lower center
This piece was used as the frontispiece illustration for Robert E. Howard's book, Queen of the Black Coast, Donald M. Grant, 1978, a copy of which is included here.
Queen of the Black Coast, book illustration, 1978
Mixed-media on paper
14.5 x 10.5 in.
Signed lower center
This piece was used as the frontispiece illustration for Robert E. Howard's book, Queen of the Black Coast, Donald M. Grant, 1978, a copy of which is included here.
Mainstream Illustration
LEO HEISELFIELD (American 20th Century)
White Men Must Be Crazy, Saturday Evening Post illustration, 1955
Ink and watercolor on paper
14 x 10 in.
Signed lower right
This piece was inscribed, "For Jack -- Xmas '55". There is a full signature on the overmat.
White Men Must Be Crazy, Saturday Evening Post illustration, 1955
Ink and watercolor on paper
14 x 10 in.
Signed lower right
This piece was inscribed, "For Jack -- Xmas '55". There is a full signature on the overmat.
HERSHEY (American 20th Century)
Space Journey, 1987
Acrylic on board
24 x 30 in.
Signed lower left
Space Journey, 1987
Acrylic on board
24 x 30 in.
Signed lower left
Paintings
GREG HILDEBRANDT (American b.1939) and TIM HILDEBRANDT (American 1939 - 2006)
Pixie Flight, illustration for a proposed poster
Acrylic on board
36 x 27 in.
Signed lower right
Pixie Flight, illustration for a proposed poster
Acrylic on board
36 x 27 in.
Signed lower right
Mainstream Illustration
GREG HILDEBRANDT (American b.1939)
Santa Claus
Oil on board
23 x 24 in.
Signed lower left
Santa Claus
Oil on board
23 x 24 in.
Signed lower left
Paintings
ALBERT HIRSCHFELD (American 1903 - 2003)
Self-caricature, birthday card drawing
Ink and watercolor on paper
8 x 6 in.
Signed lower right
Self-caricature, birthday card drawing
Ink and watercolor on paper
8 x 6 in.
Signed lower right
ALBERT HIRSCHFELD (American 1903 - 2003)
Orson Welles With Pipe drawing
Ink on paper
15 x 10.5 in.
Signed lower right
Orson Welles With Pipe drawing
Ink on paper
15 x 10.5 in.
Signed lower right
GEORGE HUGHES (American 1907 - 1990)
Fugitive Heart, American magazine illustration, June 1944
Oil on board
16 x 14.5 in.
Signed upper left
This piece was used to illustrate Pierson Rick's story, Fugitive Heart, in the June 1944 issue of American magazine.
Fugitive Heart, American magazine illustration, June 1944
Oil on board
16 x 14.5 in.
Signed upper left
This piece was used to illustrate Pierson Rick's story, Fugitive Heart, in the June 1944 issue of American magazine.
LYNN BOGUE HUNT (American 1878 - 1960)
Broken Fang illustration, group of 2, 1935
Gouache on board and ink on board
12 x 8 in.
Signed lower left
These two illustrations were done for R. G. Montgomery's novel, Broken Fang, M. A. Donohue and Company, 1935, a copy of which is included with this lot.
Caption for the painted illustration: "'You do not kill Bart,' he said evenly."
Broken Fang illustration, group of 2, 1935
Gouache on board and ink on board
12 x 8 in.
Signed lower left
These two illustrations were done for R. G. Montgomery's novel, Broken Fang, M. A. Donohue and Company, 1935, a copy of which is included with this lot.
Caption for the painted illustration: "'You do not kill Bart,' he said evenly."
GRAHAM INGELS (American 1915 - 1991)
Portrait of a Girl
Oil on canvas
32 x 24 in.
Signed lower right
This charming portrait of innocence was painted by one of the most notorious artists of the EC horror comics, Graham Ingels, who often signed his fifties-era splash pages as "Ghastly." When the EC horror comics were curtailed, Ingels dropped out of the comics field completely and pursued easel painting and teaching in Lantana, Florida. His whereabouts were almost a total mystery to comics fans and historians until 1989.
Portrait of a Girl
Oil on canvas
32 x 24 in.
Signed lower right
This charming portrait of innocence was painted by one of the most notorious artists of the EC horror comics, Graham Ingels, who often signed his fifties-era splash pages as "Ghastly." When the EC horror comics were curtailed, Ingels dropped out of the comics field completely and pursued easel painting and teaching in Lantana, Florida. His whereabouts were almost a total mystery to comics fans and historians until 1989.
ELBERT MCGRAN JACKSON (American 1896 - 1962)
A Reflection of Beauty, magazine story illustration, circa 1930s
Oil on canvas
30 x 21 in.
Signed lower right
Celebrated for his illustrations of glamorous, seductive women, Elbert Jackson worked for The Saturday Evening Post, where he completed 33 covers, and also worked for other national magazines. Jackson also illustrated numerous mystery books and was a member of The Society of American Illustrators.
A Reflection of Beauty, magazine story illustration, circa 1930s
Oil on canvas
30 x 21 in.
Signed lower right
Celebrated for his illustrations of glamorous, seductive women, Elbert Jackson worked for The Saturday Evening Post, where he completed 33 covers, and also worked for other national magazines. Jackson also illustrated numerous mystery books and was a member of The Society of American Illustrators.
JEFFREY JONES (American b.1944)
Standing Woman, 1970
Oil on board
30 x 20 in.
Signed lower right
Standing Woman, 1970
Oil on board
30 x 20 in.
Signed lower right
BILL JUSTICE (American b.1914)
Walt Disney's Donald Duck's Toy Train, Little Golden Book illustration, 1950
Ink and watercolor on paper
6 x 5.75 in.
Signed lower right
A copy of the book is included in this lot
Walt Disney's Donald Duck's Toy Train, Little Golden Book illustration, 1950
Ink and watercolor on paper
6 x 5.75 in.
Signed lower right
A copy of the book is included in this lot
ROBERT C. KAUFFMANN (American b. 1893)
Art Deco Era Woman Skier, magazine cover, circa 1933-1938
Oil on canvas
31 x 23 in.
Signed lower right
Robert C. Kauffmann created five covers for The Saturday Evening Post, and one of his 1936 covers featured this same model. Kauffmann also painted covers for Liberty and Physical Culture. The heightened sense of movement and vivid detail and colors make this canvas a quintessential example of this artist's work.
This piece is framed in a vintage, fine Newcomb-Macklin period frame.
Art Deco Era Woman Skier, magazine cover, circa 1933-1938
Oil on canvas
31 x 23 in.
Signed lower right
Robert C. Kauffmann created five covers for The Saturday Evening Post, and one of his 1936 covers featured this same model. Kauffmann also painted covers for Liberty and Physical Culture. The heightened sense of movement and vivid detail and colors make this canvas a quintessential example of this artist's work.
This piece is framed in a vintage, fine Newcomb-Macklin period frame.
Mainstream Illustration
KEN KELLY (American b.1946)
You Startled Me, Darling
Acrylic on board
10 x 8 in.
Signed lower right
You Startled Me, Darling
Acrylic on board
10 x 8 in.
Signed lower right
KEN KELLY (American b.1946)
The Gods in Darkness, paperback cover, 2002
Oil on board
39.5 x 28 in.
Signed lower left
Karl Edward Wagner's character, Kane, is shown in all his axe-wielding glory for the cover of the novel, The Gods in Darkness, Nightshade Books, 2002. This piece was also used on the LP album cover for the Rock band Fathom on their album, Celtic Rocks, where the axe Kane is wielding was replaced with a banjo. The band also based many merchandised items on this image, such as shirts, bags, and even drink coasters.
The Gods in Darkness, paperback cover, 2002
Oil on board
39.5 x 28 in.
Signed lower left
Karl Edward Wagner's character, Kane, is shown in all his axe-wielding glory for the cover of the novel, The Gods in Darkness, Nightshade Books, 2002. This piece was also used on the LP album cover for the Rock band Fathom on their album, Celtic Rocks, where the axe Kane is wielding was replaced with a banjo. The band also based many merchandised items on this image, such as shirts, bags, and even drink coasters.
Paintings
WILFRED LANGDON KIHN (American 1898 - 1957)
Women's Day illustration
Oil on canvas
36 x 26.5 in.
Signed upper right
Women's Day illustration
Oil on canvas
36 x 26.5 in.
Signed upper right
LU KIMMEL (American 1908 - 1973)
Hell Strip, paperback cover, 1955
Gouache on board
24 x 21.5 in.
Signed lower right
This piece appeared as the cover to Lee Richard's novel, Hell Strip, Gold Medal Books, 1955, a copy of which is included here.
"It was a city so wicked -- even the devil left town."
Hell Strip, paperback cover, 1955
Gouache on board
24 x 21.5 in.
Signed lower right
This piece appeared as the cover to Lee Richard's novel, Hell Strip, Gold Medal Books, 1955, a copy of which is included here.
"It was a city so wicked -- even the devil left town."
Mainstream Illustration
GORDON KING (English b.1939)
Western paperback cover
Acrylic on board
24 x 16.5 in.
Signed lower left
From the Tom Rainone Collection.
Western paperback cover
Acrylic on board
24 x 16.5 in.
Signed lower left
From the Tom Rainone Collection.
Paintings
EVERETT RAYMOND KINSTLER (American b.1926)
Pulp illustration
Ink on paper
10.5 x 11 in.
Signed lower left
Pulp illustration
Ink on paper
10.5 x 11 in.
Signed lower left
RAPHAEL KIRCHNER (American 1867 - 1917)
Fanny Brice: Ziegfeld Follies Century Girl, 1916
Pastel and graphite and opaque paint on paper
24 x 18 in.
Signed lower right
Raphael Kirchner was born in Vienna, Austria and along with Alphonse Mucha, was one of the most renowned Art Nouveau postcard artists of the Vienna Secessionist movement. The visionary artist later moved to France and worked as the cover artist for the wildly popular La Vie Parisienne. His radically risque portraits of sexually emancipated women were dubbed "Kirchner Girls."
Kirchner moved to New York City in 1915, and was introduced to Florence Ziegfeld by Viennese architect Josef Urban, the man responsible for the ornate Follies sets and design. Ziegfeld, always an innovator, hired Kirchner as a staff artist.
This pastel is a newly unearthed piece of New York City theatre history, a once-in-a generation find. Originally part of a suite of five illustrations which featured the erotic and luminous showgirls who starred in the legendary theatre revue Ziegfeld Follies, this portrait of Fanny Brice hung in the lobby of the historic Century Theatre until that famed show palace shut its doors in 1936.
Few examples of Kirchner's work for Ziegfeld have come to market, and a find of this magnitude has never before been offered at auction. In historical significance, provenance, and quality the wonderful piece is unsurpassed.
The plaque on the period frame for this piece reads "A Ziegfeld Girl from life by Raphael Kirchner."
Fanny Brice: Ziegfeld Follies Century Girl, 1916
Pastel and graphite and opaque paint on paper
24 x 18 in.
Signed lower right
Raphael Kirchner was born in Vienna, Austria and along with Alphonse Mucha, was one of the most renowned Art Nouveau postcard artists of the Vienna Secessionist movement. The visionary artist later moved to France and worked as the cover artist for the wildly popular La Vie Parisienne. His radically risque portraits of sexually emancipated women were dubbed "Kirchner Girls."
Kirchner moved to New York City in 1915, and was introduced to Florence Ziegfeld by Viennese architect Josef Urban, the man responsible for the ornate Follies sets and design. Ziegfeld, always an innovator, hired Kirchner as a staff artist.
This pastel is a newly unearthed piece of New York City theatre history, a once-in-a generation find. Originally part of a suite of five illustrations which featured the erotic and luminous showgirls who starred in the legendary theatre revue Ziegfeld Follies, this portrait of Fanny Brice hung in the lobby of the historic Century Theatre until that famed show palace shut its doors in 1936.
Few examples of Kirchner's work for Ziegfeld have come to market, and a find of this magnitude has never before been offered at auction. In historical significance, provenance, and quality the wonderful piece is unsurpassed.
The plaque on the period frame for this piece reads "A Ziegfeld Girl from life by Raphael Kirchner."
Mainstream Illustration
CHARLES R. KNIGHT (American 1874 - 1953)
The Lynx
Oil on board
15.75 x 11.5 in.
Signed lower right
Charles R. Knight is celebrated for his ground-breaking depictions of dinosaurs and other prehistoric animals, as well as wildlife in general. Knight's world-famous works are displayed in the American Museum of Natural History, the Field Museum of Natural History, and the Natural History Museum of Los Angeles County. This painting has been made into a print.
The Lynx
Oil on board
15.75 x 11.5 in.
Signed lower right
Charles R. Knight is celebrated for his ground-breaking depictions of dinosaurs and other prehistoric animals, as well as wildlife in general. Knight's world-famous works are displayed in the American Museum of Natural History, the Field Museum of Natural History, and the Natural History Museum of Los Angeles County. This painting has been made into a print.
Paintings
ROY G. KRENKEL (American 1918 - 1983)
Opar illustration
Ink on paper
7 x 4 in.
Initialed lower right
Opar illustration
Ink on paper
7 x 4 in.
Initialed lower right
JOHN LAGATTA (American 1894 - 1976)
Interior magazine illustration
Mixed-media on paper
28.5 x 23.5 in.
Signed lower right
Interior magazine illustration
Mixed-media on paper
28.5 x 23.5 in.
Signed lower right
Mainstream Illustration
LISSANE LAKE (American 20th Century)
Escape Velocity, 1987
Acrylic on board
28 x 20 in.
Not signed
Escape Velocity, 1987
Acrylic on board
28 x 20 in.
Not signed
ROBERT L. LAMBDIN (American 1886 - 1981)
Pagan Christmas, magazine illustration, circa 1950
Watercolor on paper
14 x 9.5 in.
Signed lower right
Pagan Christmas, magazine illustration, circa 1950
Watercolor on paper
14 x 9.5 in.
Signed lower right
Paintings
LEBADANG (French b. 1922)
Yellow Boats
Lithograph print
22 x 16 in.
Signed lower right
Edition: 86/120
Yellow Boats
Lithograph print
22 x 16 in.
Signed lower right
Edition: 86/120
RON LESSER (American 20th Century)
Paperback cover
Gouache on bard
15 x 10.5 in.
Not signed
Paperback cover
Gouache on bard
15 x 10.5 in.
Not signed
FRANK X. LEYENDECKER (American 1878 - 1924)
Touchdown, Century Illustrated Monthly story illustration, November 1909
Oil on canvas
25 x 16 in.
Signed lower left
This illustration was featured in W. Camp's story, Football Up to Date, on page 66 of Century Illustrated Monthly, November 1909.
Touchdown, Century Illustrated Monthly story illustration, November 1909
Oil on canvas
25 x 16 in.
Signed lower left
This illustration was featured in W. Camp's story, Football Up to Date, on page 66 of Century Illustrated Monthly, November 1909.
J. C. LEYENDECKER (American 1874 - 1951)
Preliminary study for the Saturday Evening Post cover, December 18, 1937
Oil and pencil on canvas
22 x 17.5 in.
Not signed
This wonderful study was painted in preparation for the Saturday Evening Post cover that appeared on the December 18, 1937 issue.
Preliminary study for the Saturday Evening Post cover, December 18, 1937
Oil and pencil on canvas
22 x 17.5 in.
Not signed
This wonderful study was painted in preparation for the Saturday Evening Post cover that appeared on the December 18, 1937 issue.
J. C. LEYENDECKER (American 1874 - 1951)
The Carolers, Collier's cover, December 21, 1907
Oil on canvas
30 x 21 in.
Signed lower right
While J. C. Leyendecker created over 300 covers for the Saturday Evening Post, he painted only 48 covers for Collier's, and offered here is a splendid example of a scarce Collier's cover. Leyendecker's lighthearted holiday-themed covers are always a delight, and this yuletide treasure hails from the same successful year that J. C. Leyendecker, and his brother Frank, moved into their large, luxurious, and fully-staffed house near Washington Square in Greenwich Village.
The Carolers, Collier's cover, December 21, 1907
Oil on canvas
30 x 21 in.
Signed lower right
While J. C. Leyendecker created over 300 covers for the Saturday Evening Post, he painted only 48 covers for Collier's, and offered here is a splendid example of a scarce Collier's cover. Leyendecker's lighthearted holiday-themed covers are always a delight, and this yuletide treasure hails from the same successful year that J. C. Leyendecker, and his brother Frank, moved into their large, luxurious, and fully-staffed house near Washington Square in Greenwich Village.
BIRNEY LITTICK (American 1919 - 1986)
A Great Pet Monkey of Your Very Own, Saturday Evening Post illustrations
Gouache on board
16 x 12.5 in.
Signed lower right
A Great Pet Monkey of Your Very Own, Saturday Evening Post illustrations
Gouache on board
16 x 12.5 in.
Signed lower right
RAYMOND LOBATO (American 20th Century)
Valentine, 1996
Watercolor on board
26 x 19.5 in.
Signed lower right
Valentine, 1996
Watercolor on board
26 x 19.5 in.
Signed lower right
TOM LOVELL (American 1909 - 1997)
Magazine story illustration, 1940
Oil on canvas
24.5 x 28 in.
Signed upper left
Magazine story illustration, 1940
Oil on canvas
24.5 x 28 in.
Signed upper left
Mainstream Illustration
Attributed to JUAN CARLOS MACIAS (Mexican 20th Century)
Cityscape at Night
Acrylic on canvas
20 x 24 in.
Signed lower right
Cityscape at Night
Acrylic on canvas
20 x 24 in.
Signed lower right
Paintings
EARL MACPHERSON (American 1910 - 1993)
Pin up illustration
Pastel on paper
21.5 x 16 in.
Signed lower right
This piece has been inscribed and signed, " To my fan Robin Eckert, love and best wishes, Mac Pherson."
Pin up illustration
Pastel on paper
21.5 x 16 in.
Signed lower right
This piece has been inscribed and signed, " To my fan Robin Eckert, love and best wishes, Mac Pherson."
EARL MACPHERSON (American 1910 - 1993)
Cowgirl, circa 1950
Pastel on board
40 x 30 in.
Signed lower right
Cowgirl, circa 1950
Pastel on board
40 x 30 in.
Signed lower right
Mainstream Illustration
CHRIS MARSHALL (American 20th Century)
Aurora, 1988
Acrylic on board
25.75 x 20 in.
Initialed lower left
Aurora, 1988
Acrylic on board
25.75 x 20 in.
Initialed lower left
FORTUNINO MATANIA (Italian 1881 - 1963)
Ex Libris plate illustration
Ink on paper
12.5 x 9 in.
Signed lower right
Ex Libris plate illustration
Ink on paper
12.5 x 9 in.
Signed lower right
Paintings
ROBERT MCGINNIS (American b.1926)
Wuthering Heights, paperback cover
Tempera on board
30 x 22 in.
Signed lower right
Wuthering Heights, paperback cover
Tempera on board
30 x 22 in.
Signed lower right
WILLIAM MEDCALF (American 20th Century)
Christmas, circa 1950
Oil on board
21 x 31 in.
Signed lower right
This painting was reproduced as figure 523 in The Great American Pin-Up by Charles G. Martignette and Louis K. Meisel
Christmas, circa 1950
Oil on board
21 x 31 in.
Signed lower right
This painting was reproduced as figure 523 in The Great American Pin-Up by Charles G. Martignette and Louis K. Meisel
WILLIAM MEDCALF (American 20th Century)
Victor "Vicki" Girl, advertising illustration, circa 1950
Oil on board
40 x 30 in.
Signed lower left
Victor "Vicki" Girl, advertising illustration, circa 1950
Oil on board
40 x 30 in.
Signed lower left
Mainstream Illustration
DAVID MENEHAN (American 20th Century)
All My Sins Remembered, 1983
Acrylic on board
18 x 11.25 in.
Signed lower left
All My Sins Remembered, 1983
Acrylic on board
18 x 11.25 in.
Signed lower left
HILDA MILLER (American 1876 - 1939)
Fairy Soap
Watercolor and pencil on paper
4.25 x 10 in.
Not signed
Hilda Miller illustrated books on fairies in the early 20th Century. Miller exhibited works at the Royal Academy and the Royal Scottish Academy. From the Tom Rainone Collection.
Fairy Soap
Watercolor and pencil on paper
4.25 x 10 in.
Not signed
Hilda Miller illustrated books on fairies in the early 20th Century. Miller exhibited works at the Royal Academy and the Royal Scottish Academy. From the Tom Rainone Collection.
Paintings
EARL MORAN (American 1893 - 1984)
Pin up study
Oil on board
7.5 x 5.5 in.
Signed lower left
This piece has been inscribed and signed in its lower border, "To Bonnie -- I painted this specially for you. Hello, Earl Moran." From the Tom Rainone Collection.
Pin up study
Oil on board
7.5 x 5.5 in.
Signed lower left
This piece has been inscribed and signed in its lower border, "To Bonnie -- I painted this specially for you. Hello, Earl Moran." From the Tom Rainone Collection.
EARL MORAN (American 1893 - 1984)
Nude
Oil on board
36 x 30 in.
Signed lower right
Nude
Oil on board
36 x 30 in.
Signed lower right
EARL MORAN (American 1893 - 1984)
Pin Up Painting
Oil on board
30 x 24 in.
Signed lower right
Pin Up Painting
Oil on board
30 x 24 in.
Signed lower right
EARL MORAN (American 1893 - 1984)
Figures Don't Lie, 1942
Pastel on board
24 x 18.5 in.
Signed lower right
A printed example of this piece is included in this lot
Figures Don't Lie, 1942
Pastel on board
24 x 18.5 in.
Signed lower right
A printed example of this piece is included in this lot
EARL MORAN (American 1893 - 1984)
Seated Brunette in a Red Robe
Oil on board
26 x 19 in.
Signed lower left
Seated Brunette in a Red Robe
Oil on board
26 x 19 in.
Signed lower left
EARL MORAN (American 1893 - 1984)
Reclining Nude
Oil on canvas
18 x 24 in.
Signed lower right
A large 19.5 x 22 in. color reference photograph is included in this lot.
Reclining Nude
Oil on canvas
18 x 24 in.
Signed lower right
A large 19.5 x 22 in. color reference photograph is included in this lot.
Mainstream Illustration
STANLEY MOUSE (American b.1940)
Grateful Dead, Skull and Roses, T-shirt design illustration, 1988
Watercolor on paper
22 x 30 in.
Signed lower right
Grateful Dead, Skull and Roses, T-shirt design illustration, 1988
Watercolor on paper
22 x 30 in.
Signed lower right
Paintings
ZOE MOZERT (American 1904 - 1993)
Figure Skaters
Pastel on wood
24 x 20 in.
Signed lower right
Figure Skaters
Pastel on wood
24 x 20 in.
Signed lower right
Pin-up and Glamour Art
ZOE MOZERT (American 1904 - 1993)
Brunette
Pastel on paper
15 x 12.5 in.
Signed lower right
Brunette
Pastel on paper
15 x 12.5 in.
Signed lower right
Paintings
ZOE MOZERT (American 1904 - 1993)
Can-Can Girl, circa 1940-43
Pastel on paper
34.5 x 27 in.
Signed lower left
Can-Can Girl, circa 1940-43
Pastel on paper
34.5 x 27 in.
Signed lower left
ZOE MOZERT ( American 1904 - 1993)
The Padlock Was My Own Idea
Pastel on paper
16 x 11 in.
Signed lower left
A printed example of this piece is included in this lot
The Padlock Was My Own Idea
Pastel on paper
16 x 11 in.
Signed lower left
A printed example of this piece is included in this lot
ZOE MOZERT (American 1904 - 1993)
Nude, circa 1940
Pastel on paper
22 x 27.5 in.
Signed lower right
Nude, circa 1940
Pastel on paper
22 x 27.5 in.
Signed lower right
ZOE MOZERT (American 1904 - 1993)
A Blonde with a Flower in Her Hair, circa 1940
Pastel on board
27 x 23.5 in.
Signed lower right
A Blonde with a Flower in Her Hair, circa 1940
Pastel on board
27 x 23.5 in.
Signed lower right
ZOE MOZERT ( American 1904 - 1993)
Pin up illustration
Pastel on board
32.5 x 23.5 in.
Signed lower-center right
Pin up illustration
Pastel on board
32.5 x 23.5 in.
Signed lower-center right
ZOE MOZERT (American 1904 - 1993)
Brunette in a Fur Wrap
Pastel on Board
28 x 22 in.
Signed lower right
Brunette in a Fur Wrap
Pastel on Board
28 x 22 in.
Signed lower right
ZOE MOZERT (American 1904 - 1993)
Brunette with Red Rose, circa 1940
Pastel on board
24 x 20 in.
Signed lower right
Brunette with Red Rose, circa 1940
Pastel on board
24 x 20 in.
Signed lower right
ZOE MOZERT (American 1904 - 1993)
A Nude with Daisies in Her Hair
Pastel on board
20 x 24 in.
Signed lower right
A Nude with Daisies in Her Hair
Pastel on board
20 x 24 in.
Signed lower right
ZOE MOZERT (American 1904 - 1993)
Blonde Dart Player
Pastel on board
28 x 22 in.
Signed lower right
Blonde Dart Player
Pastel on board
28 x 22 in.
Signed lower right
JON J. MUTH (American 20th Century)
Dracula: A Symphony in Moonlight and Nightmares, original magazine illustration, 1986
Watercolor on paper
13 x 10.5 in.
Initialed lower right
This piece is an original, unpublished illustration for Dracula: A Symphony in Moonlight and Nightmares, Jon J. Muth, Marvel Enterprises, 1986.
Dracula: A Symphony in Moonlight and Nightmares, original magazine illustration, 1986
Watercolor on paper
13 x 10.5 in.
Initialed lower right
This piece is an original, unpublished illustration for Dracula: A Symphony in Moonlight and Nightmares, Jon J. Muth, Marvel Enterprises, 1986.
RUDY NAPPI (American 20th Century)
Witch's Cat, paperback cover, 1994
Oil on paper, mounted on board
16 x 11 in.
Signed lower left
This illustration was used on the cover of Ruth Chew's book, Witch's Cat, Scholastic Inc., 1994, a printer's proof of the cover included here.
"What kind of magic will the cat do next?"
Witch's Cat, paperback cover, 1994
Oil on paper, mounted on board
16 x 11 in.
Signed lower left
This illustration was used on the cover of Ruth Chew's book, Witch's Cat, Scholastic Inc., 1994, a printer's proof of the cover included here.
"What kind of magic will the cat do next?"
RUDY NAPPI (American 20th Century)
Take Away the Pride, paperback cover, 1989
Oil on board
18 x 11 in.
Signed lower left
This illustration was used on the cover of Emma Richmond's novel, Take Away the Pride, Harlequin Mills and Boon, 1989, a printer's proof of the cover included here.
"She'd taken life as a joke -- 'till now."
Take Away the Pride, paperback cover, 1989
Oil on board
18 x 11 in.
Signed lower left
This illustration was used on the cover of Emma Richmond's novel, Take Away the Pride, Harlequin Mills and Boon, 1989, a printer's proof of the cover included here.
"She'd taken life as a joke -- 'till now."
RUDY NAPPI (American 20th Century)
Renaissance Man. paperback cover
Oil on board
22 x 14 in.
Signed lower center
This illustration was featured on the cover of Stephanie James' novel, Renaissance Man, Silhouette Desire, 1982, a signed printer's proof of that cover included here.
Renaissance Man. paperback cover
Oil on board
22 x 14 in.
Signed lower center
This illustration was featured on the cover of Stephanie James' novel, Renaissance Man, Silhouette Desire, 1982, a signed printer's proof of that cover included here.
RUDY NAPPI (American 20th Century)
Wildfire, paperback cover, 1986
Oil on board
14 x 12.5 in.
Signed lower left
This illustration appeared on the cover of Alexandra Scott's novel, Wildfire, Harlequin, 1986, a signed printer's proof of the cover included here.
"Something very strange was going on here she thought."
Wildfire, paperback cover, 1986
Oil on board
14 x 12.5 in.
Signed lower left
This illustration appeared on the cover of Alexandra Scott's novel, Wildfire, Harlequin, 1986, a signed printer's proof of the cover included here.
"Something very strange was going on here she thought."
RUDY NAPPI (American 20th Century)
Arabian Nights, paperback cover
Oil on board
23 x 16.5 in.
Signed lower center
A signed printer's proof of the cover is included in this lot
Arabian Nights, paperback cover
Oil on board
23 x 16.5 in.
Signed lower center
A signed printer's proof of the cover is included in this lot
LEROY NEIMAN (American b.1927)
Ocelot, 1973
Serigraph
24 x 34 in.
Signed lower right in pencil
This is an artist's proof (A. P.) from a regular edition of 250
Ocelot, 1973
Serigraph
24 x 34 in.
Signed lower right in pencil
This is an artist's proof (A. P.) from a regular edition of 250
LEROY NEIMAN (American b.1927)
The Green Table, 1974
Serigraph
29.75 x 26.25 in.
Signed lower right in pencil
Edition: 4/300
The Green Table, 1974
Serigraph
29.75 x 26.25 in.
Signed lower right in pencil
Edition: 4/300
LEROY NEIMAN (American b.1927)
Serengeti Leopard, 1979
Serigraph
33 x 42 in.
Signed lower right in pencil
Edition: 171/300
Serengeti Leopard, 1979
Serigraph
33 x 42 in.
Signed lower right in pencil
Edition: 171/300
LEROY NEIMAN (American b.1927)
Neiman's Montreal '76, group of 3, 1976
Serigraph
31.25 x 48 in.
Signed lower right in pencil
This lot features three prints of the same image.
Edition numbers: A. P. (artist's proof); 367/600; 368/600
Neiman's Montreal '76, group of 3, 1976
Serigraph
31.25 x 48 in.
Signed lower right in pencil
This lot features three prints of the same image.
Edition numbers: A. P. (artist's proof); 367/600; 368/600
LEROY NEIMAN (American b.1927)
The Bar at "21," 1974
Serigraph
25.75 x 39 in.
Signed lower right in pencil
European Edition: XXIII/LXXV
The Bar at "21," 1974
Serigraph
25.75 x 39 in.
Signed lower right in pencil
European Edition: XXIII/LXXV
LEROY NEIMAN (American b.1927)
La Venerie II, 1964
Enamel on board
10.5 x 6 in.
Signed lower left
La Venerie II, 1964
Enamel on board
10.5 x 6 in.
Signed lower left
EARL NOREM (American 20th Century)
True Men cover, July 1965
Gouache on board
24 x 18.5 in.
Not signed
True Men cover, July 1965
Gouache on board
24 x 18.5 in.
Not signed
C. A. NOVAK (American 20th Century) and J. FREIRE (American 20th Century)
Automobile illustration, group of 2, 1955-72
Mixed-media on board
7.5 x 15.5 in.
Each signed
These illustrations spotlight a 1972-era Ferrari 512S street model and a 1955 Ford Fairlane.
Automobile illustration, group of 2, 1955-72
Mixed-media on board
7.5 x 15.5 in.
Each signed
These illustrations spotlight a 1972-era Ferrari 512S street model and a 1955 Ford Fairlane.
Pin-up and Glamour Art
LEO NOWAK (American 1907 - 2001)
Two Blondes, pin up illustration, circa 1940s
Pencil and watercolor
26 x 18 in.
Signed lower right
Two Blondes, pin up illustration, circa 1940s
Pencil and watercolor
26 x 18 in.
Signed lower right
LEO NOWAK (American 1907 - 2001)
Pin up illustration, 1945
Mixed-media on board
28 x 19 in.
Signed lower left-center
Pin up illustration, 1945
Mixed-media on board
28 x 19 in.
Signed lower left-center
Paintings
WILLIAM O'CONNOR (American 20th Century)
Valor's Peak, 2002
Acrylic on paper
23 x 16 in.
Signed with a monogram lower left
Valor's Peak, 2002
Acrylic on paper
23 x 16 in.
Signed with a monogram lower left
OLIVIA DE BERARDINIS (American b. 1948)
Fantasy portrait illustration, 1995
Mixed-media on paper
19 x 14.5 in.
Signed lower right
Fantasy portrait illustration, 1995
Mixed-media on paper
19 x 14.5 in.
Signed lower right
Mainstream Illustration
EVERETT OPIE (American b.1947)
New Yorker cartoon illustration, December 17, 1979
Ink on paper
24 x 27.5 in.
Signed lower left
Caption: "If it isn't Dial-A-Joke, it's Sports Phone. If it isn't Sports Phone, it's Dial Dr. Brothers or the Big Apple Report. And now, if it isn't any of those, it's Dial Santa."
A copy of the magazine is included in this lot.
New Yorker cartoon illustration, December 17, 1979
Ink on paper
24 x 27.5 in.
Signed lower left
Caption: "If it isn't Dial-A-Joke, it's Sports Phone. If it isn't Sports Phone, it's Dial Dr. Brothers or the Big Apple Report. And now, if it isn't any of those, it's Dial Santa."
A copy of the magazine is included in this lot.
Paintings
WALT OTTO (American 1895 - 1963)
The Lady is Waiting, calendar illustration
Oil on canvas
24 x 20 in.
Signed lower right
This finished painting has differences with the printed piece, but it's unclear whether this is a tight preliminary for the calendar image, or an updated, alternate version of the same scene. We've included a copy of the printed calendar page.
The Lady is Waiting, calendar illustration
Oil on canvas
24 x 20 in.
Signed lower right
This finished painting has differences with the printed piece, but it's unclear whether this is a tight preliminary for the calendar image, or an updated, alternate version of the same scene. We've included a copy of the printed calendar page.
WALT OTTO (American 1895 - 1963)
Blonde in Pink Formal, calendar illustration
Oil on canvas
24 x 20 in.
Signed lower right
A print of the same model in a different pose is included in this lot.
Blonde in Pink Formal, calendar illustration
Oil on canvas
24 x 20 in.
Signed lower right
A print of the same model in a different pose is included in this lot.
WALT OTTO (American 1895 - 1963)
Blonde Beauty, calendar illustration
Oil on canvas
32 x 26 in.
Not signed
Blonde Beauty, calendar illustration
Oil on canvas
32 x 26 in.
Not signed
WALT OTTO (American 1895 - 1963)
Brunette in a Red Formal
Oil on canvas
31 x 25.5 in.
Signed lower right
Brunette in a Red Formal
Oil on canvas
31 x 25.5 in.
Signed lower right
GEORGE PETTY (American 1894 - 1975)
Sophisticated Couple
Watercolor on board
24 x 18 in.
Not signed
Sophisticated Couple
Watercolor on board
24 x 18 in.
Not signed
GEORGE PETTY (American 1894 - 1975)
Girl in Leotard, Rigid Tool calendar illustration
Mixed-media on board
17.5 x 14.5 in.
Signed upper right
In this George Petty pin up illustration, the figure has been carefully cut out and collaged onto this design, and the triangular chain-link form is a photographic element.
Reproduced as figure 692 in The Great American Pin-Up by Charles G. Martignette and Louis K. Meisel.
Girl in Leotard, Rigid Tool calendar illustration
Mixed-media on board
17.5 x 14.5 in.
Signed upper right
In this George Petty pin up illustration, the figure has been carefully cut out and collaged onto this design, and the triangular chain-link form is a photographic element.
Reproduced as figure 692 in The Great American Pin-Up by Charles G. Martignette and Louis K. Meisel.
JERRY PICKNEY (American 20th Century)
Lord God King of the Universe, Saturday Evening Post illustration
Acrylic on paper
19 x 15 in.
Signed lower right
Lord God King of the Universe, Saturday Evening Post illustration
Acrylic on paper
19 x 15 in.
Signed lower right
HENRY C. PITZ (American 1895 - 1976)
Micah Clarke, book illustration, circa 1929
Ink on paper
13 x 9 in.
Signed lower right
This illustration appeared in Arthur Conan Doyle's Micah Clarke, Harper and Brothers, 1929, a swashbuckling departure for Doyle's Sherlock Holmes fans.
Caption: "I chose out a sheltered spot," Chapter XXXIII, Micah Clarke.
Micah Clarke, book illustration, circa 1929
Ink on paper
13 x 9 in.
Signed lower right
This illustration appeared in Arthur Conan Doyle's Micah Clarke, Harper and Brothers, 1929, a swashbuckling departure for Doyle's Sherlock Holmes fans.
Caption: "I chose out a sheltered spot," Chapter XXXIII, Micah Clarke.
Pulp, Pulp-like, Digests, and Paperback Art
LEO PLOPPERT (American 20th Century)
Renegade Gambler, paperback cover, 1963
Oil on board
17 x 14.5 in.
Signed lower right
This scene appeared on the cover of Lee Floren's novel, Renegade Gambler, Lancer Books, 1963.
"He fought a one-man range war!"
From the Tom Rainone Collection.
Renegade Gambler, paperback cover, 1963
Oil on board
17 x 14.5 in.
Signed lower right
This scene appeared on the cover of Lee Floren's novel, Renegade Gambler, Lancer Books, 1963.
"He fought a one-man range war!"
From the Tom Rainone Collection.
Paintings
WILLY POGANY (American 1882 - 1955)
Flyer
Gouache on board
14.5 x 15.5 in.
Signed lower right
Flyer
Gouache on board
14.5 x 15.5 in.
Signed lower right
STEVEN POJANSKI (American 1923 - 1997)
Automobile illustration, group of 2, 1957-58
Gouache on board
12.5 x 18 in.
Not signed
These illustrations showcase a 1958 Buick Limited Riviera Sedan and a 1957 Oldsmobile Super 8 Holiday Sedan.
Automobile illustration, group of 2, 1957-58
Gouache on board
12.5 x 18 in.
Not signed
These illustrations showcase a 1958 Buick Limited Riviera Sedan and a 1957 Oldsmobile Super 8 Holiday Sedan.
STEVEN POJANSKI (American 1923 - 1997)
Automobile illustration, group of 2, circa 1956-60
Gouache on board
11 x 20 in.
Signed lower center
This illustrations are of a 1957 Dodge and a 1961 Cadillac Series 62 Convertible.
Automobile illustration, group of 2, circa 1956-60
Gouache on board
11 x 20 in.
Signed lower center
This illustrations are of a 1957 Dodge and a 1961 Cadillac Series 62 Convertible.
SAMSON POLLEN (American 20th Century)
I Rode With the Czech Cycle 'Angels', For Men Only magazine story illustration, January 1969
Acrylic on board
15 x 22 in.
Signed lower right
A copy of the magazine is included in this lot.
I Rode With the Czech Cycle 'Angels', For Men Only magazine story illustration, January 1969
Acrylic on board
15 x 22 in.
Signed lower right
A copy of the magazine is included in this lot.
SAMSON POLLEN (American 20th Century)
Men's magazine story illustration
Acrylic on board
14 x 20.5 in.
Signed lower right
Men's magazine story illustration
Acrylic on board
14 x 20.5 in.
Signed lower right
RICHARD POWERS (American 1921 - 1996)
Sometime, Never, paperback cover, 1957
Mixed-media on board
15 x 9 in.
Signed lower left
This illustration was used for the cover of William Golding, Mervyn Peake, and John Wyndham's book, Sometime, Never, Ballantine Books, 1957.
Sometime, Never, paperback cover, 1957
Mixed-media on board
15 x 9 in.
Signed lower left
This illustration was used for the cover of William Golding, Mervyn Peake, and John Wyndham's book, Sometime, Never, Ballantine Books, 1957.
RICHARD POWERS (American 1921 - 1996)
Tarzan and the Ant-Men, paperback cover, 1963
Gouache on board
9 x 8.2 in.
Not signed
This scene was used for the cover of Edgar Rice Burroughs' novel, Tarzan and the Ant-Men, Ballantine Books, 1963, a copy of the paperback included here.
Tarzan and the Ant-Men, paperback cover, 1963
Gouache on board
9 x 8.2 in.
Not signed
This scene was used for the cover of Edgar Rice Burroughs' novel, Tarzan and the Ant-Men, Ballantine Books, 1963, a copy of the paperback included here.
RICHARD POWERS (American 1921 - 1996)
Tarzan and the Forbidden City, paperback cover, 1964
Gouache on board
9 x 8 in.
Not signed
This scene was used as the cover of Edgar Rice Burroughs' novel, Tarzan and the Forbidden City, Ballantine Books, 1964.
Tarzan and the Forbidden City, paperback cover, 1964
Gouache on board
9 x 8 in.
Not signed
This scene was used as the cover of Edgar Rice Burroughs' novel, Tarzan and the Forbidden City, Ballantine Books, 1964.
VICTOR PREZIO (American 20th Century)
Women-In-War cover, November 1959
Gouache on board
22 x 17 in.
Signed lower left
This illustration is reproduced on page 171 of It's a Man's World, Men's Adventure Magazines, the Postwar Pulps by Adam Parfrey.
Women-In-War cover, November 1959
Gouache on board
22 x 17 in.
Signed lower left
This illustration is reproduced on page 171 of It's a Man's World, Men's Adventure Magazines, the Postwar Pulps by Adam Parfrey.
Attributed to VICTOR PREZIO (American 20th Century)
Men's Adventure cover, January 1965
Gouache on board
22.5 x 17 in.
Not signed
This painting is reproduced on page 399 of Men's Adventure Magazines by Max Allan Collins, George Hagenauer, and Steven Heller.
Men's Adventure cover, January 1965
Gouache on board
22.5 x 17 in.
Not signed
This painting is reproduced on page 399 of Men's Adventure Magazines by Max Allan Collins, George Hagenauer, and Steven Heller.
DON IVAN PUNCHATZ (American b. 1936)
Robocop advertising illustration
Mixed-media on mylar
13 x 10.5 in.
Not signed
"Part man. Part machine. All cop. The future of law enforcement."
Robocop advertising illustration
Mixed-media on mylar
13 x 10.5 in.
Not signed
"Part man. Part machine. All cop. The future of law enforcement."
DON IVAN PUNCHATZ (American b.1936)
Tomita, The Bermuda Triangle album cover illustration, 1978
Mixed-media on mylar
17.5 x 30 in.
Signed lower center
This illustration appeared on the LP album cover, Tomita, The Bermuda Triangle, RCA, 1979.
Tomita, The Bermuda Triangle album cover illustration, 1978
Mixed-media on mylar
17.5 x 30 in.
Signed lower center
This illustration appeared on the LP album cover, Tomita, The Bermuda Triangle, RCA, 1979.
DON IVAN PUNCHATZ (American b.1936)
Star Trek: The Worlds of the Federation, book cover, 1989
Mixed-media on mylar
12 x 19 in.
Signed center-left
This illustration was used on the cover of Shane Johnson's book, Star Trek: The Worlds of the Federation, Pocket Books, 1989.
Star Trek: The Worlds of the Federation, book cover, 1989
Mixed-media on mylar
12 x 19 in.
Signed center-left
This illustration was used on the cover of Shane Johnson's book, Star Trek: The Worlds of the Federation, Pocket Books, 1989.
DON IVAN PUNCHATZ (American b. 1936)
Star Trek Alien Lifeforms, group of 5 illustrations
Mixed-media on mylar, mounted to masonite
13 x 10 in.
Signed lower right
This lot features five separate illustrations.
Star Trek Alien Lifeforms, group of 5 illustrations
Mixed-media on mylar, mounted to masonite
13 x 10 in.
Signed lower right
This lot features five separate illustrations.
Mainstream Illustration
DON IVAN PUNCHATZ (American b. 1936)
Ancient Evenings, Man Servant, Playboy illustration, April-May, 1983
Mixed-media on mylar
14 x 12 in.
Signed lower left
This erotic scene was created to illustrate Norman Mailer's story Ancient Evenings in the April or May 1983 issue of Playboy.
Ancient Evenings, Man Servant, Playboy illustration, April-May, 1983
Mixed-media on mylar
14 x 12 in.
Signed lower left
This erotic scene was created to illustrate Norman Mailer's story Ancient Evenings in the April or May 1983 issue of Playboy.
DON IVAN PUNCHATZ (American b. 1936)
Ancient Evenings, Queen, Playboy illustration, April-May, 1983
Mixed-media on mylar
15 x 11 in.
Signed lower left
This illustration was featured in Norman Mailer's story Ancient Evenings, which ran in two parts in the April and May 1983 issues of Playboy
Ancient Evenings, Queen, Playboy illustration, April-May, 1983
Mixed-media on mylar
15 x 11 in.
Signed lower left
This illustration was featured in Norman Mailer's story Ancient Evenings, which ran in two parts in the April and May 1983 issues of Playboy
DON IVAN PUNCHATZ (American b. 1936)
Ancient Evenings, Pool, Playboy illustration, April-May 1983
Mixed-media on mylar
12 x 22 in.
Signed lower right
This illustration appeared in Norman Mailer's story Ancient Evenings, which ran in two parts in the April and May 1983 issues of Playboy .
Ancient Evenings, Pool, Playboy illustration, April-May 1983
Mixed-media on mylar
12 x 22 in.
Signed lower right
This illustration appeared in Norman Mailer's story Ancient Evenings, which ran in two parts in the April and May 1983 issues of Playboy .
Paintings
Attributed to HOWARD PYLE (American 1853 - 1911)
Street Scene, circa 1875
Ink on paper
7 x 4 in.
Initialed lower left
Street Scene, circa 1875
Ink on paper
7 x 4 in.
Initialed lower left
PAUL RADER (American b.1906)
The Lady from L.U.S.T. #3, The 69 Pleasures, paperback cover, 1967
Gouache on board
12 x 8.5 in.
Not signed
This piece was used on the cover of Rod Gray's novel, The 69 Pleasures, Tower Publications Inc., 1967, a copy of the paperback included here.
"They needed an undercover agent in Hong Kong -- and nobody is better under covers than Eva Drum, the world's sexiest spy."
The Lady from L.U.S.T. #3, The 69 Pleasures, paperback cover, 1967
Gouache on board
12 x 8.5 in.
Not signed
This piece was used on the cover of Rod Gray's novel, The 69 Pleasures, Tower Publications Inc., 1967, a copy of the paperback included here.
"They needed an undercover agent in Hong Kong -- and nobody is better under covers than Eva Drum, the world's sexiest spy."
BILL RANDALL (American 20th Century)
Christmas Scene
Gouache on paper
22 x 13.5 in.
Signed upper right
Christmas Scene
Gouache on paper
22 x 13.5 in.
Signed upper right
BILL RANDALL (American 20th Century)
January, Calendar illustration
Gouache on board
21 x 16 in.
Signed lower right
January, Calendar illustration
Gouache on board
21 x 16 in.
Signed lower right
ALEX RAYMOND (American 1909 - 1956)
Another Man's Poison, Elk's Magazine illustration, June 1937
Ink on board
9.5 x 19 in.
Signed lower right
This illustration appeared in D. D. Beauchamp's story, Another Man's Poison, in the June 1937 issue of The Elk's Magazine.
Caption: "Yancey took a bead on him, let his gun swing with the buckboard 'till he had Henry centered, and then squeezed off."
Another Man's Poison, Elk's Magazine illustration, June 1937
Ink on board
9.5 x 19 in.
Signed lower right
This illustration appeared in D. D. Beauchamp's story, Another Man's Poison, in the June 1937 issue of The Elk's Magazine.
Caption: "Yancey took a bead on him, let his gun swing with the buckboard 'till he had Henry centered, and then squeezed off."
ALEX RAYMOND (American 1909 - 1956)
Woman Hungry, magazine story illustration, 1936
Ink and watercolor on board
23.5 x 20 in.
Signed lower right
This superb piece was done as an illustration for Ernest Haycox's story, Woman Hungry.
Woman Hungry, magazine story illustration, 1936
Ink and watercolor on board
23.5 x 20 in.
Signed lower right
This superb piece was done as an illustration for Ernest Haycox's story, Woman Hungry.
Pulp, Pulp-like, Digests, and Paperback Art
SIDNEY RIESENBERG (American 1885 - 1971)
Red Hot Border Battle, Western pulp cover, circa 1930s
Oil on canvas
32 x 22 in.
Signed on the lower right stretcher bar
Sidney Riesenberg is perhaps best remembered for his patriotic World War I posters, but he also gained fame as a cover illustrator for many of the American slick and pulp magazines of "the Golden Age of Illustration." This piece was most likely created for the cover of an unidentified Western pulp magazine, and the work was signed on the lower right verso backside stretcher bar by the artist.
Red Hot Border Battle, Western pulp cover, circa 1930s
Oil on canvas
32 x 22 in.
Signed on the lower right stretcher bar
Sidney Riesenberg is perhaps best remembered for his patriotic World War I posters, but he also gained fame as a cover illustrator for many of the American slick and pulp magazines of "the Golden Age of Illustration." This piece was most likely created for the cover of an unidentified Western pulp magazine, and the work was signed on the lower right verso backside stretcher bar by the artist.
Mainstream Illustration
MORTON ROBERTS (American 1927 - 1964)
Magazine illustration
Oil on canvas
32 x 35 in.
Not signed
Magazine illustration
Oil on canvas
32 x 35 in.
Not signed
Paintings
NORMAN ROCKWELL (American 1894 - 1978)
Xmas, Franklin Mint plate illustration study, circa 1973
Graphite on paper
9.25 x 9.25 in.
Signed lower right
A photocopy of a May 8, 1973 letter from Norman Rockwell to Donald Walton is included in this lot.
The letter reads, "Dear Don: I told you over the phone, I thought making the drawings into squares instead of circles was all right with me, and I think you have done a wonderful job on it, including the cat and the chair. I just thought I should write and confirm this. Cordially, Norman"
PROVENANCE:
Ex-collection of Mr. Donald Walton
Xmas, Franklin Mint plate illustration study, circa 1973
Graphite on paper
9.25 x 9.25 in.
Signed lower right
A photocopy of a May 8, 1973 letter from Norman Rockwell to Donald Walton is included in this lot.
The letter reads, "Dear Don: I told you over the phone, I thought making the drawings into squares instead of circles was all right with me, and I think you have done a wonderful job on it, including the cat and the chair. I just thought I should write and confirm this. Cordially, Norman"
PROVENANCE:
Ex-collection of Mr. Donald Walton
NORMAN ROCKWELL (American 1894 - 1978)
Unexpected Catch, Saturday Evening Post cover study, 1955
Oil on board
6 x 5 in.
Signed lower right on an overmat
This preliminary study was painted in preparation for a Saturday Evening Post cover titled Unexpected Catch. The finished cover appeared on the August 20, 1955 issue.
According to Norman Rockwell and the Saturday Evening Post, The Later Years, 1943-1971, "This was to have been perhaps Norman's most controversial Saturday Evening Post cover; well at least it caused a mild storm of controversy. Many letters both pro and con were received by the Post and printed in the 'Letters to the Editor' department in follow-up issues. After these letters were compiled, the vote taken at press time was as follows: in poor taste, 11; obscene, 21; not obscene 245. If this cover by Norman Rockwell were considered obscene in any way, then the great masters Rubens and Goya should have been ashamed of themselves."
This piece was signed in the lower right on an overmat, with an inscription that reads: "My best wishes to Mr. and Mrs. Frank Schula, cordially, Norman Rockwell."
PROVENANCE:
Gift from the artist to the Schula family by descent to the present owners.
Unexpected Catch, Saturday Evening Post cover study, 1955
Oil on board
6 x 5 in.
Signed lower right on an overmat
This preliminary study was painted in preparation for a Saturday Evening Post cover titled Unexpected Catch. The finished cover appeared on the August 20, 1955 issue.
According to Norman Rockwell and the Saturday Evening Post, The Later Years, 1943-1971, "This was to have been perhaps Norman's most controversial Saturday Evening Post cover; well at least it caused a mild storm of controversy. Many letters both pro and con were received by the Post and printed in the 'Letters to the Editor' department in follow-up issues. After these letters were compiled, the vote taken at press time was as follows: in poor taste, 11; obscene, 21; not obscene 245. If this cover by Norman Rockwell were considered obscene in any way, then the great masters Rubens and Goya should have been ashamed of themselves."
This piece was signed in the lower right on an overmat, with an inscription that reads: "My best wishes to Mr. and Mrs. Frank Schula, cordially, Norman Rockwell."
PROVENANCE:
Gift from the artist to the Schula family by descent to the present owners.
Mainstream Illustration
CARL ROSE (American 1903 - 1971)
Axis Valhalla, circa 1944
Watercolor on board
12.5 x 18.5 in.
Signed lower left
Axis Valhalla, circa 1944
Watercolor on board
12.5 x 18.5 in.
Signed lower left
ALEXANDER SHARPE ROSS (American 1908 - 1990)
The Counterfeiters, magazine story illustration, circa 1955
Gouache on board
17 x 25 in.
Signed lower left
Along with a handful of key illustrators, Alex Ross helped redefine the streamlined style of American magazine illustration in the post-World War II era.
The Counterfeiters, magazine story illustration, circa 1955
Gouache on board
17 x 25 in.
Signed lower left
Along with a handful of key illustrators, Alex Ross helped redefine the streamlined style of American magazine illustration in the post-World War II era.
Paintings
ALEXANDER SHARPE ROSS (American 1908 - 1990)
Girl with a Hat, Good Housekeeping story illustration, October 17, 1955
Gouache on board
17 x 24 in.
Signed lower left
Girl with a Hat, Good Housekeeping story illustration, October 17, 1955
Gouache on board
17 x 24 in.
Signed lower left
ARNOLD ROTH (American b.1929)
Letter from S.M.E.R.S.H., Saturday Evening Post illustration
Ink on paper
14.75 x 19.5 in.
Signed lower left
Letter from S.M.E.R.S.H., Saturday Evening Post illustration
Ink on paper
14.75 x 19.5 in.
Signed lower left
GEORGE ROZEN (American 1895 - 1974)
The Creeping Death, The Shadow Magazine pulp cover, January 15, 1933
Oil on canvas
30 x 21 in.
Signed lower left
This early Shadow Magazine cover, The Creeping Death, was the 22nd cover printed, and this historic masterwork hails from within two years of the pulp magazine's debut.
In this thriller, Lucien Partridge is a rogue scientist who has discovered a method of manufacturing artificial gold -- a cheap alloy, virtually indistinguishable from natural gold. Partridge plans to gradually introduce it into the world's gold supply, with no one the wiser. His ultimate desire? -- to take over the world.
If anyone gets in Partridge's way, there's the creeping death -- a deadly powder, transferred by touch. The exposed victim is unaware that he or she's been infected for hours or even days. Then, the extremities start to become numb. The hands freeze, then the arms. Gradually the paralysis creeps across the whole body until he or she lies still, unable to even speak. Finally the light fades from the eyes as the heart stops -- a blood-chilling way to die. The evil Lucien Partridge is a sinister scourge and only the Shadow - who does know what evil lurks in the hearts of men - can stop him.
The Creeping Death, The Shadow Magazine pulp cover, January 15, 1933
Oil on canvas
30 x 21 in.
Signed lower left
This early Shadow Magazine cover, The Creeping Death, was the 22nd cover printed, and this historic masterwork hails from within two years of the pulp magazine's debut.
In this thriller, Lucien Partridge is a rogue scientist who has discovered a method of manufacturing artificial gold -- a cheap alloy, virtually indistinguishable from natural gold. Partridge plans to gradually introduce it into the world's gold supply, with no one the wiser. His ultimate desire? -- to take over the world.
If anyone gets in Partridge's way, there's the creeping death -- a deadly powder, transferred by touch. The exposed victim is unaware that he or she's been infected for hours or even days. Then, the extremities start to become numb. The hands freeze, then the arms. Gradually the paralysis creeps across the whole body until he or she lies still, unable to even speak. Finally the light fades from the eyes as the heart stops -- a blood-chilling way to die. The evil Lucien Partridge is a sinister scourge and only the Shadow - who does know what evil lurks in the hearts of men - can stop him.
EDWARD RUNCI (American 1921 - 1985)
Nesbitt's Orange Ad Illustration, group of 2
Oil on canvas
22 x 16 in.
Not signed
Nesbitt's Orange Ad Illustration, group of 2
Oil on canvas
22 x 16 in.
Not signed
DONALD "RUSTY" RUST (American b.1932)
Pin up illustration, 1994
Oil on canvas
30 x 24 in.
Signed lower left
Pin up illustration, 1994
Oil on canvas
30 x 24 in.
Signed lower left
Mainstream Illustration
EDWARD SANBORN (American 20th Century)
Crusader in Armor and Armored Car, group of 2
Scratchboard drawing
4.25 x 6 in.
Signed lower right
These two scratchboard illustrations have been matted and framed alongside a printed example of the pieces. From the Tom Rainone Collection.
Crusader in Armor and Armored Car, group of 2
Scratchboard drawing
4.25 x 6 in.
Signed lower right
These two scratchboard illustrations have been matted and framed alongside a printed example of the pieces. From the Tom Rainone Collection.
Paintings
SANJULIAN (Manuel Perez Clemente) (Spanish b.1941)
Jarrett's Jade, paperback cover
Oil on paper
15 x 12.5 in.
Not signed
Jarrett's Jade, paperback cover
Oil on paper
15 x 12.5 in.
Not signed
HARRY SCHAARE (American b.1922)
The Outlaws, Saturday Evening Post illustration, 1955
Gouache on board
20 x 24.5 in.
Signed lower right
The Outlaws, Saturday Evening Post illustration, 1955
Gouache on board
20 x 24.5 in.
Signed lower right
MEAD SCHAEFFER (American 1898 - 1980)
Christmas, 1776, the American Magazine illustration, January 1940
Oil on canvas
28 x 38 in.
Initialed lower left
This illustration was featured in Beverly Smith's story, Christmas, 1776, in the January 1940 issue of The American Magazine
This was an important day in history because there was hope, after a long battle, for the successful completion of the war by George Washington, and so the Red and Blue Coats together, celebrating. The women models in this painting were said to be Mead's wife, Elizabeth, standing, and Mary Rockwell, Norman Rockwell's wife, seated.
PROVENANCE:
This painting was given to our consignor in the late sixties-early seventies by her husband's Aunt, whose husband taught at Castleton College. The Aunt served as a dormitory mother while Mead Schaeffer's daughter was a student staying in the dormitory. When Schaeffer's daughter graduated, she gave the painting to the Aunt, and she enjoyed it until retirement and a subsequent move to Connecticut, where they had no room to hang the painting. Our consignor had always admired this piece and so it was given to her.
Christmas, 1776, the American Magazine illustration, January 1940
Oil on canvas
28 x 38 in.
Initialed lower left
This illustration was featured in Beverly Smith's story, Christmas, 1776, in the January 1940 issue of The American Magazine
This was an important day in history because there was hope, after a long battle, for the successful completion of the war by George Washington, and so the Red and Blue Coats together, celebrating. The women models in this painting were said to be Mead's wife, Elizabeth, standing, and Mary Rockwell, Norman Rockwell's wife, seated.
PROVENANCE:
This painting was given to our consignor in the late sixties-early seventies by her husband's Aunt, whose husband taught at Castleton College. The Aunt served as a dormitory mother while Mead Schaeffer's daughter was a student staying in the dormitory. When Schaeffer's daughter graduated, she gave the painting to the Aunt, and she enjoyed it until retirement and a subsequent move to Connecticut, where they had no room to hang the painting. Our consignor had always admired this piece and so it was given to her.
BOB SCHINELLA (American 20th Century)
Composition For Four Hands, 1963
Gouache on board
20 x 15 in.
Not signed
This piece was used for the cover to Hilda Lawrence's novel Composition For Four Hands, Ace Books, Ace Giant Double Novel Book #G-539, 1963.
Composition For Four Hands, 1963
Gouache on board
20 x 15 in.
Not signed
This piece was used for the cover to Hilda Lawrence's novel Composition For Four Hands, Ace Books, Ace Giant Double Novel Book #G-539, 1963.
HAROLD WINFIELD SCOTT (American 1898 - 1977)
Western Pulp cover
Oil on canvas
22 x 20 in.
Signed lower right
Western Pulp cover
Oil on canvas
22 x 20 in.
Signed lower right
ERNESTO GARCIA SEIJAS (Argentinean b. 1941)
El Barranco Ebrujado, (The Haunted Ravine), El Llanero Solitare (The Lone Ranger) #6, book illustration, group of 32
Ink on paper
10 x 7 in.
Initialed
El Barranco Ebrujado, (The Haunted Ravine), El Llanero Solitare (The Lone Ranger) #6, book illustration, group of 32
Ink on paper
10 x 7 in.
Initialed
THEODOR SEUSS GEISEL (DR. SEUSS) (American 1904 - 1991)
The World of Dr. Seuss, Aladdin thermos illustration, 1970
Ink on paper
6.5 x 12.5 in.
Not signed
The Grinch, a Star-Belly Sneetch, the Cat in the Hat, Yertle the Turtle, and Horton -- the Dr. Seuss gang is all here (joined by an unidentified character)! Here is a splendid chance to win a beloved group portrait of many of Dr. Seuss' most beloved characters. While most Aladdin lunch box art was created by staff artists, this lunch box thermos art was drawn by Dr. Seuss himself, though not signed. Most of the surviving Dr. Seuss originals are housed in a special collection at the University of San Diego, and the few originals that reach the marketplace are more often than not specialty pieces rather than actual production pieces. Note that there are slight differences between this piece and the finished product. The Grinch and the Cat in the Hat were cropped below their waists and the Cat in the Hat's tail is not shown on the thermos. Also, the unidentified character at lower right is not shown on the thermos.
The Aladdin metal lunchbox with its thermos, and a production photostat featuring other Dr. Seuss characters are also included in this lot.
PROVENANCE:
Ex-Aladdin employee to consignor
The World of Dr. Seuss, Aladdin thermos illustration, 1970
Ink on paper
6.5 x 12.5 in.
Not signed
The Grinch, a Star-Belly Sneetch, the Cat in the Hat, Yertle the Turtle, and Horton -- the Dr. Seuss gang is all here (joined by an unidentified character)! Here is a splendid chance to win a beloved group portrait of many of Dr. Seuss' most beloved characters. While most Aladdin lunch box art was created by staff artists, this lunch box thermos art was drawn by Dr. Seuss himself, though not signed. Most of the surviving Dr. Seuss originals are housed in a special collection at the University of San Diego, and the few originals that reach the marketplace are more often than not specialty pieces rather than actual production pieces. Note that there are slight differences between this piece and the finished product. The Grinch and the Cat in the Hat were cropped below their waists and the Cat in the Hat's tail is not shown on the thermos. Also, the unidentified character at lower right is not shown on the thermos.
The Aladdin metal lunchbox with its thermos, and a production photostat featuring other Dr. Seuss characters are also included in this lot.
PROVENANCE:
Ex-Aladdin employee to consignor
SYD SHORES (American 1913 - 1973)
War Criminals cover, August 1963
Gouache on board
18 x 13.5 in.
Not signed
This painting is reproduced on page 351 of Men's Adventure Magazines by Max Allan Collins, George Hagenauer, and Steven Heller.
War Criminals cover, August 1963
Gouache on board
18 x 13.5 in.
Not signed
This painting is reproduced on page 351 of Men's Adventure Magazines by Max Allan Collins, George Hagenauer, and Steven Heller.
NOEL SICKLES (American 1910 - 1982)
War story illustration
Ink on paper
9 x 11.5 in.
Signed lower left
War story illustration
Ink on paper
9 x 11.5 in.
Signed lower left
NOEL SICKLES (American 1910 - 1982)
TV Guide illustration, circa 1960s
Gouache on paper
9 x 6.5 in.
Signed lower left
TV Guide illustration, circa 1960s
Gouache on paper
9 x 6.5 in.
Signed lower left
WALLACE SMITH (American 1887 - 1937)
Pancho Villa in Uniform, Touring Topics illustration, November, 1933
Watercolor on board
20 x 15 in.
Signed lower right
Caption: "Villa's tradition of which he was meticulously aware, said that he never forgot a friendly act or forgave an unfriendly one. He rode ninety miles in the saddle to stop a train on which traveled Pascal, who had betrayed him. He took Pascal from the train, gently and regretfully pointed out the moral of what was to ensue and, as his men executed the traitor, thoughtfully munched an apple without so much as batting an eye."
A photocopy of the magazine feature is included in this lot.
Pancho Villa in Uniform, Touring Topics illustration, November, 1933
Watercolor on board
20 x 15 in.
Signed lower right
Caption: "Villa's tradition of which he was meticulously aware, said that he never forgot a friendly act or forgave an unfriendly one. He rode ninety miles in the saddle to stop a train on which traveled Pascal, who had betrayed him. He took Pascal from the train, gently and regretfully pointed out the moral of what was to ensue and, as his men executed the traitor, thoughtfully munched an apple without so much as batting an eye."
A photocopy of the magazine feature is included in this lot.
PENRHYN STANLAWS (American 1877 - 1957)
Stanlaws' Girls, Judge magazine cartoon illustration, circa 1898
Ink on paper
4.5 x 16 in.
Not signed
Stanlaws' Girls, Judge magazine cartoon illustration, circa 1898
Ink on paper
4.5 x 16 in.
Not signed
HERBERT MORTON STOOPS (American 1888 - 1948)
Curse of the Golden Cross, magazine illustration, 1925
Oil on canvas
40 x 30 in.
Not signed
After World War I, Herbert Morton Stoops began his illustration career with Blue Book. The magazine's reputation for adventure fiction gave him an opportunity to display his military knowledge, and he painted Blue Book's monthly cover regularly for over 13 years. Stoops also illustrated for Collier's, This Week, Cosmopolitan, and many other magazines.
Curse of the Golden Cross, magazine illustration, 1925
Oil on canvas
40 x 30 in.
Not signed
After World War I, Herbert Morton Stoops began his illustration career with Blue Book. The magazine's reputation for adventure fiction gave him an opportunity to display his military knowledge, and he painted Blue Book's monthly cover regularly for over 13 years. Stoops also illustrated for Collier's, This Week, Cosmopolitan, and many other magazines.
HADDON SUNDBLOM (American 1899 - 1976)
The Gerber's Baby, Gerber's Baby Food Advertising Illustration, circa 1930-1940
Oil on canvas
26 x 19 in.
Signed lower right
Haddon Sundblom is credited with creating the iconic and cherubic Gerber Baby as well as the Coca-Cola Santa Claus. Both mascots are solidly ingrained as classic advertising images and beloved pieces of Americana
The Gerber's Baby, Gerber's Baby Food Advertising Illustration, circa 1930-1940
Oil on canvas
26 x 19 in.
Signed lower right
Haddon Sundblom is credited with creating the iconic and cherubic Gerber Baby as well as the Coca-Cola Santa Claus. Both mascots are solidly ingrained as classic advertising images and beloved pieces of Americana
HADDON SUNDBLOM (American 1899 - 1976)
Coca Cola Advertisement Illustration
Oil on canvas
32 x 25 in.
Signed lower left
Coca Cola Advertisement Illustration
Oil on canvas
32 x 25 in.
Signed lower left
HADDON SUNDBLOM (American 1899 - 1976)
Untitled
Oil on canvas
46 x 33.5 in.
Signed lower left
Untitled
Oil on canvas
46 x 33.5 in.
Signed lower left
TONI TAYLOR (American b.1958)
The Warrior Priest, 1984
Acrylic on board
30 x 40 in.
Initialed lower right
The Warrior Priest, 1984
Acrylic on board
30 x 40 in.
Initialed lower right
WESTON TAYLOR (American 20th Century)
Calendar illustration, 1942
Pastel on board
39 x 30.5 in.
Signed lower center-right
This piece has been stored since 1942, and has infrequently been exposed to light. As a result, the colors are especially fresh and vibrant looking. Two vintage printed examples, a printer's proof, and a dated print from the C. Moss Calendar Company are included in this lot.
Calendar illustration, 1942
Pastel on board
39 x 30.5 in.
Signed lower center-right
This piece has been stored since 1942, and has infrequently been exposed to light. As a result, the colors are especially fresh and vibrant looking. Two vintage printed examples, a printer's proof, and a dated print from the C. Moss Calendar Company are included in this lot.
GUSTAF TENGGREN (American 1896 - 1970)
Farm Stories, A Giant Golden Book illustration, 1946
Gouache on board
14 x 22 in.
Signed lower right
This illustration appeared in Kathryn Jackson's children's book, Farm Stories, Simon and Shuster, 1946
Farm Stories, A Giant Golden Book illustration, 1946
Gouache on board
14 x 22 in.
Signed lower right
This illustration appeared in Kathryn Jackson's children's book, Farm Stories, Simon and Shuster, 1946
GUSTAF TENGGREN (American 1896 - 1970)
Village Scene, Walt Disney's Pinocchio, background concepts, group of 2, circa 1940
Pencil on paper
5.75 x 12 in. and 4.5 x 2.5 in.
Not signed
Village Scene, Walt Disney's Pinocchio, background concepts, group of 2, circa 1940
Pencil on paper
5.75 x 12 in. and 4.5 x 2.5 in.
Not signed
HOWARD A. TERPNING (American b.1927)
The Plains, a Boy, a Summer Day, Reader's Digest illustration, August 1970
Gouache on board
10.75 x 28.75 in.
Signed lower right
This piece was used to illustrate Hal Borland's story, The Plains, a Boy, a Summer Day in the August 1970 issue of Reader's Digest.
The Plains, a Boy, a Summer Day, Reader's Digest illustration, August 1970
Gouache on board
10.75 x 28.75 in.
Signed lower right
This piece was used to illustrate Hal Borland's story, The Plains, a Boy, a Summer Day in the August 1970 issue of Reader's Digest.
RALPH THURSTON (American 20th Century)
The Lone Gunhawk, paperback cover, 1964
Gouache on board
19 x 13.5 in.
Not signed
This illustration appeared on the cover of Frank Gruber's novel, The Lone Gunhawk, Monarch Books, 1964
"The whole range wanted him dead."
The Lone Gunhawk, paperback cover, 1964
Gouache on board
19 x 13.5 in.
Not signed
This illustration appeared on the cover of Frank Gruber's novel, The Lone Gunhawk, Monarch Books, 1964
"The whole range wanted him dead."
BARNEY TOBEY (American 1906 - 1989)
Verboten, circa 1944
Ink on paper
16 x 13 in.
Signed lower right
Verboten, circa 1944
Ink on paper
16 x 13 in.
Signed lower right
ALBERTO VARGAS (American 1896 - 1982)
Girl with Cat, 1915
Graphite and colored pencil on paper
7 x 12 in.
Signed lower right
Girl with Cat, 1915
Graphite and colored pencil on paper
7 x 12 in.
Signed lower right
ALBERTO VARGAS (American 1896 - 1982)
Reclining Woman, 1915
Graphite and colored pencil on paper
7 x 12 in.
Signed lower right
Reclining Woman, 1915
Graphite and colored pencil on paper
7 x 12 in.
Signed lower right
ALBERTO VARGAS (American 1896 - 1982)
Untitled
Pastel on paper
26 x 19.5 in.
Signed lower right
Untitled
Pastel on paper
26 x 19.5 in.
Signed lower right
ALBERTO VARGAS (American 1896 - 1982)
Girl with a Flower
Watercolor and pencil on board
18 x 13.75 in.
Signed lower right
Girl with a Flower
Watercolor and pencil on board
18 x 13.75 in.
Signed lower right
Mainstream Illustration
FRANK VAUGHN (American 20th Century)
The Pushcar
Mixed-media on board
15 x 16 in.
Signed lower center-left
From the Tom Rainone Collection.
The Pushcar
Mixed-media on board
15 x 16 in.
Signed lower center-left
From the Tom Rainone Collection.
Paintings
BILL WARD (American 1919 - 1998)
Comedy, men's magazine cartoon illustration, September 1955
Mixed-media on paper
22 x 16 in.
Signed lower center
Comedy, men's magazine cartoon illustration, September 1955
Mixed-media on paper
22 x 16 in.
Signed lower center
BILL WARD (American 1919 - 1998)
Men's magazine cartoon illustration, 1965
Mixed-media on paper
20.5 x 14 in.
Signed lower left
Caption:"You promised me a big surprise Mr. Wetherby -- but I didn't know it meant you would run out of money."
Men's magazine cartoon illustration, 1965
Mixed-media on paper
20.5 x 14 in.
Signed lower left
Caption:"You promised me a big surprise Mr. Wetherby -- but I didn't know it meant you would run out of money."
Pin-up and Glamour Art
BILL WARD (American 1919 - 1998)
Men's magazine cartoon, 1956
Mixed-media on paper
23 x 16 in.
Signed lower center
Caption: "You didn't know I was good at lip-reading did you?"
This drawing was later reprinted in 1964, and again in 1972. From the Tom Rainone Collection.
Men's magazine cartoon, 1956
Mixed-media on paper
23 x 16 in.
Signed lower center
Caption: "You didn't know I was good at lip-reading did you?"
This drawing was later reprinted in 1964, and again in 1972. From the Tom Rainone Collection.
Paintings
BILL WARD (American 1919 - 1998)
Jest, men's magazine cartoon illustration, July 1960
Mixed-media on paper
23 x 17 in.
Signed lower left
Caption: "Don't worry Mrs. Hoskins -- I'll take care of everything just fine while you're away."
From the Tom Rainone Collection.
Jest, men's magazine cartoon illustration, July 1960
Mixed-media on paper
23 x 17 in.
Signed lower left
Caption: "Don't worry Mrs. Hoskins -- I'll take care of everything just fine while you're away."
From the Tom Rainone Collection.
BILL WARD (American 1919 - 1998)
Jest, men's magazine cartoon illustration, May 1962
Mixed-media on paper
23 x 17 in.
Signed lower center
Caption: "Oh, pardon me -- I thought Joe had gone home when I noticed the light was on."
From the Tom Rainone Collection.
Jest, men's magazine cartoon illustration, May 1962
Mixed-media on paper
23 x 17 in.
Signed lower center
Caption: "Oh, pardon me -- I thought Joe had gone home when I noticed the light was on."
From the Tom Rainone Collection.
BILL WARD (American 1919 - 1998)
Men's magazine cartoon illustration, 1964
Mixed-media on paper
23 x 17 in.
Signed lower center
Caption: "Gosh George, if I eat any more I'll want to curl up in a haystack for the rest of the afternoon."
Men's magazine cartoon illustration, 1964
Mixed-media on paper
23 x 17 in.
Signed lower center
Caption: "Gosh George, if I eat any more I'll want to curl up in a haystack for the rest of the afternoon."
BILL WARD (American 1919 - 1998)
Men's magazine cartoon illustration, 1958
Mixed-media on paper
23 x 17 in.
Signed lower right
Caption: "I wish you would stop reading about life and show more of it."
Men's magazine cartoon illustration, 1958
Mixed-media on paper
23 x 17 in.
Signed lower right
Caption: "I wish you would stop reading about life and show more of it."
BILL WARD (American 1919 - 1998)
Men's magazine cover
Mixed-media on paper
23 x 16 in.
Signed lower left
Men's magazine cover
Mixed-media on paper
23 x 16 in.
Signed lower left
BILL WARD (American 1919 - 1998)
Men's magazine cartoon illustration, 1961
Mixed-media on paper
20 x 13.5 in.
Signed lower left
Caption: "I have a little surprise for your father -- you know how he's always asking us if we know what time it is!"
Men's magazine cartoon illustration, 1961
Mixed-media on paper
20 x 13.5 in.
Signed lower left
Caption: "I have a little surprise for your father -- you know how he's always asking us if we know what time it is!"
E. F. WARD (American b.1892)
Drumheads and Dairymaids, 1918
Oil on board
24.5 x 32 in.
Signed lower right
Drumheads and Dairymaids, 1918
Oil on board
24.5 x 32 in.
Signed lower right
E. F. WARD (American b.1892)
Elephant Hunter
Oil on board
20 x 38 in.
Signed lower right
Elephant Hunter
Oil on board
20 x 38 in.
Signed lower right
DOUG WEST (American 20th Century)
Terrorist Attack card set illustration, group of 36, 1987
Mixed-media on board
14 x 10 in.
Each signed
These 35 blood-chilling illustrations were done for the Terrorist Attack card set, Piedmont Candy Company, 1987. Also included is the marker-on-vellum art for the title card and a copy of the card set.
Terrorist Attack card set illustration, group of 36, 1987
Mixed-media on board
14 x 10 in.
Each signed
These 35 blood-chilling illustrations were done for the Terrorist Attack card set, Piedmont Candy Company, 1987. Also included is the marker-on-vellum art for the title card and a copy of the card set.
Mainstream Illustration
JON WHITCOMB (American 1906 - 1988)
Siren For a Day, Cosmopolitan story illustration, February 1952
Gouache on board
16 x 24 in.
Signed lower left
Caption: "Anyone seeing her in Omar's Oriental costume would never want to live west of the East."
Siren For a Day, Cosmopolitan story illustration, February 1952
Gouache on board
16 x 24 in.
Signed lower left
Caption: "Anyone seeing her in Omar's Oriental costume would never want to live west of the East."
Paintings
FRITZ WILLIS (American d.1979)
Pin up illustration
Oil on board
16 x 14 in.
Initialed lower left
Pin up illustration
Oil on board
16 x 14 in.
Initialed lower left
FRITZ WILLIS (American d.1979)
Woman Opening Hat, pin up illustration
Oil on canvas
34 x 24 in.
Signed lower right
Woman Opening Hat, pin up illustration
Oil on canvas
34 x 24 in.
Signed lower right
FRITZ WILLIS (American d.1979)
Redhead with Anna's Mannequin, calendar illustration, 1966
Oil on canvas
24 x 18 in.
Signed lower right
This painting was reproduced as figure 876 in The Great American Pin-Up by Charles G. Martignette and Louis K. Meisel
Redhead with Anna's Mannequin, calendar illustration, 1966
Oil on canvas
24 x 18 in.
Signed lower right
This painting was reproduced as figure 876 in The Great American Pin-Up by Charles G. Martignette and Louis K. Meisel
JAN WILLS (American 1928 - 2000)
Paperback cover
Oil on board
20 x 16 in.
Signed lower right
Paperback cover
Oil on board
20 x 16 in.
Signed lower right
GEORGE WILSON (American 20th Century)
Western paperback cover
Gouache on board
21.5 x 14 in.
Signed center-left
Western paperback cover
Gouache on board
21.5 x 14 in.
Signed center-left
GEORGE WILSON (American 20th Century)
Paperback cover
Gouache on board
19 x 11.5 in.
signed lower left
Paperback cover
Gouache on board
19 x 11.5 in.
signed lower left
TED WITHERS (American 1896 - 1964)
Blonde With a Straw Hat
Oil on board
28 x 19 in.
Signed lower right
Blonde With a Straw Hat
Oil on board
28 x 19 in.
Signed lower right
TED WITHERS (American 1896 - 1964)
Flower Girl, circa 1955
Oil on canvas
26 x 21 in.
Signed lower right
Flower Girl, circa 1955
Oil on canvas
26 x 21 in.
Signed lower right
STANLEY L. WOOD (American 1866 - 1928)
Elephant Hunter, book illustration
Oil on canvas
30 x 24 in.
Signed lower left
A copy of the book is included in this lot.
Elephant Hunter, book illustration
Oil on canvas
30 x 24 in.
Signed lower left
A copy of the book is included in this lot.
STANLEY L. WOOD (American 1866 - 1928)
Lion Hunter
Oil on canvas
30 x 24 in.
Signed lower right
Lion Hunter
Oil on canvas
30 x 24 in.
Signed lower right
ANDREW NEWELL WYETH (American b.1917)
The Kuerners Study, 1971, 1976
Print
22 x 26 in.
Signed in the plate
Edition: 29/300
Published by The Metropolitan Museum of Art
The Kuerners Study, 1971, 1976
22 x 26 in.
Signed in the plate
Edition: 29/300
Published by The Metropolitan Museum of Art
Mainstream Illustration
VICKEY WYMAN (American 20th Century)
Eye of the Tiger
Watercolor on board
22 x 15 in.
Signed lower right
Eye of the Tiger
Watercolor on board
22 x 15 in.
Signed lower right
Paintings
GARY ZABOLY (American 20th Century)
True West magazine illustration, 2000
Ink on paper
6.5 x 10 in.
Signed lower right
From the Tom Rainone Collection.
True West magazine illustration, 2000
Ink on paper
6.5 x 10 in.
Signed lower right
From the Tom Rainone Collection.
Mainstream Illustration
RUDOLPH ZALLINGER (American 1919 - 1995)
Ichthyornis, Brook Bond Tea Card illustration, circa 1963
Oil on board
10 x 7.5 in.
Not signed
This painting of a prehistoric ichthyornis was created by famed prehistoric landscape and dinosaur artist Rudolph F. Zallinger, creator of the renowned Age of Reptiles mural at the Peabody Museum of Natural History, Yale University, New Haven, Connecticut.
Reproduced in the Brook Bond 1963 series of Tea Cards.
Ichthyornis, Brook Bond Tea Card illustration, circa 1963
Oil on board
10 x 7.5 in.
Not signed
This painting of a prehistoric ichthyornis was created by famed prehistoric landscape and dinosaur artist Rudolph F. Zallinger, creator of the renowned Age of Reptiles mural at the Peabody Museum of Natural History, Yale University, New Haven, Connecticut.
Reproduced in the Brook Bond 1963 series of Tea Cards.
JAMES ZAR (American b.1941)
A River Runs Through Us
Acrylic on board
24 x 30 in.
Signed lower right
A River Runs Through Us
Acrylic on board
24 x 30 in.
Signed lower right
JAMES ZAR (American b.1941)
Dance of Shiva
Acrylic on board
24 x 36 in.
Not signed
Dance of Shiva
Acrylic on board
24 x 36 in.
Not signed
Paintings
GEORGE ZIEL (American 20th Century)
The Séance, paperback cover
Oil on board
24 x 15.5 in.
Not signed
The Séance, paperback cover
Oil on board
24 x 15.5 in.
Not signed
BUCK BROWN (American 1936 - 2007)
Playboy cartoon illustration, May 1973
Gouache on paper
10 x 8 in.
Signed lower right
Caption: "Actually, Miss Hilliard, I thought we'd have a little dinner first."
View video interview
Playboy cartoon illustration, May 1973
Gouache on paper
10 x 8 in.
Signed lower right
Caption: "Actually, Miss Hilliard, I thought we'd have a little dinner first."
View video interview
JACK COLE (American 1914 - 1958)
World Traveler, Playboy Females by Cole illustration, April 1956
Ink on paper
10 x 7.5 in.
Signed lower right
View video interview
World Traveler, Playboy Females by Cole illustration, April 1956
Ink on paper
10 x 7.5 in.
Signed lower right
View video interview
ELDON DEDINI (American 1921 - 2006)
Playboy, Playboy's Xmas Cards illustration, December 1974
Watercolor on paper
10 x 11.5 in.
Signed lower left
Caption: Though you're dreaming nonstop of the thrill of the swap, the perils deserve to be known. As your fantasies mesh, in a tangle of flesh, the wife you crave may be your own.
View video interview
Playboy, Playboy's Xmas Cards illustration, December 1974
Watercolor on paper
10 x 11.5 in.
Signed lower left
Caption: Though you're dreaming nonstop of the thrill of the swap, the perils deserve to be known. As your fantasies mesh, in a tangle of flesh, the wife you crave may be your own.
View video interview
JOHN DEMPSEY (American 1919 - 2002)
Playboy cartoon illustration, April 1961
Watercolor on paper
10.5 x 8 in.
Signed lower left
Caption: "Hey, look at Miss Martin without her glasses. Why -- she's beautiful."
View video interview
Playboy cartoon illustration, April 1961
Watercolor on paper
10.5 x 8 in.
Signed lower left
Caption: "Hey, look at Miss Martin without her glasses. Why -- she's beautiful."
View video interview
PHIL INTERLANDI (American 1924 - 2002)
Playboy cartoon illustration, January 1973
Gouache on board
13 x 10 in.
Signed lower left
Caption: "I'd put your giant slalom up against anybody's!"
View video interview
Playboy cartoon illustration, January 1973
Gouache on board
13 x 10 in.
Signed lower left
Caption: "I'd put your giant slalom up against anybody's!"
View video interview
HARVEY KURTZMAN (American 1924 - 1993) and WILL ELDER (American 1922 - 2008)
Nude Therapy Workshop, Little Annie Fanny story, Playboy, May 1970
Mixed-media on board
10.5 x 15 in.
Not signed
This five-page story was reprinted in Playboy's Little Annie Fanny, Volume 2: 1970-1988, Dark Horse Comics, 2001.
View video interview
Nude Therapy Workshop, Little Annie Fanny story, Playboy, May 1970
Mixed-media on board
10.5 x 15 in.
Not signed
This five-page story was reprinted in Playboy's Little Annie Fanny, Volume 2: 1970-1988, Dark Horse Comics, 2001.
View video interview
HARVEY KURTZMAN (American 1924 - 1993) and WILL ELDER (American 1922 - 2008)
Body Language, Little Annie Fanny story, Playboy, December 1971
10.5 x 15 in.
Not signed
This four-page story was reprinted in Playboy's Little Annie Fanny, Volume 2: 1970-1988, Dark Horse Comics, 2001.
View video interview
Body Language, Little Annie Fanny story, Playboy, December 1971
10.5 x 15 in.
Not signed
This four-page story was reprinted in Playboy's Little Annie Fanny, Volume 2: 1970-1988, Dark Horse Comics, 2001.
View video interview
HARVEY KURTZMAN (American 1924 - 1993), WILL ELDER (American 1922 - 2008), and RUSS HEATH (American b.1926)
Euphoria-in-the-Pines Resort, Little Annie Fanny story, Playboy, September 1966
Mixed-media on board
15 x 10.5 in.
Not signed
This five-page story was reprinted on pages 126-130 of Playboy's Little Annie Fanny, Volume 1, Dark Horse Comics, 2000.
View video interview
Euphoria-in-the-Pines Resort, Little Annie Fanny story, Playboy, September 1966
Mixed-media on board
15 x 10.5 in.
Not signed
This five-page story was reprinted on pages 126-130 of Playboy's Little Annie Fanny, Volume 1, Dark Horse Comics, 2000.
View video interview
HARVEY KURTZMAN (American 1924 - 1993) and WILL ELDER (American 1922 - 2008)
See-Through Dress, Little Annie Fanny story, Playboy, July 1969
Mixed-media on board
15 x 10.5 in.
Not signed
View video interview
See-Through Dress, Little Annie Fanny story, Playboy, July 1969
Mixed-media on board
15 x 10.5 in.
Not signed
View video interview
PATRICK NAGEL (American 1945 - 1984)
Playboy After Hours illustration, August 1980
Acrylic on board
19 x 12 in.
Not signed
View video interview
Playboy After Hours illustration, August 1980
Acrylic on board
19 x 12 in.
Not signed
View video interview
PATRICK NAGEL (American 1945 - 1984)
Playboy "A Tribute" illustration, January 1985
Acrylic on board
16 x 25 in.
Not signed
View video interview
Playboy "A Tribute" illustration, January 1985
Acrylic on board
16 x 25 in.
Not signed
View video interview
LEROY NEIMAN (American b.1927)
Yugoslav Nudist Camps, Playboy illustration, August 1969
Acrylic on board
19 x 25 in.
Signed lower right
View video interview
Yugoslav Nudist Camps, Playboy illustration, August 1969
Acrylic on board
19 x 25 in.
Signed lower right
View video interview
ERICH SOKOL (American b.1933)
Playboy cartoon illustration, October 1969
Watercolor on board
16 x 12.5 in.
Signed lower center
Caption: "Who ever designed this course sure put in some groovy traps."
View video interview
Playboy cartoon illustration, October 1969
Watercolor on board
16 x 12.5 in.
Signed lower center
Caption: "Who ever designed this course sure put in some groovy traps."
View video interview
ERICH SOKOL (American b.1933)
Playboy cartoon illustration, September 1959
Mixed-media on board
20 x 15 in.
Signed lower right
Caption: "I thought this was a banquet!"
View video interview
Playboy cartoon illustration, September 1959
Mixed-media on board
20 x 15 in.
Signed lower right
Caption: "I thought this was a banquet!"
View video interview
ALBERTO VARGAS (American 1896 - 1982)
Vargas Girl, Playboy pin up illustration, July 1974
Watercolor on board
30 x 20 in.
Signed lower center-right
Caption: "Golly, Mr. Hancock, yours is the biggest of them all."
View video interview
Vargas Girl, Playboy pin up illustration, July 1974
Watercolor on board
30 x 20 in.
Signed lower center-right
Caption: "Golly, Mr. Hancock, yours is the biggest of them all."
View video interview
ALBERTO VARGAS (American 1896 - 1982)
Vargas Girl, Playboy pin up illustration, August 1967
Watercolor on paper
18.5 x 28 in.
Signed lower right
Caption: "Sorry I'm late. Did I hold up the game?"
View video interview
Vargas Girl, Playboy pin up illustration, August 1967
Watercolor on paper
18.5 x 28 in.
Signed lower right
Caption: "Sorry I'm late. Did I hold up the game?"
View video interview
GAHAN WILSON (American b.1930)
Overkill, Playboy cartoon illustration, March 1969
Ink on watercolor on paper
7.5 x 11.5 in.
Not signed
Caption: "...And you call yourself a soldier!"
View video interview
Overkill, Playboy cartoon illustration, March 1969
Ink on watercolor on paper
7.5 x 11.5 in.
Not signed
Caption: "...And you call yourself a soldier!"
View video interview
Session 2
ALLEN ANDERSON (American 1908 - 1995)
War Maid of Mars, Planet Stories cover, May 1953
Oil on board
20 x 14 in.
Signed lower right
This piece is thought to be one of only three surviving science fiction covers by Allen Anderson. From Robert Weinberg's A Biographical Dictionary of Science Fiction and Fantasy Artists (1988), page 310, "'an unusual twist of fate' was reported as the reason behind the survival of this painting. When Fiction House, publishers of the magazine, went out of business in the sixties, all of the original art stored in its warehouse was burned by workers who saw no reason to keep the art. Fortunately, Frank Kelly Freas had rescued several of his own paintings years before." Later, as Freas told it, he took the Anderson painting, one of two, in trade for monies owed him when he was visiting the publisher to discuss his own artwork, shortly before the fire.
This painting was reproduced on page 37 of The Frank Collection: A Showcase of the World's Finest Fantastic Art by Jane and Howard Frank.
A copy of the magazine is included in this lot.
PROVENANCE:
Ex-collection of artist Frank Kelly Freas. From the Frank Collection.
War Maid of Mars, Planet Stories cover, May 1953
Oil on board
20 x 14 in.
Signed lower right
This piece is thought to be one of only three surviving science fiction covers by Allen Anderson. From Robert Weinberg's A Biographical Dictionary of Science Fiction and Fantasy Artists (1988), page 310, "'an unusual twist of fate' was reported as the reason behind the survival of this painting. When Fiction House, publishers of the magazine, went out of business in the sixties, all of the original art stored in its warehouse was burned by workers who saw no reason to keep the art. Fortunately, Frank Kelly Freas had rescued several of his own paintings years before." Later, as Freas told it, he took the Anderson painting, one of two, in trade for monies owed him when he was visiting the publisher to discuss his own artwork, shortly before the fire.
This painting was reproduced on page 37 of The Frank Collection: A Showcase of the World's Finest Fantastic Art by Jane and Howard Frank.
A copy of the magazine is included in this lot.
PROVENANCE:
Ex-collection of artist Frank Kelly Freas. From the Frank Collection.
TOM BARBER (American 20th Century)
Gonna Roll Them Bones, record jacket cover, 1978
Oil on board
7.5 x 14.75 in.
Signed lower center
This piece was used as the cover for a spoken word recording by Fritz Leiber. It was produced by Alternate World Recordings Co. (AWR) in 1978. From the Frank Collection.
Gonna Roll Them Bones, record jacket cover, 1978
Oil on board
7.5 x 14.75 in.
Signed lower center
This piece was used as the cover for a spoken word recording by Fritz Leiber. It was produced by Alternate World Recordings Co. (AWR) in 1978. From the Frank Collection.
KEN BARR (English 20th Century)
Space Fantasy, video game box art, 1986
Acrylic on board
22 x 20 in.
Signed lower right
This work was also featured in Ken Barr's card set, The Beast Within, as card #69, Comic Images, 1996. From the Frank Collection.
Space Fantasy, video game box art, 1986
Acrylic on board
22 x 20 in.
Signed lower right
This work was also featured in Ken Barr's card set, The Beast Within, as card #69, Comic Images, 1996. From the Frank Collection.
KEN BARR (English 20th Century)
It Feeds On Men's Minds, Doc Savage #8 cover, March 1977
Acrylic on board
22 x 16 in.
Signed lower right
"It Feeds on Men's Minds -- its next victim, the Man of Bronze. The Crimson Plague." From the Frank Collection.
It Feeds On Men's Minds, Doc Savage #8 cover, March 1977
Acrylic on board
22 x 16 in.
Signed lower right
"It Feeds on Men's Minds -- its next victim, the Man of Bronze. The Crimson Plague." From the Frank Collection.
DENIS BEAUVAIS (American b.1962)
3-D Chess, Dragon magazine #89 cover, September 1984
Acrylic on board
38 x 27 in.
Initialed lower right
From the Frank Collection.
3-D Chess, Dragon magazine #89 cover, September 1984
Acrylic on board
38 x 27 in.
Initialed lower right
From the Frank Collection.
JOHN BERKEY (American 1932 - 2008)
Wedding Party in Colonial Times, National Geographic story illustration, circa 1982-83
Casein and acrylic on board
16.5 x 11.25 in.
Signed lower right
From the Frank Collection.
Wedding Party in Colonial Times, National Geographic story illustration, circa 1982-83
Casein and acrylic on board
16.5 x 11.25 in.
Signed lower right
From the Frank Collection.
JOHN BERKEY (American 1932 - 2008)
The Great Christmas Feast, 1993
Casein and acrylic on board
15 x 23 in.
Signed lower right
This scene appeared as in interior illustration in Scribbler Elf's (Tim Paulson, Armand Eisen, Megan Liberman, and Della Rowland) book, The Story of Santa Claus, Ariel Books/Turner Publishing Inc., 1993. From the Frank Collection.
The Great Christmas Feast, 1993
Casein and acrylic on board
15 x 23 in.
Signed lower right
This scene appeared as in interior illustration in Scribbler Elf's (Tim Paulson, Armand Eisen, Megan Liberman, and Della Rowland) book, The Story of Santa Claus, Ariel Books/Turner Publishing Inc., 1993. From the Frank Collection.
JOHN BERKEY (American 1932 - 2008)
Chronicles of the Lensman, book cover, 1995
Casein and acrylic on board
22 x 16.5 in.
Signed lower right
This stellar piece appeared as the cover of Chronicles of the Lensmen, Volume 2: Gray Lensman, Second Stage Lensman, and Children Of The Lens by E. E. "Doc" Smith, Science Fiction Book Club, 1999.
A 2002, reprinted copy of the book is included in this lot. From the Frank Collection.
Chronicles of the Lensman, book cover, 1995
Casein and acrylic on board
22 x 16.5 in.
Signed lower right
This stellar piece appeared as the cover of Chronicles of the Lensmen, Volume 2: Gray Lensman, Second Stage Lensman, and Children Of The Lens by E. E. "Doc" Smith, Science Fiction Book Club, 1999.
A 2002, reprinted copy of the book is included in this lot. From the Frank Collection.
RICHARD BOBER (American b.1943)
Cleopatra, 1999
Acrylic and oil on linen
48 x 72 in.
Signed lower right
This piece was done as a private commission, illustrating the H. Rider Haggard novel of the same title. From the Frank Collection.
Cleopatra, 1999
Acrylic and oil on linen
48 x 72 in.
Signed lower right
This piece was done as a private commission, illustrating the H. Rider Haggard novel of the same title. From the Frank Collection.
HANNES BOK (American 1914 - 1964)
The Peril Above, pulp cover study, circa late 1940s - early 1950s
Ink and crayon on paper
9 x 6 in.
Signed lower right
From the Frank Collection.
The Peril Above, pulp cover study, circa late 1940s - early 1950s
Ink and crayon on paper
9 x 6 in.
Signed lower right
From the Frank Collection.
HANNES BOK (American 1914 - 1964)
The Four Powers, 1945
Lithograph (Group of 4)
14 x 10 in.
Each signed lower right
This set of four lithographs hails from the original edition of 100, and each was inscribed to Dunninger the Magician. This group consists of: Grey Power #3/100, signed and dated 1945 bottom right, White Powers, trial proof, signed and dated 1944 bottom right, Primal Powers #2/100, signed and dated 1945 bottom right, and Black Powers, signed and dated 1944 bottom right.
PROVENANCE:
Ex-collection Gerry de la Ree.
From the Frank Collection.
The Four Powers, 1945
Lithograph (Group of 4)
14 x 10 in.
Each signed lower right
This set of four lithographs hails from the original edition of 100, and each was inscribed to Dunninger the Magician. This group consists of: Grey Power #3/100, signed and dated 1945 bottom right, White Powers, trial proof, signed and dated 1944 bottom right, Primal Powers #2/100, signed and dated 1945 bottom right, and Black Powers, signed and dated 1944 bottom right.
PROVENANCE:
Ex-collection Gerry de la Ree.
From the Frank Collection.
HANNES BOK (American 1914 - 1964)
The Atom-Man, pulp cover preliminary, circa 1950
Ink and crayon on paper
7.5 x 5.5 in.
Signed lower right
From the Frank Collection.
The Atom-Man, pulp cover preliminary, circa 1950
Ink and crayon on paper
7.5 x 5.5 in.
Signed lower right
From the Frank Collection.
HANNES BOK (American 1914 - 1964)
Creature and Spaceship, pulp cover preliminary, circa 1950
Ink and crayon on paper
7.5 x 5.5 in.
Signed upper right
From the Frank Collection.
Creature and Spaceship, pulp cover preliminary, circa 1950
Ink and crayon on paper
7.5 x 5.5 in.
Signed upper right
From the Frank Collection.
HANNES BOK (American 1914 - 1964)
Mambaloa, 1947
Ink on paper
13.5 x 10.5 in.
Signed lower right
PROVENANCE:
Ex-collection Gerry de la Ree.
From the Frank Collection.
Mambaloa, 1947
Ink on paper
13.5 x 10.5 in.
Signed lower right
PROVENANCE:
Ex-collection Gerry de la Ree.
From the Frank Collection.
Pulp, Pulp-like, Digests, and Paperback Art
HANNES BOK (American 1914 - 1964)
Into the Fourth Dimension, Science Fiction Quarterly #5 cover, Winter, 1942
Oil on paper
15 x 10 in.
Not signed
This scene illustrated the Ray Cummings novel, Into the Fourth Dimension.
This painting was reproduced on page 14 of Great Fantasy Art Themes From The Frank Collection by Jane and Howard Frank.
From the Frank Collection.
Into the Fourth Dimension, Science Fiction Quarterly #5 cover, Winter, 1942
Oil on paper
15 x 10 in.
Not signed
This scene illustrated the Ray Cummings novel, Into the Fourth Dimension.
This painting was reproduced on page 14 of Great Fantasy Art Themes From The Frank Collection by Jane and Howard Frank.
From the Frank Collection.
Mainstream Illustration
CHESLEY BONESTELL (American 1888 - 1986)
Crashing the Unknown, 1950
Oil on board
16 x 18 in.
Signed lower right
This piece was published as an advertisement for AiResearch Mfg Co., in Aviation Week magazine, August 21, 1950. The ad also appeared in Fortune magazine and Scientific American in September of the same year. This scene depicts a, "Sunset on June 30th, 500 miles above a point 400 miles WNW of San Francisco." This painting was also reproduced on page 13 of Melvin H. Schuetz's book, A Chesley Bonestell Space Art Chronology
This painting was reproduced on page 43 of Great Fantasy Art Themes From The Frank Collection by Jane and Howard Frank.
A copy of the published advertisement is included in this lot.
From the Frank Collection.
Crashing the Unknown, 1950
Oil on board
16 x 18 in.
Signed lower right
This piece was published as an advertisement for AiResearch Mfg Co., in Aviation Week magazine, August 21, 1950. The ad also appeared in Fortune magazine and Scientific American in September of the same year. This scene depicts a, "Sunset on June 30th, 500 miles above a point 400 miles WNW of San Francisco." This painting was also reproduced on page 13 of Melvin H. Schuetz's book, A Chesley Bonestell Space Art Chronology
This painting was reproduced on page 43 of Great Fantasy Art Themes From The Frank Collection by Jane and Howard Frank.
A copy of the published advertisement is included in this lot.
From the Frank Collection.
Paintings
CHESLEY BONESTELL (American 1888 - 1986)
Exploring Copernicus, Magazine of Fantasy and Science Fiction illustration, October, 1969
Oil on board
15 x 26 in.
Signed lower right
This popular scene was first used as the inside front cover illustration for the Magazine of Fantasy and Science Fiction, October 1969. Seen in a modified version to fit that cover, this art was later re-published in Future Life magazine, April 1978, and in the book, Space Art by Ron Miller, Starlog Press, 1978. This classic was also printed in Sky and Telescope magazine, July 1979, and in the book, Worlds Beyond, by Fred Durant and Ron Miller, Donning Co.,1983. According to Miller, this work was based on the famous Lunar Orbiter image of Copernicus, which was taken in 1966.
This painting was reproduced on pages 44-45 of Great Fantasy Art Themes From The Frank Collection by Jane and Howard Frank.
Exhibited:
The inaugural group show at the Science Fiction Museum, Seattle, Washington, 2004.
From the Frank Collection.
Exploring Copernicus, Magazine of Fantasy and Science Fiction illustration, October, 1969
Oil on board
15 x 26 in.
Signed lower right
This popular scene was first used as the inside front cover illustration for the Magazine of Fantasy and Science Fiction, October 1969. Seen in a modified version to fit that cover, this art was later re-published in Future Life magazine, April 1978, and in the book, Space Art by Ron Miller, Starlog Press, 1978. This classic was also printed in Sky and Telescope magazine, July 1979, and in the book, Worlds Beyond, by Fred Durant and Ron Miller, Donning Co.,1983. According to Miller, this work was based on the famous Lunar Orbiter image of Copernicus, which was taken in 1966.
This painting was reproduced on pages 44-45 of Great Fantasy Art Themes From The Frank Collection by Jane and Howard Frank.
Exhibited:
The inaugural group show at the Science Fiction Museum, Seattle, Washington, 2004.
From the Frank Collection.
Pulp, Pulp-like, Digests, and Paperback Art
GERALD BROM (American b.1965)
The Amber Enchantress, 1992
Acrylic on canvas
30 x 40 in.
Signed lower right
This piece was used as the cover for Troy Denning's paperback, Dark Sun, Book 3, Prism Pentad/TSR, Inc. 1992.
A copy of the book is included in this lot.
This painting was reproduced on page 79 of The Frank Collection: A Showcase of the World's Finest Fantastic Art by Jane and Howard Frank. From the Frank Collection.
The Amber Enchantress, 1992
Acrylic on canvas
30 x 40 in.
Signed lower right
This piece was used as the cover for Troy Denning's paperback, Dark Sun, Book 3, Prism Pentad/TSR, Inc. 1992.
A copy of the book is included in this lot.
This painting was reproduced on page 79 of The Frank Collection: A Showcase of the World's Finest Fantastic Art by Jane and Howard Frank. From the Frank Collection.
Paintings
MARGARET BRUNDAGE (American 1900 - 1976)
The Altar of Melek, Weird Tales cover, September 1932
Pastel on paper
20 x 17.5 in.
Signed lower right
This historic masterwork was the first Margaret Brundage cover published on Weird Tales.
This painting was reproduced on page 38 of The Frank Collection: A Showcase of the World's Finest Fantastic Art by Jane and Howard Frank.
From the Frank Collection.
The Altar of Melek, Weird Tales cover, September 1932
Pastel on paper
20 x 17.5 in.
Signed lower right
This historic masterwork was the first Margaret Brundage cover published on Weird Tales.
This painting was reproduced on page 38 of The Frank Collection: A Showcase of the World's Finest Fantastic Art by Jane and Howard Frank.
From the Frank Collection.
JIM BURNS (English b.1948)
Artificial Things, paperback cover, 1989
Acrylic on board
17 x 19 in.
Signed lower right
This spine-tingling scene was used on the cover of Karen Joy Fowler's novel, Artificial Things, Bantam books, 1992, the author's highly praised first book -- Orson Scott Card called it, "The best new short fiction book of the year."
Painting was reproduced on pages 38-39 of Great Fantasy Art Themes From The Frank Collection by Jane and Howard Frank.
A copy of the book is included in this lot.
Exhibited:
Alien Contact group show at the Science Fiction Museum, Seattle, Washington, 2006.
From the Frank Collection.
Artificial Things, paperback cover, 1989
Acrylic on board
17 x 19 in.
Signed lower right
This spine-tingling scene was used on the cover of Karen Joy Fowler's novel, Artificial Things, Bantam books, 1992, the author's highly praised first book -- Orson Scott Card called it, "The best new short fiction book of the year."
Painting was reproduced on pages 38-39 of Great Fantasy Art Themes From The Frank Collection by Jane and Howard Frank.
A copy of the book is included in this lot.
Exhibited:
Alien Contact group show at the Science Fiction Museum, Seattle, Washington, 2006.
From the Frank Collection.
JIM BURNS (English b.1948)
The Neutronium Alchemist, paperback cover, 1996
Acrylic on board
20 x 49 in.
Signed lower left
This piece was used as the cover of Book Two in the Night's Dawn trilogy by Peter F. Hamilton, Tor Books, 1998. From the Frank Collection.
The Neutronium Alchemist, paperback cover, 1996
Acrylic on board
20 x 49 in.
Signed lower left
This piece was used as the cover of Book Two in the Night's Dawn trilogy by Peter F. Hamilton, Tor Books, 1998. From the Frank Collection.
CLYDE CALDWELL (American 20th Century)
Dragon Attack, Dragon magazine #72 cover, April 1983
Oil on board
22 x 17 in.
Signed with a monograph lower left
From the Frank Collection.
Dragon Attack, Dragon magazine #72 cover, April 1983
Oil on board
22 x 17 in.
Signed with a monograph lower left
From the Frank Collection.
CLYDE CALDWELL (American 20th Century)
Spellbinder, Heavy Metal cover, April, 1980
Acrylic on board
19.5 x 29 in.
Signed with a monograph, lower right
From the Frank Collection.
Spellbinder, Heavy Metal cover, April, 1980
Acrylic on board
19.5 x 29 in.
Signed with a monograph, lower right
From the Frank Collection.
Mainstream Illustration
CLYDE CALDWELL (American 20th Century)
Lady Dragon, Heavy Metal magazine, August 1978
Acrylic on board
25.5 x 19.5 in.
Signed with a monograph lower right
From the Frank Collection.
Lady Dragon, Heavy Metal magazine, August 1978
Acrylic on board
25.5 x 19.5 in.
Signed with a monograph lower right
From the Frank Collection.
Paintings
THOMAS CANTY (American b. 1952)
Throne of Scone, paperback cover, 1986
Ink and watercolor on paper
16.5 x 8 in.
Signed with a monograph lower left
This piece was used as the cover for Patricia Kenealy's novel, The Throne of Scone, New American Library/Signet, 1986. This book was the second novel of The Keltiad series.
A copy of the book is included in this lot. From the Frank Collection.
Throne of Scone, paperback cover, 1986
Ink and watercolor on paper
16.5 x 8 in.
Signed with a monograph lower left
This piece was used as the cover for Patricia Kenealy's novel, The Throne of Scone, New American Library/Signet, 1986. This book was the second novel of The Keltiad series.
A copy of the book is included in this lot. From the Frank Collection.
THOMAS CANTY (American b. 1952)
Dandelion Wine, paperback cover, 1990
Watercolor and ink on paper
14 x 22.5 in.
Signed in the lower border, under the mat
This piece was used on the cover of Ray Bradbury's novel, Dandelion Wine, Bantam Books, 1990.
"Ray Bradbury's Dandelion Wine -- uncork it slowly and inhale the heady aroma. Take a small sip. Suddenly you will find yourself transported into the strange and wonderful world of a most extraordinary twelve-year-old boy named Douglas Spaulding -- a world where miracles are just everyday occurrences and even the most ordinary things are pervaded by eerie glimmerings of the supernatural and the unknown."
This painting was reproduced on pages 112-113 of Great Fantasy Art Themes From The Frank Collection by Jane and Howard Frank.
From the Frank Collection.
Dandelion Wine, paperback cover, 1990
Watercolor and ink on paper
14 x 22.5 in.
Signed in the lower border, under the mat
This piece was used on the cover of Ray Bradbury's novel, Dandelion Wine, Bantam Books, 1990.
"Ray Bradbury's Dandelion Wine -- uncork it slowly and inhale the heady aroma. Take a small sip. Suddenly you will find yourself transported into the strange and wonderful world of a most extraordinary twelve-year-old boy named Douglas Spaulding -- a world where miracles are just everyday occurrences and even the most ordinary things are pervaded by eerie glimmerings of the supernatural and the unknown."
This painting was reproduced on pages 112-113 of Great Fantasy Art Themes From The Frank Collection by Jane and Howard Frank.
From the Frank Collection.
ALAN M. CLARK (American b.1957)
Garbage at Dawn, Acrylic on board
1990
24 x 36 in.
Signed with a monograph lower right
This piece was a private commission, later used as an interior illustration for the Elizabeth Engstrom and Alan M. Clark-edited anthology, Imagination Fully Dilated, IFD, 1991. From the Frank Collection.
Garbage at Dawn, Acrylic on board
1990
24 x 36 in.
Signed with a monograph lower right
This piece was a private commission, later used as an interior illustration for the Elizabeth Engstrom and Alan M. Clark-edited anthology, Imagination Fully Dilated, IFD, 1991. From the Frank Collection.
FRANCES COMSTOCK (American b.1881)
Fairy Dancing, circa 1920s
Watercolor on paper
17 x 12 in.
Signed lower left
From the Frank Collection.
Fairy Dancing, circa 1920s
Watercolor on paper
17 x 12 in.
Signed lower left
From the Frank Collection.
RICHARD CORBEN (American b.1940)
Warchild, paperback cover, 1986
Oil on board
27.5 x 16.5 in.
Signed lower right
This electrifying scene was used for the cover of Richard Bowes' novel, Warchild, Popular Library, 1986.
"In every quadrant in time, telepathic and mysterious beings are manipulating the very fabric of the universe, seeking ultimate control. On one world, the wise leader of the Republic valiantly tries to contain the atrocities of marauding, savage hordes. On another, people are bought and sold as chattel in the dreaded Goblin Market. And everywhere, the insidious influence of the Riders is felt, as they steal and enslave human minds. But in the void of the Time Lanes, a boy with telepathic powers he has yet to discover has entered the portal where all worlds are joined. Young and untried, a loner with much to learn, he must now become the legendary Warchild, if the universe is ever to survive."
Exhibited:
Alien Contact group show at the SF Museum, Seattle, Washington, 2006.
A copy of the book provided with the art. From the Frank Collection.
Warchild, paperback cover, 1986
Oil on board
27.5 x 16.5 in.
Signed lower right
This electrifying scene was used for the cover of Richard Bowes' novel, Warchild, Popular Library, 1986.
"In every quadrant in time, telepathic and mysterious beings are manipulating the very fabric of the universe, seeking ultimate control. On one world, the wise leader of the Republic valiantly tries to contain the atrocities of marauding, savage hordes. On another, people are bought and sold as chattel in the dreaded Goblin Market. And everywhere, the insidious influence of the Riders is felt, as they steal and enslave human minds. But in the void of the Time Lanes, a boy with telepathic powers he has yet to discover has entered the portal where all worlds are joined. Young and untried, a loner with much to learn, he must now become the legendary Warchild, if the universe is ever to survive."
Exhibited:
Alien Contact group show at the SF Museum, Seattle, Washington, 2006.
A copy of the book provided with the art. From the Frank Collection.
RICHARD CORBEN (American b.1940)
Grey Star the Wizard, paperback cover, 1986
Oil on board
30 x 20 in.
Signed lower right
This magical scene was used for the cover of Ian Page and Joe Dever's The World of Lone Wolf: Book 1: Grey Star the Wizard, Berkely Books, 1987. From the Frank Collection.
Grey Star the Wizard, paperback cover, 1986
Oil on board
30 x 20 in.
Signed lower right
This magical scene was used for the cover of Ian Page and Joe Dever's The World of Lone Wolf: Book 1: Grey Star the Wizard, Berkely Books, 1987. From the Frank Collection.
Works on Paper
STEVE CRISP (English 20th Century)
Sixth of Swords, paperback cover, 1988
Gouache and ink on board
23 x 16 in.
Signed lower left
This illustration was used for the cover for Carole Nelson Douglas' novel, Six of Swords, Corgi Books, 1988.
"An enchanting fantasy -- they were two outcasts from their kind, scorning each other, but only together could they survive in a world where magic was dying."
A copy of the book is included in this lot.
From the Frank Collection.
Sixth of Swords, paperback cover, 1988
Gouache and ink on board
23 x 16 in.
Signed lower left
This illustration was used for the cover for Carole Nelson Douglas' novel, Six of Swords, Corgi Books, 1988.
"An enchanting fantasy -- they were two outcasts from their kind, scorning each other, but only together could they survive in a world where magic was dying."
A copy of the book is included in this lot.
From the Frank Collection.
Paintings
NED DAMERON (American 20th Century)
The Tower, Dragon magazine #148 cover, August 1989
Oil on board
30.5 x 21.5 in.
Signed lower right
From the Frank Collection.
The Tower, Dragon magazine #148 cover, August 1989
Oil on board
30.5 x 21.5 in.
Signed lower right
From the Frank Collection.
Pulp, Pulp-like, Digests, and Paperback Art
ANDRE DURENCEAU (American 1904 - 1985)
Bula Croker's Pirate Gold, American Weekly illustration, June 6, 1948
Gouache on board
17 x 15.5 in.
Signed lower left
From the Frank Collection.
Bula Croker's Pirate Gold, American Weekly illustration, June 6, 1948
Gouache on board
17 x 15.5 in.
Signed lower left
From the Frank Collection.
Paintings
LES EDWARDS (American b.1949)
Dawn of Steel, computer game illustration, 1991
Oil on board
24 x 40 in.
Signed lower right
This piece was commissioned as a computer game illustration in 1991. From the Frank Collection.
Dawn of Steel, computer game illustration, 1991
Oil on board
24 x 40 in.
Signed lower right
This piece was commissioned as a computer game illustration in 1991. From the Frank Collection.
DEAN ELLIS (American b.1920)
One. Two, Three...Infinity, paperback cover, 1965
Oil on canvas, mounted on board
18 x 13.5 in.
Signed lower left
This illustration appeared on the cover of George Gamow's famous book on mathematics, One Two Three...Infinity, Bantam Books, 1965.
"One of the truly challenging books ever written on science and scientific theory. Its subtitle suggests the direction of the discussion, "Facts and Speculation on Science" -- numbers, properties of space, law of disorder and much more. An invigorating romp into the world of science."
From the Frank Collection.
One. Two, Three...Infinity, paperback cover, 1965
Oil on canvas, mounted on board
18 x 13.5 in.
Signed lower left
This illustration appeared on the cover of George Gamow's famous book on mathematics, One Two Three...Infinity, Bantam Books, 1965.
"One of the truly challenging books ever written on science and scientific theory. Its subtitle suggests the direction of the discussion, "Facts and Speculation on Science" -- numbers, properties of space, law of disorder and much more. An invigorating romp into the world of science."
From the Frank Collection.
DEAN ELLIS (American b.1920)
Lost Continent, 1972
Acrylic on board
17 x 22.5 in.
Signed lower center
This painting was used as the cover of C. J. Cutliffe Hyne's novel, Lost Continent, Ballantine Books, 1972.
"The Lost Continent was C. J. Cutliffe Hyne's most famous fantastic novel. This is the best of several novels published in the wake of Ignatius Donnelly's Atlantis: the Antediluvian World (1882), which popularized the mythology of the sunken continent for Victorian readers. With tongue slightly in cheek, Hyne treated the myth as it really deserved to be treated -- as a grandiose exercise in imaginative sensationalism." - Brian Stableford, Scientific Romance in Britain 1890-1950.
A copy of the book is included in this lot. From the Frank Collection.
Lost Continent, 1972
Acrylic on board
17 x 22.5 in.
Signed lower center
This painting was used as the cover of C. J. Cutliffe Hyne's novel, Lost Continent, Ballantine Books, 1972.
"The Lost Continent was C. J. Cutliffe Hyne's most famous fantastic novel. This is the best of several novels published in the wake of Ignatius Donnelly's Atlantis: the Antediluvian World (1882), which popularized the mythology of the sunken continent for Victorian readers. With tongue slightly in cheek, Hyne treated the myth as it really deserved to be treated -- as a grandiose exercise in imaginative sensationalism." - Brian Stableford, Scientific Romance in Britain 1890-1950.
A copy of the book is included in this lot. From the Frank Collection.
Pulp, Pulp-like, Digests, and Paperback Art
LARRY ELMORE (American b.1948)
Good Catch, Advanced Dungeons & Dragons game manual cover, 1989
Oil on board
30 x 24 in.
Signed lower center
This painting was reproduced on page 77 of The Frank Collection: A Showcase of the World's Finest Fantastic Art by Jane and Howard Frank.
From the Frank Collection.
Good Catch, Advanced Dungeons & Dragons game manual cover, 1989
Oil on board
30 x 24 in.
Signed lower center
This painting was reproduced on page 77 of The Frank Collection: A Showcase of the World's Finest Fantastic Art by Jane and Howard Frank.
From the Frank Collection.
Paintings
ED EMSHWILLER (American 1925 - 1990)
Arena of Decisions, Amazing cover, March 1964
Gouache on board
15 x 11 in.
Signed left-center
This scene was a cover illustration based on Robert F. Young's story, Arena of Decisions. From the Frank Collection.
Arena of Decisions, Amazing cover, March 1964
Gouache on board
15 x 11 in.
Signed left-center
This scene was a cover illustration based on Robert F. Young's story, Arena of Decisions. From the Frank Collection.
ED EMSHWILLER (American 1925 - 1990)
End of Eternity, paperback cover, 1963
Gouache on board
18.5 x 11 in.
Signed lower center
This painting appeared on the cover of Isaac Asimov's novel End of Eternity, Lancer, 1963
"Eternity had begun in the 27th Century as a trade organization, shipping goods from one century to another. But its real mission was much greater: it controlled human history. Its staff was composed of the brightest young men from every century-and Andrew Harlan was one of the most capable operatives in Eternity, a young man on the rise. Eternity was more than a job; it was a mistress that would allow no rivals. Eternals were not allowed distractions such as wives or children. But on an assignment in Time, Harlan fell in love, and suddenly nothing else in his life mattered as much as the beautiful Noys Lambent. Harlan would break any rule, commit any crime, to have his girl. He would even destroy Eternity -- and he knew how to do it."
This painting was reproduced on page 38 of Great Fantasy Art Themes From The Frank Collection by Jane and Howard Frank.
From the Frank Collection.
End of Eternity, paperback cover, 1963
Gouache on board
18.5 x 11 in.
Signed lower center
This painting appeared on the cover of Isaac Asimov's novel End of Eternity, Lancer, 1963
"Eternity had begun in the 27th Century as a trade organization, shipping goods from one century to another. But its real mission was much greater: it controlled human history. Its staff was composed of the brightest young men from every century-and Andrew Harlan was one of the most capable operatives in Eternity, a young man on the rise. Eternity was more than a job; it was a mistress that would allow no rivals. Eternals were not allowed distractions such as wives or children. But on an assignment in Time, Harlan fell in love, and suddenly nothing else in his life mattered as much as the beautiful Noys Lambent. Harlan would break any rule, commit any crime, to have his girl. He would even destroy Eternity -- and he knew how to do it."
This painting was reproduced on page 38 of Great Fantasy Art Themes From The Frank Collection by Jane and Howard Frank.
From the Frank Collection.
Pulp, Pulp-like, Digests, and Paperback Art
BOB ENGLE (American 20th Century)
The Falling Torch, paperback cover, 1959
Oil on board
20 x 12 in.
Signed lower center
This captivating cover scene was featured on the cover of Algis Budry's novel, The Falling Torch, Pyramid Books, 1959.
"The spaceship dropped them at night -- two men pitted against the mighty empire that held Earth as a slave planet. A tense story of the future with strange parallels to our own time."
A copy of the book is included in this lot. From the Frank Collection.
The Falling Torch, paperback cover, 1959
Oil on board
20 x 12 in.
Signed lower center
This captivating cover scene was featured on the cover of Algis Budry's novel, The Falling Torch, Pyramid Books, 1959.
"The spaceship dropped them at night -- two men pitted against the mighty empire that held Earth as a slave planet. A tense story of the future with strange parallels to our own time."
A copy of the book is included in this lot. From the Frank Collection.
Paintings
STEPHEN FABIAN (American b. 1930)
Solitude, 1985
Acrylic on canvas
24 x 36 in.
Initialed lower left
This scene, a personal piece, was published in a Stephen Fabian portfolio. From the Frank Collection.
Solitude, 1985
Acrylic on canvas
24 x 36 in.
Initialed lower left
This scene, a personal piece, was published in a Stephen Fabian portfolio. From the Frank Collection.
JACK FARAGASSO (American b.1929)
The Changeling, paperback cover, 1961
Acrylic on board
15.5 x 11 in.
Not signed
This scene was used for four different paperback novels. First up was The Oddballs, edited by Vic Ghidalia, Manor Books, 1961. The image also appeared on The Coming of the Strangers by John Lymington, Manor Books 1966, The Mind Traders by J. Hunter Holly, Manor Books, 1967, and The Changeling, by A. E. Van Vogt, originally published in Astounding magazine, 1950, and later published as a paperback by McFadden Books, 1973.
A copy of each of the books is included in this lot. From the Frank Collection.
The Changeling, paperback cover, 1961
Acrylic on board
15.5 x 11 in.
Not signed
This scene was used for four different paperback novels. First up was The Oddballs, edited by Vic Ghidalia, Manor Books, 1961. The image also appeared on The Coming of the Strangers by John Lymington, Manor Books 1966, The Mind Traders by J. Hunter Holly, Manor Books, 1967, and The Changeling, by A. E. Van Vogt, originally published in Astounding magazine, 1950, and later published as a paperback by McFadden Books, 1973.
A copy of each of the books is included in this lot. From the Frank Collection.
VIRGIL FINLAY (American 1914 - 1971)
Minimum Man, Famous Fantastic Mysteries cover, August 1947
Oil on board
14 x 10 in.
Signed lower right
This cover scene illustrated the lead story by Andrew Marvel (pseudonym of Howell Davies).
This painting was reproduced on page 108 of Great Fantasy Art Themes From The Frank Collection by Jane and Howard Frank.
Exhibited :
Alien Contact group show at the Science Fiction Museum, Seattle, Washington, 2006.
From the Frank Collection.
Minimum Man, Famous Fantastic Mysteries cover, August 1947
Oil on board
14 x 10 in.
Signed lower right
This cover scene illustrated the lead story by Andrew Marvel (pseudonym of Howell Davies).
This painting was reproduced on page 108 of Great Fantasy Art Themes From The Frank Collection by Jane and Howard Frank.
Exhibited :
Alien Contact group show at the Science Fiction Museum, Seattle, Washington, 2006.
From the Frank Collection.
CHRIS FOSS (American b.1946)
Asteroid Collision, 1980
Acrylic on board
26 x 19.5 in.
Initialed lower right
This piece appeared as a story illustration in National Geographic magazine, circa 1980. From the Frank Collection.
Asteroid Collision, 1980
Acrylic on board
26 x 19.5 in.
Initialed lower right
This piece appeared as a story illustration in National Geographic magazine, circa 1980. From the Frank Collection.
Pulp, Pulp-like, Digests, and Paperback Art
FRANK KELLY FREAS (American 1922 - 2005)
Lord of the Green Planet, paperback cover, 1967
Acrylic on board
14.25 x 9.5 in.
Signed with a monograph at the lower center
This piece was used as the cover scene for Emil Petaja's novel, Lord of the Green Planet, Ace Books, 1967. According to Freas, this scene was based on the image of his daughter riding on his 28-pound Siamese cat, and was later reproduced on page 50 of The Frank Collection: A Showcase of the World's Finest Fantastic Art by Jane and Howard Frank.
PROVENANCE:
Ackerman collection auction, New York, 1987.
Exhibited:
The inaugural group show at the Science Fiction Museum, Seattle, Washington, 2004. From the Frank Collection.
Lord of the Green Planet, paperback cover, 1967
Acrylic on board
14.25 x 9.5 in.
Signed with a monograph at the lower center
This piece was used as the cover scene for Emil Petaja's novel, Lord of the Green Planet, Ace Books, 1967. According to Freas, this scene was based on the image of his daughter riding on his 28-pound Siamese cat, and was later reproduced on page 50 of The Frank Collection: A Showcase of the World's Finest Fantastic Art by Jane and Howard Frank.
PROVENANCE:
Ackerman collection auction, New York, 1987.
Exhibited:
The inaugural group show at the Science Fiction Museum, Seattle, Washington, 2004. From the Frank Collection.
FRANK KELLY FREAS (American 1922 - 2005)
Marauders of Gor, paperback cover, 1979
Acrylic on board
18 x 13 in.
Signed with a monograph lower right
This piece appeared as the cover to John Norman's novel, Marauders of Gor, DAW Books, 1975. This is volume 9 of The Chronicles of Counter-Earth, one of the bloodiest and most brutal entries in the series, as Tarl regains his honor on the battlefield in Torvaldsland.
"Physically crippled by a poisoned blade, mentally crippled by his loss of honor in the marshes of the Vosk Delta, abandoned by Telima, she who enslaved him in the marshes, now his love slave, despised by his true love Talena, Tarl sits alone in the dark in his great hall. Then comes news that Telima has be en brutally killed by a Kur, one of the savage race of intelligent beasts bent on conquering Gor. Tarl must overcome his infirmities to seek revenge and halt an all-out incursion of the savage Kurii."
A copy of the book is included in this lot.
This painting was reproduced on page 82 of Great Fantasy Art Themes From The Frank Collection by Jane and Howard Frank.
From the Frank Collection.
Marauders of Gor, paperback cover, 1979
Acrylic on board
18 x 13 in.
Signed with a monograph lower right
This piece appeared as the cover to John Norman's novel, Marauders of Gor, DAW Books, 1975. This is volume 9 of The Chronicles of Counter-Earth, one of the bloodiest and most brutal entries in the series, as Tarl regains his honor on the battlefield in Torvaldsland.
"Physically crippled by a poisoned blade, mentally crippled by his loss of honor in the marshes of the Vosk Delta, abandoned by Telima, she who enslaved him in the marshes, now his love slave, despised by his true love Talena, Tarl sits alone in the dark in his great hall. Then comes news that Telima has be en brutally killed by a Kur, one of the savage race of intelligent beasts bent on conquering Gor. Tarl must overcome his infirmities to seek revenge and halt an all-out incursion of the savage Kurii."
A copy of the book is included in this lot.
This painting was reproduced on page 82 of Great Fantasy Art Themes From The Frank Collection by Jane and Howard Frank.
From the Frank Collection.
Paintings
ROBERT FUQUA (American 20th Century)
Death of the Moon, Amazing Stories back cover, January 1944
Oil on board
17.5 x 13.5 in.
Not signed
Robert Fuqua was the pseudonym of Joseph Wirt Tillotson. This scene, used on the back cover of Amazing Stories, illustrated Morris J. Steele's feature article, Stories of the Stars.
This painting was reproduced on page 40 of The Frank Collection: A Showcase of the World's Finest Fantastic Art by Jane and Howard Frank.
PROVENANCE:
Ex. Malcolm Willits collection.
Exhibited:
Alien Contact group show, Science Fiction Museum, Seattle, Washington, 2006. From the Frank Collection.
Death of the Moon, Amazing Stories back cover, January 1944
Oil on board
17.5 x 13.5 in.
Not signed
Robert Fuqua was the pseudonym of Joseph Wirt Tillotson. This scene, used on the back cover of Amazing Stories, illustrated Morris J. Steele's feature article, Stories of the Stars.
This painting was reproduced on page 40 of The Frank Collection: A Showcase of the World's Finest Fantastic Art by Jane and Howard Frank.
PROVENANCE:
Ex. Malcolm Willits collection.
Exhibited:
Alien Contact group show, Science Fiction Museum, Seattle, Washington, 2006. From the Frank Collection.
EDWARD GOREY (American 1925 - 2000)
A Clutch of Vampires, circa 1973
Ink on paper
8.25 x 5.25 in.
Not signed
This piece, published as an illustration on page 178 of the anthology, A Clutch of Vampires: These Being Among the Best from History and Literature, by Raymond T. McNally, was originally intended for use on the cover. The piece was published in 1974 by the New York Graphic Society. From the Frank Collection.
A Clutch of Vampires, circa 1973
Ink on paper
8.25 x 5.25 in.
Not signed
This piece, published as an illustration on page 178 of the anthology, A Clutch of Vampires: These Being Among the Best from History and Literature, by Raymond T. McNally, was originally intended for use on the cover. The piece was published in 1974 by the New York Graphic Society. From the Frank Collection.
JULES GOTTLIEB (American 20th Century)
Egyptian Funeral, American Weekly magazine story illustration, April 7, 1947
Gouache or tempera on board
20 x 21 in.
Signed lower left
From the Frank Collection.
Egyptian Funeral, American Weekly magazine story illustration, April 7, 1947
Gouache or tempera on board
20 x 21 in.
Signed lower left
From the Frank Collection.
JAMES GURNEY (American b.1958)
Realm of the Gods, 1988
Oil on board
24 x 18 in.
Signed lower left
This piece was used on the cover of Catherine Cooke's novel, Realm of the Gods, Ace Books, 1988, the sequel to The Winged Assassin. The art was reproduced on page 24 of Great Fantasy Art Themes From The Frank Collection by Jane and Howard Frank.
From the Frank Collection.
Realm of the Gods, 1988
Oil on board
24 x 18 in.
Signed lower left
This piece was used on the cover of Catherine Cooke's novel, Realm of the Gods, Ace Books, 1988, the sequel to The Winged Assassin. The art was reproduced on page 24 of Great Fantasy Art Themes From The Frank Collection by Jane and Howard Frank.
From the Frank Collection.
PHIL HALE (American b.1963)
The Gunslinger, circa 2005
Oil on canvas
31.5 x 27.5 in.
Initialed lower right
This piece was done as a private commission, after the Donald M. Grant book illustration for the The Dark Tower: Gunslinger series novel by Stephen King. From the Frank Collection.
The Gunslinger, circa 2005
Oil on canvas
31.5 x 27.5 in.
Initialed lower right
This piece was done as a private commission, after the Donald M. Grant book illustration for the The Dark Tower: Gunslinger series novel by Stephen King. From the Frank Collection.
RICHARD HESCOX (American b.1949)
The Demon Lord, 1986
Acrylic on board
23.5 x 17.5 in.
Signed lower left
This piece appeared on the cover of Peter Morwood's novel, The Demon Lord, DAW books, 1991. This was the second volume in the author's immensely popular fantasy trilogy, The Alban Saga. From the Frank Collection.
The Demon Lord, 1986
Acrylic on board
23.5 x 17.5 in.
Signed lower left
This piece appeared on the cover of Peter Morwood's novel, The Demon Lord, DAW books, 1991. This was the second volume in the author's immensely popular fantasy trilogy, The Alban Saga. From the Frank Collection.
STEPHEN HICKMAN (American b.1949)
Gryphon, paperback cover, 1990
Acrylic on board
24 x 14 in.
Signed lower right
This painting appeared on the cover of Crawford Killian's novel, Gryphon, Del Rey, 1990.
A copy of the book is included in this lot. From the Frank Collection.
Gryphon, paperback cover, 1990
Acrylic on board
24 x 14 in.
Signed lower right
This painting appeared on the cover of Crawford Killian's novel, Gryphon, Del Rey, 1990.
A copy of the book is included in this lot. From the Frank Collection.
STEPHEN HICKMAN (American b.1949)
Fire in the Mist, paperback cover, 1992
Oil on canvas
33 x 20 in.
Signed lower right
This piece was used as the cover for Holly Lisle's novel, Fire in the Mist, Baen Books, 1992.
"Take a simple shepherd girl with magic in her blood, raised in the back country, living free. Then destroy her family, but let her get away and grow to magehood. Now, you're in trouble."
From the Frank Collection.
Fire in the Mist, paperback cover, 1992
Oil on canvas
33 x 20 in.
Signed lower right
This piece was used as the cover for Holly Lisle's novel, Fire in the Mist, Baen Books, 1992.
"Take a simple shepherd girl with magic in her blood, raised in the back country, living free. Then destroy her family, but let her get away and grow to magehood. Now, you're in trouble."
From the Frank Collection.
STEPHEN HICKMAN (American b.1949)
Dragon Hoard, paperback cover, 1985
Oil on board
32 x 19.5 in.
Signed lower right
This work was used as the cover for Tanith Lee's novel, Dragon Hoard, Ace Books, 1985. It was also used as the cover for a comic book, Adventurers #8, September, 1987
"The last chapter in the saga of this knight-for-hire series finds Free Lance protecting a wealthy merchant whose village may--or may not--be under attack by a dragon or a sorcerer."
This painting was reproduced on page 49 of The Frank Collection: A Showcase of the World's Finest Fantastic Art by Jane and Howard Frank.
From the Frank Collection.
Dragon Hoard, paperback cover, 1985
Oil on board
32 x 19.5 in.
Signed lower right
This work was used as the cover for Tanith Lee's novel, Dragon Hoard, Ace Books, 1985. It was also used as the cover for a comic book, Adventurers #8, September, 1987
"The last chapter in the saga of this knight-for-hire series finds Free Lance protecting a wealthy merchant whose village may--or may not--be under attack by a dragon or a sorcerer."
This painting was reproduced on page 49 of The Frank Collection: A Showcase of the World's Finest Fantastic Art by Jane and Howard Frank.
From the Frank Collection.
TIM HILDEBRANDT (American b.1939)
Demon Swamp, 1983
Acrylic on board
22.5 x 22.5 in.
Signed lower right
This illustration was used as a Realms of Wonder calendar page in 1983. From the Frank Collection.
Demon Swamp, 1983
Acrylic on board
22.5 x 22.5 in.
Signed lower right
This illustration was used as a Realms of Wonder calendar page in 1983. From the Frank Collection.
JEFFREY JONES (American b.1944)
Conan, study for a Fantastic Magazine cover, 1972
Pencil on paper
17 x 12 in.
Signed with a monograph lower right
From the Frank Collection.
Conan, study for a Fantastic Magazine cover, 1972
Pencil on paper
17 x 12 in.
Signed with a monograph lower right
From the Frank Collection.
JEFFREY JONES (American b.1944)
Conan, Fantastic Magazine cover, August 1972
Oil on canvas
16 x 12.5 in.
Signed with a monograph lower left
A copy of the magazine is included in this lot. From the Frank Collection.
Conan, Fantastic Magazine cover, August 1972
Oil on canvas
16 x 12.5 in.
Signed with a monograph lower left
A copy of the magazine is included in this lot. From the Frank Collection.
Pulp, Pulp-like, Digests, and Paperback Art
JEFFREY JONES (American b.1944)
Bogman, Taboo #5 cover art, 1990
Oil on canvas
15 x 11 in.
Signed with a monograph lower left
This stark figure painting was featured as the cover of Taboo #5, SpiderBaby Grafix/Tundra Publishing, 1991.
This painting was reproduced on page 91 of Great Fantasy Art Themes From The Frank Collection by Jane and Howard Frank
A copy of the magazine is included in this lot.
From the Frank Collection.
Bogman, Taboo #5 cover art, 1990
Oil on canvas
15 x 11 in.
Signed with a monograph lower left
This stark figure painting was featured as the cover of Taboo #5, SpiderBaby Grafix/Tundra Publishing, 1991.
This painting was reproduced on page 91 of Great Fantasy Art Themes From The Frank Collection by Jane and Howard Frank
A copy of the magazine is included in this lot.
From the Frank Collection.
Paintings
ROBERT GIBSON JONES (American 20th Century)
Armageddon, Amazing Stories cover, May 1948
Acrylic on board
19 x 13.5 in.
Not signed
This painting was reproduced on page 12 of The Frank Collection: A Showcase of the World's Finest Fantastic Art by Jane and Howard Frank. From the Frank Collection.
Armageddon, Amazing Stories cover, May 1948
Acrylic on board
19 x 13.5 in.
Not signed
This painting was reproduced on page 12 of The Frank Collection: A Showcase of the World's Finest Fantastic Art by Jane and Howard Frank. From the Frank Collection.
KEN KELLY (American b.1946)
Conan and the Emerald Lotus, paperback cover, 1996
Oil on masonite
40.5 x 24 in.
Signed lower left
This piece appeared as the cover scene for John C. Hocking's novel, based on the Robert E. Howard immortal character, Conan and the Emerald Lotus, Tor Books, 1999.
"One wizard is bad -- two are a disaster. After refusing to help the evil wizard Ethram-Fal, Conan has been cursed with a spell that is slowly, inexorably squeezing the life from his mighty frame. The only one who can banish the spell is the sorceress Zelandra, a raven-haired beauty who practices only white magic -- or so she says. Zelandra has offered to lift the spell from the Cimmerian, if only he will do her one service -- steal the deadly Emerald Lotus from the clutches of Ethram-Fal in his impregnable desert fortress." From the Frank Collection.
Conan and the Emerald Lotus, paperback cover, 1996
Oil on masonite
40.5 x 24 in.
Signed lower left
This piece appeared as the cover scene for John C. Hocking's novel, based on the Robert E. Howard immortal character, Conan and the Emerald Lotus, Tor Books, 1999.
"One wizard is bad -- two are a disaster. After refusing to help the evil wizard Ethram-Fal, Conan has been cursed with a spell that is slowly, inexorably squeezing the life from his mighty frame. The only one who can banish the spell is the sorceress Zelandra, a raven-haired beauty who practices only white magic -- or so she says. Zelandra has offered to lift the spell from the Cimmerian, if only he will do her one service -- steal the deadly Emerald Lotus from the clutches of Ethram-Fal in his impregnable desert fortress." From the Frank Collection.
TOM KIDD (American 20th Century)
Unknown, book cover, 1988
Oil on board
26 x 17 in.
Signed lower right
This piece was used as the cover for a collection of stories edited by Stanley Schmidt for the book, Unknown, Baen Books, 1988. The anthology featured nine classic stories from the magazine, Unknown, written by Anthony Boucher, Lester del Rey, Theodore Sturgeon, Malcolm Jameson, Fritz Leiber, L. Sprague de Camp, Robert Bloch, Henry Kuttner, and Fredric Brown.
A copy of the book is included in this lot. From the Frank Collection.
Unknown, book cover, 1988
Oil on board
26 x 17 in.
Signed lower right
This piece was used as the cover for a collection of stories edited by Stanley Schmidt for the book, Unknown, Baen Books, 1988. The anthology featured nine classic stories from the magazine, Unknown, written by Anthony Boucher, Lester del Rey, Theodore Sturgeon, Malcolm Jameson, Fritz Leiber, L. Sprague de Camp, Robert Bloch, Henry Kuttner, and Fredric Brown.
A copy of the book is included in this lot. From the Frank Collection.
ROY G. KRENKEL (American 1918 - 1983)
On the Road to Azrael, frontispiece illustration, 1979
Gouache on board
11 x 16 in.
Initialed upper left
This piece was used as the frontispiece for the illustrated edition of Robert E. Howard's novel, On the Road to Azrael, published by Donald M Grant, 1979, which collected five of Howard's Far Eastern tales, stories of a shadow period in which individual deeds have been lost in an era of massive battles and fateful wars. Roy Krenkel's style was a perfect fit for Howard's somber moodiness. The book was meant to serve as a companion volume to The Sowers of the Thunder, published in 1973. From the Frank Collection.
On the Road to Azrael, frontispiece illustration, 1979
Gouache on board
11 x 16 in.
Initialed upper left
This piece was used as the frontispiece for the illustrated edition of Robert E. Howard's novel, On the Road to Azrael, published by Donald M Grant, 1979, which collected five of Howard's Far Eastern tales, stories of a shadow period in which individual deeds have been lost in an era of massive battles and fateful wars. Roy Krenkel's style was a perfect fit for Howard's somber moodiness. The book was meant to serve as a companion volume to The Sowers of the Thunder, published in 1973. From the Frank Collection.
ROY G. KRENKEL (American 1918 - 1983)
Statue of Zeus at Olympia, 1975
Gouache on paper
18 x 12 in.
Initialed lower right
This sublime scene was one of seven Roy G. Krenkel paintings used in the Seven Wonders of the Ancient World limited edition portfolio. From the Frank Collection.
Statue of Zeus at Olympia, 1975
Gouache on paper
18 x 12 in.
Initialed lower right
This sublime scene was one of seven Roy G. Krenkel paintings used in the Seven Wonders of the Ancient World limited edition portfolio. From the Frank Collection.
ROMAS BRANDT KUKALIS (American 20th Century)
Sword of the Deceiver, book cover, 2006
Acrylic and oil on board
21 x 30 in.
Signed lower right
This piece appeared as the cover of Sarah Settle's novel, Sword of the Deceiver, Tor Books, 2007.
"For five hundred years, the great Southern empire of Hastinapura has flourished, ruling the world of Isavalta with an iron fist. But nothing lasts forever."
From the Frank Collection.
Sword of the Deceiver, book cover, 2006
Acrylic and oil on board
21 x 30 in.
Signed lower right
This piece appeared as the cover of Sarah Settle's novel, Sword of the Deceiver, Tor Books, 2007.
"For five hundred years, the great Southern empire of Hastinapura has flourished, ruling the world of Isavalta with an iron fist. But nothing lasts forever."
From the Frank Collection.
PAUL LEHR (American 1930 - 1998)
Starship Warriors, paperback cover, 1984
Acrylic and oil on board
18 x 16 in.
Signed lower right
This piece was used for the cover of Stephen Mooser's novel, Starship Warriors, Which Way #13, published by Pocket Books in 1984. From the Frank Collection.
Starship Warriors, paperback cover, 1984
Acrylic and oil on board
18 x 16 in.
Signed lower right
This piece was used for the cover of Stephen Mooser's novel, Starship Warriors, Which Way #13, published by Pocket Books in 1984. From the Frank Collection.
PAUL LEHR (American 1930 - 1998)
The War Terminal, circa 1985
Acrylic and oil on board
24 x 24 in.
Signed lower right
This personal piece was also titled in Paul Lehr's inventory as Mission of the Asteroid Squadrons, and was acquired from the artist in 1998. From the Frank Collection.
The War Terminal, circa 1985
Acrylic and oil on board
24 x 24 in.
Signed lower right
This personal piece was also titled in Paul Lehr's inventory as Mission of the Asteroid Squadrons, and was acquired from the artist in 1998. From the Frank Collection.
FRANK LILTZ (American 1947 - 2002)
Venus and Mars, 1991
Mixed-media on paper
16 x 11 in.
Signed lower left
This work was done as a personal piece. From the Frank Collection.
Venus and Mars, 1991
Mixed-media on paper
16 x 11 in.
Signed lower left
This work was done as a personal piece. From the Frank Collection.
Pulp, Pulp-like, Digests, and Paperback Art
CARL LUNDGREN (American b.1947)
The Age of Not Believing, 1978
Oil on board
23 x 19 in.
Signed lower left
This illustration was used for the cover of The Year's Finest Fantasy, Volume 2, published by Berkley Books in 1979. From the Frank Collection.
The Age of Not Believing, 1978
Oil on board
23 x 19 in.
Signed lower left
This illustration was used for the cover of The Year's Finest Fantasy, Volume 2, published by Berkley Books in 1979. From the Frank Collection.
DON MAITZ (American b.1953)
Fane, paperback cover, 1988
Oil on board
30 x 20 in.
Signed lower center
This piece, subtitled Demon of the Ring, was used for the cover of David M. Alexander's novel, Fane, Pocket Books, 1981.
"The laws of science have crumbled and a peculiar magic rules." From the Frank Collection.
Fane, paperback cover, 1988
Oil on board
30 x 20 in.
Signed lower center
This piece, subtitled Demon of the Ring, was used for the cover of David M. Alexander's novel, Fane, Pocket Books, 1981.
"The laws of science have crumbled and a peculiar magic rules." From the Frank Collection.
Paintings
DAVID MATTINGLY (American 20th Century)
Killer Station, 1985
Acrylic on board
21 x 28 in.
Signed lower right
This piece was used for the cover for Martin Caidin's novel, Killer Station, Baen Books, 1985.
"A giant space station could prove to be a scientific boon -- or a Sword of Damocles hanging high over all our heads. In one brief moment of sabotage Station Pleidades changes from one to the other -- and then it begins its relentless deorbit -- point of impact, America's greatest city, where it will strike with the force of the Hiroshima bomb. Killer Station is a barely fictional novel of the near future brought with gut wrenching impact to now."
From the Frank Collection.
Killer Station, 1985
Acrylic on board
21 x 28 in.
Signed lower right
This piece was used for the cover for Martin Caidin's novel, Killer Station, Baen Books, 1985.
"A giant space station could prove to be a scientific boon -- or a Sword of Damocles hanging high over all our heads. In one brief moment of sabotage Station Pleidades changes from one to the other -- and then it begins its relentless deorbit -- point of impact, America's greatest city, where it will strike with the force of the Hiroshima bomb. Killer Station is a barely fictional novel of the near future brought with gut wrenching impact to now."
From the Frank Collection.
HAROLD MCCAULEY (American 1913 - 1977)
Planet of Dread, Imagination magazine cover, February, 1954
Oil on board
19 x 17 in.
Not signed
This sensational scene was done as a cover illustration, based on Dwight V. Swain's story, Planet of Dread, and later reproduced on page 35 of Great Fantasy Art Themes From The Frank Collection by Jane and Howard Frank.
A copy of the magazine is included in this lot. From the Frank Collection.
Planet of Dread, Imagination magazine cover, February, 1954
Oil on board
19 x 17 in.
Not signed
This sensational scene was done as a cover illustration, based on Dwight V. Swain's story, Planet of Dread, and later reproduced on page 35 of Great Fantasy Art Themes From The Frank Collection by Jane and Howard Frank.
A copy of the magazine is included in this lot. From the Frank Collection.
LEO MOREY (American d.1965)
Twin Worlds, Amazing Stories cover, April 1937
Watercolor on board
17.25 x 13 in.
Signed lower left
This cover scene illustrated the story, Twin Worlds, by Neil R. Jones, Zindo Binder, and S. G. Weinbaum. Later reproduced on page 13 of Great Fantasy Art Themes From The Frank Collection by Jane and Howard Frank.
A copy of the magazine is included in this lot. From the Frank Collection.
Twin Worlds, Amazing Stories cover, April 1937
Watercolor on board
17.25 x 13 in.
Signed lower left
This cover scene illustrated the story, Twin Worlds, by Neil R. Jones, Zindo Binder, and S. G. Weinbaum. Later reproduced on page 13 of Great Fantasy Art Themes From The Frank Collection by Jane and Howard Frank.
A copy of the magazine is included in this lot. From the Frank Collection.
DEAN MORRISSEY (American 20th Century)
Sleeper Flight, Ship of Dreams book cover, 1991
Oil on canvas
30 x 40 in.
Signed lower right
This piece was used as the cover of Dean Morrissey's book, Ship of Dreams, Abrams, 1994, a copy of which is included in this lot. The painting was reproduced on page 68 of The Frank Collection: A Showcase of the World's Finest Fantastic Art by Jane and Howard Frank.
From the Frank Collection.
Sleeper Flight, Ship of Dreams book cover, 1991
Oil on canvas
30 x 40 in.
Signed lower right
This piece was used as the cover of Dean Morrissey's book, Ship of Dreams, Abrams, 1994, a copy of which is included in this lot. The painting was reproduced on page 68 of The Frank Collection: A Showcase of the World's Finest Fantastic Art by Jane and Howard Frank.
From the Frank Collection.
Pulp, Pulp-like, Digests, and Paperback Art
PATRICIA MORRISSEY (American 20th Century)
Someone to Watch Over Me, 1990
Acrylic on masonite
28 x 20 in.
Signed lower right
This eerie, yet whimsical piece was used as an illustration for an unidentified magazine. From the Frank Collection.
Someone to Watch Over Me, 1990
Acrylic on masonite
28 x 20 in.
Signed lower right
This eerie, yet whimsical piece was used as an illustration for an unidentified magazine. From the Frank Collection.
Mainstream Illustration
KEVIN MURPHY (American 20th Century)
Streetfighter: The Storytelling Game, manual cover, 1994
Oil on board
26.5 x 19.5 in.
Signed lower left
A copy of the game manual is included in this lot. From the Frank Collection.
Streetfighter: The Storytelling Game, manual cover, 1994
Oil on board
26.5 x 19.5 in.
Signed lower left
A copy of the game manual is included in this lot. From the Frank Collection.
Paintings
ERIC PAPE (American 1870 - 1938)
Notre Dame de Paris, book illustration, 1928
Gouache on paper
24 x 16 in.
Signed lower right
This piece was done as an interior book illustration for the novel by Victor Hugo, published by Ives Washburn in 1928. A copy of the limited edition book (#106/250) signed by the artist is included in this lot. From the Frank Collection.
Notre Dame de Paris, book illustration, 1928
Gouache on paper
24 x 16 in.
Signed lower right
This piece was done as an interior book illustration for the novel by Victor Hugo, published by Ives Washburn in 1928. A copy of the limited edition book (#106/250) signed by the artist is included in this lot. From the Frank Collection.
Pulp, Pulp-like, Digests, and Paperback Art
KEITH PARKINSON (American 1958 - 2005)
Axe Me Another One, game cover, 1988
Acrylic on board
21 x 15.5 in.
Signed lower right
This offbeat piece appeared as the cover for a Castle Adventure module for the Dungeons & Dragons fantasy roleplaying game, the second edition Advanced Dungeons & Dragons rules published by TSR, Inc., 1988. This scene was also featured in the American Fantasy magazine. From the Frank Collection.
Axe Me Another One, game cover, 1988
Acrylic on board
21 x 15.5 in.
Signed lower right
This offbeat piece appeared as the cover for a Castle Adventure module for the Dungeons & Dragons fantasy roleplaying game, the second edition Advanced Dungeons & Dragons rules published by TSR, Inc., 1988. This scene was also featured in the American Fantasy magazine. From the Frank Collection.
FRANK R. PAUL (American 1884 - 1963)
Flame Tank, Everyday Science and Mechanics cover, January 1936
Oil on board
23.75 x 17 in.
Signed lower right
This cover was painted for a Hugo Gernsbach publication. The bottom portion was cropped out of the printed cover, and this painting was likely completed in 1935. From the Frank Collection.
Flame Tank, Everyday Science and Mechanics cover, January 1936
Oil on board
23.75 x 17 in.
Signed lower right
This cover was painted for a Hugo Gernsbach publication. The bottom portion was cropped out of the printed cover, and this painting was likely completed in 1935. From the Frank Collection.
FRANK R. PAUL (American 1884 - 1963)
Abduction of Big Red, Science Fiction Magazine cover, October 1940
Oil on canvas
24 x 17 in.
Signed lower right
Abduction of Big Red shows Paul's ability to paint something as seemingly absurd as giant chickens and to imbue them with the same range of fears and threats their human counterparts experience.
This painting was reproduced on page 35 of The Frank Collection: A Showcase of the World's Finest Fantastic Art by Jane and Howard Frank.
Exhibited:
Alien Contact group show, Science Fiction Museum, Seattle Washington, 2006.
From the Frank Collection.
Abduction of Big Red, Science Fiction Magazine cover, October 1940
Oil on canvas
24 x 17 in.
Signed lower right
Abduction of Big Red shows Paul's ability to paint something as seemingly absurd as giant chickens and to imbue them with the same range of fears and threats their human counterparts experience.
This painting was reproduced on page 35 of The Frank Collection: A Showcase of the World's Finest Fantastic Art by Jane and Howard Frank.
Exhibited:
Alien Contact group show, Science Fiction Museum, Seattle Washington, 2006.
From the Frank Collection.
Paintings
RAYMOND PEASE (American b.1908)
Beau Sabreur, paperback cover, 1953
Oil on board
22 x 18 in.
Signed lower right
This thrilling scene appeared as the cover of P. C. Wren's novel, Beau Sabreur, Perma Books, 1953, a novel that featured the adventures of the fictional Major Beaujolais of the French Foreign Legion in North Africa, by the author of Beau Geste.
From the Frank Collection.
Beau Sabreur, paperback cover, 1953
Oil on board
22 x 18 in.
Signed lower right
This thrilling scene appeared as the cover of P. C. Wren's novel, Beau Sabreur, Perma Books, 1953, a novel that featured the adventures of the fictional Major Beaujolais of the French Foreign Legion in North Africa, by the author of Beau Geste.
From the Frank Collection.
PETER A. PEEBLES (American 20th Century)
Mech World, SF Chronicle cover, August 1991
Oil on board
28 x 18 in.
Not signed
From the Frank Collection.
Mech World, SF Chronicle cover, August 1991
Oil on board
28 x 18 in.
Not signed
From the Frank Collection.
Pulp, Pulp-like, Digests, and Paperback Art
WENDY PINI (American b.1952)
Allegiances, Galaxy cover (group of 2), February 1975
Acrylic on board
16 x 14.5 in.
Signed lower right
In addition to the final cover art for the February 1975 cover of Galaxy, this lot includes the first, unpublished alternate version of the scene.
A copy of the magazine is included in this lot. From the Frank Collection.
Allegiances, Galaxy cover (group of 2), February 1975
Acrylic on board
16 x 14.5 in.
Signed lower right
In addition to the final cover art for the February 1975 cover of Galaxy, this lot includes the first, unpublished alternate version of the scene.
A copy of the magazine is included in this lot. From the Frank Collection.
Mainstream Illustration
JEROME PODWIL (American b.1938)
Into the Niger Bend, paperback cover, 1967
Gouache on board
21.5 x 17.5 in.
Signed lower right
This piece was used as a cover for one of the "Fitzroy" paperback editions of Jules Verne's story, published by Ace Books in 1967. This book, a translation of Part I of L'étonnante Aventure de la Mission Barsac, was written by Jules Verne and edited by I. O. Evans.
A copy of the paperback is included in this lot. From the Frank Collection.
Into the Niger Bend, paperback cover, 1967
Gouache on board
21.5 x 17.5 in.
Signed lower right
This piece was used as a cover for one of the "Fitzroy" paperback editions of Jules Verne's story, published by Ace Books in 1967. This book, a translation of Part I of L'étonnante Aventure de la Mission Barsac, was written by Jules Verne and edited by I. O. Evans.
A copy of the paperback is included in this lot. From the Frank Collection.
Pulp, Pulp-like, Digests, and Paperback Art
J. K. POTTER (American 20th Century)
Year's Best Horror XVII, paperback cover, 1989
Hand tinted photomontage
20 x 16 in.
Signed lower right
This chiller appeared as the cover of the anthology published by DAW Books, 1989.
A copy of the book is included in this lot. From the Frank Collection.
Year's Best Horror XVII, paperback cover, 1989
Hand tinted photomontage
20 x 16 in.
Signed lower right
This chiller appeared as the cover of the anthology published by DAW Books, 1989.
A copy of the book is included in this lot. From the Frank Collection.
Paintings
J. K. POTTER (American 20th Century)
Tales From the C'thulhu Mythos, group of 10 illustrations, 1990
Photomontage
Signed with initials
Archive of 10 pieces comprising the cover and nine interior illustrations for Tales From the C'thulhu Mythos, the Arkham 50th Anniversary H. P. Lovecraft issue, Arkham House, 1990.
These ten pieces vary in size from 13 x 8 in. to 19 x 14.75 in.
"The oldest and strongest emotion of mankind is fear, and the oldest and strongest kind of fear is fear of the unknown." -- H. P. Lovecraft, Supernatural Horror in Literature.
From the Frank Collection.
Tales From the C'thulhu Mythos, group of 10 illustrations, 1990
Photomontage
Signed with initials
Archive of 10 pieces comprising the cover and nine interior illustrations for Tales From the C'thulhu Mythos, the Arkham 50th Anniversary H. P. Lovecraft issue, Arkham House, 1990.
These ten pieces vary in size from 13 x 8 in. to 19 x 14.75 in.
"The oldest and strongest emotion of mankind is fear, and the oldest and strongest kind of fear is fear of the unknown." -- H. P. Lovecraft, Supernatural Horror in Literature.
From the Frank Collection.
J. K. POTTER (American 20th Century)
Something Wicked This Way Comes, paperback cover, 1990
Hand-tinted photomontage on paper, mounted on board
14 x 20 in.
Signed lower left
This scene appeared on the cover of Ray Bradbury's novel, Something Wicked This Way Comes, published by Bantam Books, in 1990, one in Bantam's series of re-issues of major works, which illustrated by well-known artists.
This piece was reproduced on page 92 of The Frank Collection: A Showcase of the World's Finest Fantastic Art by Jane and Howard Frank
"What if someone discovers your secret dream, that one great wish you would give anything for? And what if that person suddenly makes your dream come true---before you learn the price you have to pay?"
From the Frank Collection.
Something Wicked This Way Comes, paperback cover, 1990
Hand-tinted photomontage on paper, mounted on board
14 x 20 in.
Signed lower left
This scene appeared on the cover of Ray Bradbury's novel, Something Wicked This Way Comes, published by Bantam Books, in 1990, one in Bantam's series of re-issues of major works, which illustrated by well-known artists.
This piece was reproduced on page 92 of The Frank Collection: A Showcase of the World's Finest Fantastic Art by Jane and Howard Frank
"What if someone discovers your secret dream, that one great wish you would give anything for? And what if that person suddenly makes your dream come true---before you learn the price you have to pay?"
From the Frank Collection.
RICHARD POWERS (American 1921 - 1996)
The Day of the Shield, paperback cover, 1973
Acrylic on wood panel
23.75 x 14.75 in.
Signed lower left
This surreal scene appeared on the cover of Anthony Alban's novel, The Day of the Shield, Berkely Publishing, 1973. From the Frank Collection.
The Day of the Shield, paperback cover, 1973
Acrylic on wood panel
23.75 x 14.75 in.
Signed lower left
This surreal scene appeared on the cover of Anthony Alban's novel, The Day of the Shield, Berkely Publishing, 1973. From the Frank Collection.
Pulp, Pulp-like, Digests, and Paperback Art
RICHARD POWERS (American 1921 - 1996)
The Number of the Beast, paperback cover, 1980
Acrylic on board
48 x 62.5 in.
Signed lower right
This piece was used on the cover for the trade paperback edition of the Robert Heinlein classic, Fawcett Publications, 1980.
"When four very sensual geniuses suddenly find themselves the target of alien hostilities, they are forced to flee their universe, and their adventures ravish the imagination with unparalleled excitement."
From the Frank Collection.
The Number of the Beast, paperback cover, 1980
Acrylic on board
48 x 62.5 in.
Signed lower right
This piece was used on the cover for the trade paperback edition of the Robert Heinlein classic, Fawcett Publications, 1980.
"When four very sensual geniuses suddenly find themselves the target of alien hostilities, they are forced to flee their universe, and their adventures ravish the imagination with unparalleled excitement."
From the Frank Collection.
Paintings
A. LESLIE ROSS (American 1910 - 1989)
Blood Land, Dynamic Science Fiction #1 cover, December 1952
Acrylic on board
15 x 11 in.
Not signed
This cover scene illustrated Alfred Coppel's story, Blood Lands, later reproduced on page 14 of Great Fantasy Art Themes From The Frank Collection by Jane and Howard Frank.
A copy of the magazine is included in this lot.
Exhibited:
The inaugural group show at the Science Fiction Museum, Seattle Washington, 2004.
From the Frank Collection.
Blood Land, Dynamic Science Fiction #1 cover, December 1952
Acrylic on board
15 x 11 in.
Not signed
This cover scene illustrated Alfred Coppel's story, Blood Lands, later reproduced on page 14 of Great Fantasy Art Themes From The Frank Collection by Jane and Howard Frank.
A copy of the magazine is included in this lot.
Exhibited:
The inaugural group show at the Science Fiction Museum, Seattle Washington, 2004.
From the Frank Collection.
GARY RUDDELL (American 20th Century)
Shadows of Sanctuary, paperback cover, 1981
Oil on canvas, mounted on board
20.5 x 14.5 in.
Signed lower left
This scene appeared on the cover for book #3 of the Thieves World series, edited by Bob Asprin and Lynne Abbey, Ace Books, 1981. From the Frank Collection.
Shadows of Sanctuary, paperback cover, 1981
Oil on canvas, mounted on board
20.5 x 14.5 in.
Signed lower left
This scene appeared on the cover for book #3 of the Thieves World series, edited by Bob Asprin and Lynne Abbey, Ace Books, 1981. From the Frank Collection.
NORMAN SAUNDERS (American 1906 - 1988)
Newscast, Marvel Science Stories cover, April/May 1939
Oil on canvas
28 x 18.5 in.
Signed lower left
This cover scene illustrated the lead story by Harl Vincent for Marvel Science Stories, Volume 1, #4, April/May, 1939, a copy of which is included here.
Painting was reproduced on page 43 of The Frank Collection: A Showcase of the World's Finest Fantastic Art by Jane and Howard Frank.
Exhibited:
The inaugural group show at the Science Fiction Museum, Seattle, Washington, 2004.
From the Frank Collection.
Newscast, Marvel Science Stories cover, April/May 1939
Oil on canvas
28 x 18.5 in.
Signed lower left
This cover scene illustrated the lead story by Harl Vincent for Marvel Science Stories, Volume 1, #4, April/May, 1939, a copy of which is included here.
Painting was reproduced on page 43 of The Frank Collection: A Showcase of the World's Finest Fantastic Art by Jane and Howard Frank.
Exhibited:
The inaugural group show at the Science Fiction Museum, Seattle, Washington, 2004.
From the Frank Collection.
Pulp, Pulp-like, Digests, and Paperback Art
STEELE SAVAGE (American d.1970)
The Squares of the City, paperback cover, 1965
Gouache on board
14 x 8 in.
Signed lower right
This piece was used as the cover for the cover of John Brunner's novel, The Squares of the City, Ballantine Books, 1965, based on an actual chess match (played for the world championship between American master William Steinitz and Russian master Mikhail Ivanovich Tchigorin). From the Frank Collection.
The Squares of the City, paperback cover, 1965
Gouache on board
14 x 8 in.
Signed lower right
This piece was used as the cover for the cover of John Brunner's novel, The Squares of the City, Ballantine Books, 1965, based on an actual chess match (played for the world championship between American master William Steinitz and Russian master Mikhail Ivanovich Tchigorin). From the Frank Collection.
STEELE SAVAGE (American d.1970)
The Long Result, paperback cover, 1965
Gouache on board
14 x 8 in.
Signed lower right
This piece was used as the cover for John Brunner's novel, The Long Result, Ballantine Books, 1965.
"Roald Vincent, is a senior official of the Bureau of Cultural Relations, which handles contacts not just with aliens but also with human colony worlds. He has to handle a rapidly escalating crisis when a ship from Starhome, the first interstellar ship not to be built on Earth, announces when about to land that it carries a diplomatic mission from a newly discovered alien species. This makes them the focus of attacks by the League, and the crisis is also being used in political maneuvering between Earth and Starhome, a colony beginning to press for independence."
A copy of the book is included in this lot. From the Frank Collection.
The Long Result, paperback cover, 1965
Gouache on board
14 x 8 in.
Signed lower right
This piece was used as the cover for John Brunner's novel, The Long Result, Ballantine Books, 1965.
"Roald Vincent, is a senior official of the Bureau of Cultural Relations, which handles contacts not just with aliens but also with human colony worlds. He has to handle a rapidly escalating crisis when a ship from Starhome, the first interstellar ship not to be built on Earth, announces when about to land that it carries a diplomatic mission from a newly discovered alien species. This makes them the focus of attacks by the League, and the crisis is also being used in political maneuvering between Earth and Starhome, a colony beginning to press for independence."
A copy of the book is included in this lot. From the Frank Collection.
Mainstream Illustration
PETER SCANLAN (American b.1965)
Mind-Swap, 1989
Acrylic on board
38 x 23 in.
Signed lower left
This piece was commissioned for a Bart Books novel, circa 1990. From the Frank Collection.
Mind-Swap, 1989
Acrylic on board
38 x 23 in.
Signed lower left
This piece was commissioned for a Bart Books novel, circa 1990. From the Frank Collection.
Pulp, Pulp-like, Digests, and Paperback Art
ALEX SCHOMBURG (American 1905 - 1998)
What Need of Man?, Amazing Stories cover, February, 1963
Gouache on board
17.5 x 13 in.
Signed lower left
This painting was reproduced on page 14 of Great Fantasy Art Themes From The Frank Collection by Jane and Howard Frank.
From the Frank Collection.
What Need of Man?, Amazing Stories cover, February, 1963
Gouache on board
17.5 x 13 in.
Signed lower left
This painting was reproduced on page 14 of Great Fantasy Art Themes From The Frank Collection by Jane and Howard Frank.
From the Frank Collection.
Paintings
ROBERT SCHULZ (American 1928 - 1978)
The Tomorrow People, paperback cover, 1960
Oil on board
18.5 x 12 in.
Not signed
This piece was used on the cover of Judith Merrill's novel, The Tomorrow People, Pyramid Books, 1960.
A copy of the book is included in this lot. From the Frank Collection.
The Tomorrow People, paperback cover, 1960
Oil on board
18.5 x 12 in.
Not signed
This piece was used on the cover of Judith Merrill's novel, The Tomorrow People, Pyramid Books, 1960.
A copy of the book is included in this lot. From the Frank Collection.
Pulp, Pulp-like, Digests, and Paperback Art
BARCLAY SHAW (American b.1949)
The Remaking of Sigmund Freud, 1984
Acrylic on paper
20 x 16 in.
Signed lower left with a monograph
This illustration appeared on the cover of Barry Malzberg's novel, The Remaking of Sigmund Freud, Del Rey, 1985, a copy of which is included here.
Exhibited:
Alien Contact group show at the S Museum, Seattle, Washington, 2006.
From the Frank Collection.
The Remaking of Sigmund Freud, 1984
Acrylic on paper
20 x 16 in.
Signed lower left with a monograph
This illustration appeared on the cover of Barry Malzberg's novel, The Remaking of Sigmund Freud, Del Rey, 1985, a copy of which is included here.
Exhibited:
Alien Contact group show at the S Museum, Seattle, Washington, 2006.
From the Frank Collection.
BARCLAY SHAW (American b.1949)
Eclipse Corona, 1990
Acrylic on board
30 x 40 in.
Signed lower right
This piece was used as the cover of John Shirley's book, Eclipse Corona, Warner Books, 1990.
"It couldn't happen again -- not in your lifetime, you say. If that's what you think, you'd better take another look around. Media manipulation has become mind control, and mind control an art. Secret treaties have been made and conspiracies laid in back rooms, on the Internet, and in secret laboratories. The power of the Second Alliance has coalesced, and terrorism has become institutionalized. New concentration camps bring 'ethnic cleansing' to a terrifying level. Your only hope is the New Resistance, regular people bound together by the truth and a single purpose -- to keep this secret darkness from becoming mankind's total eclipse."
A copy of the book is included in this lot. From the Frank Collection.
Eclipse Corona, 1990
Acrylic on board
30 x 40 in.
Signed lower right
This piece was used as the cover of John Shirley's book, Eclipse Corona, Warner Books, 1990.
"It couldn't happen again -- not in your lifetime, you say. If that's what you think, you'd better take another look around. Media manipulation has become mind control, and mind control an art. Secret treaties have been made and conspiracies laid in back rooms, on the Internet, and in secret laboratories. The power of the Second Alliance has coalesced, and terrorism has become institutionalized. New concentration camps bring 'ethnic cleansing' to a terrifying level. Your only hope is the New Resistance, regular people bound together by the truth and a single purpose -- to keep this secret darkness from becoming mankind's total eclipse."
A copy of the book is included in this lot. From the Frank Collection.
Paintings
MALCOLM SMITH (American 20th Century)
Giant From Jupiter, Fantastic Adventures cover, June 1942
Gouache on board
21 x 14.5 in.
Signed lower right
This startling scene was used to illustrate Gerald Vance and Bruce Dennis's lead story, The Giant From Jupiter.
From the Frank Collection.
Giant From Jupiter, Fantastic Adventures cover, June 1942
Gouache on board
21 x 14.5 in.
Signed lower right
This startling scene was used to illustrate Gerald Vance and Bruce Dennis's lead story, The Giant From Jupiter.
From the Frank Collection.
LAWRENCE STERNE STEVENS (American 20th Century)
Earth's Last Citadel, Fantastic Novels cover, July 1950
Oil on board
18.5 x 14 in.
Not signed
This cover scene illustrated the lead story, written by C. L. Moore. From the Frank Collection.
Earth's Last Citadel, Fantastic Novels cover, July 1950
Oil on board
18.5 x 14 in.
Not signed
This cover scene illustrated the lead story, written by C. L. Moore. From the Frank Collection.
Pulp, Pulp-like, Digests, and Paperback Art
LEO SUMMERS (American 1925 - 1985)
A Thread In Time, Fantastic cover, February 1961
Oil on board
16 x 12.5 in.
Not signed
A copy of the magazine is included in this lot.
PROVENANCE:
Ex-Ackerman collection. From the Frank Collection.
A Thread In Time, Fantastic cover, February 1961
Oil on board
16 x 12.5 in.
Not signed
A copy of the magazine is included in this lot.
PROVENANCE:
Ex-Ackerman collection. From the Frank Collection.
Paintings
DARRELL K. SWEET (American b.1934)
The Stone Giant, paperback cover, 1989
Acrylic on board
24 x 32 in.
Initialed lower right
This enchanting scene appeared as the cover of James P. Blaylock's novel, The Stone Giant, Ace Books, 1989, a copy of which is included here.
"This book continues the delightful adventures in the fantastic world of James P Blaylock's The Elfin Ship and The Disappearing Dwarf. A magical world -- having journeyed there, you will never wish to leave, nor ever to forget. -- Phillip K. Dick"
From the Frank Collection.
The Stone Giant, paperback cover, 1989
Acrylic on board
24 x 32 in.
Initialed lower right
This enchanting scene appeared as the cover of James P. Blaylock's novel, The Stone Giant, Ace Books, 1989, a copy of which is included here.
"This book continues the delightful adventures in the fantastic world of James P Blaylock's The Elfin Ship and The Disappearing Dwarf. A magical world -- having journeyed there, you will never wish to leave, nor ever to forget. -- Phillip K. Dick"
From the Frank Collection.
MURRAY TINKELMAN (American b.1933)
The Case of Charles Dexter Ward, paperback cover, 1976
Ink on board
16 x 15.5 in.
Signed lower left
This illustration was used on the cover of H. P. Lovecraft's book, The Case of Dexter Ward, Ballantine Books, 1976, a copy of which is included here. From the Frank Collection.
The Case of Charles Dexter Ward, paperback cover, 1976
Ink on board
16 x 15.5 in.
Signed lower left
This illustration was used on the cover of H. P. Lovecraft's book, The Case of Dexter Ward, Ballantine Books, 1976, a copy of which is included here. From the Frank Collection.
ED VALIGURSKY (American b.1926)
The Genetic General, 1960
Gouache on board
16.5 x 11.5 in.
Signed lower margin
This painting was used as the cover for Gordon R. Dickson's novel, The Genetic General, Ace Double #D449, 1960, and reproduced on page 14 of Great Fantasy Art Themes From The Frank Collection by Jane and Howard Frank.
"Did he face a galactic Waterloo?"
From the Frank Collection.
The Genetic General, 1960
Gouache on board
16.5 x 11.5 in.
Signed lower margin
This painting was used as the cover for Gordon R. Dickson's novel, The Genetic General, Ace Double #D449, 1960, and reproduced on page 14 of Great Fantasy Art Themes From The Frank Collection by Jane and Howard Frank.
"Did he face a galactic Waterloo?"
From the Frank Collection.
BORIS VALLEJO (American b.1941)
Dragon Prince, 1984
Oil on board
26.5 x 20 in.
Signed lower left
This scene was featured as a story illustration in Boris Vallejo's art book, Enchantment, Mirage, 1984, and reproduced on page 86 of Great Fantasy Art Themes From The Frank Collection by Jane and Howard Frank.
PROVENANCE:
Ex Forrest Ackerman auction, 1987.
From the Frank Collection.
Dragon Prince, 1984
Oil on board
26.5 x 20 in.
Signed lower left
This scene was featured as a story illustration in Boris Vallejo's art book, Enchantment, Mirage, 1984, and reproduced on page 86 of Great Fantasy Art Themes From The Frank Collection by Jane and Howard Frank.
PROVENANCE:
Ex Forrest Ackerman auction, 1987.
From the Frank Collection.
HENRY RICHARD VAN DONGEN (American b.1920)
Lunar Scene, Analog cover, August 1985
Acrylic on board
18 x 13 in.
Signed lower right
From the Frank Collection.
Lunar Scene, Analog cover, August 1985
Acrylic on board
18 x 13 in.
Signed lower right
From the Frank Collection.
HENRY RICHARD VAN DONGEN (American b.1920)
To Keep the Ship, paperback cover, 1978
Oil on board
20.5 x 12 in.
Not signed
This scene appeared on the cover of A. Bertram Chandler's novel, To Keep the Ship, DAW Books, 1978. From the Frank Collection.
To Keep the Ship, paperback cover, 1978
Oil on board
20.5 x 12 in.
Not signed
This scene appeared on the cover of A. Bertram Chandler's novel, To Keep the Ship, DAW Books, 1978. From the Frank Collection.
HENRY RICHARD VAN DONGEN (American b.1920)
City of the Chasch,, 1979
Acrylic on board
21.5 x 13 in.
Signed lower right
This illustration was used for the cover of Jack Vance's novel City of the Chasch, Volume 1 of Tschai Planet of Adventure series, DAW Books, 1979. The Tschai novels are considered Jack Vance's masterwork -- a constantly changing epic of strange peoples, exotic lands, and astounding extra-terrestrial adventures.
"Someone sent distress signals to outer space from the planet Tschai. It was Adam Reith's misfortune to be sent from Earth to investigate. Because when his ship came close to Tschai it was torpedoed and Adam escaped to the surface with his life and nothing else."
From the Frank Collection.
City of the Chasch,, 1979
Acrylic on board
21.5 x 13 in.
Signed lower right
This illustration was used for the cover of Jack Vance's novel City of the Chasch, Volume 1 of Tschai Planet of Adventure series, DAW Books, 1979. The Tschai novels are considered Jack Vance's masterwork -- a constantly changing epic of strange peoples, exotic lands, and astounding extra-terrestrial adventures.
"Someone sent distress signals to outer space from the planet Tschai. It was Adam Reith's misfortune to be sent from Earth to investigate. Because when his ship came close to Tschai it was torpedoed and Adam escaped to the surface with his life and nothing else."
From the Frank Collection.
WALTER VELEZ (American 20th Century)
Hooray for Hellywood, paperback cover, 1989
Acrylic on board
21 x 12.5 in.
Signed lower right
This scene was used for the cover of Esther Friesner's novel, Hooray For Hellywood, Ace Books, 1990.
"Lights! Camera! Chaos!"
This lot includes a cover proof , and a soft cover uncorrected proof, in its original wrapper, with publisher's publicity materials laid in. From the Frank Collection.
Hooray for Hellywood, paperback cover, 1989
Acrylic on board
21 x 12.5 in.
Signed lower right
This scene was used for the cover of Esther Friesner's novel, Hooray For Hellywood, Ace Books, 1990.
"Lights! Camera! Chaos!"
This lot includes a cover proof , and a soft cover uncorrected proof, in its original wrapper, with publisher's publicity materials laid in. From the Frank Collection.
WALTER VELEZ (American 20th Century)
Another Fine Myth, book cover, 1981
Acrylic on canvas
30 x 20 in.
Signed lower right
This cover scene was featured on Robert Asprin's novel, Another Fine Myth, Ace Books, 1981. Robert Asprin began to chronicle the offbeat adventures of Skeeve and Aahz in the MythAdventures series. These romps follow a demon who has lost his powers, along with his inept human apprentice, as they travel through a variety of worlds in pursuit of wealth and glory. The Myth series is highly pun-driven.
A copy of the book is included in this lot.
This painting was reproduced on page 46 of The Frank Collection: A Showcase of the World's Finest Fantastic Art by Jane and Howard Frank.
From the Frank Collection.
Another Fine Myth, book cover, 1981
Acrylic on canvas
30 x 20 in.
Signed lower right
This cover scene was featured on Robert Asprin's novel, Another Fine Myth, Ace Books, 1981. Robert Asprin began to chronicle the offbeat adventures of Skeeve and Aahz in the MythAdventures series. These romps follow a demon who has lost his powers, along with his inept human apprentice, as they travel through a variety of worlds in pursuit of wealth and glory. The Myth series is highly pun-driven.
A copy of the book is included in this lot.
This painting was reproduced on page 46 of The Frank Collection: A Showcase of the World's Finest Fantastic Art by Jane and Howard Frank.
From the Frank Collection.
CHARLES VESS (American b.1951)
Raven Song, 1989
Watercolor on paper
16 x 13.5 in.
Signed lower right
From the Frank Collection.
Raven Song, 1989
Watercolor on paper
16 x 13.5 in.
Signed lower right
From the Frank Collection.
RON WALOTSKY (American b.1943)
Born With the Dead, paperback cover, 1988
Acrylic on board
30 x 20 in.
Signed lower left
This haunting scene appeared on the cover of Robert Silverberg's book, Born With the Dead, Tor Books, 1988, a collection of three novellas that examine the ultimate tragedy -- death. The three are Born With the Dead (winner of the 1974 Nebula and 1975 Hugo awards for Best Novella), Thomas the Proclaimer, and Going.
From the Frank Collection.
Born With the Dead, paperback cover, 1988
Acrylic on board
30 x 20 in.
Signed lower left
This haunting scene appeared on the cover of Robert Silverberg's book, Born With the Dead, Tor Books, 1988, a collection of three novellas that examine the ultimate tragedy -- death. The three are Born With the Dead (winner of the 1974 Nebula and 1975 Hugo awards for Best Novella), Thomas the Proclaimer, and Going.
From the Frank Collection.
JAMES WARHOLA (American b.1955)
Into Tomorrow, The Last Defender of Camelot, paperback cover, 1988
Oil on board
26 x 18 in.
Signed lower right
This piece was painted for the cover of Roger Zelazny's anthology, The Last Defender of Camelot, Avon Books, 1988, a copy of which is included here. From the Frank Collection.
Into Tomorrow, The Last Defender of Camelot, paperback cover, 1988
Oil on board
26 x 18 in.
Signed lower right
This piece was painted for the cover of Roger Zelazny's anthology, The Last Defender of Camelot, Avon Books, 1988, a copy of which is included here. From the Frank Collection.
JAMES WARHOLA (American b.1955)
Phule's Company, paperback cover, 1990
Oil on board
24 x 30 in.
Signed lower center
This piece appeared on the cover of Bob Asprin's novel, Phule's Company, Ace Books, 1990.
"Meet the soldiers of Captain Willard Phule's Company -- a handful of military rejects able to do more damage before 9 A.M. than most people do all day. Threatened by an alien enemy, Earth's military sends Phule and his soldiers to a distant planet. But now, the aliens have chosen a new target of war -- Phule's Company."
From the Frank Collection.
Phule's Company, paperback cover, 1990
Oil on board
24 x 30 in.
Signed lower center
This piece appeared on the cover of Bob Asprin's novel, Phule's Company, Ace Books, 1990.
"Meet the soldiers of Captain Willard Phule's Company -- a handful of military rejects able to do more damage before 9 A.M. than most people do all day. Threatened by an alien enemy, Earth's military sends Phule and his soldiers to a distant planet. But now, the aliens have chosen a new target of war -- Phule's Company."
From the Frank Collection.
MORGAN WEISTLING (American b. 1964)
Into the West, promotional movie poster illustration, 1993
Oil on board
40 x 30 in.
Signed center-right
This promotional poster piece for the 1992 movie, Into the West, was published in Disney Adventures magazine, May 1993, a copy of which is included here.
"Accused of a crime they didn't commit, two city kids and a magical horse are about to become the coolest outlaws ever to ride Into The West."
From the Frank Collection.
Into the West, promotional movie poster illustration, 1993
Oil on board
40 x 30 in.
Signed center-right
This promotional poster piece for the 1992 movie, Into the West, was published in Disney Adventures magazine, May 1993, a copy of which is included here.
"Accused of a crime they didn't commit, two city kids and a magical horse are about to become the coolest outlaws ever to ride Into The West."
From the Frank Collection.
MORGAN WEISTLING (American b. 1964)
Lost in Space, pinball illustration, 1997
Oil on board
24 x 30 in.
Signed lower right
This piece was done as backglass art for a Sega pinball machine, based on the 1998 film.
"Danger Will Robinson!" From the Frank Collection.
Lost in Space, pinball illustration, 1997
Oil on board
24 x 30 in.
Signed lower right
This piece was done as backglass art for a Sega pinball machine, based on the 1998 film.
"Danger Will Robinson!" From the Frank Collection.
MORGAN WEISTLING (American b. 1964)
Lost Worlds, pinball illustration
Oil on board
22 x 28 in.
Signed lower right
This illustration was used as the backglass art for a Sega pinball machine, and it was based on the movie, The Lost World: Jurassic Park, starring Jeff Goldblum and Julianne Moore.
"Something has survived."
Painting was reproduced on page 31 of Great Fantasy Art Themes From The Frank Collection by Jane and Howard Frank.
Exhibited:
The inaugural group show at the Science Fiction Museum, Seattle, Washington, 2004.
From the Frank Collection.
Lost Worlds, pinball illustration
Oil on board
22 x 28 in.
Signed lower right
This illustration was used as the backglass art for a Sega pinball machine, and it was based on the movie, The Lost World: Jurassic Park, starring Jeff Goldblum and Julianne Moore.
"Something has survived."
Painting was reproduced on page 31 of Great Fantasy Art Themes From The Frank Collection by Jane and Howard Frank.
Exhibited:
The inaugural group show at the Science Fiction Museum, Seattle, Washington, 2004.
From the Frank Collection.
MORGAN WEISTLING (American b. 1964)
Starship Troopers, pinball machine illustration, 1997
Oil on board
24 x 30 in.
Signed lower right
This piece was used as the backglass art for a Sega pinball machine, based on the Paul Verhoeven film.
"They came to our planet, They destroyed our cities, But they'll learn -- they messed with the wrong species."
Painting was reproduced on page 18 of Great Fantasy Art Themes From The Frank Collection by Jane and Howard Frank.
From the Frank Collection.
Starship Troopers, pinball machine illustration, 1997
Oil on board
24 x 30 in.
Signed lower right
This piece was used as the backglass art for a Sega pinball machine, based on the Paul Verhoeven film.
"They came to our planet, They destroyed our cities, But they'll learn -- they messed with the wrong species."
Painting was reproduced on page 18 of Great Fantasy Art Themes From The Frank Collection by Jane and Howard Frank.
From the Frank Collection.
MICHAEL WHELAN (American b.1950)
Cuckoo's Egg, paperback cover, 1985
Acrylic on board
28 x 18 in.
Signed with a monograph upper center
Also titled Hatani by Michael Whelan, this detailed painting was showcased on the cover of C. J. Cherryh's novel, Cuckoo's Egg, DAW Books, 1985, a copy of which is included here.
"They named him Thorn. They told him he was of their people, although he was so different. He was ugly in their eyes, strange, sleek-skinned instead of furred, clawless, different. Yet he was in their power class: judge-warriors, the elite, the fighters, the defenders."
Painting was reproduced on page 93 of The Frank Collection: A Showcase of the World's Finest Fantastic Art by Jane and Howard Frank
From the Frank Collection.
Cuckoo's Egg, paperback cover, 1985
Acrylic on board
28 x 18 in.
Signed with a monograph upper center
Also titled Hatani by Michael Whelan, this detailed painting was showcased on the cover of C. J. Cherryh's novel, Cuckoo's Egg, DAW Books, 1985, a copy of which is included here.
"They named him Thorn. They told him he was of their people, although he was so different. He was ugly in their eyes, strange, sleek-skinned instead of furred, clawless, different. Yet he was in their power class: judge-warriors, the elite, the fighters, the defenders."
Painting was reproduced on page 93 of The Frank Collection: A Showcase of the World's Finest Fantastic Art by Jane and Howard Frank
From the Frank Collection.
MICHAEL WHELAN (American b.1950)
Fighting Man of Mars, paperback cover, 1979
Acrylic on board
21 x 27 in.
Signed with a monograph lower right
This piece was used on the cover of Edgar Rice Burroughs' novel, Fighting Man of Mars, the seventh of Burroughs' Mars novels, Del Rey, 1979, and reproduced on page 75 of Great Fantasy Art Themes From The Frank Collection by Jane and Howard Frank and on page 93 of Michael Whelan's monograph, Works of Wonder.
From the Frank Collection.
Fighting Man of Mars, paperback cover, 1979
Acrylic on board
21 x 27 in.
Signed with a monograph lower right
This piece was used on the cover of Edgar Rice Burroughs' novel, Fighting Man of Mars, the seventh of Burroughs' Mars novels, Del Rey, 1979, and reproduced on page 75 of Great Fantasy Art Themes From The Frank Collection by Jane and Howard Frank and on page 93 of Michael Whelan's monograph, Works of Wonder.
From the Frank Collection.
TIM WHITE (English b.1952)
The Krugg Syndrome, paperback cover, 1988
Gouache on board
12 x 16 in.
Signed lower left
This colorful, deep-space, alien landscape was spotlighted on the cover of Angus McAllister's book, The Krugg Syndrome, Grafton Books, 1988, and reproduced on page 76 of The Frank Collection: A Showcase of the World's Finest Fantastic Art by Jane and Howard Frank.
From the Frank Collection.
The Krugg Syndrome, paperback cover, 1988
Gouache on board
12 x 16 in.
Signed lower left
This colorful, deep-space, alien landscape was spotlighted on the cover of Angus McAllister's book, The Krugg Syndrome, Grafton Books, 1988, and reproduced on page 76 of The Frank Collection: A Showcase of the World's Finest Fantastic Art by Jane and Howard Frank.
From the Frank Collection.
TIM WHITE (English b.1952)
The Space Machine,, 1981
Gouache on board
14.5 x 19 in.
Signed lower left
This startling scene appeared as the cover of Christopher Priest's novel, The Space Machine, Pan Books, 1981, and reproduced on page 87 of Great Fantasy Art Themes From The Frank Collection by Jane and Howard Frank.
From the Frank Collection.
The Space Machine,, 1981
Gouache on board
14.5 x 19 in.
Signed lower left
This startling scene appeared as the cover of Christopher Priest's novel, The Space Machine, Pan Books, 1981, and reproduced on page 87 of Great Fantasy Art Themes From The Frank Collection by Jane and Howard Frank.
From the Frank Collection.
PAUL YOULL (English b. 1965)
Excession, paperback cover, 1996
Oil on board
16 x 38 in.
Signed lower right
This piece appeared on the cover of Iain M. Banks' novel, Excession, Bantam Spectra Books, 1997, and reproduced on pages 106-107 of The Frank Collection: A Showcase of the World's Finest Fantastic Art by Jane and Howard Frank.
"Two and a half millennia ago, the Excession, a perfect black sphere, appeared in a remote corner of space. It did nothing, then disappeared. Now it is back, and someone who saw it the first time has information on its staggering potential, but she is living out her death in the Sleeper Service."
Exhibited:
The inaugural group show at the Science Fiction Museum, Seattle, Washington, 2004.
From the Frank Collection.
Excession, paperback cover, 1996
Oil on board
16 x 38 in.
Signed lower right
This piece appeared on the cover of Iain M. Banks' novel, Excession, Bantam Spectra Books, 1997, and reproduced on pages 106-107 of The Frank Collection: A Showcase of the World's Finest Fantastic Art by Jane and Howard Frank.
"Two and a half millennia ago, the Excession, a perfect black sphere, appeared in a remote corner of space. It did nothing, then disappeared. Now it is back, and someone who saw it the first time has information on its staggering potential, but she is living out her death in the Sleeper Service."
Exhibited:
The inaugural group show at the Science Fiction Museum, Seattle, Washington, 2004.
From the Frank Collection.
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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