Illustration Art
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Director
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Chairman
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924899
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Vice President & Controller
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Chief Marketing Officer
2030704
Todd Weyman
Vice President & Director, Prints & Drawings
1214107
Nigel Freeman
Vice President & Director, African American Art
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Vice President & Director, Books & Manuscripts
Administration
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Vice President & Controller
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Client Accounting
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Children's Book & Magazine Illustration
1
Joan walsh anglund (1926-2021)
“To Be A Ballerina.”
Together, group of 3 storyboard illustrations for pages 28 through 33 of A Bedtime Book by Anglund (New York: Simon & Schuster Books for Young Readers, 1993). Watercolor and blue pen background on paper with acetate overlay, which has text pastedowns and is printed with image details. 210x364 mm; 8¼x14¼ inches, on 12x18-inch sheet. Unsigned. Taped to matte and archivally framed.
Provenance: Acquired by current owner directly from the artist.
Estimate
$800 – $1,200
2
Clare beaton (1947- )
“The Wheels on the Bus.”
Alternate version of illustration for rhyme of the same title, published in Beaton’s Playtime Rhymes for Little People (Cambridge: Barefoot Books, Inc., 2001), pages 56-57. Felt, striped cloth, thread, beads, and buttons. 250x450 mm; 10x17¾ inches. Signed “Clare Beaton” in lower left image (in thread). Float mounted and framed. A copy of the book accompanies the lot.
Estimate
$600 – $900
3
Clare beaton (1947- )
“There Was A Crooked Man.”
Illustration for rhyme of the same title, published in Beaton’s Nursery Rhymes (Cambridge: Barefoot Books, Inc., 2010), pages 3-4. Felt, thread, and beads. 280x380 mm; 11x19 inches. Signed “Clare Beaton” in lower right image (in thread). Float mounted and framed. A copy of the book accompanies the lot.
Estimate
$600 – $900
4
Ludwig bemelmans (1898-1962)
“Parque Shanghai, Rio de Janeiro.”
Probable concept sketch for the Ferris wheel in Madeline and the Gypsies by Bemelmans (New York: Viking Press, 1959). Ink on paper adhered to board. 500x650 mm; 19¾x25½ inches (sheet). Signed “Bemelmans” in pencil and initialed “L.B.” in ink in lower center image, dated “Rio 10.M.58” at lower right. Titled “Parque Shanghai” at upper left and “Madeline & Gypsies / Made in France” at lower left.
Estimate
$2,500 – $3,500
5
Marcia brown (1918-2015)
“A good stone soup should have cabbage…”
Illustration intended for Stone Soup by Brown (New York: Charles Scribner's Sons, 1947). Pen, ink and watercolor on thin board. 190x385 mm; 7½x15 inches, on 11x17¼-inch sheet. Not signed. Hinged to board with matte and archivally framed. A copy of a later edition of the book accompanies the lot.
Provenance: Acquired by current owner from Illustration House, February 1996.
Brown's retelling of the traditional folk tale was selected as a Caldecott Honor Book in 1948. Though the composition is nearly identical, numerous details in the final published illustration differ.
Estimate
$1,500 – $2,500
6
Mark buehner (1959- )
“Dingaling Pizza.”
Illustration for A Job for Wittilda by Caralyn Buehner (New York: Dial Books for Young Readers, 1993). Oil over acrylic on masonite panel. 320x300 mm; 12¾x11¾ inches. Signed “M. Buehner” in lower left image, again on verso, and with artist’s stamp on unattached backing paper. Laid into matte and archivally framed.
Provenance: Acquired by current owner from Every Picture Tells a Story, February 1999.
The book won the Children’s Book Council Children’s Choice Award in 1994, and the Utah Children’s Choice Award in 1997.
Estimate
$700 – $1,000
7
Albert prentis button (1868-1931)
A Young Dick Turpin.
Illustration for an unidentified publication. Watercolor, graphite, and pencil on stiff paper mounted to board. 330x517 mm; 13x20½ inches. Signed and dated “Albert Prentice Button 1920” in graphite, lower left image. Laid into burnished gold wood frame.
Estimate
$1,200 – $1,800
8
Harrison cady (1877-1970)
“‘Pooh!’ exclaimed Reddy Fox. ‘Who’s afraid of that fellow?’”
Illustration for page 10 of The Adventures of Prickly Porky by Thornton Burgess (Boston: Little, Brown, and Company, 1916). Ink, ink wash, and gouache on board. 305x233 mm; 12x9 inches (image), on 22½x14-inch board. Signed “Harrison Cady” in lower left image and captioned in lower margin with “Prickly Porky” in upper margin. Laid into matte and archivally framed. A copy of the aforementioned 1916 edition of the book accompanies the lot, along with a 1943 edition in which the illustration in the lot is not pictured (Don Mills, Ontario: McClelland & Stewart, Limited, 1943).
Provenance: Acquired by current owner from Illustration House, Inc.
Estimate
$800 – $1,200
9
Tony chen (1929- )
“Adam and Eve.”
Illustration for The Illustrated Children’s Bible by Sandol Stoddard (Garden City, New York: Doubleday & Company, Inc., 1983), page 16. A cropped version of the illustration was subsequently published in A Child’s First Bible by Sandol Stoddard (New York: Dial Books for Young Readers, 1991). Watercolor over graphite on paper mounted to larger sheet. 330x244 mm; 13x9½ inches, on 14¼x10-inch sheet mounted to larger sheet. Signed “Tony Chen” and dated 1984 in lower right image.
Estimate
$400 – $600
10
Walter crane (1845-1915)
“The Song of Sixpence Picture Book.”
Full cover design created for the John Lane re-issue of this title from the George Routledge Picture Books series of the 1870s (London & New York: John Lane, circa 1909). White gouache on blue paper. 235x240 mm; 9¼x9½ inches, on 10½x9¾-inch sheet. Front cover with Crane's monogram near lower center image and on spine at lower left, float mounted with stepped matte. Rear cover is darker blue paper, with Crane's and publisher's monograms, taped to matte. The two framed together (rear cover on back of frame).
Provenance: Laurie E. Deval, associate of Percy H. Muir at Elkin Matthews Ltd. booksellers, London; purchased by Maurice Sendak, circa 1960s; gifted by Maurice Sendak to Lynn Caponera; private collection, New York.
The artwork once hung on Sendak's wall in his private retreat farmhouse (Cambridge, New York).
Estimate
$4,000 – $6,000
11
Tomie de paola (1934-2020)
“I love you, Sun, I love you, Moon.”
Double-page spread for title page of the book of the same title by Karen Pandell (New York: G.P. Putnam, 1994). Watercolor on paper. 145x328 mm; 5¾x13 inches, on 6½x14½-inch sheet. Signed “de Paola” in lower right image. Hinged to window matte. Provenance: Cove Gallery; private collection.
Estimate
$1,000 – $1,500
12
Alexandra day [sandra louise woodward darling] (1941- )
“…see them picnic on their holiday.”
Painting after illustration published in The Teddy Bears’ Picnic by Jimmy Kennedy (New York: Green Tiger Press, 1983). Egg tempera on paper. 510x700 mm; 20x27½ inches, on 21¾x29¼-inch sheet. Signed “Alexandra Day” in lower right image. Taped to matte and framed. A copy of the book accompanies the lot.
Provenance: Acquired by current owner from Every Picture Tells A Story, April 1998.
The full caption reads “Watch them, catch them unawares/And see them picnic on their holiday/See them gaily gad about.”
Estimate
$800 – $1,200
13
Roger duvoisin (1904-1980)
“A Doll for Marie.”
Together, group of 3 preliminary studies for a book of the same title by Louise Fatio (New York: Alfred A. Knopf, 1957). Mixed media, including ink and charcoal on paper, one with added color in gouache. Image sizes vary, all on 11¾x15¾-inch sheets. Unsigned. Hinged to boards with window mattes.
Group includes: “And while the dogs ran off fighting over the dress, the antique doll lay on the sidewalk in her underwear, a horrible situation for such a fancy doll;” “Marie sewed new underwear for the doll, a cotton dress, and a pair of slacks for cold weather;” “She had a little girl to love her, to kiss her good night and tuck her into bed.”
Estimate
$600 – $900
14
Michael foreman (1938- )
“Toad the Terror, The Traffic-Queller.”
Double-page illustration for pages 106 to 107 of The Wind in the Willows by Kenneth Grahame (London: Pavilion Books, 2001). Watercolor over graphite on paper. 195x435 mm; 7¾x17¼ inches, on 15½x20½-inch sheet. Signed “Michael Foreman” in lower left image. Hinged to board with matte and archivally framed. A copy of the book signed by Foreman accompanies the lot.
Provenance: Acquired by current owner from Chris Beetles, Ltd., November 2001.
Exhibited: Chris Beetles, Ltd,. The British Art of Illustration 1900-2001; The Twentieth Century.
Estimate
$1,000 – $1,500
15
George garland (20th century)
“Heroes and Heroines of Many Lands.”
Together, incomplete group of 11 illustrations from the book of the same title by Jay Strong (New York: Hart Pub. Co., 1965). Graphite and charcoal (some with white gouache) on paper; all either stapled or taped to board. Image and sheet sizes vary, most about 160x260 mm; 6¼x10¼ inches, on 9½x12¾-inch sheets. A copy of the book accompanies the lot. Unsigned. Not dated.
Group includes: “…Horatius right deftly turned the blow” (“Horatius,” page 26),“Eliezer…stabbed the elephant to death” (“The Maccabees,” pages 44-45), “…fought in public…against…wild beasts…” (“Spartacus,” pages 52-53), “Joan and her army attacked Orleans” (“Joan of Arc,” pages 70-71), “Water! Water or I die!” (“Sir Philip Sidney,” pages 74-75), “…Vincent de Paul pulled at the heavy oars…” (“Vincent de Paul,” page 84), “Then he rode into the fray, and the Polish peasants rushed to follow him” (“Thaddeus Kosciuszko,” pages 90-91), “On O’Higgins drove them, on and on – straight for the Spanish lines” (“Bernardo O’Higgins,” pages 110-111), “As she stepped into the compound, she gasped with horror” (“Florence Nightingale,” pages 120-121), “Doctor Livingstone, I presume,” said Henry Stanley…” (“David Livingstone,” pages 134-135), “…she preached to the rough hardy men…” (“Evangeline Booth,” pages 154-155).
Estimate
$500 – $750
16
Roy gerrard (1935-1997)
Relaxing by the Pool.
Double-page spread for pages 6 and 7 of Jocasta Carr, Movie Star by Gerrard (New York: Farrar, Straus & Giroux, 1992). Watercolor, acrylic, and ink over graphite on paper. 228x430 mm; 9x17 inches, on 13¼x20¼-inch sheet. Signed “Gerrard” in lower right image. Hinged to board with matte and archivally framed.
Provenance: Acquired by current owner from Elizabeth Stone Gallery, December 1999.
Estimate
$1,000 – $1,500
17
Hardie gramatky (1907-1979)
“The Wondrous World of Little Toot.”
Preliminary sketch for book advertisement featuring “Little Toot” and his friends in various scenes. Tempera, graphite, and ink on board. 282x225 mm; 11x8¾ inches. Signed “Hardie Gramatky” in upper center image. Not dated. Float mounted and archivally framed. Not removed from frame for inspection.
Provenance: Acquired by current owner from Illustration House, Inc.
Estimate
$2,000 – $3,000
18
Eric gurney (1910-1992)
“The Digging-est Dog.”
Together, 29 illustrations for the cover, endpapers, and nearly complete interior pages for book of the same title by Al Perkins (New York: Random House, 1967). Primarily pen and ink over blue pencil on paper, some with collaged elements and correction fluid. Full sheets measure 345x480 mm; 13¾x19 inches. All sheets signed “E. Gurney” in lower right image. Cornered to pages in spiral-bound portfolio. With registration marks, page numbers, and scattered printer’s notes in margins. Lot excludes title page, pages 8-9, 16-17, 18-19, and 30-31. A copy of the book, a storyboard of the cover with printed pastedowns, and an additional color sketch for the cover with printing notations accompany the lot.
Provenance: Acquired by current owner from Illustration House, Inc.
Estimate
$1,200 – $1,800
19
Michael hague (1948- )
“U is for Ursula, a quite useless bear…”
Illustration for page 24 of Alphabears: An ABC Book by Kathleen Hague (New York: Henry Holt and Company, 1984). Pen, ink, watercolor, and gouache over graphite on board. 248x235 mm; 9¾x9¼ inches, on 11¾x11½-inch board. Signed “Michael Hague” in lower left image. Laid into matte and archivally framed. A copy of the book accompanies the lot.
Provenance: Acquired by current owner from Aleph-Bet Books, February 1998.
The full published caption reads “U is for Ursula, a quite useless bear/Who seems to do nothing but just sit and stare.”
Estimate
$1,000 – $1,500
20
Georg hallensleben (1958- )
“Close Your Eyes.”
Front and back cover illustrations for book of the same title by Kate Banks (New York: Farrar, Straus and Giroux, 2002), with their labels on frame backing. Acrylic on thin glossy paper. Front cover is 345x325 mm; 13½x13 inches. Back cover is 357x324 mm; 14x12¾ inches. Both titled, signed “G. Hallensleben,” and dated 2001 on verso. Hinged to board; matted together and archivally framed. A copy of the book accompanies the lot.
Provenance: Acquired by current owner from Storyopolis, August 2003.
Estimate
$1,500 – $2,500
21
Mary haverfield (20th century)
“Mocha loved little goldfish!”
Illustration for pages 24 and 25 of Mocha the Real Doctor by Jane Roberts Wood (Albany, Texas: Bright Sky Press, 2003). Watercolor, gouache, and colored pencil on thick paper. 250x470 mm; 9¾x18½ inches, on 13x21½-inch sheet. Signed “M. Haverfield” in lower right margin. Hinged to board with matte and archivally framed. A copy of the book signed by Jane Roberts Wood accompanies the lot.
Provenance: Acquired by the current owner directly from The Artist, 2004.
Estimate
$700 – $1,000
22
Will hillenbrand (1960- )
“Sam Sunday and the Mystery at the Ocean Beach Hotel.”
Illustration for the cover and pages 6-7 for book of the same title by Robyn Supraner (New York: Viking, 1996). Mixed media, including watercolor, gouache, and graphite on paper. 415x415 mm; 16¼x16¼ inches, on 17½x18-inch sheet. Signed “Will Hillenbrand” and dated [19]95 in lower right image. Float mounted and archivally framed.
Provenance: Acquired by the current owner from Hillenbrand & Rosen, August 1997.
Estimate
$1,000 – $1,500
23
Steven kellogg (1941-)
“Tallyho, Pinkerton!”
Dust jacket illustration for book of the same title by Kellogg (New York: Dial Books for Young Readers, 1982). Mixed media, including ink, watercolor, and acrylic over graphite on thin board. 274x215 mm; 10¾x8½ inches, on 12¾x10¾-inch sheet. Signed “Steven Kellogg” and titled “Jacket art for Tallyho Pinkerton” in graphite in lower margin. Taped to matte and archivally framed. Accompanied by a signed and inscribed copy of Pinkerton, Behave! by Kellogg (New York: Dial Books for Young Readers,1979). The book’s inscription reads “For our friend Fiona from [sketch of Pinkerton] and Steve Kellogg.”
Provenance: Acquired by current owner from D.C.T. Auction, 2007.
Estimate
$1,500 – $2,500
24
Jonathan langley (1952- )
“The next moment a great lion bounded into the road.”
Illustration facing page 49 of The Wizard of Oz by L. Frank Baum (London: Longmeadow Press/Octopus Books Limited, 1985). Watercolor on paper adhered to larger board. 165x115 mm; 6½x4½ inches, on 7x5-inch sheet. Hinged to board with matte; archivally framed.
Provenance: Acquired by current owner from Chris Beetles, Ltd., June 1997.
Estimate
$800 – $1,200
25
Robert lawson (1892-1957)
“Uncle Phineas was wrapped up most comfortably, smoking his pipe…”
Heading for the chapter entitled “Bedtime” on page 23 of Edward, Hoppy and Joe by Lawson (New York: Alfred A. Knopf, 1952). Carbon pencil heightened in white on board. 140x180 mm; 5½x7 inches, on 12x9-inch board. Initialed “RL” in lower right image. Laid into matte and archivally framed. A copy of the book accompanies the lot.
Provenance: Acquired by current owner from Illustration House, Inc., circa 2009.
The full caption reads “Uncle Phineas was wrapped up most comfortably, smoking his pipe and talking pleasantly with Mother and Father.”
Estimate
$700 – $1,000
26
Arnold lobel (1933-1987)
“Frog took a rake out of the garden shed.”
Illustration for the story “The Surprise” published in Frog and Toad All Year by Lobel (New York: Harper & Row, 1976, pages 42 and 43). Pen and ink over graphite, with printed text onlays. 295x369 mm; 11¾x14½ inches (sheet). Unsigned. Accompanying the drawing are two color separations, one each for brown and green, which are highly unusual to find with Lobel’s illustrations.
Estimate
$4,000 – $6,000
27
Arnold lobel (1933-1987)
“‘I am coming to help you!”
Illustration for The Frog and Toad Coloring Book by Lobel (New York: Harper & Row, 1981). Pen and ink over graphite on paper. 128x98 mm; 5x3¾ inches, on 7¾x7½-inch sheet. Unsigned. Cornered to board; matted and archivally framed.
The full caption reads “‘Frog, do not worry,’ cried Toad. ‘I am coming to help you!’ Toad ran out of his house.”
Estimate
$3,000 – $4,000
28
Arnold lobel (1933-1987)
“We can try to climb this mountain.”
Illustration for The Frog and Toad Coloring Book by Lobel (New York: Harper & Row, 1981). Pen and ink over graphite on paper. 123x144 mm; 4¾x5¾ inches, on 8x8¼-inch sheet. Unsigned. Cornered to board; matted and archivally framed.
The full caption reads “Frog and Toad went outside. ‘We can try to climb this mountain,’ said Frog. ‘That should tell us if we are brave.’”
Estimate
$3,000 – $4,000
29
James marshall (1942-1992)
“The wind picked up the umbrella and Roger at once, and blew them very high.”
Illustration for double-page spread in Roger's Umbrella by Daniel Manus Pinkwater ["Honest Dan'l Pinkwater"] (New York: E. P. Dutton, Inc., 1982). Ink and watercolor on paper. 190x420 mm; 7½x16½ inches, on two sheets, which are taped together on the verso. The first sheet is 9½x8¾ inches; the second is 9x8¾ inches. Unsigned. Hinged to board with matte and framed. A copy of the book accompanies the lot.
See also lot 123 for James Marshall.
Estimate
$2,000 – $3,000
30
Petra mathers (1945- )
“She lives inside a peanut shell…”
Study for illustration published in Little Love Song by Richard Kennedy (New York: Knopf, distributed by Random House, 1992). Watercolor, gouache, and ink on thin board. 155x155 mm; 6x6 inches, on 10¼x9½-inch sheet. Titled “Study for ‘Little Love Song’” and signed “Petra Mathers” in graphite in lower right image. A copy of the book accompanies the lot.
Estimate
$500 – $750
31
Barbara mcclintock (1955- )
“Suddenly Danielle didn’t feel like much of an artist.”
Illustration for page 8 of The Fantastic Drawings of Danielle by McClintock (Boston: Houghton Mifflin, 1996). Watercolor, pen, and ink on paper. 177x160 mm; 7x6¼ inches, on 11x8½-inch sheet. Signed “McC” below image at lower right. Hinged to board with matte and archivally framed. A copy of the book accompanies the lot.
Provenance: Acquired by current owner from Storyopolis, April 1998.
Estimate
$2,500 – $3,500
32
David mcphail (1940- )
“Where Can an Elephant Hide?”
Together, group of 8 illustrations on 4 sheets for a book of the same title by McPhail (New York: Doubleday & Company, Inc, 1979), with their label on versos. Watercolor and graphite backgrounds on paper. Includes pages 10-11, 14-15, 24-25, and 26-27. In addition to watercolor backgrounds, the lot includes details in pen, ink, and graphite, as well as overlays with text pastedowns.
Image areas are approximately 190x458 mm; 7½x18 inches, on 10x20¾-inch sheets.
Watercolor background for pages 24-25 is matted, archivally framed, and stacked above the corresponding ink drawing with its overlay. The remaining watercolors are hinged to individual boards on top of the detail drawings and overlays. A copy of the book accompanies the lot.
Provenance: Acquired by current owner from Aleph-Bet Books, January 1998.
Estimate
$700 – $1,000
33
Kathy mitchell (20th century)
“He Could Not Find the Proper Spell.”
Illustration for unknown publication. Mixed media, including pen, ink, watercolor, gouache, and pencil on paper. 250x215 mm; 10x8¼ inches, on 13¾x11¼-inch sheet. Unsigned; not dated. Tipped to window matte; archivally framed.
Estimate
$600 – $900
Lots 34 to 38
34
Lynn munsinger (1951- )
“Then he cleaned up the kitchen.”
Illustration for Hedgehog Bakes a Cake by Maryann Macdonald (Milwaukee: Gareth Stevens Publishing, 1990). Watercolor over graphite on paper. 75x125 mm; 3x5 inches, on 5¾x7¼-inch sheet. Unsigned.
Estimate
$500 – $750
35
Lynn munsinger (1951- )
“I quite agree.”
Illustration for page 27 of The Tale of Custard the Dragon by Ogden Nash (Boston: Little, Brown & Company, 1995). Pen, ink, and watercolor over graphite. 230x190 mm; 9x7½ inches, on 12¼x9¼-inch sheet. Signed “Lynn Munsinger” in lower right image. Taped to matte and archivally framed.
Provenance: Acquired by current owner from Elizabeth Stone Gallery, December 1999.
Estimate
$600 – $900
36
Lynn munsinger (1951- )
“He tossed the banana peel over his shoulder” * “I don’t know how to ride a skateboard.”
Together, two illustrations for Wanted: Best Friend by A. M. Monson (New York: Dial Books for Young Readers, 1997). Watercolor over graphite on paper. The first is 90x110 mm; 3½x4¼ inches, on 7¾x8¼-inch sheet. The second is90x144 mm; 3½x5¾ inches, on 8¼x8-inch sheet. Both signed “Lynn Munsinger” in lower right image.
Estimate
$800 – $1,200
37
Lynn munsinger (1951- )
“Anyone for math?”
Illustration for page 17 of Score One for the Sloths by Helen Lester (Boston: Houghton Mifflin, 2001). Watercolor over graphite on paper. 105x180 mm; 4¼x7¼ inches, on 7½x9½-inch sheet. Unsigned.
Estimate
$500 – $750
38
Lynn munsinger (1951- )
“Hunter got his foot on the ball first.”
Illustration for Hunter & Stripe and the Soccer Showdown by Laura Malone Elliott (New York: HarperCollins, 2005). Watercolor and ink over graphite on paper. 148x205 mm; 5¾x8 inches, on 8¾x11¾-inch sheet. Unsigned.
Estimate
$600 – $900
39
Peter newell (1862-1924)
“A Careless Father.”
Published in Harper’s Bazar, Saturday, March 25, 1899; Volume XXXII, Number 12. Watercolor, ink, and wash on board. 200x179 mm; 17¾x7 inches mounted to 9x7¾-inch board with Harper & Brothers copyright 1899 stamp in lower left; signed “Peter Newell-“99” in lower right; label on verso marked “Phototype Department” for [Harper’s] Bazar, wanted for Monday, January 23rd and received January 19, 1899. Tipped to hand-captioned matte reading “A Careless Father/`Why child, you must be collicky, to wriggle thus and wail! Said pa, while everytime he rocked he pinched the mousey’s tail.’”
Exhibited: “American Illustrators 1800 to the Present,” Nov 1977-Nov 1978, The American Federation of the Arts, New York.
Estimate
$2,000 – $3,000
40
Florence pearl england nosworthy (1872-1936)
Girl Perched in Tree with Apple.
Illustration for unknown publication. Pen, ink, and gouache on Bristol board. 340x185 mm; 13¼x7¼ inches, on 17x11½-inch sheet. Signed “Florence Pearl England” in lower right image.
Estimate
$400 – $600
41
Michael paraskevas (1961- )
“Junior Kroll.”
Title page illustration for Junior Kroll by Betty Paraskevas (San Diego: Harcourt Brace Jovanovich, 1993). Mixed media, including acrylic and crayon on Bristol board. 360x560 mm; 14¼x22 inches, on 18x26½-inch sheet. Signed “M. Paraskevas” in lower left image. Hinged to board with matte and archivally framed. A plush doll of Junior Kroll and copies of the books Junior Kroll and Junior Kroll and Company, both signed by Michael and Betty Paraskevas, accompany the lot.
Provenance: Acquired by current owner from Giraffics Gallery, November 1994.
Estimate
$700 – $1,000
42
C.f. payne (1956- )
Micawber - Imitating Norman Rockwell’s “Triple self-portrait.”
Illustration published in Micawber by John Lithgow (New York: Simon & Schuster, 2002). Acrylic, watercolor, and colored pencil on paper. 380x275 mm; 15x10¾ inches. Signed "C.F. Payne" in lower left. Float mounted and archivally framed. Printing indications in margins visible.
Provenance: Acquired by current owner from Storyopolis, April 2006.
In his third children's book, award-winning actor and best-selling author John Lithgow tells the tale of Micawber, a creative squirrel who lives in the Central Park Carousel and is a frequent visitor to the neighboring Metropolitan Museum of Art. One day as he peers through the window, he observes an artist in the gallery copying the old masters. Inspired and eager to try it himself, Micawber leaps into the artist's paint box as she leaves the Museum and hides in the apartment until she falls asleep. Borrowing the paints and using the tip of his bushy tail as a brush, Micawber surreptitiously discovers the joy of painting his own masterpieces.
Night after night, he returns to the artist's apartment to paint. At dawn, he rolls up his canvas, ties it with a shoelace, and heads home to the park. Eventually, he has enough of his own paintings to open "Micawber's Museum of Art" in his living room at the top of the carousel, where he invites his fellow creatures of Central Park to admire his creations. In this illustration, Micawber imitates Norman Rockwell's iconic Triple self-portrait.
C. F. Payne illustrated Lithgow's The Remarkable Farkle McBride in addition to other books for children. His illustrations have regularly appeared in The Atlantic Monthly and Time.
Estimate
$800 – $1,200
WILLIAM PÈNE DU BOIS (1916-1993)
Lots 43 to 45
Pène du Bois’ whimsical illustrations and beloved cast of characters made serious themes accessible and engaging for children. The American author and illustrator is among a select few who have been presented with both a Newbery Medal (for The Twenty-One Balloons, 1947) and Caldecott Honors (for Bear Party, 1951 and Lion, 1956). As both artist and author, Pène du Bois captivated generations of readers with his unique combination of humor and imagination.
43
William pène du bois (1916-1993)
“Otto at Sea.”
Front and back cover for book of the same title by Pène du Bois (New York: The Viking Press, 1936). Watercolor, gouache, pen, and ink on paper adhered to larger board. 182x350 mm; 7¼x13¾ inches, on 7½x14¼-inch sheet. Signed "William Pène du Bois" in right image. Cornered to board; matted and archivally framed. A copy of the book accompanies the lot.
Provenance: Acquired by current owner from Illustration House.
See artist's bio above.
Estimate
$1,200 – $1,800
44
William pène du bois (1916-1993)
“Elisabeth the Cow Ghost.”
Together, nearly complete group of 31 illustrations for book of the same title by Pène du Bois (New York: Viking Press, 1964). Pen and ink on paper; one with printed text pastedown. Includes the cover, interior jacket flap, front endpaper, false title page, title page, copyright/dedication page, interior pages 7, 8-9, 10-11, 12, 14-15, 16, 18, 22-23, 24-25, 26-27, 30-31, 32, 34-35, 38-39, 40, back endpaper. Image sizes vary from 135x160 mm; 5¼x6¼ inches, to 255x385 mm; 10x15 inches. The smallest sheet measures 11½x8 inches, but most are 11½x15½ inches. Page 31 signed "William Pène du Bois" near lower right image and page 7 is initialed "W. P. du B." in lower right image; the remaining are unsigned. Two mounted individually on board with archival matte, another firmly adhered to non-archival cardboard with old matte that has Viking Press label on verso; remaining are loose.
This group of illustrations is from the 1964 reissue of Pène du Bois' first book, which was originally published in 1936 with different illustrations.
See artist's bio above lot 43.
Estimate
$4,000 – $6,000
45
William pène du bois (1916-1993)
“Porko von Popbutton.”
Together, 22 illustrations for book of the same title by Pène du Bois (New York: Harper & Row, 1969). Includes jacket page, title page and binding, spine for binding and jacket, and 19 interior illustrations. Mixed media, including pen, ink, watercolor, and gouache over graphite on paper; two with applied text/numbers. Image sizes vary from 115x115 mm; 4½x4½ inches to 230x335 mm; 9x13¼ inches. Sheets measure from 5¼x5¼ inches to 11¼x15 inches. Three signed "William Pène du Bois." Two mounted together on board with archival matte; remaining are loose. A copy of the book accompanies the lot.
A selection of these illustrations by Pène du Bois first appeared in the story's initial publication in Sports Illustrated, December 23, 1968, where it was originally titled "Beat the Queen." Sports Illustrated began publication in 1954, but the nascent magazine struggled to find an audience and operated at a loss for several years. In order to attract broader readership in the early days, the magazine reported on non-mainstream sports and occasionally ran a work of fiction. "Beat the Queen" is likely one of the only stories for children to be published in Sports Illustrated.
See artist's bio above lot 43.
Estimate
$3,000 – $4,000
46
Giselle potter (20th century)
“First thing in class, Libby started waving her hand.”
Illustration for page 18 of The Honest-to-Goodness Truth by Patricia McKissack (New York: Atheneum Books, 2000). Mixed media, including watercolor, tempera, and pencil on paper. 290x240 mm; 11½x9½ inches, on 13¾x11-inch sheet. Signed “Giselle Potter” beneath image at lower right. Hinged to board with matte and archivally framed.
Provenance: Acquired by current owner from Every Picture Tells A Story, June 2000.
Estimate
$500 – $750
47
Louis rhead (1857-1926)
“Clara on her couch was soon surrounded by the goats.”
Illustration for chapter XX of Heidi by Johanna Spyri (New York: Harper & Brothers, 1925). Pen and ink on paper. 355x240 mm; 14x9½ inches, on 14½x10-inch sheet. Signed “Louis Rhead” in lower right image and dated “9/30/24” in graphite on verso. Hinged to matte.
Estimate
$800 – $1,200
48
Louis rhead (1857-1926)
“So they sat and chatted under the trees.”
Illustration for chapter XXI of Heidi by Johanna Spyri (New York: Harper & Brothers, 1925). Pen and ink on paper. 355x240 mm; 14x9½ inches, on 14½x10-inch sheet. Signed “Louis Rhead” in lower right image and dated “9/30/24” in graphite on verso. Hinged to matte.
Estimate
$800 – $1,200
49
Frederick richardson (1862-1937)
“Rapunzel let down her plaits and the witch climbed up.”
Illustration facing page 296 of “Rapunzel” published in Andrew Lang’s The Red Fairy Book (Philadelphia: The John C. Winston Company, 1930). Pen, ink, and wash on paper. 343x230 mm; 13½x9 inches, on 14½x11½-inch sheet. Initialed “FR” in lower right image. Hinged to board with matte and archivally framed. A photocopy of the story with a printed color plate taken from the book accompany the lot.
Provenance: Acquired by current owner from Jo Ann Reisler, Ltd., January 2005.
The published reproduction of the illustration was printed in full-color.
Estimate
$1,000 – $1,500
50
John a. rowe (1949- )
“…they just hugged and cuddled me and welcomed me home.”
Illustration for Smudge by Rowe (New York: North-South Books, 1997). Subsequently reproduced in Favorite Stories by John A. Rowe: 3 Complete Tales (New York: Smithmark, 1999), page 91. Acrylic on paper. 185x205 mm; 7¼x8 inches, on 8¾x9½-inch sheet. Signed “John Rowe” and dated “Shackleford [19]96” in lower margin. Taped to matte and archivally framed. A copy of the books Smudge and Favorite Stories by John A. Rowe: 3 Complete Tales accompany the lot.
Provenance: Acquired by the current owner from Every Picture Tells A Story, June 3, 2000.
The full caption reads “From the very first they didn’t want to use me for anything - they just hugged and cuddled me and welcomed me home.”
Estimate
$600 – $900
51
Albert rutherston (1881-1953)
“In Search of the Bluebird.”
Illustration to face page 26 of the third edition of The Children’s Bluebird by Georgette Leblanc (Madame Maurice Maeterlinck) (London: Methuen, 1929). Watercolor and ink on paper. 157x211 mm; 6¼x8¼ inches, on 6¼x8½-inch sheet adhered to larger board. Signed “Albert R.” next to “13” in lower right image. Matted and framed.
Rutherston was the brother of William Rothenstein but changed his last name. His drawings often foreshadow surrealism, which led to a somewhat cult following. His drawings remain scarce on the market.
Estimate
$2,500 – $3,500
52
Ilya schor (1904-1961)
The Little Mermaid.
Unpublished portfolio piece, possibly illustrating a scene from The Little Mermaid. Pen and ink over graphite on thick paper. 320x255 mm; 12¾x10 inches, on 17¾x12½-inch sheet adhered to larger 20x15-inch sheet. Signed "I. Schor" in lower right margin, with location of "N.Y." in lower left margin.
This drawing, which builds on Ilya Schor's knowledge of European folkloric styles, was created for his illustration portfolio around 1942 or 1943 when he was establishing his artistic career in the United States shortly after his arrival from Poland. The location "N.Y." is indicative of his recent arrival in New York City in 1941.
In the following years, Schor developed a highly respected name as a noted artist of Judaica, a fine arts jeweler, a painter of Jewish life in the shtetl, and as a noted illustrator, with his wood-engravings for the writings of Rabbi Abraham Joshua Heschel and Sholem Aleichem remaining in continuous print since the late 1940s.
Estimate
$700 – $1,000
53
Ilya schor (1904-1961)
Woodland Scene.
Unpublished portfolio piece illustrating a scene from an unknown fairy tale. Pen, ink, and gouache over graphite on thick paper. 280x215 mm; 11x8½ inches, on 19x14½-inch sheet. Signed "I. Schor" in lower left image.
This drawing, which builds on Ilya Schor's knowledge of European folkloric styles, was created for his illustration portfolio around 1942 or 1943 when he was establishing his artistic career in the United States shortly after his arrival in New York City from Poland in 1941.
In the following years, Schor developed a highly respected name as a noted artist of Judaica, a fine arts jeweler, a painter of Jewish life in the shtetl, and as a noted illustrator, with his wood-engravings for the writings of Rabbi Abraham Joshua Heschel and Sholem Aleichem remaining in continuous print since the late 1940s.
Estimate
$700 – $1,000
54
Maurice sendak (1928-2012)
Jennie.
Two studies of the famous performing Sealyham terrier for the 1985 opera adaptation of his work Higglety Pigglety Pop! Or, There Must Be More to Life by Oliver Knussen for the Glyndebourne Festival, Sussex, England. Graphite on thin paper. 168x135 mm; 6½x5½ inches, on 11¼x9-inch sheet. Signed “Maurice Sendak” in lower right image. Not dated. Adhered to matte with archival tape; framed.
Estimate
$3,000 – $4,000
55
Maurice sendak (1928-2012)
“Wild Things Come to New York.”
Postcard design concept sketch, circa 1996. Graphite on onionskin. 234x170 mm; 9¼x6¾ inches, on 12x9-inch sheet. Signed “Maurice Sendak” in lower right image, and inscribed in margin at lower left: “Scott, I leave cameras and microphones to you!” Hinged to matte and framed together with a printed copy of the postcard.
Estimate
$3,000 – $4,000
56
Brad sneed (20th century)
“…the happiest two-some in all o’ Tarbelly Creek.”
Illustration for page 32 of Smoky Mountain Rose: An Appalachian Cinderella by Alan Schroeder (New York: Dial Books for Young Readers, 1997). Watercolor over graphite on paper. 445x340 mm; 17½x13¼ inches, on 21x15½-inch sheet. Signed “Brad Sneed” in lower left image, and again in graphite in lower margin with book title and page number. Hinged to board with matte and archivally framed. A copy of the book accompanies the lot.
Provenance: Acquired by current owner from Every Picture Tells A Story, April 2000.
The full caption reads “To this day, Rose and Seb are still livin’ there, and folks reckon they’re ‘bout the happiest two-some in all o’ Tarbelly Creek.”
Estimate
$700 – $1,000
57
William steig (1907-2003)
“`Bats and Barnacles!’ Ebenezer exclaimed…”
Study for the illustration in Steig's Farmer Palmer's Wagon Ride (New York: Farrar Straus & Giroux, 1974). Mixed Media, including watercolor, ink and graphite on paper. 203x216 mm; 8x8½ inches, on 10½x10-inch sheet. Signed "W. Steig" in lower image. Archivally framed. A copy of the 1992 paperback edition accompanies the artwork.
A colorful and humorous variant illustration of the role reversal when donkey Ebenezer and Farmer Palmer the pig switch cart positions on their periled trip back from an otherwise successful market day. The published version differs in detail but maintains the basic composition and coloring.
Estimate
$2,500 – $3,500
58
Mark teague (1963- )
“They turn out the light.”
Illustration for How Do Dinosaurs Say Good Night? by Jane Yolen (New York: Blue Sky Press, 2000). Acrylic on paper. 310x465 mm; 12¼x18¼ inches, on 14x21-inch sheet. Signed “M C Teague” in lower left image. Hinged to board with matte and archivally framed.
Provenance: Acquired by current owner from Every Picture Tells A Story, June 2000.
Estimate
$1,000 – $1,500
59
Tasha tudor (1915-2008)
“Their belief in the Magic was an abiding thing.”
Heading for chapter XXVI of The Secret Garden by Frances Hodgson Burnett (New York: HarperCollins, 1962), page 232. Graphite on board. 110x115 mm; 4½x4½ inches, on 10x8-inch board. Signed “T. Tudor” in lower right image. Cornered and laid into matte; archivally framed.
Provenance: Acquired by current owner from Aleph-Bet Books, May 2003.
Estimate
$1,500 – $2,500
60
Tomi ungerer (1931-2019)
“One Fine Morning.”
Mixed media illustration on paper. 140x183 mm; 5½x7¼ inches, image. Sheet measures 350x111 mm; 13¾x11 inches. Illustration on page mock-up for the first English Edition of Warwick’s Three (3) Bottles by Ungerer and Andre Hodier, New York: Grove, 1966. Signed in pencil, lower margin. Image on top half of paper with text taped to paper within penciled guide rules. Cellotape deteriorated, a few printer’s marks along outer margins, some wrinkling; verso marked “Warwick P1 Sketch.”
Estimate
$1,500 – $2,500
61
Tomi ungerer (1931-2019)
Captain with Questionable Moustache.
Study for Ask Me a Question by Ungerer (New York: Harper & Brothers, 1968). Mixed media portrait on onion skin. 280x190 mm; 11x7½ inches, sheet. Signed in pencil, lower right margin. Diagonal hard crease across page, a few other soft creases, and light wrinkling, paper toned where exposed by previous matte; image still bright; some pencil notations and description on verso. Cornered to board with window matte.
Estimate
$1,500 – $2,500
62
Andrea u’ren (1968- )
“You’re my Pugdog. You’re perfect as you are.”
Story illustration for page 29 of Pugdog by Andrea U’ren (New York: Farrar, Straus and Giroux, 2001), with publisher’s label on acetate overlay. Mixed media, including gouache and crayon on thick paper. 220x233 mm; 8¾x9¼ inches, on 12¼x16¼-inch sheet. Signed “Andrea U’Ren” in lower right image, with handwritten artist’s label on verso. A copy of the book accompanies the lot.
Pugdog is among the first modern young children’s readers to address gender stereotyping, using animals as misunderstood beings based on their physical characteristics and play preferences. The story shows a tenderness between pets and their owners and explains the concept of acceptance to children through U’ren’s amusing illustrations and compassionate text.
Estimate
$600 – $900
63
Chris van allsburg (1949- )
“The J was rather Jittery.”
Illustration for The Z Was Zapped by Van Allsburg (Boston: Houghton Mifflin, 1987). Conté crayon on thin board. 237x184 mm; 9¼x7¼ inches, on 15x12-inch sheet. Signed “C.V.A.” and dated 1986 in lower left image, and signed “Chris Van Allsburg” in lower margin. Hinged to board with matte and archivally framed. The lot is accompanied by a copy of the book inscribed “For Jack Golden - Chris Van Allsburg 1987.”
Provenance: Acquired by current owner from Justin Schiller, Ltd. March 2002.
Estimate
$6,000 – $9,000
64
Dan yaccarino (1965- )
“Bittle liked the toilet in the bathroom.” * “He curled up next to Bittle and purred.”
Together, two interior illustrations for pages 27 and 15 of Bittle by Patricia MacLachlan and Emily MacLachlan (New York: Joanna Cotler Books, 2004). Gouache on Arches watercolor paper. The first is 100x175 mm; 4x6¾ inches. The second is 125x223 mm; 5x8¾ inches. Both on 7¾x11¼-inch sheets. Not signed. Cornered to board and matted together; archivally framed. A copy of the book accompanies the lot.
Provenance: Acquired by current owner from Storyopolis, January 2007.
Estimate
$600 – $900
65
Jane breskin zalben (1950-)
“It was kind of you to come! And you are very nice!”
Double-page interior illustration of the picnic scene published in The Walrus and the Carpenter, with Annotations by Tweedledee and Tweedledum by Lewis Carroll (New York: Henry Holt and Company, 1986). Watercolor with graphite and colored pencil on paper. 432x279 mm; 17x11 inches (sight size). Signed “Jane Zalben” in lower right image and with artist’s printing notes in margin below. Cornered to window matte. Accompanied by the hardcover first edition of the book signed by Zalben.
Estimate
$1,200 – $1,800
General Book & Magazine Illustration
66
Thomas b. allen (1928-2004)
“Withdrawal Phase.”
Illustration for article “Public Health Hospital at Lexington, Kentucky, Part One,” published in the 25th Anniversary issue of What’s New; date unknown. Oil on canvas. 710x555 mm; 28x22 inches. Signed “Thomas B. Allen” in lower left image. Framed.
Provenance: Albert Landry Galleries (with their label on verso); private collection, New York.
Estimate
$800 – $1,200
67
Harold anderson (1894-1973)
Snow Angel.
Probable magazine story illustration. Oil on canvas. 406x406 mm;16x16 inches. Signed "Harold N. Anderson" and dated [19]21 in lower left image. Recently professionally cleaned.
Estimate
$1,200 – $1,800
68
Peggy bacon (1895-1987)
“Particularly afraid of each other on Fridays…”
Illustration published on page 45 of Mount Allegro: A Memoir of Italian American Life by Jerre Mangione (Boston: Houghton Mifflin, 1942). Pen and ink on onionskin paper. 152x100 mm; 6x4 inches, on 11x9-inch sheet. Initialed “P. B.” in lower right image, captioned in graphite in lower margin. Tipped to board; matted.
The abbreviated caption is taken from the full published sentence that reads: “The two old ladies were particularly afraid of each other on Fridays because that was the day when the Devil operated most efficiently.”
Estimate
$600 – $900
69
Eugene berman (1899-1972)
“Christo Rey.”
Pen and ink on paper. 228x303 mm; 9x12 inches. Initialed and dated “E.B. 1948” along bottom center image, flanked by the title and inventory number 255 (or 254), also in his hand.
Provenance: Private collection, PA; Freeman’s, 2013; current owner.
Estimate
$400 – $600
70
Eugene berman (1899-1972)
Surrealist head of woman with flora.
Pen and ink on paper. 228x303 mm; 9x12 inches. Initialed and dated “E.B. 1949” within image, top center.
Provenance: Private collection, PA; Freeman’s, 2013; current owner.
Estimate
$400 – $600
71
Mahlon blaine (1894-1969)
“Nastagio degli Onesti’s vision.”
The Decameron of Boccaccio. Illustration for Vol. II, Page 15 of the Bibliophilist Society edition (London, circa 1930). Pen, ink, and gouache on paper. 380x235 mm; 15x9¼ inches, on 16x10½-inch sheet. Initialed “M.B.” in lower right image. Hinged to board with window matte.
The scene illustrates Nastagio degli Onesti’s vision of the knight Guido degli Anastagi intending to kill a young woman, who is enduring never-ending punishment for past sinful behaviors.”
Estimate
$600 – $900
72
Paul bransom (1885-1979)
Water Birds.
Together, three paintings of water birds for unknown publication. Mixed media, including watercolor and wash on paper. The smallest is 90x85 mm; 3½x3¼ inches, on 5¾x4¼-inch sheet. The largest is 115x108 mm; 4½x4¼ inches, on 6½x5½-inch sheet (irregularly cut and excised from larger sheet). One signed, two initialed in lower right image. Tipped to boards with window mattes.
Estimate
$600 – $900
73
Paul bransom (1885-1979)
Two Horses.
Inset and larger drawing for unknown publication. Conté crayon on onionskin. Smaller drawing is 84x82 inches; 3¼x3¼ inches. Larger drawing is 130x135 mm; 5x5¼ inches. Together on 9½x7¼-inch sheet. Signed “Paul Bransom” at lower center, below larger image. Hinged to board with window matte.
Estimate
$300 – $400
DON BRAUTIGAM (1946-2008)
Lots 74 to 79
Brautigam was a highly skilled illustrator who pioneered the use of black paint against striking colors to create some of the most iconic heavy metal album covers and thriller/horror genre book covers throughout the 1980s and 90s. Among his most famous are the 1986 Metallica album Master of Puppets, Mötley Crüe’s 1989 album Dr. Feelgood, and numerous covers for the wildly popular Signet paperbacks of Stephen King novels including The Stand and The Dark Half.
74
Don brautigam (1946-2008)
“The Star Trek Cult: Bonanza from Outer Space.”
Cover illustration for Free Enterprise magazine, published April 1976. Primarily airbrush with liquid acrylic finished with Krylon artist spray fixative on board. 437x330 mm; 17¼x13 inches. Signed "D. Brautigam" in lower right image, with artist's stamp on verso.
Provenance: Estate of the artist.
See artist's bio above.
Estimate
$1,000 – $1,500
75
Don brautigam (1946-2008)
“The Island of Dr. Moreau.”
Cover illustration for the special movie edition of the book of the same title by H. G. Wells (New York: Signet, 1977). Primarily airbrush with liquid acrylic finished with Krylon artist spray fixative on board. 505x305 mm; 20x12 inches. Signed "D. Brautigam" in lower right image, with artist's stamp and date of June [19]77 on verso. Laid into matte with archival tape. Framed.
Provenance: Estate of the artist.
See artist's bio above lot 74.
Estimate
$1,200 – $1,800
76
Don brautigam (1946-2008)
“The Dark Half.”
Cover illustration for the first paperback edition of The Dark Half by Stephen King (New York: Signet, 1990). Primarily airbrush with liquid acrylic finished with Krylon artist spray fixative on board. 505x405 mm; 20x16 inches. Signed "D. Brautigam" in lower left image.
Provenance: Estate of the artist.
One of Brautigam's most recognized Stephen King covers. Applying intense red paint to two birds whose profiles form a pair of seeking eyes, he perfectly depicts the book's ominous premonition "The sparrows are flying again" for the tale which plays with the concept of two halves forming a whole.
See artist's bio above lot 74.
Estimate
$2,000 – $3,000
77
Don brautigam (1946-2008)
“McNally’s Luck.”
Cover illustration for book of the same title by Lawrence Sanders (New York: G. P. Putnam's Sons, 1992). Primarily airbrush with liquid acrylic finished with Krylon artist spray fixative on board. 762x506 mm; 30x20 inches. Signed "D. Brautigam" in lower left image.
Provenance: Estate of the artist.
See artist's bio above lot 74.
Estimate
$1,200 – $1,800
78
Don brautigam (1946-2008)
“Terminal.”
Cover illustration for book of the same title by Robin Cook (New York: G.P. Putnam's Sons, 1993). Primarily airbrush with liquid acrylic finished with Krylon artist spray fixative on board. 596x433 mm; 23½x17 inches. Signed "D. Brautigam" in lower left image, with artist's printed label on verso.
Provenance: Estate of the artist.
See artist's bio above lot 74.
Estimate
$1,200 – $1,800
79
Don brautigam (1946-2008)
“Dolores Claiborne.”
Cover illustration for book of the same title by Stephen King (New York: Signet, 1993). Primarily airbrush with liquid acrylic finished with Krylon artist spray fixative on board. 475x490 mm; 26½x19¼ inches. Signed "D. Brautigam" in lower left image, with artist's label on verso.
Provenance: Estate of the artist.
See artist's bio above lot 74.
Estimate
$2,000 – $3,000
BRALDT BRALDS (1951- )
Lots 80 & 81
Bralds, a mostly self-taught artist from the Netherlands, has been a prolific and sought-after illustrator for several decades. He was launched into fame beginning in 1978 when he received his first commission with a cover for TIME magazine soon followed by his indelible image of the proud Morgaine on horseback gracing the cover of The Mists of Avalon, Marion Zimmer Bradley’s 1983 women-focused historical fiction bestseller about Arthurian legends. Bralds’ impressive client list includes such notable publications as Newsweek, Omni Magazine, The Washington Post, Rolling Stone, Atlantic Monthly, Esquire, Playboy, Penthouse, National Geographic, and more. His work has been featured in ad campaigns for Alfa Romeo, Atlantic Records, Grand Marnier, Gucci, IBM International, Kahlua, Levi-Strauss, Pirelli Brazil, among others.
He has designed three stamp issues for the United Nations Postal Service and the United States Postal Service. In the late 1990s, Bralds transitioned to a fine art career, displaying his work in exhibits and galleries throughout the world.
A long list of awards includes a Hall of Fame recognition from the Dutch Society of Illustrators, an Andy Award, and a Clio Award. From The Society of Illustrators, he has won several medals, the coveted Hamilton King Award in 1984 and, just this spring of 2021, was inducted into their prestigious Hall of Fame.
“The only reason for time is so that everything doesn’t happen at once.”
80
Braldt bralds (1951-)
“Albert Einstein.”
Illustration for the cover of Der Spiegel, issue #50, 1999. Oil on wood panel. 15¾x13¼ inches, 400x340 mm. Signed "© Braldt Bralds," lower right. Archivally float-mounted in archival matte and silver metal frame measuring 28½x25 inches.
In 2004 this portrait of Einstein became the signature image used in all the publicity for Der Spiegel's traveling exhibition titled “Die Kunst des Spiegel” (The Art of Der Spiegel). The two-year tour celebrating the magazine’s cover art spanning fifty years began in Hamburg, Germany, visited major cities in Europe and Asia, and had its final showing at New York’s Society of Illustrators.
See artist's bio above lot 80.
Estimate
$4,000 – $6,000
81
Braldt bralds (1951-)
“Bruder Affe.”
Illustration for the cover of Der Spiegel, August 28, 2000. Oil on wood panel. 15x12¾ inches; 381x323 mm. Archivally float-mounted in archival matte and silver metal frame measuring 27x24-inch frame. Signed and dated a year after creation "Braldt Bralds `01."
For the magazine's emotionally charged cover story concerning the demise of the biological family that is closer to Homo sapiens than any other form of life and whose diminishing population levels threaten them with extinction, Bralds portrayed “Bruder AFFE” cleverly and adeptly, as a cross between the sculptor Rodin’s famous “Thinker” and Shakespeare’s Hamlet, contemplating mortality as he considers his late friend Yorick’s skull.
See artist's bio above lot 80.
Estimate
$3,000 – $4,000
82
(british royal family)
“Our King and Queen.”
Cover illustration for Souvenir Book of King George VI and Queen Elizabeth [Bowes-Lyon] (London: Birn Bros. Ltd., No. 719, circa 1937). Mixed media, including gouache with printed portraits that have been hand-colored and collaged onto board. 250x184 mm; 9¾x7¼ inches, on 12¼x8-inch board. Unsigned. Not dated. A copy of the book accompanies the lot.
Estimate
$400 – $600
83
Frederick sands brunner (1886-1954)
Spring Beauty with Boxer.
Likely magazine cover illustration, circa 1940s. Oil on canvas. 892x685 mm; 35¼x27 inches. Signed “F. Sands Brunner” at lower right. Framed.
Estimate
$1,500 – $2,500
84
Al buell (1910-1996)
Argument at the Piano.
Illustration for unknown publication. Oil on canvas loosely mounted to board. 577x505 mm; 22¾x19¾ inches. Signed “Al Buell” in lower right image. Laid into matte.
Estimate
$1,200 – $1,800
85
Jean cocteau (1889-1963)
“l’Ange Heurtebise.”
Illustration for his poem of the same title. Ink, colored pencil, and wax crayon, with collage on paper, mounted to thicker stock. 280x222 mm; 11x8¾ inches. Initialed “JC*” in lower right corner and titled in Cocteau’s hand along top margin.
Cocteau and Man Ray would collaborate to create the first appearance of this work in print, the fine photographic livre d’artiste L’Ange Heurtebise (Paris: Librarie Stock, 1925).
Provenance: Chevalier Tony Clark Collection.
Estimate
$1,000 – $1,500
86
Susan davis (1948-1999)
“The Family.”
Cover illustration for District Lawyer Magazine (now called Washington Lawyer), published 1980. Watercolor on thick paper. 118x175 mm; 4½x7 inches, on 14¼x11¼-inch sheet. Signed “Davis” in lower right image, and again in lower margin with title and date of [19]80. Cornered to board with window matte; framed.
Estimate
$500 – $750
JILL DEGROFF (1954- )
Lots 87 & 88
Jill DeGroff is a fine artist and sought-after caricaturist of the craft cocktail era with a passionate cult following. Inspired by Al Hirschfeld’s illustrations of speakeasies in his 1932 book Manhattan Oases, she began painting and sketching in bars and jazz clubs over two decades ago, often accompanying her husband, Dale DeGroff, the James Beard award-winning mixologist and author of The Craft of the Cocktail (and its recent update The New Craft of the Cocktail) and with whom she co-founded the Museum of the American Cocktail in New Orleans in 2004. Her book, Lush Life Portraits from the Bar, (New York, 2009) is an anthology of the colorful characters she met in bars around the world and the tales they told.
87
Jill degroff (1954-)
“The 21 Club.”
Acrylic on canvas, 2020. 1015x765 mm; 40x30 inches. Signed lower right.
See artist's bio above.
This painting captures the spirit of the legendary speakeasy-turned-landmark restaurant that opened its doors at 21 West 52nd Street in 1929 and was famous for its 35 colorful jockey sculptures that lined its entrance. One of the city's most celebrated hot spots of the pre- and post-Prohibition eras, its regulars included Ernest Hemingway, Mae West, Mayor Jimmy Walker, Elizabeth Taylor, Joan Crawford, and was a must-visit stop for every presidential candidate beginning with FDR.
During Prohibition, it was equipped with an elaborate system of levers that were used to tip the shelves of the bar, sweeping the liquor bottles through a chute leading into the city's sewers and reserved a private bar in the basement for Mayor Walker that included a secret wine cellar accessible only through a hidden door disguised as a brick wall that opened into the basement of the adjacent building. Though closed indefinitely during the COVID-19 pandemic in 2020, its current owners, the French luxury firm conglomerate LVMH, announced they are planning to reopen "21" at some point in a new, reimagined form with a nod to its distinctive past.
Estimate
$2,500 – $3,500
89
Walter joseph enright (1875-1969)
Lady Golfer.
Illustration for unknown publication. Gouache on board. 330x225 mm; 13x9 inches, on 13¾x9½-inch board. Signed “W. J. Enright” in lower right image. Hinged to board with matte.
Estimate
$200 – $300
90
Joe eula (1925-2004)
Archive of finished and preparatory drawings for “Tiffany’s Table Manners for Teenagers.”
Group of 44 original drawings, sketches, studies and notes for the book by Walter Hoving (New York: Washburn, 1961) illustrated by Eula. Pen, ink, graphite, and wash on rectangular white paper and onion skin. Includes both unused studies and published images. Sizes vary, mostly 380x254 mm; 15x10 inches. One 19x16-inch captioned illustration (not in book) is framed. A 1979 Japanese edition of the book accompanies the lot.
Celebrating its sixtieth anniversary this year, this charming and wry etiquette guide for adolescents shows Eula's playful side. It was reprinted for its 50th anniversary and remains collectible.
Eula's long and prolific career in fashion and performing arts began in the 1950s where, after serving in the Italian Campaign in World War II, and completing studies at The Art Students League on the GI Bill, he was launched into the fashion world as the head illustrator for The New York Herald Tribune under Eugenia Sheppard. Soon to follow were positions at The London Sunday Times, American Vogue, The New York Times, and Italian Harper's Bazaar where he famously covered Yves Saint Laurent's first and last collections (1958 and 2002). However, it is as Halston's Creative Director throughout the 1970s that he is best remembered. That time was recently chronicled in the popular Netflix series "Halston" in which Eula is skillfully portrayed by actor David Pittu.
Estimate
$1,200 – $1,800
JOHN FALTER (1910-1982)
Lots 91 to 93
Falter was a prolific illustrator and is best known for his more than 120 covers produced for The Saturday Evening Post. He received commissions for other leading publications of the day, including Esquire, McCall’s, Good Housekeeping, Cosmopolitan, Life, and Look.
91
John falter (1910-1982)
“Tom Sawyer.”
Preliminary sketches and supporting material for The Adventures of Tom Sawyer (New York: Macmillan Company, 1962).
The lot includes:
Approximately 105 rough sketches in various media. Most are charcoal on paper, some are graphite, two are marker, and three have added watercolor. Sheet sizes vary, but most are approximately 356x280 mm; 14x11 inches. All unsigned, except for one color study initialed “JF” in lower left image.
One preliminary sketch in graphite on onionskin. 362x317; 14¼x12½-inches (sheet). Initialed “JF” in lower left image.
Approximately 130 preparatory photographs to aid in Falter’s compositions. Most are 125x180 mm; 5x7 inches. Fifteen are 107x82 mm; 4¼x3¼ inches. Primary subjects include children and some adults posing for various iconic scenes in the book. Some photographs have accompanying negatives. Also included are 6 handwritten receipts for film development and prints, which were issued to Falter from Michael’s Studio Photography in Skippack, Pennsylvania, with various dates between January 27 and April 14, 1962.
A 9x9½-inch photographic reproduction of Falter’s illustration of Tom holding a brush in front of a partially whitewashed fence.
A working list of illustrations for the book written in Falter’s hand with his notations.
A cover sheet written in Falter’s hand: “Rough pencil comps / for Tom Sawyer / Page situations marked / from Harper & Bros. edition ©1930 / J. Falter [signed].”
A typed receipt dated March 19, 1963 written to Falter on The Macmillan Company letterhead to acknowledge their receipt of the artist’s illustrations and to outline a return date for artwork on exhibition.
Falter was a prolific illustrator and is best known for his more than 120 covers produced for The Saturday Evening Post. He received commissions for other leading publications of the day, including Esquire, McCall’s, Good Housekeeping, Cosmopolitan, Life, and Look. This archive, with its conceptual photographs and corresponding sketches with varying stages of detail, give insight into Falter’s working process as he developed compositions over time.
Estimate
$1,500 – $2,500
92
John falter (1910-1982)
Fifth Avenue.
Preliminary sketch for cover of The Saturday Evening Post, published March 19, 1960. Mixed media, including marker, pen, watercolor, and charcoal on paper. 345x513 mm; 13½x20¼ inches (sheet). Signed “John Falter” in lower left image. Two sheets adhered near center to form larger sheet with vertical fold crease near center.
Two additional preliminary studies accompany the lot. The first is the same size as the color sketch, but executed in graphite and black marker. The second is graphite on onionskin and measures 745x1030 mm; 29¼x40½ inches (sheet).
The lot is also accompanied by two printed magazine pages that likely served as inspiration for Falter’s composition.
Falter was a prolific illustrator and is best known for his more than 120 covers produced for The Saturday Evening Post. He received commissions for other leading publications of the day, including Esquire, McCall’s, Good Housekeeping, Cosmopolitan, Life, and Look. This lot, with its sketches in varying stages of detail, give insight into Falter’s working process as he developed compositions over time.
Estimate
$600 – $900
93
John falter (1910-1982)
“Commuters in the Rain.”
Preliminary sketch and supporting material for cover of The Saturday Evening Post, published October 7, 1961. Mixed media, including pen, ink, watercolor, and gouache on board. 340x270 mm; 13½x10¾ inches. Unsigned.
The lot includes:
Three preliminary sketches in graphite on onionskin in various sizes, the largest is 760x570; 30x22½-inches (sheet). One signed “John Falter” at lower left.
Eleven sheets with rough sketches in various media, including pen, ink, marker, and graphite. Image sizes vary, with each sheet measuring about 350x275 mm; 13½x10¾ inches. All unsigned.
Approximately fifty preparatory photographs to aid in Falter’s composition. Each 125x180 mm; 5x7 inches. Primary subjects include the Gwynedd Valley, Pennsylvania train station and figures posed as if running in the rain. Some photographs have accompanying negatives.
Five printed tear sheets of magazine advertisements picturing various contemporary cars also accompany the lot.
Falter was a prolific illustrator and is best known for his more than 120 covers produced for The Saturday Evening Post. He received commissions for other leading publications of the day, including Esquire, McCall’s, Good Housekeeping, Cosmopolitan, Life, and Look. This archive, with its conceptual photographs and corresponding sketches with varying stages of detail, give insight into Falter’s working process as he developed compositions over time.
Estimate
$2,000 – $3,000
94
Brian froud (1947- )
“One day I saw a large bunch of twigs . . . bound in cobwebs and hanging by a thin thread.”
Double panel illustration, Plate number 12, published in The Land of Froud, edited by David Larkin (New York: Peacock Press/Bantam Books, 1977). Watercolor, gouache, and ink on board. 580x398 mm; 23x15¾ inches (measurement panels together), on 25x18-inch watercolor board. Signed “Brian Froud `76” in lower left of main image. Matted and archivally framed.
Provenance: The artist to collector and publisher of Ballantyne Books, Betty Ballantine, thence by her estate to private collection, New York.
Estimate
$6,000 – $9,000
95
Charles dana gibson (1867-1944)
“At the Black Cat.”
Illustration for About Paris by Richard Harding Davis (New Yorker: Harper & Brothers, 1895), page 71. Subsequently reproduced in Pictures of People (New York: Russell & Son, 1896). Pen and ink over graphite on board. 550x715 mm; 21¾x28 inches, on 22½x28½-inch sheet mounted to larger board. Signed “C. D. Gibson” in lower left image. Hinged to matte; framed.
Estimate
$4,000 – $6,000
Lots 96 to 100
96
Edward gorey (1925-2000)
“The Disrespectful Summons.” Three concept sketches
for the work published by The Fantod Press, New York, 1971. Three separate sheets. Ink on paper. The first sheet measures 215x280 mm; 8½x11 inches and contains a detailed drawing of the book cover plus 6 smaller sketches for the layouts of the final 6 illustrative panels and a list of titles to potential stories, including “The Loathsome Couple,” drawn on yellow paper. Signed “Edward Gorey” somewhat hastily on the base of the urn in the main image. Tipped to floating window matte and framed.
Matted together are two additional 8½x11-inch sheets containing numerous character and panel composition sketches along with some trial title and lettering designs. Ink and graphite on paper. Signed three times by way of Gorey’s titling. Mounted along verso to double vertical window matte measuring 26¼x17¾ inches.
Provenance: Aleph-Bet Books, 2011; private collection.
The devil depicted in the sketches is strikingly similar to 17th century woodcut images of the Pendle Witches, a group of women accused of witchcraft in Lanscashire, England in 1612. These images were circulated in America, especially around Gorey’s New England, and he would likely have been familiar with them, especially given his voracious curiosity for visual ephemera.
Estimate
$3,000 – $4,000
97
Edward gorey (1925-2000)
“You’ve written me to no avail, Because I never read my mail.”
Postcard design created by Gorey for the purpose of replying to fan mail, 1979. Pen and ink with dashes of correction fluid on paper. 158x108 mm; 6¼x4¼ inches, on 11½x7¼-inch sheet. Unsigned (as Gorey would sign his name across the diagonal band before sending), but measurement, trim marks, and dated “?ix.79 - I.c.79” inked in lower right corner.
Provenance: Archives of the printer, Oliphant Press.
Gorey was slightly reluctant about his popularity which was already growing steadily by the 1980s. To assuage his guilt at not being able to answer the growing influx of fan mail, he created this response postcard which he had printed, would hand sign within its fancy banner, and mail back to the sender. It contained his favorite tropes: a languid cat sitting upon a Japanese urn of letters overflowing onto a patterned carpet (both camouflaged by the elaborate wallpaper), and drapery with tassels. A voice bubble above the cat delivers the contrite-yet-candid message: “You’ve written me to no avail, Because I never read my mail.”
As part of the Edward Gorey Documentary Project directed by Christopher Seufert, the artist himself was interviewed on the subject of fan mail.
Estimate
$4,000 – $6,000
98
Edward gorey (1925-2000)
Dogear Wryde Interpretive Series.
Together, group of 11 illustrations (of 13, lacks the "Indecency" and "Inspiration" drawings), colophon, and 2 envelope designs for the postcard series (New York: Gotham Book Mart, 1979). Pen and ink with correction fluid on stiff paper. Images and the envelope verso (containing Gorey's manuscript title and date) measure roughly 165x72 mm; 5½x3 inches, on 7¾x5½-inch sheets. Envelope recto and colophon sheet measure slightly larger at 7¾x6 inches. All unsigned, but verso of the 11 illustrations bear his manuscript [19]79 dates in black ink, lower right.
Provenance: Archives of the printer, Oliphant Press.
The set was produced as 13 black-and-white cards which feature a lizard physically interpreting various words that begins with the letter "I", laid into a printed envelope, with a special edition of 76 for which Gorey numbered, signed, and hand-colored each of the cards. The uncolored images were reprinted in The Betrayed Confidence and several individual cards appear in date books and calendars in their colored version.
Estimate
$7,000 – $10,000
99
Edward gorey (1925-2000)
“An Exchange of Gifts.”
Cover illustration for <I>The New York Review of Books,<M> December 16, 1982 and likely holiday card design. Pen and ink on paper. 90x228 mm; 3½x9 inches, image, on 7¼x11½-inch sheet. Unsigned.
Provenance: Archives of the printer, Oliphant Press.
Estimate
$2,000 – $3,000
100
Edward gorey (1925-2000)
“All Strange Away.”
Group of 16 illustrations plus the printed prospectus for Samuel Beckett’s All Strange Away (New York: Gotham Book Mart, 1976). Pen and ink on paper. 35x35 mm; 1¼x1¼ inches. All but two of the drawings loose from Gorey’s paper mounts, measuring 6½x7¾ inches (where he has written “Top” in pencil along top margins).
Provenance: Archives of the printer, Oliphant Press.
All Strange Away was printed in a signed, limited edition of 200 numbered and 26 lettered (A to Z) copies and was the first of two collaborations between Beckett and Gorey. It was followed by Beginning to End in 1988 which suffered numerous setbacks, mainly due to the author’s failing health and was produced less than a year before Beckett’s death.
Gorey was attracted to Beckett’s absurdist prose and minimalist style, making his own aesthetic a perfect fit for the story which centers around an atmosphere of minimal space and light, beautifully mirrored in the book’s layout which floats his eerie, microscopic views in the wide margins. These miniature postage-sized drawings are breathtaking in their detail and composition, once again proving Gorey’s skill as an adept and versatile master of penwork.
Note: for the purposes of the photographs in this sale, we have reconstructed the original placement as best we could, using the patterns of the dried adhesive as ghosted onto the mounts.
Estimate
$5,000 – $7,500
101
Hardie gramatky (1907-1979)
“Compo’s End.”
Watercolor over graphite on board. 185x220 mm; 7¼x8¾ inches, on 8¼x9¼-inch board. Signed posthumously "Hardie Gramatky" in lower left image with a signature stamping, which is a facsimile of Gramatky's signature and is printed in watercolor pigment. A stamp on the verso signed by Gramatky's wife, Dorothea, and dated "9/12/90" specifies artwork title, creation date of 1959, and explains signature. Taped to matte and framed. Accompanied by a blank "Happy Birthday" greeting card featuring "Little Toot" and a profile article on Gramatky featuring a photograph of the artist painting on Compo Beach published in Westport News, December 6, 2006.
Long Island Sound is rendered in the distance.
Provenance: Estate of William F. Brown and Tina Tippit Brown.
Estimate
$800 – $1,200
102
Robert heindel (1938-2005)
“The Loneliness of the Long Distance Runner.”
Cover illustration for a paperback edition of the book of the same title by Alan Sillitoe (New York: New American Library, 1959). Mixed media, with tempera and pastel on board. 700x460 mm; 27½x18 inches. Signed “R. Heindel” in lower center image. Simple metal frame.
Exhibited: Society of Illustrators, date unknown, but with their exhibition label on verso.
Estimate
$1,200 – $1,800
103
Robert hilbert (20th century)
“We could make a fortune.”
Illustration for the story “Very Good for Nothing” by Jeremy Gury, published in Redbook magazine, July 1952, pages 26-27. Mixed media, including gouache, graphite, colored pencil, and correction fluid on board. 415x457 mm; 16¼x18 inches, on 17x18¾-inch board. Signed “Rob Hilbert,” in graphite, in upper right image. A copy of the double-paged tear sheet accompanies the lot.
The full caption reads: “‘I feel a great idea coming upon me,’ said Dunk. ‘We could make a fortune.’”
Estimate
$1,000 – $1,500
104
Robert hilbert (20th century)
“Women Are Like That.”
Illustration for story in The Saturday Evening Post, published circa 1956, with their labels on verso. Gouache on board. 490x263 mm; 19¼x10½ inches, on 25½x15¾-inch board. Unsigned. See condition report.
Estimate
$600 – $900
105
Walter haskell hinton (1886-1980)
Fishermen.
Cover for Outdoor Life, published August 1939. Oil on canvas mounted to backing board. 605x457 mm; 23¾x18 inches. Signed “Walter Haskell Hinton” in lower left image. Framed. A printed copy of the magazine accompanies the lot. See condition report.
Estimate
$2,000 – $3,000
106
Gaston hoffmann (1883-1977)
Disorder in the Court.
Oil on canvas. 380x457 mm; 15x18 inches. Signed “Gaston Hoffman” at lower right. Framed.
Gaston Hoffmann worked as a painter, decorator, cartoonist, and illustrator in France and Quebec throughout the first half of the 20th century. This painting is part of Hoffmann’s series of humorous scenes featuring young women baring it all before a shocked and titillated audience inside a courtroom.
Estimate
$2,000 – $3,000
107
H. lawrence hoffman (1911-1977)
“The Canterbury Tales.”
Together, group of 8 illustrations published in The Canterbury Tales of Geoffrey Chaucer: A new modern English prose translation by R. M. Lumiansky (New York: Simon and Schuster, 1948). Gouache over graphite on board. Each approximately 250x155 mm; 9¾x6¼ inches, on 13¼x8¾-inch boards. Unsigned, but most with captions in graphite in lower margin.
Group includes: “I cannot tell whether she is a woman or a goddess…,” published on page 19 of The Knight’s Tale * “…Sharp spurs were thrust in the horses’ flanks,” published on page 44 of The Knight’s Tale * “Scornful Simkin,” published on page 69 of The Reeve’s Tale * “He sang and danced at every wedding…,” published on page 78 of The Cook’s Tale * “You shall go to hell with me tonight…,” published on page 133 of The Friar’s Tale * “…Lady Dorigen, who loved her husband as her life,” published on page 208 of The Franklin’s Tale * “He laid his books and his many money bags before him…,” published on page 242 of The Shipman’s Tale * “You’ll find silver there, I hope,” published on page 295 of The Canon’s Yeoman’s Tale.
Estimate
$1,000 – $1,500
108
Richard e. howard (1912-1996)
“At Niagara Falls.”
Oil on canvas board. 302x225 mm; 12x9 inches. Signed “Richard E. Howard” in lower left image. Framed.
Provenance: Estate of William F. Brown and Tina Tippit Brown.
Estimate
$400 – $600
109
Theodoor van hoytema (1863-1917)
“But winter past away at last…”
Illustration intended for the first English edition of The Ugly Duckling by Hans Christian Andersen with illustrations by Hoytema (Amsterdam: C. M. Van Gogh, 1896). Ink and watercolor on paper. 245x180 mm; 9½x7 inches, on 11x7½-inch sheet. Signed “T. van Hoytema” in lower left margin. Circa 1894. Cornered to board with matte; framed.
The full caption reads “But winter past [sic] away at last and spring came back, and with spring the beautiful white birds.” Hoytema first created this drawing for his first Dutch edition of Andersen’s The Ugly Duckling, (published as Het leelijke jonge Eendje in 1893) and his breakthrough picture book. It shows the ugly duckling discovering that it is a handsome swan and joining the other birds in flight. The image reflects Hoytema’s love of natural history, especially birds, and displays his skill of integrating his ornamental, stylized Art Nouveau imagery with text. This format and style allowed him to achieve a mastery of color lithography for both his picture books and a series of calendars produced between 1900 and 1917, for which he is generally best known.
Estimate
$6,000 – $9,000
110
Brad jernigan (20th century)
Flapper with Lilies.
Mixed media, including marker, gouache, and glaze on stiff paper. 710x555mm; 28x21¾ inches. Signed “Brad Jernigan” and dated [19]61 in lower center image. Glaze is unevenly applied.
Estimate
$400 – $600
111
Rockwell kent (1882-1971)
Army Men.
Possibly unpublished drawing intended for Judge magazine or contemporary publication, circa 1918. Pen and ink on starched paper, mounted to board. 163x115; 6¼x4½ 9¾x7½. Signed as “Hogarth, Jr.” upper right image, also bearing Kent’s full signature and address along lower edge of board “Rockwell Kent 101 Park Ave” and the artist’s estate ink state stamp in lower right.
Provenance: The artist; by descent to family; Larcada Gallery, New York; Parke-Bernet Eighty-Four, New York, 2 March 1977; acquired by the present owner from the above.
Estimate
$5,000 – $7,500
112
Rockwell kent (1882-1971)
“Wilfred.”
Illustration published in A Basket of Poses by George S. Chappell, with pictures by Hogarth Jr. [Rockwell Kent], (New York: Albert & Charles Boni, 1924). Pen and ink on starched cloth mounted to board. 178x122 mm; 7x4¾ inches. Unsigned but with Kent's estate ink stamp in lower right of board which also bears the stamp of Egmont Arens/Flying Stag Press on verso.
Provenance: The artist; by descent to family; Larcada Gallery, New York; Parke-Bernet Eighty-Four, New York, 2 March 1977; acquired by the present owner from the above.
Basket of Poses was Kent's third published book and the first to bear his pseudonym of Hogarth Jr.
Published: The Illustrations of Rockwell Kent by Fridolf Johnson, New York: Dover, (1976), page 17.
Kent's good friend Chappell wrote popular humorous verse, mainly for Vanity Fair, Frank Crowninshield's fashionable monthly magazine. Kent submitted an illustration to accompany one of Chappell's satirical poems but signed it "Hogarth Jr." in an attempt to remain anonymous in what he believed to be a frivolous publication. It turned out to be the beginning of an easy and lucrative collaboration that produced several books and periodicals.
Estimate
$6,000 – $9,000
113
Warner kreuter (20th century)
Blonde Pin-up.
Study of pin-up, circa 1935. Charcoal heightened in white gouache on stiff paper. 300x220 mm; 12x8½ inches, on 14x11-inch sheet. Signed “W. Kreuter” in lower center image, with artist’s label on verso. Not dated. Hinged to window matte and framed.
Estimate
$500 – $750
114
Warner kreuter (20th century)
“Muriel.”
Studio sketch of pin-up model, 1927 or 1928. Charcoal pencil on stiff paper. 195x250 mm; 7¾x9¾ inches, on 11x14-inch sheet. Signed “W. Kreuter” in lower right image, and again in lower left margin, with artist’s label on verso. Titled and dated on verso. Taped to window matte and framed.
Estimate
$500 – $750
115
Warner kreuter (20th century)
Seated Pin-up - “Murial.”
Study of pin-up, circa 1935. Charcoal on paper. 310x240 mm; 12¼x9½ inches, on 12½x9¾-inch sheet. Signed “W. Kreuter” in lower right image, with artist’s label on verso. Not dated. Taped to window matte and framed.
Estimate
$500 – $750
117
Andrew loomis (1892-1959)
Defending the Ramparts.
Illustration for unknown story. Mixed media, including watercolor, wash, and gouache over graphite on board. 355x505 mm; 13¾x19¾ inches. Signed “Andrew Loomis” in lower right image. See condition report.
Estimate
$1,000 – $1,500
118
Tom lovell (1909-1997)
“Island Summer.”
Illustration for the story of the same title by Stewart Pierce Brown, published in Collier’s, July 18, 1953, with their label on backing board. Oil on board. 470x464 mm; 18½x18¼ inches, on 21x21-inch board. Signed “Tom Lovell” lower right. Framed.
Provenance: Douglas Auctioneers, December 3, 2010; private collection.
Estimate
$4,000 – $6,000
Lots 119 to 122
119
Orson byron lowell (1871-1956)
Recess.
Probable magazine story illustration. Pen, ink, and watercolor on paper. 270x545 mm; 10½x21½ inches, on 12½x22-inch sheet. Signed “Orson Lowell” in image, near lower left. Hinged to board with matte. Professionally-lined and restored.
Estimate
$600 – $900
120
Orson byron lowell (1871-1956)
“In proposing it is well to avoid rugs and draperies.”
Illustration published in the “In Jocund Vein” section of Harper’s Bazaar, published November, 1905. Pen and ink on board. 430x524 mm; 17¼x20½ inches, on 27¾x22-inch board. Signed “Orson Lowell” in lower right image, captioned in upper right corner. Cornered to board with window matte.
Estimate
$2,000 – $3,000
121
Orson byron lowell (1871-1956)
“Cassandra descended with a sure-footed ease that seemed part of her pride of bearing.
Story illustration for part two of “A Derelict” by Juliet Wilbor Tompkins, published in Woman’s Home Companion, September 1908, pages 18-19, with their label on verso. Pen and ink over graphite with collaged elements on paperboard. 660x430 mm; 26x17 inches, on 29¼x20¾-inch sheet. Unsigned. Cornered to board with window matte.
Estimate
$800 – $1,200
122
Orson byron lowell (1871-1956)
“Spring Fashions for Men.”
Illustration for LIFE magazine, published April 2, 1914, with their stamp on verso. Pen, ink, and gouache over graphite on paperboard. 350x250 mm; 13½x9¾ inches, on 16½x10½-inch sheet. Unsigned, but captioned in graphite in lower margin. Cornered to board with window matte.
Captions below figures read: “Some of the most striking of the new evening coats are trimmed with white-fox;” “The new cutaway;” “The new frock-coats are cut so long as to necessitate their being held up when worn in wet weather” (final caption abbreviated in published illustration).
The final caption is abbreviated in the published illustration, where an additional figure is also included at right.
Estimate
$700 – $1,000
123
James marshall (1942-1992)
“A Few Unpretentious Drawings for Kenneth Maples.”
As titled on opening page of a personal sketchbook created by Marshall during his time at The New England Conservatory of Music and gifted to his high school friend, circa 1964. Single unbound Quaker Artist Tablet containing 22 numbered full-page watercolor and ink drawings, some mounted, others drawn directly onto the page, a final sheet ("the end / Love, J"). Notebook measures 253x350 mm; 10x14 inches, drawings vary in size; spine perished, but contents seem to be complete, cover signed "Marshall / 78 Gainsboro [sic] 3A Boston 02115" in lower right corner. Laid in is a loose, separate drawing titled, inscribed, and signed by Marshall: "Aesop / Kenneth, this is the one about the blackbird who disguises himself to enter the beauty contest. The old fool. Jim." 5¼x4½ inches, image, on 9x8¼-inch paper, laid into notebook.
Provenance: Kenneth Marshall; gift of the artist to friend Kenneth Maples; private collection, San Antonio, Texas.
A thoroughly charming sketchbook by beloved children's book author and creator of the famous "George and Martha" series of books about the friendship and adventures of a witty hippopotamus couple.
Created for a close friend from his early years in San Antonio, presumably before Marshall planned a trip to Europe, the humorous drawings feature scenes in classic Boston area locations including the MFA, New England Conservatory, Locke-Ober, Gainsboro Street, The Bar of the Other Side on Charles Street, Hayes-Bickford's, The English Tea Room, Newbury Street, and Aladdin's Cave. Some drawings include his bulldog Irene (whom he often featured in his books), two self-portraits, and other curious animals and characters whose physical details nod to the style and types he would develop in his later work.
Marshall attended The New England Conservatory of Music where he studied viola until a nerve damage in his hand caused him to leave. Not long after switching studies and graduating from Southern Connecticut State College in 1967, he began working as a freelance author and illustrator, and his first book for children, "Plink, Plink, Plink" by Byrd Baylor was published in 1970. Although he had no formal art training, Marshall illustrated more than 70 books before he died at the early age of 50 from AIDS-related causes. In 2007 the American Library Association posthumously awarded him the Laura Ingalls Wilder Medal for a "substantial and lasting contribution" to American children's literature.
Estimate
$2,500 – $3,500
124
John mcdermott (1919-1977)
Indian Chief.
Illustration for the story “Cause Without a Rebel” by John Keats, published in Venture Magazine, August 1964. Acrylic on board. 725x470 mm; 28½x18½ inches. Signed in image, center right, with artist’s stamp on verso. Simple wooden frame.
Provenance: The Artist; Estate of William F. Brown and Tina Tippit Brown.
Exhibited: “Paintings & Illustrations, John McDermott, 1919-1977.”Mort Rosenfeld Gallery, Westport Arts Center, 1996.
Estimate
$500 – $750
125
Norman mingo (1896-1980)
“Here was one of the central spots of a little world of gayety.”
Half of double-page spread illustration for “Jeremiah and the Princess” by E. Phillips Oppenheim, published in the Ladies’ Home Journal, May, 1932, page 17. Watercolor over graphite on paper. 410x305 mm; 16¼x12 inches (sheet). Signed “N. T. Mingo” in lower right image. See condition report. A printed copy of the tear sheet accompanies the lot.
Provenance: From the artist’s estate.
Estimate
$500 – $750
126
Herbert moesbury smyrk (1862-1947)
“In Leipzig, loveliest of towns…” * “Spray-swathed harbingers wing to the lee, and turbulent billows sweep.”
Together, two illustrations for the poems “Autumn in Leipzig” and “The Storm” published in A Book of Verse by Charles de Monchaux (Sydney: Slatyer, 1941). Pen, ink, and gouache over graphite on thick paper. Each 295x195 mm; 11½x7½ inches, on 14¾x10½-inch sheet. Both signed “Herbert Moesbury” in lower left image, with the signature collaged and pasted on the second illustration. “Spray-swathed…” is captioned in graphite in the lower margin.
The lot is accompanied by a preliminary study for “The Storm” illustration, as well as an unpublished illustration of a noble couple that was likely intended for the book. A copy of the book also accompanies the lot.
Estimate
$700 – $1,000
127
Wallace morgan (1873-1948)
Crowd Leaving Theater After “Little Women.”
Illustration for unknown publication, likely relating to the 1933 screen adaptation starring Katharine Hepburn. Charcoal on board. 490x250 mm; 19¼x9¾ inches, on 20¼x13-inch board. Signed “W. Morgan” in lower right image. Laid into matte.
Estimate
$400 – $600
128
Allan neuwirth (1956- )
“Crumbling Infrastructure.”
Illustration from a series of three magazine covers and posters commissioned by City & State magazine, 1989. Prismacolor pencils, watercolor, gouache, and marker on paper mounted to larger sheet. 444x333 mm; 17½x13 inches, adhered to 19¾x15¾-inch sheet. Signed “Allan Neuwirth” near right center image. Not dated. Small tear, approximately ¾ inches long, near lower right corner. Two copies of the printed advertisement accompany the lot.
City & State magazine is a publication for U.S. mayors, governors, and other politicians.
Estimate
$800 – $1,200
129
Eric pape (1870-1938)
“Châteaupers to the Rescue.”
Header illustration for chapter VII of Notre Dame de Paris by Victor Hugo (New York: Ives Washburn, 1928), page 527. Ink and gouache on paper adhered to thin board. 130x178 mm; 5x7 inches, on 6¼x8-inch board. Initialed “EP” on board below image, at left, with artist’s estate stamp on verso of loose backing board. Hinged to window matte.
Estimate
$400 – $600
130
Russell patterson (1896-1977)
“The Old Town Looks Just the Same.”
Preliminary study for Life magazine cover, published September 8, 1927. Mixed media, including pen, ink, gouache, and wash on board. 365x280 mm; 14½x11 inches (sight), on 19½x16-inch board. Signed “Russell Patterson” in lower right image. Adhered to window matte. Not removed from matte for inspection.
Estimate
$1,500 – $2,500
131
Joseph pennell (1857-1926)
“In the Museum of Archaeology, Cambridge.”
Possibly unpublished illustration for The Century Company, circa January 1889, with their stamp on verso. Watercolor on thin board. 255x240 mm; 10x9¼ inches, on 10½x9½-inch sheet. Signed “Jo. Pennell” in lower left image. Taped to matte and framed.
Estimate
$400 – $600
132
Graham percy (1938-2008)
“A Sewing Room for Claes Oldenburg.”
Illustration for Arthouse by Percy (San Francisco: Chronicle Books, 1994). Mixed media, including conté crayon, pastel, wash, marker, and collage on paper. 170x395 mm; 6¾x15½ inches, on 8¾x16¾-inch sheet. Initialed “G.P.” in lower left image. Float mounted with matte and archivally framed. Not removed from frame for inspection.
Provenance: Acquired by current owner from Storyopolis, June 1996.
Estimate
$700 – $1,000
133
Miska petersham [petrezselyem mihaly] (1888-1960)
“The Earth’s Adoration.”
Illustration for unknown publication. Pen, ink, and gouache on paper. 224x146 mm; 8¾x5¾ inches, on 12x9-inch sheet. Signed "Petrezselyem M. Petersham" in lower left image; possibly dated "1911[?]" and signed "Petrezselyem" again, in lower margin. Hinged to window matte; framed.
A beautiful, detailed drawing and among the earliest that we could locate signed with his Hungarian birth name.
Maud and Mishka Petersham were groundbreaking illustrators and publishers during the golden age of children's book publishing in America, producing over 100 books in a span of over five decades. This detailed drawing, very much in the manner of Harry Clarke and his fellow Hungarian and friend, the illustrator Willy Pogány, may have been done while he was a student at Budapest's Royal National School for Applied Arts or perhaps soon after his arrival in New York in 1912.
Estimate
$6,000 – $9,000
134
Willy pogány (1882-1955)
Flour Maiden.
Illustration for unknown publication. Mixed media, including charcoal, graphite, and white chalk on paper. 315x245 mm; 12½x9½ inches (sheet). Signed "Willy Pogány" in lower center image. Adhered to board at corners; matted.
Estimate
$800 – $1,200
135
Ian pollock (1975- )
“I hate New York.”
Cover for <I>Midweek Magazine,<M> London, May 1984. Ink and gouache on watercolor paper. 620x456 mm 24½x18 in mounted to 26½x19¼-inch board. Signed "Pollock" in lower right image, with artist's stamp and date stamp of 03 May 1984 on verso.
Provenance: The artist; Thumb Gallery, London 1985.
Estimate
$600 – $900
136
Louis rhead (1857-1926)
“I must begone and live, or stay and die.”
Alternate version of the illustration for “Romeo and Juliet” published in Tales from Shakespeare by Charles and Mary Lamb (New York: Harper & Brothers, 1918). Pen and ink on paper adhered to board. 204x140 mm; 8x5½ inches, on 8¼x5¾-inch sheet. Signed “Louis Rhead” in upper right image, captioned in lower margin with publication information in upper margin, apparently in artist’s hand. Adhered to matte; framed.
The published version of this image is in the Folger Shakespeare Library, along with the full illustrations for the book.
Estimate
$800 – $1,200
137
Jim richey.
Woodworking.
Together, group of 6 illustrations published in Fine Woodworking Magazine. All with India ink, most with added watercolor on rag watercolor paper or illustration paper. The largest is 170x227 mm; 6¾x9 inches, on 8½x11-inch sheet. The smallest is 90x210 mm; 3½x8½ inches, on 7x11-inch sheet. All signed "Jim Richey" in graphite in lower right image.
Jim Richey edited and illustrated the "Methods of Work" column for Fine Woodworking Magazine from early in its publication in the 1970s until his retirement in 2018. The column consisted of illustrated woodworking tips and tricks sent to the magazine by woodworkers.
The lot includes: "Board Held in Vise," "Router Jig and Fluted Workpiece," "Workbench Tool Caddy," "Lathe Mounted Sanding Disk Fixture," "Harness Ring Drawer Pull," and "Chair Leveling on Tableau."
Estimate
$600 – $900
138
Charles sheldon (1889-1960)
Military Widow.
Illustration for unknown publication, possibly created to honor Armistice Day, circa 1919. Oil on board. 480x320 mm; 18½x12 inches, on 24x18¼-inch board. Signed “C. G. Sheldon” in lower center image, with artist’s stamp on verso. Ornately framed.
Estimate
$500 – $750
139
James a. shepherd (1866-1946)
“Fables: Blackbirds and Thrushes.”
Together, 11 illustrations for the complete story of Shepherd’s “Blackbirds and Thrushes,” published in The Strand Magazine, March 1896, as part of his “Fables” series. Pen and ink on thin board, some with added graphite, blue pencil, and correction fluid. Image sizes vary, all on 235x291 mm; 9¼x11½-inch sheets. Titled and signed “J. A. Shepherd” on first illustration in center image; initialed “J.A.S.” on ninth illustration in lower left image.
Estimate
$1,500 – $2,500
140
Jerome snyder (1916-1976)
Elegant Lady Smoking Cigarette.
Illustration for unknown publication. Ink, gouache, and watercolor on paper. 610x280 mm; 24x10½ inches, on 24¾x19¾-inch sheet. Unsigned. Rough graphite sketch to left of image.
Estimate
$600 – $900
141
Jerome snyder (1916-1976)
New York City Apartment Building.
Cover illustration for Park East magazine, published October 1952. Gouache on board. 378x285 mm; 15x11¼ inches, on 22x15-inch board. Signed “Jerome Snyder” in lower center image. A tear sheet of the printed cover and a printer’s proof sheet accompany the lot.
Estimate
$800 – $1,200
142
Jerome snyder (1916-1976)
“Why Is This Man Whistling?”
Together, group of 8 illustrations, 5 of which were published in a picture essay of the same title in Esquire, November 1968. Graphite and crayon on onion skin paper. Image sizes vary. The smallest is 110x88 mm; 4¼x3½ inches. The largest is 190x165 mm; 7½x6¾ inches. All are on 14x11-inch sheets. Unsigned.
Estimate
$400 – $600
143
Benjamin albert stahl (1910-1987)
Backstage Scene.
Oil on canvas mounted to backing board. 430x610 mm; 17x24 inches. Unsigned. Not dated. Laid into matte.
Estimate
$1,500 – $2,500
144
Bettina steinke (et al) (1913-1999)
Group of Autographed Posters for the Circus, Saints, and Sinners Club.
Together, group of 28 posters for the charitable organization featuring a central portrait signed by the subject, surrounded by the signatures of attendees who included notable artists, illustrators, cartoonists, actors, celebrities, athletes, and politicians of the day. Charcoal on board. 760x560 mm; 30x22 inches. Signed mainly by “Bettina Steinke” with a few sheets illustrated by other unidentified artists. “Circus Saints & Sinners Club of America - Hotel Waldorf Astoria - Nov. 25, 1942” written along lower edge. Portraits of honored attendees include James Montgomery Flagg, Rube Goldberg, Robert Ripley, athlete Glenn Cunningham, Winthrop Rockefeller, Mayor Jimmy Walker, Mayor Fiorello LaGuardia, Herbert Bayard Swope, Jesse Jones, Ole Olsen and Chic Johnson, Christopher Morley, Jean Hersholt, and many others.
A wonderful group of illustrated posters from the early meetings of the charitable association founded in 1926 and still active today. The group’s name serves as a metaphor, with the members, due to their human imperfections, representing “sinners,” who strive to be “saints” of mercy by helping those in need. The club’s origins date back to 1926 when a small group of circus enthusiasts in New York City founded the Circus Fans Association of America, providing aid to retired circus performers in need of financial assistance. In 1929, several members resigned and formed the Circus Saints and Sinners Club of America. Over the decades, they have evolved into a modern, nonprofit philanthropic organization.
Steinke was an accomplished American painter, portraitist, illustrator, graphic designer and muralist. Early in her career, she worked for the National Broadcasting Company where she painted portraits of the NBC Orchestra including Arturo Toscanini and Ignace Paderewski, now both in the permanent collection of the National Portrait Gallery in Washington, D.C.. During World War II, she worked for the U.S. War Department, painting the portraits of major American figures such as Franklin D. Roosevelt, Dwight D. Eisenhower, and Generals Henry “Hap” Arnold and Douglas MacArthur. She was given the John Singer Sargent Award for Lifetime Achievement by the Society of Portrait Artists and honored by the National Cowboy Hall of Fame and National Cowboy & Western Heritage Museum for her work featuring American Indians and the West to which she devoted the later decades of her life.
Estimate
$5,000 – $7,500
145
Frank street (1893-1944)
“The Professor’s House.”
Together, group of 3 illustrations for a story of the same title by Willa Cather, serialized in Collier’s from (at least) June through (at least) July 1925. Oil on board. The first is 690x388 mm; 27x15¼ inches, on 28x15¾-inch board. Initialed “F.S.” in lower center image. The second is 562x260 mm; 22x9½ inches, on 26¼x¾-inch board. Initialed “F.S.” in upper center image. The third is 740x392 mm; 29x15¼ inches, on 29½x16-inch board. Unsigned. All are laid into mattes. See condition report.
Group includes: Mysterious Couple in Interior, Man Stealing Book, and Man Surprised at Edge of Precipice.
Estimate
$1,200 – $1,800
146
Haddon sundblom (1899-1976)
“All a Girl Needs.”
Illustration for the story of the same title, by Gladys Taber, published in The Ladies’ Home Journal, August 1942, page 20. Oil on canvas. 30x23 inches; 760x585 mm. Signed “Haddon Sundblom” lower left image; verso contains story title, date, page number, and “J7917” as well as alternate title, date and page: “Butternut Jane June p. 23.”
Provenance: Illustration House, December 2011; private collection, New England.
Estimate
$8,000 – $10,000
147
Murray tinkelman (1933-2016)
Signs of Approval and Defiance.
Illustration for unknown publication. Pen and ink on paper. 420x290 mm; 16½x11¼ inches, on 19¼x14-inch sheet adhered to larger board. Signed “M. Tinkelman” and dated [19]74 in right center image. Matted.
Estimate
$300 – $400
148
Ed vebell (1921-2018)
Tina Tippit Throwing Dress Over Fence.”
Ink, wash, and marker on paper mounted to board. 330x165 mm; 13x6½ inches, on 17x10¼-inch sheet. Signed “Ed Vebell” in lower left image. Accompanied by 3¾x3-inch studio photograph of Tippit modeling for the painting, as well as a 4x6 photograph of Vebell and Tina Tippit Brown at the opening of the exhibition “Westport Artists & Their Models” presented by the Westport Historical Society, September 16, 2006 to January 2, 2007. The lot is also accompanied by an exhibition announcement and program, the latter with an inscription “To Tina - My best model ever! Ed Vebell.” Artwork, studio photograph of Tippit, and printed identification of artist and model matted together and framed.
Provenance: Estate of William F. Brown and Tina Tippit Brown.
Estimate
$300 – $400
149
Ed vebell (1921-2018)
“What is the best way to use time?”
Double-page illustration for “They know what time is for” by Loula Grace Erdman, published in the Christian Herald, August 1961. Mixed media, including charcoal and pencil on paper. 270x650 mm; 10¾x25½ inches, on 14¾x27-inch sheet. Signed “Ed Vebell” in lower right image. Hinged to board; matted and framed. A printed tear sheet of the illustration, a signed Christmas card from the artist to the Tippits, and an October 13, 2010 Westport News newspaper clipping discussing the honoring of Vebell at the Westport Arts Awards accompany the lot.
Provenance: Estate of William F. Brown and Tina Tippit Brown.
Estimate
$400 – $600
150
Frederick coffay yohn (1875-1933)
“With a spring, George had the savage by the throat.”
Illustration for Chapter XVIII of “A Virginia Cavalier” by Molly Elliot Seawell, published in Harper’s Round Table, October 13, 1896. Mixed media, including gouache and watercolor over graphite on board. 444x320 mm; 17½x12¾ inches (sight) on 21x14½-inch board. Signed “F. C. Yohn” and dated [18]96 in lower right image, with story title and caption on verso. Firmly adhered to old matte.
Estimate
$500 – $750
151
Jon whitcomb (1906-1988)
“Clara Bow.”
Mixed media, including conté crayon and graphite on board. 230x150 mm; 9x6 inches, on 12¾x10-inch board. Signed “Jon Whitcomb” in lower right image. Not dated. Taped to window matte; framed.
Provenance: Illustration House, January 9, 1976; Estate of William F. Brown and Tina Tippit Brown.
Estimate
$800 – $1,200
152
Jon whitcomb (1906-1988)
“Jean Harlow Applying Lipstick.”
Mixed media, including conté crayon and graphite on board. 255x215 mm; 10x8½ inches, on 14x10-inch board. Signed “Jon Whitcomb” in lower right image. Not dated. Taped to border of spacer boards with window matte; framed.
Provenance: Estate of William F. Brown and Tina Tippit Brown.
Estimate
$800 – $1,200
153
Revere h. wistehuff (1900-1971)
Measuring the Doghouse.
Illustration for unknown publication. Oil on canvas board. 465x435 mm; 18¼x17 inches, on 23½x20¼-inch board. Signed “Revere F. Wistehuff” in lower right image. Simple wood frame.
Estimate
$1,000 – $1,500
NICKY ZANN (1943-2020)
Lots 154 & 155
Zann was a New York-based artist whose career spanned five decades and reached far and wide across New York’s pop and culture scene. Recognized as one of the most innovative and prolific cartoonists and illustrators of his generation, Zann’s work has appeared in magazines such as Newsweek, Esquire, Fortune; daily newspapers such as The New York Times; and in comics and on mystery covers. His celebrity caricatures have been featured in ads for ABC, MTV, CBS and NBC networks, as well as for HBO. In the early 1970s, the Disney Corporation endorsed Zann to draw Disney characters, all personally approved by Roy Disney. His work has been exhibited around the world including at London’s Victoria and Albert Museum, and the Textile Museum in the Netherlands.
154
Nicky zann (1943-2020)
“Sweat City.”
Illustration commissioned by International Polygonics, Ltd., for their Giant Poster Puzzles series, 1989. Graphite, India ink, markers, and gouache on Bristol board paper. 570x400 mm; 22½x15¾ inches, on 24x17¾-inch sheet. Signed "Nicky Zann" in lower left image.
See artist's bio above.
Estimate
$600 – $900
155
Nicky zann (1943-2020)
“Murder on the Blackboard.”
Cover illustration for the book of the same title by Stuart Palmer (New York: International Polygonics, Ltd. for their Library of Crime Classics series, 1992). Graphite, India ink, and markers on Bristol board paper. 415x273 mm; 16¼x10¾ inches, on 19½x13-inch sheet. Signed "Zann" in lower right image. Accompanied by an early preliminary sketch in graphite.
See artist's bio above lot 154.
Estimate
$600 – $900
Advertising & Design
156
[circus]
Circus Sideshow.
Together, group of 15 possible poster maquettes, circa 1950. Acrylic on board, some with added metallic paint. Most are 306x152 mm; 12x6 inches. “Chief Short Horn” is 285x213 mm; 11¼x8¼ inches, on 12x9-inch board. “The Marvelous Pig Lady of London” is initialed “S. H.” (or possibly “S. K.”) in graphite on verso; the remaining are unsigned.
The exact purpose of these illustrations is unknown, as some represent real acts in circuses and sideshows at various points in history. They are executed in the vibrant cartoonish style of the famed banner artist David C. “Snapp” Wyatt who painted advertisements for circus and sideshow acts in the mid-twentieth century. The grouping features typical acts like sword-swallowers and lion tamers often found in modern circuses, as well as so-called attractions that are now considered taboo for the entertainment industry, but which once formed the basis of “freak shows,” such as humans with physical aberrations and cultural groups once considered to be exotic in their appearance.
The group includes: “La Tena’s Trained Wild Animals,” “The Lion King,” “Unis,” “Capt. Cutter Knife Artiste/Zarov Fire Eater,” “El’Toro Crocodile Wrestler/Bingo the Human Chimp,” “Lentini 3-Legged Man,” “The Siamese Twins Chang and Eng,” “The Albino Family,” “The Marvelous Pig Lady of London,” “Fiji Island Mermaid: Captured Alive,” “Malaka and her Serpents/Two-Headed Girl,” “Pygmy Tribe/Zelda the Half Girl,” “Giraffe-Neck Women from Burma,” “Ubangi Savages: Africa/Capture of the Horned Men,” and “Chief Short Horn: Terror of the West.”
Estimate
$400 – $600
157
Olivia de berardinis (1948- )
“Just for Play.”
Catalogue illustration for UndercoverWear, published in their Holiday Lingerie Look Book, 1986. Mixed media, including airbrush, watercolor, and gouache, presumably on board. 727x472 mm; 28½x18¾ inches, on 33½x23½-inch sheet. Signed “Olivia” in lower right margin, and dated [19]86. Elaborately framed to 46x36 inches in plexiglass and gold wood. Not removed from frame for inspection.
Provenance: Private collection of owners of UndercoverWear.
Estimate
$2,000 – $3,000
158
Olivia de berardinis (1948- )
“Secret Desires.”
Catalogue illustration for UndercoverWear, published in their Holiday Lingerie Look Book, 1986. Mixed media, including airbrush, watercolor, and gouache, presumably on board. 465x492 mm; 18½x19¼ inches, on 21½x24½-inch sheet. Signed “Olivia” in lower right margin, and dated [19]86. Elaborately framed. Not removed from frame for inspection. A printed tear sheet of the catalogue page accompanies the lot.
Provenance: Private collection of owners of UndercoverWear.
Image’s caption in the catalogue reads: “There are times when it’s okay to be a little selfish. Let UndercoverWear help you fulfill your own “Secret Desires.”
Estimate
$2,000 – $3,000
159
Paul bransom (1885-1979)
Wartime Bald Eagle.
Probable poster maquette. Pastel and crayon on thin paper. 245x90 mm; 9½x7¼ inches, on 13x11¾-inch sheet. Signed “Paul Bransom” in lower left image. Tipped to board with window matte.
Estimate
$500 – $750
160
Frederick sands brunner (1886-1954) attributed to.
RC Tastes Best.
Advertisement for Royal Crown Cola. Oil on board, circa 1942. 521x318 mm; 20½x12½ inches. Unsigned but attributed to Frederick Sands Brunner. Simple wood frame
Provenance: Ex-collection Victor Burns, Art Director for Royal Crown Cola.
The famous advertising campaign for Royal Crown Cola and Par-T-Pak (produced by Royal Crown) in the 1940s and ’50s featured some of the biggest names in Hollywood including Lucille Ball, Rita Hayworth, Betty Grable, June Haver, Jeanette MacDonald, and Dorothy Lamour among other starlets. Graphic artists of the day such as Frederick Sands Brunner and McLelland Barclay designed many of the print ads.
Estimate
$1,500 – $2,500
161
William gropper (1897-1977)
“Keep Him on the Run/Buy More Bonds.”
Maquette for a Liberty Loan poster, circa 1943-44. Oil on canvas. 1016x762 mm; 40x30 inches. Signed "Gropper" lower left. Frame has plaque that reads "Presented by the War Finance Division of/the United States Treasury Department to/Northampton County/for Meritorious Service in the War Bond Program."
Exhibited: ACA Galleries and Associated American Artists.
Born in New York City into a family of Jewish immigrants, Gropper is best known for satirical cartoons and images about war, politics, and social injustice. He began his career with the New York Tribune and published in mainstream magazines like Vanity Fair, but he also contributed to more radical left-wing magazines, including The Masses and Liberator, and Communist publications, such as Freiheit and the Daily Worker. Though Gropper was later branded a Communist and was blacklisted in the post-war McCarthy era, this did not deter the artist from continuing to create satirical images that revealed his political and social views which conservatives deemed radical.
This large maquette for a well-known Liberty Loan poster reflects Gropper's dedication to raising opposition to fascism in Europe in the late 1930s and early 1940s.
Estimate
$6,000 – $9,000
162
Richard harvey (1940- )
Paul Anka: “She’s A Lady.”
Record cover for album of the same title, produced by RCA for their Pure Gold series, released 1975. Mixed media, including airbrush over graphite on board. 520x520 mm; 20½x20½ inches, on 22x23½-inch board. Signed “Harvey” in lower center image. Laid into matte. A laminated sheet of the printed album cover accompanies the lot.
Estimate
$800 – $1,200
163
Richard harvey (1940- )
“Sam Cooke Interprets Billie Holiday.”
Record cover for album of the same title, produced by RCA, released 1975. Mixed media, including airbrush on board. 602x623 mm; 23¾x24½ inches, on 24¼x25-inch board. Signed “Harvey” in lower center image. A laminated sheet of the printed album cover accompanies the lot.
Estimate
$800 – $1,200
164
Bill layne (1911-2005)
“Busy Buddy Cut-Ups.”
Probable calendar illustration for Louis F. Dow, circa 1950, with their stamps on verso. Mixed media, including gouache on board. 260x320 mm; 10¼x12½ inches, on 13x17¼-inch board. Signed “Bill Layne” in image, near lower center.
Estimate
$300 – $400
165
Norman mingo (1896-1980)
“They keep a super service station for New York Central Locomotives.”
Advertisement for the New York Central System, with their stamp on verso. Mixed media, including pen, ink and gouache over graphite on board. 280x490 mm; 11x19¼ inches, on 16¼x24-inch board. Signed “Norman Mingo” in lower left image. A printed tear sheet of the advertisement mounted to board accompanies the lot.
Provenance: From the artist’s estate.
Estimate
$800 – $1,200
166
Norman mingo (1896-1980)
“1956 Ford.”
Advertisement for Ford, circa 1956. Watercolor and gouache over graphite on paper. 120x290 mm; 4¾x11¼ inches, on 7¾x15½-inch sheet. Unsigned, but with clear typed label with “Norman Mingo” in lower left image and additional label with “1956 Ford” at lower right. Framed.
Provenance: From the artist’s estate.
Estimate
$400 – $600
167
William meade prince (1893-1951)
Little Girl and Newsie.
Probable advertisement for Dodge Brothers. Oil on canvas. 665x510 mm; 26¼x20 inches. Signed “Wm. Meade Prince” in right image, near center. Simple wood frame, painted white.
Estimate
$2,000 – $3,000
168
Charles sheldon (1889-1960)
“Beautiful Hair” Breck Girl.
Advertisement for Breck shampoo, published in magazines, including Ladies’ Home Journal, May 1948. Pastel on board. 280x255 mm; 10¾x10 inches, on 25x19-inch board. Unsigned. Edges toned from previous matte. A tear sheet of the printed advertisement accompanies the artwork.
Artist Peggy Cullen modeled for this and several other advertisements for Breck by Charles Sheldon.
Estimate
$1,200 – $1,800
169
Charles sheldon (1889-1960)
Peggy Cullen as a Breck Girl.
Probable advertisement for Breck shampoo, circa 1948. Pastel on board. 250x215 mm; 9¾x8½ inches, on 14½x12-inch board. Unsigned. Scattered discolorations to background.
Artist Peggy Cullen modeled for this and several other advertisements for Breck by Charles Sheldon.
Estimate
$600 – $900
170
[skiing]
“Ski at Bear Mountain.”
Poster maquette advertising Bear Mountain, Rockland County, New York. Mixed media, including gouache on board. 508x380 mm; 20x15 inches. Unsigned; not dated.
Estimate
$600 – $900
171
Jerome snyder (1916-1976)
“The Byrds.”
Preliminary study for the logo of the iconic rock band. Gouache and graphite on board, with tracing paper overlay, which outlines revision suggestions, presumably from printer. 315x470 mm; 12½x18½ inches, on 15x20-inch board. Unsigned; not dated.
Estimate
$500 – $750
172
Adolph treidler (1886-1981)
“Furness Cruising Ships…SS Queen of Bermuda * SS Ocean Monarch.”
Maquette for the poster as titled, 1959. Gouache with collage and wash on paper mounted to board. 21x28 inches; 535x710 mm, inlaid to 26½x33½-inch board. Signed “Adolph Treidler” in lower right. The Queen of Bermuda is collaged onto the background, though the masts and lines are painted directly onto the paper.
Provenance: Furness Cruise Lines inventory; private collection, Pennsylvania.
Treidler was commissioned by Furness Cruise Lines to promote their main destination of Bermuda and created numerous posters and promotional materials for them. This maquette hung in their American headquarters at 34 Whitehall Street in Manhattan and was the main design used for their travel posters and elaborate on-board menus.
Treidler presents the two cruise ships with astonishing detail. While close in composition, his original study here extends the coastline in the upper left whereas it appears as a peninsula in the final poster.
The SS Monarch was the first postwar-built ship designed especially for the American cruise market. Her features were so admired that she won a gold medal by the American Institute for Designing for her “outstanding beauty and unusual design features of a cruise ship.”
Estimate
$1,500 – $2,500
173
Tomi ungerer (1931-2019)
Wizard Air Freshener.
Together, incomplete group of 18 cels for Wizard Air Freshener advertising campaign. Most are ink, some with added watercolor, on onionskin taped to larger sheets, though some of the larger images are on loose sheets of onionskin. Two cels are painted directly on acetate. Image sizes vary. The smallest is 40x50 mm; 2x1½ inches, on 10¼x12½-inch sheet. The largest is 135x330 mm; 5¼x13 inches, on 10x13¾-inch sheet. Unsigned.
The spot features a top-hatted gentleman and a dog, each showing disgust as they enter a woman’s foul-smelling home. Once the woman cures her “house-i-tosis” with the pleasant scent of Wizard Air Freshener, a group of men throw off their hats in excitement as they rush into the woman’s home and lay at her feet, eagerly sniffing the air near a can of Wizard.
Estimate
$2,000 – $3,000
174
Tomi ungerer (1931-2019)
Gaines Dog Food.
Together, group of 17 cels for two Gaines Dog Food advertising campaigns. The first campaign featuring a dog in a pink apron includes an incomplete group of 9 cels. Ink and watercolor on onionskin taped to cardstock tabs. Image sizes vary, but are approximately 125x160 mm; 5x6¼ inches, all on 10¼x13¾-inch sheets. Some cels captioned in graphite in lower right corner, and when put together read “Husband wants canned meat [canned meet]. Nobody cares about balanced diet. Those small nugget[s] are easy to mix and delicious.”
The second campaign featuring a supermarket scene includes an incomplete group of 7 cels. Ink on onionskin, one with added watercolor. Image sizes vary, but are approximately 110x185 mm; 4¼x7¼ inches, all on 9x12-inch sheets. Not signed.
Estimate
$2,000 – $3,000
175
Tomi ungerer (1931-2019)
“Prestige.”
Version of famous political poster from 1967. Ink, watercolor, and gouache on paper. 345x200 mm; 13½x8 inches, on 17x11-inch sheet. Signed “Tomi Ungerer” at lower right. Framed. Rennert, The Poster Art of Tomi Ungerer, 13.
Ungerer was asked to create a series of anti-war posters in 1967 by staff and students of Columbia University, but the bureaucratic and logistical frustration of producing him forced him to walk away. With the aid of his friend, Richard Kasak, he privately printed as many posters from the sketches as as time and money would allow, including “Prestige” which was among the best known. They received worldwide distrubtion and attention, spreading his anti-Vietnam sentiments in a visceral and humanistic way.
Estimate
$3,500 – $5,000
176
Hernando gonzallo villa (1881-1952)
“The Chief: Fastest Train to Chicago, Kansas City.”
Poster maquette, study for the Amtrak poster of the same title, circa 1945. Mixed media including gouache, tempera, and glaze, on board. 39½x29½ inches; 1000x750 mm; framed. Signed “Hernando G. Villa” lower left.
The recto shows reworking in the text area. While this image displays the title text, the printed version of the poster read “The Chief is still Chief - fastest and only extra fare train to Southern California.” It was not uncommon for artists to repaint the text on the original artwork to suit the client’s various ad campaign materials.
“The Chief” express train ran from Chicago to Los Angeles on the Santa Fe line. “Villa treated Native Americans with a respect that approached reverence and sought to dispel the stereotypical attitude that they all looked alike.” (Travel by Train: The American Railroad Poster, 1870-1950, by Michael Zega and John E. Gruber (Bloomington: Indiana University Press, 2002), page 77.
Estimate
$4,000 – $6,000
177
Bob ziering (1933- )
Roberto Clemente.
Illustration for the 1993 “Manpower Executive Calendar,” commissioned by ManpowerGroup. Pastel, colored pencil and collage on Rives BFK paper. 320x400 mm; 13x15¾ inches, on 22¼x30-inch sheet. Signed “Ziering” and dated [19]92 in lower right image; titled “Roberto Clemente” in artist’s hand in lower left margin.
ManpowerGroup’s annual calendar was reserved for executives working within the company.
Ziering received his first serious commission from Reader’s Digest. His subsequent illustration work for Fortune 500 companies and cultural institutions, such as The Metropolitan Opera and Cirque du Soleil, has earned him several ANDY awards, the highest honor awarded to commercial illustrators. After working as an illustrator for more than forty years, Ziering now devotes his time to expressing his personal artistic vision in his New York City studio.
Estimate
$700 – $1,000
178
Bob ziering (1933- )
Horses and Jockeys.
Illustration produced for a Blue Cross, Blue Shield magazine advertisement. Pastel and pencil on Rives BFK paper. 275x545 mm; 10¾x21½ inches, on 19½x27¼-inch sheet. Signed “Ziering” and dated [19]95 in lower left image, with artist’s stamp in lower right margin.
Ziering received his first serious commission from Reader’s Digest. His subsequent illustration work for Fortune 500 companies and cultural institutions, such as The Metropolitan Opera and Cirque du Soleil, has earned him several ANDY awards, the highest honor awarded to commercial illustrators. After working as an illustrator for more than forty years, Ziering now devotes his time to expressing his personal artistic vision in his New York City studio.
Estimate
$600 – $900
Theater, Fashion, & Film
179
Jean cocteau (1889-1963)
Concept sketch for Christian Bérard’s Théâtre de la Mode.
Graphite on paper. 270x210 mm; 10½x8¼ inches, circa 1945. Unsigned. Mounted to window matte in two places, verso top. Bérard created a model of the theater one tenth its size. It is prominently displayed in the Maryhill Museum in Goldendale Washington that was built by the Queen of Romania in Oregon.
Provenance: Chevalier Tony Clark Collection.
Estimate
$500 – $750
180
Jean cocteau (1889-1963)
“Knight” from “Les Chevaliers de la Table Ronde.”
Pastel, watercolor, and marker on paper, circa 1937 for Cocteau’s book and play “Les Chevaliers de la Table Ronde” which premiered at Théâtre de l’œuvre on October 14, 1937. 263x180 mm; 10¼x7 inches, on 14½x10½-inch sheet from his spiral notebook. Unsigned but with Cocteau Estate stamp in lower right. Tipped to window matte.
Provenance: Chevalier Tony Clark Collection.
Estimate
$1,000 – $1,500
181
Jean cocteau (1889-1963)
“Chevalier au Faucon.”
Illustration of the falconer knight for Cocteau's book and play "Les Chevaliers de la Table Ronde" which premiered at Théâtre de l'œuvre on October 14, 1937. Ink and marker on paper, 1962. 270x210 mm; 10½x8¼ inches, sheet. Initialed and dated 1962 with Cocteau Estate inventory number penciled on verso. Tipped to window matte.
Provenance: Chevalier Tony Clark Collection.
Estimate
$1,000 – $1,500
182
Jean cocteau (1889-1962)
“Le fils de l’air.”
Design for his ballet of the same name, 1962. Colored pencil on paper. 292x386 mm; 11¾x15¼ inches. Signed “Jean Cocteau *” in lower right and title penciled in his hand, lower left.
Provenance: Chevalier Tony Clark Collection.
Estimate
$1,000 – $1,500
183
Erté [romain de tirtoff 1892-1990]
Ganna Walska as Mélisande.
Costume for Act I, Scene 3 of a private production of Claude Debussy’s opera, Pelléas et Mélisande at her Théâtre des Champs-Élysées, Paris in 1931. Gouache heightened in silver. 320x120 mm; 12¼x4¾ inches, on 16½x8¼-inch sheet. Signed lower right (in silver); captioned and with Erté’s address on verso.
Provenance: Grosvenor Gallery, New York to current private collection. Erté created numerous costumes in Chicago and Paris for Walska, the premiere opera singer of her day, and quite the diva. This costume for Walska’s own Théâtre des Champs-Élysées was created for an invitation-only performance of the opera and based upon one he created three years earlier for Lucrezia Bori who played Mélisande at the Metropolitan Opera, which was Erté’s only design work for the Met. The finished design is in the Costume and Textile collection at the Los Angeles County Museum of Art, California.
Estimate
$2,500 – $3,500
184
Joe eula (1925-2004)
Archive of drawings and designs for Jerome Robbins dance productions.
Includes costume designs for New York City Ballet productions "Dances at a Gathering" and "The Goldberg Variations" 1969-1971. The group comprises over 60 illustrations, from rough to finished, many with his manuscript notes, in a number of media including graphite, ink, watercolor, chalk, and color pencil. Some contain fabric swatches pinned to production notes and sketches. Sizes vary, but many most on 8x10-inch or 9x12-inch sheets or larger, many are cut from those or larger sheets; the majority (roughly 40) are laid into the sleeves of a ring binder; 13 are mounted to display boards and shrink-wrapped with display mounting hooks on verso.
Eula's long and prolific career in fashion and performing arts began in the 1950s where, after serving in the Italian Campaign in World War II and completing studies at The Art Students League on the GI Bill, he was launched into the fashion world as the head illustrator for The New York Herald Tribune under Eugenia Sheppard. Soon to follow were positions at The London Sunday Times, American Vogue, The New York Times, and Italian Harper's Bazaar where he famously covered Yves Saint Laurent's first and last collections (1958 and 2002). However, it is as Halston's Creative Director throughout the 1970s that he is best remembered. That time was recently chronicled in the popular Netflix series "Halston" in which Eula is skillfully portrayed by actor David Pittu.
Eula made considerable contributions to the world of dance and theater; these detailed, thoughtful designs for Robbins' masterworks, for which he designed both sets and costumes, exemplify his genius for line, color, and form.
Estimate
$3,000 – $4,000
185
Edward gorey (1925-2000)
Amphigorey: A Musicale. Three proscenium designs.
Three separate designs used in the various stage productions of Amphigorey, circa 1992-2000. Pen, ink, and correction fluid on paper. The most elaborate, measuring 280x330 mm; 11x13 inches, contains dragons entangled around heavily black-leafed vines spelling out “Q.R.V.” Signed “Edward Gorey” in pencil, lower right, and with his measurements inked around the margins. Float-mounted and archivally matted and archivally framed.
The other two, titled “First Portal” and “Second Portal” are simpler vining leaves measuring slightly smaller at 253x293 mm; 10x11½ inches each. Both signed and notated as dragon design.
These illustrations, based upon Gorey’s work about the mysterious tonic Q.R.V., were reproduced as large, 8-foot panels that flanked the sides of the stage for various scenes. Shortly before his death, Gorey sold the artwork he had created for the 1992 Philadelphia Plays and Players Theatre production of Amphigorey, A Musicale to help raise funds for the 2000 production of The Gorey Details, the third and final incarnation of the play that began as Tinned Lettuce; or, the New Musical before it was reworked as Amphigorey, A Musicale and finally to The Gorey Details. This last incarnation of the play was in progress when he died and was produced posthumously.
Estimate
$6,000 – $9,000
186
Henry grace [crew of] (1907-1983)
“Mutiny on the Bounty.”
Scene sketch for the film of the same title released by Metro-Goldwyn-Mayer (MGM), 1962. Gouache on board. 146x488 mm; 5¾x19¼ inches. Unsigned. Mounted to matte board with title plate; framed. A certificate of authenticity issued by The Hanley Gallery accompanies the lot.
MGM's 1962 iteration of the epic drama starred Marlon Brando, Trevor Howard, and Richard Harris. The film was based on the 1932 novel of the same title by Charles Bernard Nordhoff and James Norman Hall, which was a fictionalized account of a historical mutiny on the HMS Bounty against Captain William Bligh in 1789.
The panoramic nature of this scene sketch reflects the motion picture's status as the first to be filmed in the Ultra Panavision 70 widescreen process.
Estimate
$400 – $600
187
T.j. kuck (d. 2008)
“Stage Fright.”
Painting of a scene from the 1950 film noir of the same title starring Marlene Dietrich and Richard Todd, and directed by Alfred Hitchcock. Gouache over graphite on board. 290x345 mm; 11¾x13½ inches, on 16¼x18-inch board. Signed “Kuck” in lower right image.
Estimate
$800 – $1,200
188
T.j. kuck (d. 2008)
“The Story on Page One.”
Painting of a scene from the 1959 film of the same title starring Rita Hayworth and Gig Young, and directed by Clifford Odets. Gouache over graphite on board. 480x400 mm; 18¾x15¾ inches, on 28x22-inch board. Signed “Kuck” in lower right image. Adhered to window matte. A 10x8-inch publicity photograph of the film still issued by 20th-Century Fox accompanies the lot.
Estimate
$800 – $1,200
189
Georges lepape (1887-1971)
“La Rêverie.”
Maquette, possibly for calendar page or department store display. Gouache and graphite on paper. 225x445 mm; 9x17½ inches, on 12½x17¾-inch sheet. Signed "Geo. Lepape" in right center image. Not dated.
Estimate
$800 – $1,200
190
Georges lepape (1887-1971)
“La Robe Grise - Balenciaga.”
Fashion design for Balenciaga, with their stamp on verso. Gouache on thick paper. 400x288 mm; 15¾x11¼ inches, on 17x11¼-inch sheet. Signed “Lepape” in lower right image and dated 1939 at lower left and on verso.
The lot includes two additional drawings of the dress. One is mixed media, including charcoal, crayon and gouache over graphite on gray paper. 540x320 mm; 21¼x12½ inches, on 24¼x19-inch sheet. Unsigned. The other is pen and ink over graphite on paper. 530x330 mm; 20¾x13 inches, on 24x19½-inch sheet. Signed “Lepape” in lower right image.
Provenance: Acquired by current owner from Ader Nordmann, “Dessins Modernes,” lot 190, April 2, 2021.
Estimate
$3,000 – $4,000
ADRIANNE LOBEL (1955- )
Lots 191 to 193
Lobel has designed sets for Broadway, off-Broadway, and metropolitan and regional theater productions worldwide, including the Metropolitan Opera, Le Chatelet, The Royal National Theater, BAM, the Yale Repertory Theatre, Théatre Royal de la Monnai, New York City Opera, SUNY Purchase, and Central Park’s Delacorte Theater. Her prolific work for the Mark Morris Dance Group is widely acclaimed. Many of her stage maquettes and designs are housed in the permanent collection of the McNay Art Museum, San Antonio, Texas, including those for the Houston Grand Opera productions of “Nixon in China” and “Street Scene.” In 2002 she produced and was nominated for the Tony Award for Best Musical for “A Year With Frog and Toad” based upon the famous children’s books by her late father, Arnold Lobel, whom she credits for instilling much of her work ethic and love of art.
191
Adrianne lobel (1955-)
“My One and Only.”
26 original scenic concept designs for the Tony Award-winning Broadway musical that premiered at The St. James Theatre May 1, 1983. Collage, colorade paper, and photographic reproduction. 216x254 mm; 8½x10 inches, mounted to 14x17-inch sheets. Laid into artist's signed board portfolio case. See additional images in condition report.
My One and Only was the breakthrough production for Lobel, the award-winning American scenic designer and producer for theatre, opera, and dance, and a fine artist.
Her bright, graphic sets based upon Russian Constructivist art perfectly set the stage for the hit musical starring Tommy Tune and Twiggy, based on the book by Peter Stone and Timothy S. Mayer and featuring music and lyrics by the Gershwin brothers.
The show's road to success was fraught with controversy, having suffered difficult out-of-town tryouts in Boston which resulted in most of the original creative team being fired, including its original director, Peter Sellars, along with Tim Mayer, the musical director and arranger, and Lobel. While Tommy Tune nominally took over the direction with his co-director / -choreographer Thommie Walsh, Lobel's contribution was deemed too integral to the production and her work was kept largely unaltered. The show became one of the most celebrated musicals of the decade and ran for 767 performances through March 3, 1985.
Lobel has designed sets for Broadway, off-Broadway, and metropolitan and regional theater productions worldwide, including the Metropolitan Opera, Le Chatelet, The Royal National Theater, BAM, the Yale Repertory Theatre, Théatre Royal de la Monnai, New York City Opera, SUNY Purchase, and Central Park's Delacorte Theater. Her prolific work for the Mark Morris Dance Group is widely acclaimed. Many of her stage maquettes and designs are housed in the permanent collection of the McNay Art Museum, San Antonio, Texas, including those for the Houston Grand Opera productions of "Nixon in China" and "Street Scene." In 2002 she produced and was nominated for the Tony Award for Best Musical for "A Year With Frog and Toad" based upon the famous children's books by her late father, Arnold Lobel, whom she credits for instilling much of her work ethic and love of art.
Estimate
$6,000 – $9,000
"The entire spectacle represents one of those rare theatrical occasions by which those present measure their lives." - The Times Literary Supplement (London)
192
Adrianne lobel (1955-)
“L’Allegro.”
33 original scenic concept designs for the award-winning 1988 modern dance work "L'Allegro, il Penseroso ed il Moderato" choreographed and directed by Mark Morris Dance Group. Ink, water-soluble marker, and graphite (earliest designs also contain colored pencil). 280x212 mm;11x8½ inches, sheets, with two designs to a sheet, several double-sided, many with her captions and notes. See additional images in condition report.
The complete set of original designs for this timeless masterpiece of modern dance set to Handel's 1740 Baroque oratorio "L'Allegro, il Penseroso ed il Moderato" which draws from Milton's 1645 poems.
A major element of L'Allegro's magic was Lobel's set designs which brilliantly captured its mood and movement. Rather than illustrate the verses literally - which would have been impossible - she opted for a more abstract approach inspired by the paintings of Josef Albers and Mark Rothko to properly express its non-linear narrative.
Inspired by their color field works, she created solid and geometric panels that were transferred onto movable translucent and opaque scrims. These could be changed in a matter of moments to suit the shallow and deep spaces that the scenes required, move precisely with the music, and draw the mood and emotional responses those changes were intended to evoke. These designs showcase her masterly command of color, texture, composition, and stage mechanics. Ultimately, they reveal the creative process of this skilled female artist who produced one of the most visually stunning and enduring works of modern stage design.
Lobel has designed sets for Broadway, off-Broadway, and metropolitan and regional theater productions worldwide, including the Metropolitan Opera, Le Chatelet, The Royal National Theater, BAM, the Yale Repertory Theatre, Théatre Royal de la Monnai, New York City Opera, SUNY Purchase, and Central Park's Delacorte Theater. Her prolific work for the Mark Morris Dance Group is widely acclaimed. Many of her stage maquettes and designs are housed in the permanent collection of the McNay Art Museum, San Antonio, Texas, including those for the Houston Grand Opera productions of "Nixon in China" and "Street Scene." In 2002 she produced and was nominated for the Tony Award for Best Musical for "A Year With Frog and Toad" based upon the famous children's books by her late father, Arnold Lobel, whom she credits for instilling much of her work ethic and love of art.
Estimate
$6,000 – $9,000
193
Adrianne lobel (1955-)
“An American Tragedy.
Group of 19 original scenic concept designs for the 2005 Metropolitan Opera adaptation of Theodore Dreiser's play composed by Tobias Picker, libretto by Gene Scheer, and directed by Francesca Zambello. Graphite, ink, and collaged reproductions of photographs on paper, numbered in lower right. 356x432 mm; 14x17 inches, sheets. Unsigned, but with Lobel's notations in the margins. See additional images in condition report.
Dreiser's novel was inspired by the true events of a sensational murder trial that took place in the Adirondacks in 1906 where a reckless young man was accused and sent to the electric chair for the murder of his pregnant girlfriend.
To reflect the various locations and emotional intensity of the scenes, Lobel researched on location. She took a trip to region and photographed the locations where the murder unfolded and read the letters that the real-life woman, Grace Brown (upon whom the play's character, Roberta, was based) wrote to her lover, Clyde, begging him to marry her while he was running around with a high society girl he planned to leave her for. The result was a series of rough collages with the photos she took, creating a multi-level set that could allow split-screen scenes to happen simultaneously. Its success prompted accolades by critic Martin Bernheimer who wrote in the February 2006 issue of Opera (UK): "Adrianne Lobel's ingenious set, sensitively lit by James F. Ingalls, accommodated the fluid action on three tiers, austere vignettes appearing and disappearing behind sliding panels."
Lobel has designed sets for Broadway, off-Broadway, and metropolitan and regional theater productions worldwide, including the Metropolitan Opera, Le Chatelet, The Royal National Theater, BAM, the Yale Repertory Theatre, Théatre Royal de la Monnai, New York City Opera, SUNY Purchase, and Central Park's Delacorte Theater. Her prolific work for the Mark Morris Dance Group is widely acclaimed. Many of her stage maquettes and designs are housed in the permanent collection of the McNay Art Museum, San Antonio, Texas, including those for the Houston Grand Opera productions of "Nixon in China" and "Street Scene." In 2002 she produced and was nominated for the Tony Award for Best Musical for "A Year With Frog and Toad" based upon the famous children's books by her late father, Arnold Lobel, whom she credits for instilling much of her work ethic and love of art.
Estimate
$3,000 – $4,000
194
Jo mielziner (1901-1976)
“Start of the Fiesta.”
Proposed scenic design for a stage production of Tennessee Williams’s Camino Real, circa 1950. Gouache, watercolor, ink, and wash on paper, with collage. 198x370 mm; 7¾x14½ inches, sight size; mounted to matte along all edges. Unsigned, but with a letter of provenance by performing arts specialist Richard Stoddard to purchaser, stating that it was acquired by him from the heirs to the Mielziner Estate; from purchaser to private collection, New York.
Estimate
$600 – $900
195
Jo mielziner (1901-1976)
“Garage Scene.”
Proposed scenic design for a stage production of The Great Gatsby by F. Scott Fitzgerald. Gouache, watercolor, ink, pencil, and wash on paper. 153x340 mm; 6x13½ inches, on 8½x16-inch sheet. Unsigned, but with a letter of provenance by performing arts specialist Richard Stoddard to purchaser, stating that it was acquired by him from the heirs to the Mielziner Estate; from purchaser to private collection, New York.
Estimate
$600 – $900
196
Rolph scarlett (1889-1984)
Design for a modernist stage set.
Watercolor and graphite on paper. 178x233 mm; 7x9¼ inches. Signed “Scarlett” in graphite, with Artist’s estate stamp above it, on verso. Taped to stiff paper and hinged to new matte.
Provenance: Estate of the Artist; James Cox Gallery, Woodstock, NY, 2013; current owner.
Scarlett worked as a set and costume designer for plays and films in Los Angeles before traveling to Europe to explore modernism and abstraction. He continued in this direction upon his return to New York City in the 1930s, where he moved in avant-garde circles and created the majority of nonobjective paintings for which he became famous.
Estimate
$400 – $600
197
Pavel tchelitchew (1898-1957)
Set design.
For an unidentified production, possibly Orpheus, 1936. Double-sided folio sheet containing a half-page image of a rustic dwelling’s exterior in brown ink and wash facing rough sketches of design details in graphite and ink; the verso contains an inset sketch of a forest path beneath a thick archway of bare-branched trees, facing left is a Daphne-like figure of a woman whose limbs morph into branches, a rough sketch of a kneeling angel beneath her, smaller abstract shapes drawn in surrounding margins. Brown ink, wash, and graphite on paper. 290 x420 mm; 11½x16½ inches. Displayed in double-sided 20½x26-inch gold wood frame.
Provenance: Ex-collection Tamara Toumanova; Chevalier Tony Clark Collection.
Estimate
$800 – $1,200
198
Tony walton (1934- )
Mary Poppins.
Costume drawing on ALS to Neva Rames in the costume department of the 1964 film produced by Walt Disney Productions. Ink on paper. 430x353 mm; 17x13¾ inches. Inscribed “Dear Neva–To remind you of those nightmarish pipe-lines! With many thanks for everything– / –Mary Poppins (A.) + with love,” dated “6.28.63” and signed “Tony.” Taped to window matte; framed.
Provenance: Collection of Neva Rames; Bonham’s New York “TCM Presents … There’s No Place Like Hollywood,” November 24, 2014, lot 119; current owner.
Tony Walton was the costume designer for the film and was married to its star, Julie Andrews, at the time of production. Walton depicts Poppins with her iconic carpet bag and parrot-head umbrella that carries her into the clouds. Neva Rames was responsible for finding solutions to keep the costumes in place during the character’s flight.
Estimate
$4,000 – $6,000
199
Franco zeffirelli (1923-2019)
Villagers.
Costume design, likely for the opera “Cavalleria Rusticana” by Pietro Mascagni, which premiered at the Royal Opera House, Covent Garden on December 16, 1959. Mixed media, including pastel and paint on textured paper. 340x222mm; 13¼x8½ inches, on 16¾x12¼-inch sheet. Signed “Zeffirelli” and dated “1959” in lower right image. Hinged to board with matte; framed.
Franco Zeffirelli was an Italian director and producer for operas, film, and television. In addition to his cinematic versions of The Taming of the Shrew (1967) and Romeo and Juliet (1968), Zeffirelli created several opera productions that were performed throughout Europe and the United States at venues such as the Royal Opera House and New York’s Metropolitan Opera. Zeffirelli produced and designed the sets, lighting, and costumes for “Cavalleria Rusticana.”
Estimate
$700 – $1,000
201
Culmer barnes (1874-1936)
“Exciting Times in Dogtown.”
Cartoon for unknown publication. Pen and ink on thin board. 260x310 mm; 10x12¼ inches, on 11¾x13¾-inch sheet. Signed “C. Barnes” in lower left image. Hinged to board with matte.
Captioned in graphite below: “Exciting Times in Dogtown/ Fond Mother: ‘Willie! Come in this instant and put on your muzzle!”
Estimate
$400 – $600
202
Dik browne (1917-1989)
“My Mother is Going to Visit Us!”
Original “Hägar the Horrible” daily comic, published October 3, 1973, with King Features Syndicate pastedown in last panel. Pen and ink with correction fluid on Bristol board. 95x292 mm; 3¾x11½ inches, on 5x13-inch sheet. Signed “Dik Browne” and dated in last panel. Inscribed in margin, at lower right, “For Sunny+Bill - from Dik Browne avec [sketch of heart pierced by arrow].”
Provenance: Estate of William F. Brown and Tina Tippit Brown.
Estimate
$600 – $900
203
Mel casson (1920-2008) & william f. brown (1925-2019)
Group of Relationship-Themed “Boomer” Daily Comics.
Together, group of five original “Boomer” daily comics, published from 1975 to 1977, with United Feature Syndicate pastedowns. Pen, ink, zip-a-tone, and correction fluid over graphite on Bristol board. Various sizes, but approximately 110x405 mm; 4½x16 inches, on 5¾x17½-inch sheets. All signed “Casson” and “Brown” and dated within panels, with “Boomer” stamp in upper margin.
Provenance: Estate of William F. Brown and Tina Tippit Brown.
The grouping includes “Linda, before we get married, you should know I play poker every Monday night.” (May 22, 1975); “Boomer, you should make allowances for me because I’m your wife.” (October 1, 1975); “So you’re the girl who writes that advice column for the papers?” (March 23, 1976); “Gypsy, what did Boomer just say?” (December 8, 1976); “Where do you want to go tonight?” (May 30, 1977).
Estimate
$100 – $200
204
Mel casson (1920-2008) & william f. brown (1925-2019)
Group of Doctor-Themed “Boomer” Daily Comics.
Together, group of five original “Boomer” daily comics, all published in 1977, with United Feature Syndicate pastedowns. Pen, ink, zip-a-tone, and correction fluid over graphite on Bristol board. 100x370 mm; 4x14½ inches, on 5½x16-inch sheets. All signed “Casson” and “Brown” and dated within panels, with “Boomer” stamp in upper margin.
Provenance: Estate of William F. Brown and Tina Tippit Brown.
The grouping includes “Doctor, I feel like I’m Dying!” (January 3); “Doc, I have a tickle in my throat…” (May 26); “The pain in you head comes from too much pressure…” (May 31); “Arnold, I’m going to have to operate.” (July 28); “Doc, how much will it cost to cure this rash?” (September 20).
Estimate
$100 – $200
205
Jack cole (1914-1958)
“Indecisive.”
Cartoon for Playboy, published April 1956, page 65, as #22 of the “Females by Cole” series. Ink on paper. 185x255; 7¼x10 inches, on 12¾x10¼-inch sheet. Signed “J. Cole” in lower right image and captioned in graphite in lower margin. Hinged to matte; framed. A printed copy of the magazine accompanies the lot.
Provenance: Playboy Collection; Heritage Auctions, February 25-27, 2010, lot 93012; current owner.
Estimate
$1,500 – $2,500
206
Mel crawford (1925-2015
“Oh, kiss me, fair maiden, and I will become a prince!”
Original “McCall of the Wild” Sunday comic, published September 18, 1988, with Creators Syndicate pastedown between first and second panels. Pen, ink, and correction fluid on thick paper. 251x509 mm; 9¾x20 inches, on 11x22-inch sheet. Signed “Dumas & Crawford” in last panel and dated in lower left panel. Inscribed in lower right margin, “With all best wishes to Tina & Bill/Mel Crawford.”
Provenance: Estate of William F. Brown and Tina Tippit Brown.
Crawford was the artist on several newspaper features written by Jerry Dumas, including “Rabbits Rafferty” and “McCall of the Wild.” While he also drew fantasy and horror comics for Western Publishing, Crawford is best known for his illustrated book adaptations of popular Disney films, and for his story illustrations featuring popular fictional characters from production companies, such as Jim Henson and Hanna-Barbera.
Estimate
$500 – $750
207
Herbert crowley (1873-1937)
“A Royal Puncture.”
Original comic from Crowley’s “Wiggle Much” series, published in the New York World, November 29, 1914. Pen, ink, and watercolor on board. 95x238 mm; 3¾x9¼ inches, on 5½x11¼-inch board. Signed “H. E. Crowley” in lower right image, and titled in lower left image. See condition report.
Estimate
$400 – $600
208
Howard cruse (1944-2019)
Boxing Ring. * Chess Game.
Together, two cartoons for unknown publication. Mixed media, including ink, colored pencil, and tempera on thin board. Side-by-side, images measure 178x385 mm; 7x15¼ inches, together on 9x19-inch sheet. Unsigned; not dated.
Cruse, the American alternative cartoonist known for the exploration of gay themes in his comics, first gained attention in the 1970s during the underground comix movement and was the founding editor of Gay Comix in 1980. He created "Wendel," a gay-themed strip during the 1980s but reached a more mainstream audience in 1995 when an imprint of DC Comics published his graphic novel Stuck Rubber Baby.
Estimate
$300 – $400
209
Howard cruse (1944-2019)
“Honey for Foot Care.”
Cartoon for UAB Public Health Magazine. Mixed media, including pen, ink, gouache, and colored pencil on thin board. 320x115 mm; 12½x4½ inches, on 15¾x7¼-inch board. Unsigned, but with artist's name and address written on verso. Not dated.
Cruse, the American alternative cartoonist known for the exploration of gay themes in his comics, first gained attention in the 1970s during the underground comix movement and was the founding editor of Gay Comix in 1980. He created "Wendel," a gay-themed strip during the 1980s but reached a more mainstream audience in 1995 when an imprint of DC Comics published his graphic novel Stuck Rubber Baby.
Estimate
$300 – $400
210
Howard cruse (1944-2019)
“Auntie Moo’s Typewriters.”
Cartoon published in the cartoon anthology Juicy Mother: Number One - Celebration edited by Jennifer Camper (Brooklyn, N.Y.: Soft Skull Press, 2004). Pen and ink with collaged text on thin board. 510x385 mm; 20x15¼ inches, on 22x16-inch sheet. Signed "H. Cruse" and dated 1998 [copyright], 1999 in second panel. Dedication in final panel "For Irma Cruse, taken by Alzheimer's in 2002." Tipped to foam core with double-sided tape at upper corners.
Cruse, the American alternative cartoonist known for the exploration of gay themes in his comics, first gained attention in the 1970s during the underground comix movement and was the founding editor of Gay Comix in 1980. He created "Wendel," a gay-themed strip during the 1980s but reached a more mainstream audience in 1995 when an imprint of DC Comics published his graphic novel Stuck Rubber Baby.
Estimate
$600 – $900
211
Howard cruse (1944-2019)
“Pandemic Civility.”
Cover Illustration for UAB Public Health Magazine, published (apparently in color) Fall 2006. Pen and ink over graphite on thin board mounted to black foam core. 535x435 mm; 21x17 inches, on 24x18¾-inch sheet. Signed "Cruse" in lower right image. Mounted to foam core with double-sided tape.
Cruse, the American alternative cartoonist known for the exploration of gay themes in his comics, first gained attention in the 1970s during the underground comix movement and was the founding editor of Gay Comix in 1980. He created "Wendel," a gay-themed strip during the 1980s but reached a more mainstream audience in 1995 when an imprint of DC Comics published his graphic novel Stuck Rubber Baby.
Estimate
$600 – $900
212
Jack davis (1924-2016)
“Take me to your leader.”
Original cartoon for Playboy, published February 1959, with their stamp in upper margin. Subsequently reproduced in Jack Davis: Drawing American Pop Culture, A Career Retrospective by Jack Davis and William Stout (Seattle, Wash.: Fantagraphics, 2011), page 127 and Playboy Cartoon Klassiker by Thomas Buchsteiner and Otto Letze (Osfildern-Ruit: Hatje Cantz, 2000), page 28. Watercolor over graphite on board. 330x265 mm; 13x10¼ inches, on 17¾x15-inch board. Signed “Jack Davis” in lower right image. Taped to matte that has caption written in letter stickers; archivally framed.
Exhibited: Travelling exhibition through Germany, “Cartoon Klassiker,” 1999, p. 28.
Provenance: Christie’s “Playboy at 50” sale, December 16, 2003, lot 31; private collection.
Estimate
$6,000 – $9,000
213
Jack davis (1924-2016)
“PG-13.”
Original theater poster to promote the introduction of the new movie rating, circa 1980s. Mixed media, including pen, ink, watercolor, and crayon over graphite on board. 530x370 mm; 20¾x14½ inches, on 25x18¼-inch board. Signed “Jack Davis” in lower right image. Taped to matte; archivally framed.
Estimate
$3,000 – $4,000
214
Jack davis (1924-2016)
“World’s Smartest Fish.”
Probable interior illustration for Field & Stream magazine, circa 1980s. Mixed media, including pen, ink, watercolor, and crayon over graphite on thin board. 330x265 mm; 13x10½ inches, on 17x13¼-inch sheet. Signed “Jack Davis” in lower center image. Tipped to matte that has engraved brass title plate; framed.
Estimate
$1,000 – $1,500
215
Billy debeck (1890-1942)
“What?? No sleep for three nights??”
Original “Barney Google and Snuffy Smith” daily comic, published July 5, 1940, with King Features Syndicate pastedown in last panel. Pen and ink over graphite on Bristol board. 108x420 mm; 3¾x16½ inches, on 4¾x17½-inch sheet. Signed “Billy DeBeck” and dated in last panel.
Provenance: Estate of William F. Brown and Tina Tippit Brown.
Estimate
$200 – $300
216
Stan drake (1921-1997)
Collage of Characters from “The Heart of Julie Jones.”
Compilation of drawings featuring characters from “The Heart of Julie Jones” comic, likely created as a gift and thus unpublished. Mixed media, largely pen and ink drawings collaged onto thin board, which has additional background text and drawings. 298x586 mm; 11¾x23 inches, on 13¾x23-inch sheet. Inscribed at lower right, “To Bill - What can I say…One of the biggest talents, and finest guys I could ever know! From your old partner, Stan Drake.”
Provenance: Estate of William F. Brown and Tina Tippit Brown.
Estimate
$600 – $900
217
Stan drake (1921-1997)
“You dash home to rescue Julie from the blues - and lo! She’s the original happy kid!”
Original “The Heart of Julie Jones” Sunday comic, published August 31, 1969. Pen, ink, and correction fluid on Bristol board. 330x490 mm; 13x19¼ inches, on 14½x19¾-inch sheet. Signed “Stan Drake” and dated in last panel. Inscribed in lower center panel, “For Tina - my love in abundance - Stan.”
Provenance: Estate of William F. Brown and Tina Tippit Brown.
Estimate
$800 – $1,200
218
Rube goldberg (1883-1970)
Group of three Cold War-era political cartoons.
Together, group of 3 political cartoons for unknown publications, each with “Lang Co, Inc. Photoengravers” stamp on verso. Ink, conté crayon, and gouache on paper. Each approximately 350x280 mm; 13¾x11 inches, on 18¼x14¼-inch sheets. Each signed “Rube Goldberg,” the first two in lower left image, the third in lower right image. All captioned in upper margin, though two are crossed out. Cornered to boards with mattes and framed.
Provenance: Swann Auction Galleries, January 23, 2014, lot 90; current owner.
The group includes: “They’re Not So Particular” * “Sole Power to Declare War” * “The Great British-Soviet Get-Together Act.”
Estimate
$1,000 – $1,500
219
Johnny lewis hart (1931-2007)
“Gimmie a ticket to next week’s earthquake.”
Original “B.C.” daily comic, published June 14, 1971, with Field Enterprises, Inc. stamp in first panel. Pen and ink with Zip-A-Tone on thick paper. 148x425 mm; 5¾x16¾ inches, on 7x20-inch sheet. Signed “Hart” in last panel, and dated in first panel. Inscribed below, “To good friend Bill, with love and respect - Johnny.”
Provenance: Estate of William F. Brown and Tina Tippit Brown.
Estimate
$400 – $600
220
Hergé (george prosper remi) (1907-1983)
TinTin.
Ink sketch of TinTin on paper. 115x87mm; 4½x3½ inches. Inscribed to his Danish editor and publisher: “To Anton Knudsen, with all best wishes,” signed “Hergé” and dated “1.4.[19]76.” Accompanied by Typed Letter Signed to Knudsen on Studios Hergé stationery about the autograph and “little drawing.” Signed “Hergé” with typed date of “April 2nd 1976.” TLS is on 200x205 mm; 7¾x8-inch sheet. Adhered to backing board together and framed.
Estimate
$1,200 – $1,800
221
Al hirschfeld (1903-2003)
Damon Runyon.
Pen and ink on board, circa 1980. 511x455 mm; 20¼x18 inches, on 27x21½-inch board. Signed "Hirschfeld" in lower right image. Adhered to matte and framed.
Though the complete publication history on this work is unknown, the helpful David Leopold, to whom we are indebted for information on this and the subsequent lot, believes it was created in the late 1970s or early `80s. Sharing a background in newspapers and a penchant for colorful characters, Hirschfeld and Runyon occupied the same world. Over the decades, he created several drawings based on his literary and film works including Guys and Dolls, A Pocketful of Miracles and Little Miss Marker.
Estimate
$3,000 – $4,000
222
Al hirschfeld (1903-2003)
Elizabeth Taylor and Richard Burton in “Private Lives.”
Illustration for the 1983 Broadway revival of Noel Coward’s play at the Lunt-Fontaine Theater, published in The New York Times, May 8, 1983. Pen, ink, and graphite on board, 1983. 685x533 mm; 27x21 inches. Ghosted remains of erased graphite composition still visible on portions of recto. Signed “Hirschfeld/Boston/ 5” in ink, lower right. Nested into recessed foam support; raw silk-covered matte and plain mahogany wood frame, Feiden Galleries label retained on original brown paper backing (now removed and folded, but included with lot).
Provenance: Margo Feiden Gallery; Kyle Renick, Artistic Director of the WPA Theatre, New York; private collection, New York.
Private Lives, short-lived but popular, due to its star appeal, opened on May 8th, 1983 and ran for 63 performances through July 17th. Hirschfeld perfectly captures the actors’ grand personalities and dramatic style, still in full force in their mature careers. His graphite under-sketching, evident throughout, but mostly where he aims to render Ms. Taylor’s bold head tilt, is faint but still visible and offers a glimpse into his artistic desire to craft the perfect composition.
Taylor was a great fan of Hirschfeld. She owned the cast drawing of her 1981 performance in “Little Foxes.” The admiration was mutual: the artist drew her twenty times over the course of 56 years and inscribed many books to her.
David Leopold, Creative Director of the Al Hirschfeld Foundation, remarked that this work is notable because it was likely the last time Hirschfeld drew the same stage production for different papers. That practice was quite common up until 1943 when he was appearing regularly in at least three different New York City newspapers, but ended soon after. “Private Lives” appeared to be a later one-time exception when he drew the play for the The New York Times and a different but similarly composed version for the London Daily Mail.
Estimate
$3,000 – $4,000
223
Tom henderson (1920-1970)
Princeton University Tiger.
Cartoon for unknown publication. Ink and wash on thick paper.195x190 mm; 7¾x7¼ inches, on 8¼x8¼-inch sheet. Signed “Tom Henderson” in lower left image. Not dated.
Provenance: Estate of William F. Brown and Tina Tippit Brown.
Estimate
$200 – $300
224
Randy jones (20th century)
Martin Luther King, Jr., W.E.B. Du Bois, and Thurgood Marshall in College Sweaters.
Cartoon published in The Wall Street Journal, November 30, 2007. Watercolor, pen and ink on paper. 153x160 mm; 6x6¼ inches, on 7¼x10¼-inch sheet. Signed “Randy Jones” and dated “2007” in lower right image. Adhered to board and matted.
Estimate
$500 – $750
225
Bil keane (1922-2011)
Addressing the Family Christmas Cards.
Original “The Family Circus” Sunday comic, published December 10, 1972, with The Register and Tribune Syndicate pastedown at upper left. Pen and ink over graphite on thick paper. 318x667 mm; 12½x26¼ inches, on 13¾x28-inch sheet. Signed “Bil Keane” in lower right image and dated at upper left. Inscribed in upper right image, “To Teeny and Jack who send out their Christmas cards in May (they’re either very early or very late)/With love, Thel and Bil.” An 8½x11-inch ALS to Jack and Tina from Bil and Thel (on Keane’s letterhead) accompanies the lot.
Provenance: Estate of William F. Brown and Tina Tippit Brown.
Estimate
$500 – $700
226
Bil keane (1922-2011)
“How do you like our snow person?” * “Mrs. Tippit must be a good mommy.”
Together, two original “The Family Circus” daily comics, published January 10, 1975 and March 19, 1976, respectively, with The Register and Tribune Syndicate pastedowns. Pen and ink over graphite on thick paper, with printed caption pastedowns. Each signed “Bil Keane” at lower right and dated at lower left. The first is 220x205 mm; 8x8¾ inches, on 10½x8¾-inch sheet. Inscribed “To my favorite person, snow or whatever! Teeny Tippit. - Love, Bil xxoo” in lower right image. The second is 250x205 mm; 10x8 inches, on 10½x8½-inch sheet. Inscribed “To Teeny with love, Bil xx”” in upper center image.
Provenance: Estate of William F. Brown and Tina Tippit Brown.
Estimate
$400 – $600
227
Walt kelly (1913-1973)
“Don’t you got no conscience?”
Original “Pogo” Sunday comic, published January 12, 1958, by Hall Syndicate, Inc. Mixed media, including ink over blue pencil on board. 405x495 mm; 16x23½ inches, on 17x24-inch sheet. Signed “Walt Kelly” and dated “1958” in final panel, and dated “1-2” with “The Hall Syndicate, Inc.” indication in fourth panel; verso has rubber stamp with “Nov. 16, 1957.” Hinged to board with window matte; archivally framed.
Estimate
$1,200 – $1,800
228
Frank king (1883-1969)
“You get used to about everything in this war except not getting letters.”
Original “Gasoline Alley” daily comic, published November 21, 1944, with The Chicago Tribune pastedown in first panel. Pen, ink, and graphite on Bristol board. 155x500 mm; 6x19¾ inches, on 7½x22¼-inch sheet. Signed “King” in last panel, with date pastedown in first panel.
Provenance: Estate of William F. Brown and Tina Tippit Brown.
Estimate
$400 – $600
229
Josef lada (1887-1957)
“Colonel Schroeder”
Illustration for the unfinished satirical novel The Good Soldier Shweik by Jaroslav Hašek, 1923. Pen, ink, and white paint on paper. 115x138 mm; 4½x5½ inches, on 5x6¼-inch sheet. Signed “J. Lada” in lower right image. Tipped to board with window matte; framed.
Estimate
$4,000 – $6,000
230
Robert leighton (1960- )
“I’m a voracious amasser of reading material.”
Cartoon for The Wall Street Journal, published July 20, 2007. Ink and watercolor on thick paper. 223x180 mm; 8¾x7 inches, on 12x9-inch sheet. Signed “Leighton” in lower left image, captioned in lower margin, with artist’s stamp on verso.
Estimate
$800 – $1,200
231
David levine (1926-2009)
Group of 7 cartoons featuring political figures of the 1960s, primarily Mao Zedong, Charles DeGaulle, Lyndon B. and Ladybird Johnson, Martin Luther King, Jr., and Nikita Khruschev
Pen and ink on paper, most dated 1964. Each on an unevenly clipped sheet slightly larger than sight size and quite toned from previous matting, the largest measuring 115x279 mm; 4½x11 inches.
Provenance: The artist; by gift to family.
Estimate
$1,200 – $1,800
232
Dale messick (1906-2005)
“She’s going to marry Hennie Horton!”
Group of 4 original “Brenda Starr” comic strips, all relating to the impending marriage of Brenda and Hennie, published September 9, 13, 15, and 20, 1969, with The Chicago Tribune copyright pastedown in fourth panels. Pen ink, and colored pencil on paper. Each measures 127x394 mm; 5x15½ inches and loosely mounted together on 23x19½-inch stiff black board, with tabs bearing the series name along left margins. Each strip is signed and dated.
Estimate
$350 – $500
233
[otto messmer (1892-1983)] (pat sullivan).
“I give up - I tried everything but I can’t work my way in to see the circus.” * “You’re a clown in the circus - Lemme walk in with you like I’m your son - will ya, mister?”
Together, two original “Felix the Cat” Sunday comics, published July 30 and September 3, 1933, respectively, with King Features Syndicate pastedowns. Pen and ink over graphite on Bristol board. Each 410x520 mm; 16¼x20½ inches. The first is on a 17½x23-inch sheet, the second is on a 17¾x22¾-inch sheet. Unsigned.
Messmer worked for the Pat Sullivan Studios, who claimed credit for the character.
Estimate
$5,000 – $7,000
234
[otto messmer (1892-1983)] (pat sullivan).
“We could get in, maybe, if they had an elephant to wash, like the circus.”
Original “Felix the Cat” Sunday comic, published September 17, 1933, with King Features Syndicate pastedown. Pen and ink over graphite on Bristol board. 410x520 mm; 16¼x20½ inches, on 18x23-inch sheet. Unsigned.
Messmer worked for the Pat Sullivan Studios, who claimed credit for the character.
Estimate
$3,000 – $5,000
235
[otto messmer (1892-1983)] (pat sullivan).
“Now, Danny, don’t fail to give baby her bottle at nine fifteen, while we’re out.”
Original “Felix the Cat” Sunday comic, published January 7, 1934, with King Features Syndicate pastedown. Pen and ink over graphite on Bristol board. 410x520 mm; 16¼x20½ inches, on 17¾x22¾-inch sheet. Unsigned.
Messmer worked for the Pat Sullivan Studios, who claimed credit for the character.
Estimate
$3,000 – $5,000
236
Norman mingo (1896-1980)
“The Planet of the Apes.”
Preliminary study for cover of Mad magazine, issue no. 157, published March 1973, featuring a mask with the face of the publication’s mascot, Alfred E. Neuman. Mixed media, including pastel and graphite on thin paper mounted to larger board. 198x205 mm; 7¾x8 inches, on 10¾x8-inch sheet. Signed “Norman Mingo” in margin at lower left, and titled with publication information in graphite on mount board below.
Provenance: From the artist’s estate.
Estimate
$1,200 – $1,800
237
Norman mingo (1896-1980)
“Yes! Me Worry.”
Preliminary study for back cover of Mad magazine, issue no. 210, published October 1979, featuring the publication’s mascot, Alfred E. Neuman. Mixed media, including watercolor, ink, gouache, and collage over graphite on paper. 288x217 mm; 11¼x8½ inches (sheet). Unsigned. Loosely adhered to board in simple black frame (without glass).
Provenance: From the artist’s estate.
Estimate
$1,200 – $1,800
238
Russell myers (1938- )
“This is one tough crossword puzzle!”
Original “Broom-Hilda” daily comic, published March 23, 1974, with The Chicago Tribune pastedown in last panel. Pen, ink, and correction fluid on thick paper. 165x533 mm; 6½x21 inches, on 7x22-inch sheet. Signed “Russell Myers” on pastedown in third panel, and dated in last panel. Inscribed in upper right margin, “Very best wishes to Bill Brown from Russell Myers 1974.”
Provenance: Estate of William F. Brown and Tina Tippit Brown.
Estimate
$300 – $400
239
Allan neuwirth (1956- ); and john r. dilworth (1963-)
“Frankenstein.”
Illustration published in the Frankenstein Golden Little Flip Book by Justine Korman (New York: Golden Books, 1993). It comprises a background (and concept design by Neuwirth) and hand-inked celluloid drawing of Frankenstein by Dilworth, with a blue gel sheet between them for color. The background painting is watercolor and ink on paper, 235x310 mm; 9½x12¼ inches, Signed “Neuwirth `93” lower left. Frankenstein is hand-inked by Dilworth, on acetate cel, painted (from reverse) with cel vinyl. Unsigned, cel marked “F39” in lower right. Both artists and work captioned in upper margin of background.
A fun collaboration between Neuwirth, the award-winning screenwriter, producer, author, designer, and cartoonist and Dilworth, famed animator/creator of “Courage the Cowardly Dog.”
Estimate
$500 – $750
240
Brant parker (1920-2007) & johnny hart (1931-2007)
“All right, you’re on your own now…”
Original “The Wizard of Id” daily comic, published August 21, 1971, with Field Enterprises, Inc. pastedown in last panel. Pen, ink, Zip-A-Tone, and correction fluid on thick paper adhered to board. 140x448 mm; 5½x17¾ inches, on 7x20-inch sheet. Signed in last panel and dated in third panel. Inscribed in lower center margin, “To Bill, all the best to you. - Johnny and Brant.” Accompanied by loose window matte.
Provenance: Estate of William F. Brown and Tina Tippit Brown.
Estimate
$500 – $750
241
Bea paul (20th century)
Great Catch!
Cover illustration for college issue of Playboy, vol. 3, no. 10, published October 1956. Mixed media assemblage, including paper, felt, knit fabric, thread, artificial fur, and paint on paper mounted inside matted shadow box. 315x260 mm; 12½x10¼ inches (sight). Unsigned. A printed copy of the magazine accompanies the lot.
Provenance: “Playboy at 50,” Christie’s New York, December 17, 2003, lot 9; Heritage Auctions, October 22-23, 2011, lot 78329; current owner.
Estimate
$4,000 – $6,000
242
Charles schulz (1922-2000)
“Schroeder, how would you like to be my partner in the Christmas Skating show?”
Original 4-panel "Peanuts" comic strip featuring Schroeder, Lucy, published December 7, 1971, with United Feature Syndicate, Inc. copyright pastedown in first panel. Pen and ink on stiff paper. 170x718 mm; 6¾x28¼ inches, sheet. Signed "Schulz" in last panel and dated in second.
Schulz was an avid hockey player from childhood, encouraged by his grandmother, who fashioned an indoor hockey goal beneath the basement steps of their Minnesota home and blocked his shots with a broom.
From the Schulz Museum website: "After Charles Schulz moved to sunny California in 1958, he began to miss his time on the ice. While there were several ice rinks in Northern California at the time, there was only one in Sonoma County. By the end of the 1960s, that rink had to be closed due to structural issues and so Schulz and his family had a new ice rink built in the newly developed northwest neighborhood of Santa Rosa. They opened the rink to the public in 1969 and called it the Redwood Empire Ice Arena, designing it with a Swiss Alps village theme to make it one of the prettiest ice rinks in the world.
At the Redwood Empire Ice Arena, Schulz would play in a “pick-up” game each Tuesday night with his sons, Monte and Craig, and hockey players from the local community. Charles Schulz supported the growth of youth hockey groups and local figure skating clubs, served as a referee, and in 1975 he established Snoopy’s Senior Hockey Tournament. This tournament allowed players aged 40 and over to come to Santa Rosa each summer and play others in their age groups. Schulz belonged to the Diamond Icers team, wearing jersey number 9. <QL><QL>The Redwood Empire Ice Arena or `Snoopy’s Home Ice' is still going strong and Snoopy’s Senior Hockey Tournament is still held every July. It continues to be a favorite with participants, and those observing from the stands, attracting many former National Hockey League players and teams from around the world including Austria, Canada, Finland, Japan, Norway, Sweden, Switzerland, and even Australia."
Skating-themed Peanuts cartoons remain among the most desirable for collectors.
Estimate
$15,000 – $25,000
243
Charles schulz (1922-2000)
“All right, you stupid beagle, if you’re going to be my skating partner, get up!”
Original 4-panel "Peanuts" comic strip featuring Lucy and Snoopy, published December 8, 1971, with United Feature Syndicate, Inc. copyright pastedown in third panel. Pen and ink on stiff paper. 170x718 mm; 6¾x28¼ inches, sheet. Signed "Schulz" in last panel and dated in third.
Schulz was an avid hockey player from childhood, encouraged by his grandmother, who fashioned an indoor hockey goal beneath the basement steps of their Minnesota home and blocked his shots with a broom.
After Schulz moved to sunny California in 1958, he began to miss his time on the ice. While there were several ice rinks in Northern California at the time, there was only one in Sonoma County. By the end of the 1960s, that rink had to be closed due to structural issues and so Schulz and his family had a new ice rink built in the newly developed northwest neighborhood of Santa Rosa. They opened the rink to the public in 1969 and called it the Redwood Empire Ice Arena, designing it with a Swiss Alps village theme to make it one of the prettiest ice rinks in the world.
At the Redwood Empire Ice Arena, Schulz would play in a “pick-up” game each Tuesday night with his sons, Monte and Craig, and hockey players from the local community. Charles Schulz supported the growth of youth hockey groups and local figure skating clubs, served as a referee, and in 1975 he established Snoopy’s Senior Hockey Tournament. This tournament allowed players aged 40 and over to come to Santa Rosa each summer and play others in their age groups. Schulz belonged to the Diamond Icers team, wearing jersey number 9. <QL><QL>The Redwood Empire Ice Arena or `Snoopy’s Home Ice' is still going strong and Snoopy’s Senior Hockey Tournament is still held every July. It continues to be a favorite with participants, and those observing from the stands, attracting many former National Hockey League players and teams from around the world including Austria, Canada, Finland, Japan, Norway, Sweden, Switzerland, and even Australia."
Skating-themed Peanuts cartoons remain among the most desirable for collectors.
Estimate
$15,000 – $25,000
244
Leonard starr (1925-2015)
“…Pete’s away as much as I am.”
Original “On Stage” daily comic, published December 31, 1969, with The Chicago Tribune pastedown in center panel. Pen, ink, and correction fluid over graphite on thick paper. 155x445 mm; 6x17½ inches, on 7x18½-inch sheet. Signed “Leonard Starr” and dated in first panel. Inscribed in lower left margin, “For Bill Brown + friends - From Leonard Starr.”
Provenance: Estate of William F. Brown and Tina Tippit Brown.
Estimate
$300 – $400
245
William r. [“bud”] tamblyn (1906-1989)
“Sloppy Salesman.”
Political cartoon, likely published in either the The Morning Call or The Evening Chronicle by Call-Chronicle Newspapers of Allentown, Pennsylvania, circa 1960s. Ink, gouache, and zip tissue on Bristol board. 380x291 mm; 15¼x11½ inches, on 15¾x12¼-inch sheet. Signed “Bud Tamblyn” in lower right image. Hinged to thick paper; matted and framed.
Estimate
$400 – $600
246
Jack tippit (1923-1994)
“Do you have opening night jitters, too?” * “Do you extend credit to someone whose allowance always runs out before the week does?”
Together, two original “Amy” daily comics, published February 17, 1966 and October 9, 1978, respectively, with The Register and Tribune Syndicate pastedowns. Pen and ink with correction fluid on Bristol board, with printed title and caption pastedowns. The first is 155x203 mm; 6x8 inches, on 7x9-inch sheet adhered to board. Signed “Jack Tippit” and dated in upper left image. Inscribed “All the best to ‘Bill’ and best of luck on all ‘opening nights’ in the future! from ‘Amy’ and Jack Tippit” in upper right image. The second is 160x205 mm; 6¼x8 inches, on 7x9-inch sheet. Signed “Jack Tippit” and dated in lower left image. Inscribed “To Teeny / Love from ‘Amy’ and Jack” in lower right image.
Provenance: Estate of William F. Brown and Tina Tippit Brown.
Estimate
$200 – $300
247
Mort walker (1923-2018) [signing as addison]
“In case he ever slips he wants to be ready.”
Original “Boner’s Ark” Sunday comic, published August 19 (year unknown). Pen and ink over graphite with correction fluid on Bristol board; title panel in marker. 370x530 mm; 14¼x20¾ inches, on 16x22-inch sheet. Signed “Addison” in title panel, and again with date in last panel. Inscribed at lower left “To Teeny with love! [sketch of two hearts] Mort Walker.”
Provenance: Estate of William F. Brown and Tina Tippit Brown.
Estimate
$200 – $300
248
Mort walker (1923-2018)
“Do you think that’s some kind of a trick?
Original “Beetle Bailey” daily comic, published September 10, 1968, with King Features Syndicate pastedown in second panel. Pen and ink with Zip-A-Tone on Bristol board. 125x395 mm; 5x15½ inches, on 6x17-inch sheet. Signed “Mort Walker” in second panel, and dated in first panel. Inscribed below, “Bill Brown snores! (Otherwise he’s a great all around sport and marvelous person) (Zzz) Mort.”
Provenance: Estate of William F. Brown and Tina Tippit Brown.
Estimate
$400 – $600
249
Mort walker (1923-2018) [signing as addison]
“I hope he doesn’t go off to that obedience school and pick up a lot of wild ideas.”
Original “Boner’s Ark” daily comic, published March 12, 1970, with King Features Syndicate pastedown in last panel. Pen and ink over graphite on Bristol board. 125x395 mm; 4¾x15½ inches, on 5½x16¾-inch sheet. Signed “Addison” in center panel and dated in first panel. Inscribed in lower left margin, “To Bill Brown with warm regards! Addison.” Hinged to window matte.
Provenance: Estate of William F. Brown and Tina Tippit Brown.
Estimate
$200 – $300
250
Mort walker (1923-2018) & dik browne (1917-1989)
“Strike, You’re Out!”
Original “Hi and Lois” Sunday comic, published August 13, 1972, with King Features Syndicate pastedown in lower center panel. Pen and ink over graphite with correction fluid on Bristol board. 357x530 mm; 14x21 inches, on 16x22-inch sheet. Signed “Dik Browne” in lower center panel, dated in last panel and again, in margin at upper right. Written on loose backing board: “Presented to Christina Tippit by Mort Walker at Mort’s 50th birthday, September 1, 1973 (though his actual birthday is September 3). This sunday page appeared August 19. 1973.”
Provenance: Estate of William F. Brown and Tina Tippit Brown.
Estimate
$400 – $600
251
Mort walker (1923-2018)
“Let’s Go, Beetle!”
Original “Beetle Bailey” Sunday comic, published January 16, 1977. Pen and ink over graphite on Bristol board. 230x335 mm; 9x13¼ inches, on 10¼x14½-inch sheet. Signed “Mort Walker” and dated in lower left panel, with year in margin at lower right. Inscribed in lower left margin, “To Tina [Tippit] with love. Mort Walker.”
Provenance: Estate of William F. Brown and Tina Tippit Brown.
Estimate
$500 – $750
252
(walt disney studios.)
“Snow White and Deer” * “Two Rabbits.”
Together, two original celluloids from Disney’s 1937 film release of Snow White and the Seven Dwarfs. Gouache on two layers of celluloid over thin paper with airbrushed background mounted to board; background of the second is partially printed. The first is150x150 mm; 6x6 inches and is laid into matte. The second is 170x150 mm; 6¾x6 inches. Kennedy & Co. labels on frame verso. See condition report. A reproduction issued by Courvoisier Galleries, “Snow White and the Forest Folk” accompanies the lot.
Estimate
$3,000 – $4,000
The New Yorker
254
Charles addams (1912-1988)
“I imagine it’s the University of Southern California.”
Cartoon for The New Yorker, published May 29, 1937. Subsequently published on page 54 of Drawn and Quartered (New York: Random House, Inc., 1942) and on page 10 of The World of Charles Addams. (New York: Alfred A. Knopf, Inc., 1991). Watercolor and ink on paper. 325x490 mm; 12¾x19¼ inches, on 15¼x21-inch sheet. Signed "Chas Addams" in lower right image. Taped to matte and framed with museum glass. A copy of the printed magazine accompanies the lot.
Provenance: Acquired by current owner from Illustration House, May 20, 2006, lot 127; thence to current owner.
Estimate
$6,000 – $9,000
255
Constantin alajalov (1900-1987)
“Standing Room Only.”
Cover illustration for The New Yorker, published October 21, 1944. Tempera on illustration board. 345x235 mm; 13½x9½ inches, image. Signed lower right with a Presentation inscription “To Elinor and Martin Bush from alajalov [signed].” Cornered to board with matte and framed. A copy of the printed magazine accompanies the lot.
Provenance: Private collection; Swann Galleries, January 23, 2014; current owner.
Exhibited: “Forty-Third Annual Water Color and Print Exhibition,” The Pennsylvania Academy of the Fine Arts and the Philadelphia Water Color Club, October 19 to November 25, 1945, with label filled out in artist’s hand on verso.
Wonderful depiction of vexed dinner patrons glaring at blithely unaware or uncaring couple lingering well past dessert.
Estimate
$4,000 – $6,000
256
Harry bliss (1934- )
“Public School: K-Death.”
Cartoon for The New Yorker, published September 4, 2006. Pen, ink, and watercolor on paper. 350x437 mm; 13¾x17¼ inches, on 14½x18-inch sheet. Signed “H. Bliss” in lower left image.
Estimate
$800 – $1,200
257
Roz chast (1955- )
“Margerie N. and her famous labor-intensive cake.”
Cartoon for unknown publication, possibly The New Yorker. Pen, ink, and wash on paper. 150x115 mm; 6x4½ inches, on 11¾x8½-inch sheet. Signed “R. Chast” in lower right image, with artist’s stamp on verso. Dated “6/[19]89” in graphite on verso. Hinged to board and archivally framed. A certificate of authenticity signed by Chast accompanies the lot.
Estimate
$1,000 – $1,500
258
Roz chast (1954- )
“Rejected by the School of Hard Knocks.”
Cartoon for The New Yorker, published April 30, 1990, page 54. Pen, ink, wash, and collage on paper. 140x154 mm; 5½x6 inches, on 12x9-inch sheet. Signed “R. Chast” in margin at lower right. Float mounted, matted, and archivally framed. A certificate of authenticity dated September 2, 2008 and signed by Sarah Walker-Martin (the Art Sales Manager of the Condé Nast Archive) and a printed copy of the magazine accompany the lot.
Provenance: The New Yorker, 1990; Grapefruit Moon Gallery, August 2007; private collection.
Estimate
$1,000 – $1,500
259
Michael crawford (1945-2016)
“This is Donovan. He’s pretty sure he’s gay, too.”
Cartoon for The New Yorker, published August 9, 1993, with their copyright label on verso. Pen, ink, and marker on paper. 200x190 mm; 7¾x7½ inches, on 9x12-inch sheet. Signed “Crawford” in lower left image, captioned in lower margin.
Estimate
$800 – $1,200
260
Arthur getz (1913-1996)
Car Towing Sailboat. * Sweeping Up After 5th Avenue Wedding.
The first is a cover for The New Yorker, published October 11, 1958. Casein tempera on Whatman rag paper. 470x360 mm; 18½x14¼ inches (sheet). Signed "Getz" in lower right image. The second is painted on the sheet's verso and is a preliminary study for a cover of The New Yorker, published June 4, 1955. Casein tempera on Whatman rag paper. Signed "Getz" in lower right image. Hinged to double-sided window matte. Printed tear sheets of the published covers accompany the lot.
Published Images:
Estimate
$3,000 – $4,000
261
Rea irvin (1881-1972)
TV in the Harem.
Proposed cover for The New Yorker. Mixed media, including ink and gouache on board. 380x280 mm; 15x11 inches, on 18¾x15-inch board. Signed “Rea Irvin” in lower left image. Hinged to board with matte.
Estimate
$700 – $1,000
262
Edward koren (1935- )
“‘Henry, I admire people like you, who can unwind with a hobby’ - From John Jay.””
Cartoon for The New Yorker, published April 6, 1968, page 31, with their stamps on verso. Pen, ink, and watercolor on paper. 200x285 mm; 7¾x11 inches (image); 8¾x11¾ inches (sight). Signed “Koren” in lower right image, and captioned in graphite below. Matted and placed in double-sided frame to display unrelated [crossed out] sketch on verso of sheet. Not removed from frame for inspection. A copy of the printed magazine accompanies the lot.
The printed cartoon omits “Henry” and “John Jay” in the caption.
Estimate
$1,000 – $1,500
263
Robert leighton (1960- )
“What can I say? He makes me laugh.”
Cartoon for The New Yorker, published March 28, 2016, with their inventory label on verso. Ink, watercolor, and correction fluid on thick paper. 190x240 mm; 7¾x9½ inches, on 11x14-inch sheet. Signed “Leighton” in lower left image, captioned in lower margin, with artist’s stamp on verso.
Estimate
$1,000 – $1,500
264
Lee lorenz (1933- )
“Mr. Wrong.”
Cartoon for The New Yorker, published March 10, 1980, with their copyright label on verso. Ink, wash, and correction fluid with collage on paper. 270x230 mm; 10¾x9 inches, on 15½x12-inch sheet. Signed “Lorenz” in lower right image, and inscribed in graphite within image at right, “For Mrs. Right. Love, Lee.” Hinged to window matte.
Estimate
$600 – $900
265
Lee lorenz (1933- )
Fall Fashions.
Cover for The New Yorker, published October 23, 1989. Ink, watercolor and correction fluid, with collage on paper. 285x225 mm; 11x8¾ inches, on 14½x11-inch sheet. Signed "Lorenz" in lower right image, and inscribed in graphite in lower right image "For Jill - Merry Christmas! Love, Lee." Hinged to window matte. A tear sheet of the printed cover accompanies the lot.
Published Image:
Estimate
$2,500 – $3,500
266
Lee lorenz (1933- )
“You’ve been eating again.”
Cartoon for The New Yorker, published April 3, 2006, with their inventory label on verso. Ink, wash, and correction fluid on paper. 256x220 mm; 10x8¾ inches, on 14x11-inch sheet. Signed “Lorenz” in lower right image. A tear sheet of the printed cartoon accompanies the lot.
Estimate
$600 – $900
267
Lee lorenz (1933- )
“As I recall, you’re the one who insisted on a conquistador-size mattress.”
Cartoon for The New Yorker, published May 1, 2006, with their inventory label on verso. Ink, wash, and correction fluid on paper. 200x340 mm; 7¾x13½ inches, on 11x14-inch sheet. Signed “Lorenz” in lower right image. A printed tear sheet of the double-page cartoon spread accompanies the lot.
Estimate
$600 – $900
268
Lee lorenz (1933- )
“It was only supposed to lift him gently into an upright position.”
Cartoon for The New Yorker, published with a slightly altered caption on October 4, 2010, with their inventory label on verso. Ink, wash, and correction fluid over graphite on paper. 338x406 mm; 13¼x16 inches, on 14x17-inch sheet. Signed “Lorenz” in lower left image, captioned in lower margin.
The published caption reads “It was just supposed to lift him gently into an upright position.”
Estimate
$600 – $900
269
Frank modell (1917-2016)
“And how much is this bit of nonsense?”
Cartoon for The New Yorker, published December 19, 1977. Pen and ink on thin paper. 427x350 mm; 16¾x13¾ inches. Signed “Modell” in lower left image, and slightly altered caption in graphite in lower margin. Hinged to board with window matte.
Estimate
$300 – $400
270
Frank modell (1917-2016)
“Look, it doesn’t necessarily mean I’m for him one hundred percent.”
Cartoon for The New Yorker, published October 27, 1980, with their copyright label (loose). Ink, wash, and correction fluid on paper. 200x310 mm; 8x12¼ inches, on 11½x13¾-inch sheet. Signed “Modell” in lower right image. Hinged to board with window matte.
Estimate
$300 – $400
271
Frank modell (1917-2016)
“Bless you, Carol, and just promise you’ll call me right away if it doesn’t work out.”
Cartoon for The New Yorker, published November 23, 1981, with their copyright label on verso. Ink, wash, and correction fluid on paper. 350x408 mm; 13¾x16 inches, on 14x17-inch sheet. Signed “Modell” in lower right image. Hinged to board with window matte.
Estimate
$300 – $400
272
Frank modell (1917-2016)
“Not everybody could pull it off, but you can.”
Cartoon for The New Yorker, published August 22, 1983, with their copyright label on verso. Ink and wash on paper. 437x416 mm; 17½x16½ inches. Signed “Modell” in lower left image. Hinged to board with window matte.
Estimate
$300 – $400
273
Frank modell (1917-2016)
“He just isn’t happy unless he’s in the eye of the hurricane.”
Cartoon for The New Yorker, published June 18, 1984, with their copyright label on verso. Ink and wash on paper. 310x450 mm; 12¼x17½ inches, on 16¼x20¾-inch sheet. Signed “Modell” in lower right image. Hinged to board with window matte.
Estimate
$300 – $400
274
Frank modell (1917-2016)
Wedding Cake Splitting Apart.
Cartoon for The New Yorker, published June 1, 1992. Marker and correction fluid on paper. 265x316 mm; 10½x12½ inches, on 11x12¾-inch sheet. Signed “Modell” in lower left image. Hinged to board with window matte.
Estimate
$300 – $400
275
Carl rose (1903-1971)
Couple Arguing in Venetian Gondola.
Cartoon for The New Yorker, published August 11, 1951, with their inventory and copyright stamps on verso. Mixed media, including pen, ink, watercolor, and gouache over graphite on board. 235x290 mm; 9¼x11½ inches, on 12¼x15-inch sheet. Signed “Carl Rose” in lower right image. Hinged to matte and framed.
Estimate
$700 – $1,000
276
Barbara shermund (1899-1978)
“And what’s more, dearie-it’s gonna grow on you.”
Likely cartoon for The New Yorker, circa 1950. Ink, wash, and gouache on paper. 290x290 mm; 11½x11½ inches, on 15¼x12½-inch sheet. Signed in ink, lower right and captioned in pencil. Pencil ghosting under caption. Tipped to window matte and framed.