Illustration Art
Officers
Christine von der Linn
Director
cv@swanngalleries.com
(212) 254-4710 ext. 20
George S. Lowry
Chairman
Nicholas D. Lowry
President, Principal Auctioneer
924899
Andrew M. Ansorge
Vice President & Controller
Alexandra Mann-Nelson
Chief Marketing Officer
2030704
Todd Weyman
Vice President & Director, Prints & Drawings
1214107
Nigel Freeman
Vice President & Director, African American Art
Rick Stattler
Vice President & Director, Books & Manuscripts
Administration
Andrew M. Ansorge
Vice President & Controller
aansorge@swanngalleries.com
Ariel Kim
Client Accounting
akim@swanngalleries.com
Diana Gibaldi
Operations Manager
diana@swanngalleries.com
Kelsie Jankowski
Communications Manager
kjankowski@swanngalleries.com
Shannon Licitra
Shipping Manager
slicitra@swanngalleries.com
General Book & Magazine Illustration
Nava atlas (1955-)
“Let the Sky Rain Potatoes.”
Illustration published in the first and subsequent editions of her cookbook Vegetariana: A Rich Harvest of Wit, Lore, & Recipes" (New York: Doubleday, 1984; New Paltz: Amberwood Press, 2021). Pencil on bristol paper. 215x200 mm; 8½x7⅞ inches, on 11x8¼-inch sheet. Signed and dated in pencil, lower right image and again in lower margin. Tipped to archival matte with full caption displayed in window beneath image.
Atlas is an accomplished book artist, writer, vegan cookbook author, and illustrator. Her artists' books, which explore a variety of social issues including women’s roles, culturally sanctioned bias, animal advocacy, and politics, are housed in dozens of notable collections, including the Libraries of the Museum of Modern Art, National Museum of Women in the Arts, Washington., DC, and Boston Museum of Fine Arts; The Library of Congress Rare Book Collection, The National Library at the Victoria and Albert Museum, and dozens of University artists' book collections. Her permanent archive of papers is held at the Rubenstein Library of Duke University.
This autumn she published a revised and updated edition of Vegetariana which was considered one of the pillars of vegetarian cookbooks in the 1980s. Her beautiful and delicate pencil drawings reflect the literary quotes and folklore that are at the heart of the book.
Estimate
$1,000 – $1,500
Nava atlas (1955-)
“Gertrude and Alice in the Garden.”
Illustration published in the newest edition of her cookbook Vegetariana: A Rich Harvest of Wit, Lore, & Recipes" (New Paltz: Amberwood Press, 2021). Pencil on bristol paper. 2017. 220x165mm; 8¾x6½ inches, image, on 11½x8¾-inch sheet. Signed in pencil, lower right image. Tipped to archival matte with full caption displayed in window beneath image.
This illustration was created for Atlas's newly published revised edition of her classic cookbook.
Atlas is an accomplished book artist, writer, vegan cookbook author, and illustrator. Her artists' books, which explore a variety of social issues including women’s roles, culturally sanctioned bias, animal advocacy, and politics, are housed in dozens of notable collections, including the Libraries of the Museum of Modern Art, National Museum of Women in the Arts, Washington., DC, and Boston Museum of Fine Arts; The Library of Congress Rare Book Collection, The National Library at the Victoria and Albert Museum, and dozens of University artists' book collections. Her permanent archive of papers is held at the Rubenstein Library of Duke University.
This autumn she published a revised and updated edition of Vegetariana which was considered one of the pillars of vegetarian cookbooks in the 1980s. Her beautiful and delicate pencil drawings reflect the literary quotes and folklore that are at the heart of the book.
Estimate
$800 – $1,200
Nava atlas (1955-
“The Fiddling Fruit Fairies.”
Illustration published in the third and subsequent editions of her cookbook Vegetariana: A Rich Harvest of Wit, Lore, & Recipes" (New Paltz: Amberwood Press, 2006). Graphite and colored pencil on bristol paper. 2006. 190x177 mm; 7½x7 inches, on 8¼x10-inch sheet. Signed in pencil, lower left image. Tipped to archival matte with full caption displayed in window beneath image.
Atlas is an accomplished book artist, writer, vegan cookbook author, and illustrator. Her artists' books, which explore a variety of social issues including women’s roles, culturally sanctioned bias, animal advocacy, and politics, are housed in dozens of notable collections, including the Libraries of the Museum of Modern Art, National Museum of Women in the Arts, Washington., DC, and Boston Museum of Fine Arts; The Library of Congress Rare Book Collection, The National Library at the Victoria and Albert Museum, and dozens of University artists' book collections. Her permanent archive of papers is held at the Rubenstein Library of Duke University.
This autumn she published a revised and updated edition of Vegetariana which was considered one of the pillars of vegetarian cookbooks in the 1980s. Her beautiful and delicate pencil drawings reflect the literary quotes and folklore that are at the heart of the book.
Estimate
$800 – $1,200
(advertising)
Save Room for Dessert!
Probable advertisement for Mannings Restaurant. Artist unidentified. Gouache over graphite on board. 280x370 mm; 11x14½ inches, on 14½x17½-inch board. Unsigned; not dated. Taped to window matte. An area of white space shows at left when matted.
Estimate
$400 – $600
Bill baker (1913-2012)
Woman and Suitors.
Illustration for “Madcap Merry” by Barry Stephens for King Features Syndicate, September 18, 1948, with their library inventory stamp on verso. Gouache on board. 360x495 mm; 14x19½ inches, on 18¾x24¼-inch board. Signed “Baker” in left image, near center, with artist’s stamp on verso. Laid into matte.
Estimate
$400 – $600
George barbier (1882-1932)
“Tendresses” * “La Flûte” * “La Nuit.”
Together, three headpieces for Les Chansons de Bilitis by Pierre Loüys (Paris: Pierre Corrard, 1922). Mixed media, including gouache, watercolor, and ink on paper; the first has added gold highlighting. The first is 70x170 mm; 2¾x6¾ inches, on 5½x10-inch sheet. The second is 93x165 mm; 3¾x6½ inches, on 5½x10-inch sheet. The third is 85x178 mm; 3¼x7 inches, on 6x9¾-inch sheet. Each signed “G. Barbier” and dated 1914, the first two in upper left image and the third in lower right image. Each hinged to board; matted and framed together.
Les Chansons de Bilitis is among the most beautiful works of the Art Deco period and one of the best examples of Barbier’s early work. Begun in 1914, its production was halted by the death of Pierre Corrard at the onset of the war, and only completed by his widow in 1922. Ritchie 10.
Estimate
$6,000 – $9,000
George barbier (1882-1932)
“Les danses au clair de lune” * “Les Bijoux.”
Together, two watercolor headpieces for Les Chansons de Bilitis by Pierre Loüys (Paris: Pierre Corrard, 1922). The first is watercolor, gouache, ink, and graphite on paper. 78x169 mm; 3x6½ inches, on 5½x10-inch sheet. Signed “G. Barbier” and dated 1914 in upper right image. The second is gouache and ink with gold highlighting on paper. 60x166 mm; 2¼x6½ inches, on 5½x10-inch sheet. Initialed “G. B.” and dated 1914 in lower right image.
Les Chansons de Bilitis is among the most beautiful works of the Art Deco period and one of the best examples of Barbier’s early work. Begun in 1914, its production was halted by the death of Pierre Corrard at the onset of the war, and only completed by his widow in 1922. Ritchie 10.
Estimate
$4,000 – $6,000
James barkley (1941- )
A Woman’s Place.
Cover illustration for A Woman’s Place by Marita Golden (New York: Ballantine Books, 1986). Mixed media on board. 419x419 mm; 16½x16½ inches, image, on 19-inch square board, mounted to foam board. Signed on verso.
Barkley’s striking cover art for Golden’s celebrated novel about three African-American women who meet and form enduring friendship at a New England college in the late sixties.
Estimate
$2,000 – $3,000
Rudolf bauer (1889-1953)
“Sacha! Ihre Braut ist nebenei!”
Mixed media, including gouache, ink, and crayon, circa 1910. 534x353 mm; 21x14 inches, sheet. Signed in ink, lower left, and caption penciled roughly along bottom margin, which has been folded back, taped to artwork in two areas at top. Verso stamped Estate Rudolf Bauer and numbered 162, additionally numbered 912 and #103.
Provenance: Estate of Rudolf Bauer; private collection, New York.
Estimate
$1,000 – $1,500
Eugene berman (1899-1972)
“Nuestra Señora de los Niños perdidos.”
Pen and ink on paper. 305x230 mm; 12x9 inches (sheet). Initialed and dated “E. B. 1948” in lower center image, dated “Oct. 28” at lower left, and titled in artist’s hand at upper left.
Provenance: Gift from artist; by descent to private collection.
Estimate
$400 – $600
Eugene berman (1899-1972)
Street Scene, Mexico.
Ink and wash on gray paper. 325x250 mm; 12¾x9¾ inches (sheet). Initialed and dated “E. B. 1949” in lower center image; dated again “Jan. 20. 1949” in lower left image.
In 1949, the year of this work’s creation, Berman married film actress Ona Munson, best known for her portrayal of Belle Watling in Gone With the Wind. The same year, the couple traveled to Mexico together on a Guggenheim fellowship he received.
Provenance: Gift from artist; by descent to private collection.
Estimate
$400 – $600
Mahlon blaine (1894-1969)
Woman Tending Young Goats. The Decameron of Boccaccio.
Illustration for Vol. I, Page 89 of the Bibliophilist Society edition (London, circa 1930). Pen, ink, gouache, and collage on paper. 380x240 mm; 15x9¼ inches, on 16x10½-inch sheet. Initialed “M.B.” in lower right image. Hinged to window matte with board.
Estimate
$600 – $900
Matilda maria blake (19th century)
“The Siege of Norwich Castle.”
Together, group of 8 illustrations for The Siege of Norwich Castle: A Story of the last Struggle Against the Conqueror by Blake (London: Seeley and Co, Ltd., 1893). Pen and ink on thin board. Most are about 210x135 mm; 8¼x5¼ inches, on 12¼x10-inch sheets. Each signed or initialed in lower image. Accompanied by a copy of the book.
Provenance: Chiswick Auctions, March 31, 2020, lot 262; Private collection, New York.
The group includes: "Emma Fitzosbern accepts the Tassel-gentle," "Waltheof's Humiliation," "Bishop Odo meets De Guader," "The Tower Stairs," "The Rescue of the Earl," "The big rat has gone into his hole!" "A Warrenne! A Warrenne! For William the Norman!" and "De Guader dons the Cross."
Estimate
$400 – $600
Hannes bok (1914-1964)
“Eve.”
Mixed media with tempera with glaze on board. 603x224 mm; 23¾x8¾ inches. Signed and dated “Hannes Bok 1960” in lower left.
Provenance: Clarence Peackock, gifted to current owner.
Estimate
$2,500 – $3,500
Franklin booth (1874-1948)
“Where the pure child-face had first drifted across his bewildered vision.”
Illustration for “The Thief,” by Constance Smedley, published in Everybody’s Magazine, September, 1908, p. 356. Scratchboard. 233x339 mm; 9¼x13¼ inches, on 10¾x14¾-inch sheet. Signed “Franklin Booth” in lower left image. Hinged to board; matted and framed.
Exhibited: "Norman Rockwell and the Artists of New Rochelle," Norman Rockwell Museum, May 18, 2002 to October 27, 2002, with exhibition label on frame backing.
Estimate
$2,500 – $3,500
Jean de bosschère (1881-1953)
Group of 7 illustrations.
Together, six colorful and finished images for an unidentified story, circa 1920s and one unrelated image of female fairies embracing in a flower, inscribed in an unidentified hand on verso "'Spring' especially made for [name erased] by Jean de Bosschère]". Mixed media, including gouache and metallic paint on paper. Most are 275x195 mm; 10¾x7¾ inches, all on 12½x9¼-inch sheets. Four are signed "Bosschère" in lower image.
These illustrations were likely created during the 1920s into the 30s, a prolific period for de Bosschère. During this time, he illustrated numerous classics, especially erotic Greek and Roman tales, which the imagery and costumes in these drawings strongly resemble.
Estimate
$3,500 – $5,000
Pierre brissaud (1885-1964)
“Antiques.”
Cover illustration for House and Garden magazine, published July 1938. Mixed media, including watercolor, ink, and gouache on thin board. 305x265 mm; 12x10 inches, on 14¾x11½-inch board. Signed "Pierre Brissaud / N.Y." in lower right image. Matted and framed.
Estimate
$3,000 – $4,000
Charles edmund brock (1870-1938)
“Hood’s Humorous Poems.”
Jacket design for the book Humorous Poems by Thomas Hood (London and New York: Macmillan and Co., 1893). Pen and ink on thin board. 235x220 mm; 9¼x8½ inches, on 12x11-inch sheet. Decorative signature within image; initialed “CEB” and dated 1893 in margin at lower right. Accompanied by a copy of the book.
Provenance: Chiswick Auctions, March 31, 2020, lot 262; Private collection, New York.
Estimate
$200 – $300
Frederick sands brunner (1886-1964)
Autumn Bicycle Ride.
Cover illustration for This Week magazine, published September 18, 1938. Oil on canvas. 685x545 mm; 27x21½ inches. Signed “F. Sands Brunner” in lower right image. Framed.
Estimate
$2,500 – $3,500
Howard chandler christy (1872-1952)
“There in a box hammock was Phil Hanrihan sprawling, a woman in a scarlet shawl clinging, her cheek against his.”
Story illustration for “Scarlet: The Story of a Woman with a Past” by Wallace Irwin, published in Liberty magazine, May 15, 1926, with their stamp at lower left and their label on verso. Charcoal on board. 975x710 mm; 38¼x28 inches, on 40x29¾-inch board. Signed “Howard Chandler Christy” in lower left image. Archivally taped and cornered to matte; framed. Repairs to edges and corners.
Estimate
$3,000 – $4,000
Seymour chwast (1931- )
“Jekyll Becomes Hyde.”
Original illustration for a German edition of Robert Louis Stevenson’s Strange Case of Dr. Jekyll and Mr. Hyde, (Frankfurt am Main and Vienna: Büchergilde Gutenberg, 1995). Tempera and ink on paper. 298x478 mm; 11¾x18¾ inches. Signed “Chwast” in pencil, lower right image. Mounted to black foamcore board, with artist’s labels on verso.
Estimate
$300 – $400
(samuel taylor coleridge / ancient mariner)
“Like one that on a lonesome road doth walk in fear & dread, And having once looked round walks on and no more turns his head, Because he knows a frightful fiend doth close behind him tread.”
Illustration for unknown edition of the poem The Rime of the Ancient Mariner by Samuel Taylor Coleridge, possibly unpublished. Pen and ink on paper mounted to thin board. 178x138 mm; 7x5½ inches, adhered to 10¼x8-inch board. Artist unidentified but initialed "A. M." in lower left image and captioned at lower right.
Estimate
$500 – $750
Dean cornwell (1892-1960)
WWI Army Corps on the March.
Oil on canvas. 660x1016 mm; 26x40 inches. Signed “Dean Cornwell” near left center image. Framed. Recently cleaned and restored.
Estimate
$3,000 – $5,000
Walter crane (1845-1915)
Two Fishermen at a Lily Pond.
Illustration for an unknown application. Watercolor and gouache on linen, mounted to wooden board. Approximate 300 mm; 11¾-inch tondo; in a contemporary wood frame.
Provenance: Robert and Helen Mandelbaum, New York; thence by descent, private collection, New York.
Exhibited: "British Art from the Collection of Robert and Helen Mandelbaum," Davison Art Center, Wesleyan University, October 6-29, 1978 and Mount Holyoke College Art Museum, November 10-December 20, 1978, catalogue number 10.
Though the intended use of this roundel remains unknown, it is characteristic of Crane's work, incorporating Pre-Raphaelite figures within Egyptian and Art Nouveau motifs.
Estimate
$1,200 – $1,800
Thelma cudlipp (1892-1983)
Dancers on Stage.
Cover illustration for Vanity Fair, published May 1, 1916. Gouache, ink, and graphite on board. 353x305 mm; 14x12 inches. Signed "Thelma Cudlipp" in lower left image and dated "May 1916" at lower center. Laid into matte and adhered to backing board; framed.
Cudlipp enjoyed a prolific and successful career illustrating for Harper's, The Century Magazine, McClure's, Vanity Fair, and The Saturday Evening Post. Its beginnings, however, were mired in a rather infamous industry scandal when her mother, then assistant editor under Theodore Dreiser at <I>The Delineator,<M> ended the famous author's infatuation with Thelma by sending her off to Europe. Though the incident cost Dreiser his job at the time, he and Cudlipp remained friendly until his death and his connections helped advance her career. Cudlipp was also fascinated with and collected pre-Columbian sculpture, a subject about which she wrote and lectured to promote its importance.
Estimate
$5,000 – $7,500
Douglas daniels (20th century)
“Fighting the Inferno.”
Gouache on black paper. 406x559 mm; 16x22 inches, laid to 18x23¾-inch sheet. Signed and dated “Daniels 1916” in lower right image, with the artist’s Gerrard’s Cross address on verso.
Estimate
$400 – $600
Felix darley (1822-1888)
“The Grindstone.”
Frontispiece illustration published in Chapter II, Book the Third, of Charles Dickens’s A Tale of Two Cities. Works of Charles Dickens, Household Edition. 55 vols. Illustrated by F. O. C. Darley and John Gilbert (New York: Sheldon and Co., 1863). Graphite, ink, and sepia on stiff paper. 13x11 inches on 17x14-inch sheet. Signed “F.O.C. Darley, fecit” in lower left image.
The image refers to the scene from Dickens’s classic novel in which the mob at Saint Antoine, reacting to the breakdown of civil authority in the midst of the September Massacres, sharpens its weapons in the courtyard of Tellson’s Bank, Paris. The passage is: “Shouldering one another to get next at the sharpening-stone, were men stripped to the waist, with the stain all over their limbs and bodies.” An observation of the image by Victorian scholar Philip V. Allingham notes that Darley lends the figures a more noble tone, rather than depicting the raw savagery of the author’s words (victorianweb.org).
Provenance: Christie's NY (East), May 23, 1994; Private collection, New York.
Estimate
$1,500 – $2,500
Felix darley (1822-1888)
Pair of illustrations
for unidentified publications, circa 1870s. Watercolor, ink, and wash on paper. 115x95 mm; 4½x3¾ inches, mounted to larger sheets of paper. Marked "Darley" in lower right corners, but likely in the hand of a relative or early owner, as suggested by author and curator Rowland Elzea, having compared them to similar Darleys in the Delaware Art Museum in the late 1970s for the owner.
Estimate
$500 – $750
[djoz]
Mother reading to children.Cover illustration for Nos Loisirs magazine, published December 1, 1923.
Cover illustration for Nos Loisirs magazine, published December 1, 1923. Gouache, graphite, and ink, with gold painted border on paper mounted to thin board. 243x218 mm; 9½x8½ inches, mounted to 12¼x11¼-inch board. Inscribed and signed “à mon vieil ami/René Manevy/Cordialement/djoz,” in lower left image. Hinged to backing board with matte; framed.
Nos Loisirs was published as an illustrated Sunday supplement of Le Petit Parisien, the French daily newspaper, from 1906 to 1940 (halting publication during World War I). This sweet scene of a mother reading with her children is representative of the type of imagery that Nos Loisirs featured on its covers around the time the publication adopted the subtitle “Revue de la Femme et du Foyer” in 1920.
Estimate
$1,200 – $1,800
Richard doyle (1824-1883)
Girls combing goats’ beards.
Watercolor, ink, and wash on paper, mounted to board. 350x503 mm; 13¾x19¾ inches. Signed with monogram and dated 1870, lower right.
Provenance: Christie's London, South Kensington October 25, 1982, lot 150; private collection New York City.
Estimate
$5,000 – $7,500
Edmund dulac (1882-1953)
“The Snow Queen.”
Illustration for the chapter "Second Story: A Little Boy and a Little Girl" from "The Snow Queen" published in <I>Stories from Hans Andersen with illustrations by Edmund Dulac<M> (London: Hodder and Stoughton, 1911), page 11. Watercolor, gouache, pen, and ink on paper. 320x253 mm; 12⅜x10 inches, on 13½x11-inch sheet. Signed "Edmund Dulac" and dated [19]10 in lower right image. Cornered to mount; archivally matted and framed.
The full published caption reads "Many a Winter's night she flies through the streets and peeps in at the windows and then the ice freezes on the panes into wonderful patterns like flowers."
One of the most iconic images from the great master of illustration.
Provenance: Lt. Col. Colin Campbell; Tenant Galleries, Los Angeles; Harry C. Kent, California; Clarence Paul and David Wilson, California; sale, Christie's, New York, February 15, 1985, lot 374; sale, Christie's, New York, May 25, 1994, lot 88; private collection, New York.
Exhibited: Leicester Galleries, London, "Edmund Dulac," November to December 1911, no. 1. Loose exhibition label included in lot.
Estimate
$50,000 – $70,000
Mark english (1933-2019)
“Mary hated to leave for school. She had begun to feel she was watching over Jason, in a way, like a mother.”
Illustration for “Who Would Want a Little Boy?” by Anne Tyler published in Ladies’ Home Journal, May 1968. Oil on board. 570x444 mm; 22¼x17½ inches. Unsigned, but with Society of Illustrators label on loose backing paper.
Estimate
$1,200 – $1,800
(film posters)
“The Barefoot Contessa.”
Original poster maquette for the 1954 film of the same title. Artwork attributed to Henri Cerutti or, alternately, to Rolf Goetze. Mixed media, including ink, wash, and charcoal heightened in white on board. 930x480 mm; 36½x19 inches, on 43½x29½-inch board. Unsigned; not dated.
While the maquette prominently features the film’s star Ava Gardner, the face of her co-star Humphrey Bogart is conspicuously absent. A large line drawing of Bogart’s face was later added to the final poster design just before printing, as the omission would have been a breach of the actor’s contract.
Estimate
$1,500 – $2,500
James montgomery flagg (1970-1960)
“Go back tuh yuh room an’ put yuh clo’es on. Then go out an’ find a minister.”
Illustration for the story “The Prodigal” by Porter Emerson Browne, published in Everybody’s Magazine, 1908, page 647. Graphite, pen, and ink on board. 550x750 mm; 21¾x29½ inches. Signed “James Montgomery Flagg” in lower left margin. Tipped to matte and framed.
Provenance: Sotheby's, New York April 5, 1995; private collection, New York.
Estimate
$1,200 – $1,800
James montgomery flagg (1877-1960)
“‘I’ve found a woman to sew on buttons,’ he said politely. ‘Have I?’ he inquired of Nancy. ‘Big Boy, you have.’”
Illustration for “A Six-Letter Word Meaning Trouble” by Gerald Mygatt, published in Good Housekeeping, March, 1931, page 82, with their stamp on verso. Ink on thin board. 612x515 mm; 24x20¼ inches, on 29¼x23-inch sheet. Signed “James Montgomery Flagg” in lower right image. Hinged to board mount; archivally matted and framed.
Estimate
$2,000 – $3,000
James montgomery flagg (1877-1960)
“Mr. Corroway was wearing a broad smile. He slapped Dave jovially on the shoulder and said: ‘No hard feelings, I hope, about our little deal? I’m glad to see you realize that business is business.’”
Illustration for “The Million-Dollar Hairpin” by Gerald Mygatt, published in Good Housekeeping, December 1931, pages 36-37, with their stamp on verso. Mixed media, including ink, wash, graphite, and gouache on thin board. 540x670 mm; 21¼x26¼ inches. Signed “James Montgomery Flagg” in lower right image. Taped to matte and framed.
Estimate
$1,500 – $2,500
Arthur burdett frost (1851-1928)
“Jes tak’ yo’ coat off, end dem collars end cuffs, end go out in de yard end cut de grass.”
Illustration for “As Long as You’s Single Dere’s Hope,” by Una Hunt published in Scribner’s Magazine, September, 1915. Ink wash and whiting on paper. 425x376 mm; 16¾x14¾ inches, on 19½x14¾-inch sheet. Signed “A. B. Frost” in lower right image; captioned and titled in graphite in lower margin.
Provenance: Latendorf Bookshop, with their detached typed label; Private Collection, Massachusetts.
Estimate
$1,200 – $1,800
George garland (20th century)
“To melt this frigid beauty required the services of an expert, someone with a wicked-and compelling-way with women.”
Illustration for “Journeyman Lover” by Paul Jones, published in The Saturday Evening Post, September 10, 1949, page 32, with their labels on verso. Gouache over graphite on board. 270x360 mm; 10½x14¼ inches, on 17x19½-inch board. Signed “George Garland” in lower left image. Not dated.
Estimate
$500 – $750
Charles dana gibson (1867-1944)
Aghast Woman.
Story illustration for unknown publication. Mixed media, including charcoal, crayon, wash, gouache on paper adhered to board. 485x285 mm; 19x11¼ inches, on 20½x12¼-inch sheet. Signed “C. D. Gibson” in lower right image. Taped to matte and framed.
Estimate
$300 – $400
Julius gipkens (1883-1969)
Castles on the Rhein.
Cover for Die Woche, published July 19, 1930. Mixed media, including gouache, ink, and collage on paper mounted to thin board with painted border. 337x257 mm; 13¼x10 inches, on 14x11-inch board. Signed “Gipkens” in lower left image.
Gipkens was a self-taught poster artist who was extremely active both before and after World War I. He was employed by the prestigious firm, Hollerbaum & Schmidt, where he worked alongside such fellow design luminaries as Lucian Bernhard, Hans Rudi Erdt, Julius Klinger and Ernest Deutsch. Die Woche was one of the first of many illustrated magazines that existed in Berlin in the early years of the 20th century. Founded in 1899, it was published continuously through 1944. (Reference: Das Fruhe Plakat in Europa und den USA, German Posters 1840-1940, Volume 3. Edited by Ruth Malhorta et. al. (Berlin, Mann Verlag, 1980), page 1048.)
Estimate
$1,000 – $1,500
Edward gorey (1925-2000)
“The Dark Beasts: and Eight Other Stories from the Hounds of Tindalos.”
Cover art for the black printing plate used for the book cover by Frank Belknap Long (New York: Belmont Books, 1964). Pen and ink on paper. 187x232 mm; 7⅜x9¼ inches, image, on 9¼x11¼-inch sheet. Unsigned but with printing instructions and measurements in Gorey’s hand.
The Dark Beasts was Belmont Books’ second collection of Belknap’s Cthulhu Mythos tales. Gorey’s artwork perfectly depicts the descriptive double-sided text for the cult classic that appeared on the rear cover of the book, slithering between the dark beasts: “For the first time in paperback, Strangled Frogs, Shrinking Turtles, A naked nymph with hair like hissing snakes, A microscopic human shape from outer space, Blue oranges, Pink tentacles, Gnores, Unthings, A tax on monogamy collected by Cro-Magnon giants . . . and other ingredients in the weirdest collection of far-out tales by one of the masters of science fiction.”
Provenance: The Edward Gorey Charitable Trust.
Exhibited and published: Clifford Ross, Phantasmagorey: The Work of Edward Gorey. New Haven: Yale University Library, 1974. Entry 9b. Published as an oversized 11.5” x 16” print in Gorey Posters, Harry N Abrams, Inc., New York, 1979.
Estimate
$5,000 – $7,500
Edward gorey (1925-2000)
T-shirt design for Mystery!
Ink, wash, with graphite, on Strathmore paper, circa 1980s. 127x235 mm; 5x9¼ inches, on 7¼x11½-inch sheet. Unsigned but penciled instruction in Gorey’s hand at lower right reads “drop in MYSTERY! logo” with an arrow pointing to the rectangle designed to hold the text. The verso bears a note by Andreas Brown, owner of Gotham Book Mart, friend, and publisher of Gorey: “‘Mystery’ shirt design (etc.) with logo space.”
Artwork and graphics for the extraordinarily popular television series produced by WGBH Boston for PBS are quite rare. This image was printed on T-shirts and was likely intended and used for other promotional materials for the show.
Provenance: The Edward Gorey Charitable Trust.
Estimate
$6,000 – $9,000
Edward gorey (1925-2000)
Signals, Drawing #6.
A proposed but unfinished work intended for the set of limited-edition prints published by Signals Limited, 1995. Ink, watercolor, graphite, and wash, with three small collaged pieces, on Strathmore paper. 265x215 mm; 10½x8½ inches, on 14½x11½-inch sheet. Initialed "EG" in lower right corner. Taped to the lower right margin is a 1½x2¼-inch swatch of paper containing a penciled grid. Within it, Gorey worked out a cross design for one of the intricate wallpaper backgrounds in the drawing.
Signals began as a catalogue that featured items related to PBS shows and carried a large amount of Gorey-related material over the years. Beginning in 1992, Gorey produced a series of ten limited edition offset lithographs exclusively for Signals. Each of the ten prints in the series featured highly detailed scenes filled with imaginative Gorey characters and locations. For this piece, Gorey shows the interior and exterior of a three-story home using a cloud-like cutaway technique that is both intriguing and somewhat confusing. The exterior portions of the house are defined with a watercolor wash that enhances and slightly blurs the pen and ink details. In several areas, the watercolor became overworked leading to necessary corrections. These corrected areas, in conjunction with several unfinished details, indicate that Gorey abandoned this piece as it was nearing completion. The swatch with the wallpaper design draft taped to the bottom margin further evinces Gorey's painstaking attempts at graphic patterning.
These qualities make this a desirable work for the true Gorey fan as such process pieces are uncommon on the market.
Special thanks to Irwin Terry for his insights and assistance with this lot.
Provenance: The Edward Gorey Charitable Trust.
Estimate
$5,000 – $7,500
Edward gorey (1925-2000)
“Christmas at Hugglebee Pond.”
Christmas card design, circa 1980. Ink, watercolor, and wash, on paper. 170x120 mm; 6½x4⅞ inches, image, on 10x7-inch sheet.
This sweet image became popular when it was licensed to Artpost (New York) to print for Christmas cards in the 1990s.
Provenance: The Edward Gorey Charitable Trust.
Estimate
$5,000 – $7,500
Gordon hope grant (1875-1962)
“Modder River.”
Illustration of The Battle of Modder River which occurred on November 28, 1899 during the Boer War. Published in Harper’s Weekly, January 27, 1900, page 77. Gouache and watercolor on board. 288x375 mm; 11½x14¾ inches. Signed and titled “Gordon H. Grant / Modder River” in lower left image; faint and barely legible penciled description of the scene on verso.
In 1899 Grant was sent as an artist-correspondent to South Africa by Harper’s Weekly to cover the Boer War.
The text below the published image reads: “The war in South Africa - Charge of the Argyll and Sutherland Highlanders across the river below the dam at the Battle of Modder River, November 28, 1899. - Drawn on the field by Gordon H. Grant, special artist for ‘Harper’s Weekly.’ The Officers are equipped with Rifles, in the same way as the Privates, all their distinctive Marks being removed from their Uniforms in order partially to protect them from the Boer Sharpshooters. The Highland Regiments wear Khaki Aprons over their Kilts, the dark Color of the Tartan affording too good a target.”
Estimate
$400 – $600
Frederic gruger (1871-1953)
Man and Woman Talking with Oxen in Background.
Probable magazine story illustration for the The Saturday Evening Post, with their label adhered to verso of frame. Graphite on thin board. 280x410 mm; 11x16 inches. Inscribed and signed in upper right image, “To Miss Grace [illegible] / F. R. Gruger.” Not dated. Attached to matte with archival tape; framed.
Estimate
$600 – $900
Frederic gruger (1871-1953)
“‘I shall count to five before I fire.’ said Davison. ‘One!’”
Illustration for “House of Darkness” by C. E. Scoggins, published in The Saturday Evening Post, December 20, 1930, page 19. Graphite on thin board. 292x408 mm; 11½x16 inches. Signed “F. R. Gruger” in upper right image. Attached to matte with archival tape; framed.
Estimate
$700 – $1,000
Richard harvey (1940- )
“Elvis: The Sun Sessions.”
Record cover design for album of the same title, produced by RCA, released 1976. Mixed media, including airbrush on board. 496x545 mm; 19½x21½ inches, on 20x22-inch board. Signed “Harvey” in lower right image. Accompanied by a laminated sheet of the printed album cover.
Estimate
$2,000 – $3,000
George hinke (1883-1959)
“Santa’s Joy.”
Illustration published in Ideals Magazine, Volume 10; Issue 6, December, 1953. Oil on canvas. 559x432 mm; 22x17 inches. Unsigned.
Celebrated illustrator and painter George Hinke was known for his holiday scenes and contributed to countless magazine covers and advertisements. His depictions of Santa Claus for The Coca-Cola Company, which proliferated in the 1950s, helped form America's vision of the Christmas icon. Hinke's remaining inventory was donated to Ideals by his widow. This is the last published Santa painting by him on record in their company archives.
Estimate
$6,000 – $9,000
Elbert mcgran jackson (1896-1962)
“Jessica laid her face against Richie’s shoulder; she felt his arm tighten about her. Perhaps it was a long time they stood so. She didn’t know, but she heard him say, ‘Do you mean you’ll marry me?’”
Illustration for "Young and Fair" by Laetitia McDonald (Mrs. Wallace Irwin), published in Good Housekeeping, October 1932, page 40. Oil on wax-lined canvas. 860x610 mm; 33¾ x24 inches. Signed "E. M. Jackson" in lower right image. Border painted unevenly, though corrected in published image. Framed. See condition report.
Estimate
$2,500 – $3,500
Elbert mcgran jackson (1896-1962)
“‘When you came up here,’ said Kildare, ‘I was sinking for the third time. I’m all right now.”
Illustration for “The Secret of Dr. Kildare” by Max Brand, published in Cosmopolitan, September 1939, page 152. Oil on wax-lined canvas. 790x435 mm; 31x17 inches. Signed “E. M. Jackson” in lower left image. Framed. See condition report.
Estimate
$2,500 – $3,500
Elbert mcgran jackson (1896-1962)
“Somewhere I’ll Find You.”
Illustration for story of the same title by Charles Hoffman, published in Cosmopolitan, November 1940, page 151. Oil on wax-lined canvas. 710x610 mm; 28x24 inches. Signed "E. M. Jackson" in image near lower right. Framed. See condition report.
Estimate
$1,200 – $1,800
Harvey whitney kidder (1918-2001)
“Love & Quahogs.”
Illustration for unknown publication. Tempera with glaze on board. 405x300 mm; 16x11½ inches, on 20¼x16½-inch board. Signed “Kidder” in lower left image. Adhered to matte with double-sided tape; framed.
Estimate
$800 – $1,200
Warner kreuter (20th century)
“Lilly.”
Studio sketch of pin-up model. Pencil and aniline dye on paper removed from spiral-bound sketchbook. 275x200 mm; 10¾x7¾ inches, on 13½x10¾-inch sheet. Signed “W. Kreuter” in lower right image; titled and dated 1977 in artist’s hand, with artist’s label on verso. Hinged to matte; framed.
Estimate
$400 – $600
Warner kreuter (20th century)
“Jessie.”
Studio sketch of pin-up model. Pencil and dye on board. 210x210 mm; 8¼x8¼ inches, on 9x10-inch sheet. Signed “W. Kreuter” in lower right image. Titled and dated 1937 in artist’s hand on verso. Taped to matte.
Estimate
$400 – $600
T. j. kuck (d. 2008)
“The Three Musketeers.”
Painting of scene from the 1948 MGM film starring Gene Kelly as D’Artagnan and June Allyson as Constance. Oil on board. 560x689 mm; 22x27 inches. Signed "T. J. Kuck" in lower right image.
Estimate
$500 – $750
Robert lambdin (1886-1991)
Middle Eastern Romance.
Illustration for unidentified publication. Pen and ink over graphite on paper. 355x344 mm; 14x13½ inches, on 14¾x14½-inch sheet. Signed “Lambdin” in lower right image.
Estimate
$400 – $600
John leech (1817-1864)
“Mr. Sponge’s Sporting Tour.”
Together, two studies for the steel engravings created for the book by Robert Surtees, with illustrations by Leech (London: Bradbury & Evans, 1852). Graphite and watercolor on paper. The largest, which is the more finished of the two, appeared facing page 320 (not the "pg. 288" written on it) and is captioned on the matte: "Hunting the Hounds." 105x155 mm; 4¼x6¼ on 7x9½-inch sheet. Signed by Leech in pencil, lower margin. The second, a rougher sketch, printed facing page 50, is captioned on the matte: "Mr. Caingey Thornton doesn't `put on steam enough.'" 110x138 mm; 4¼x5½ inches, sheet.
Estimate
$600 – $900
Robert c. leung (dates unknown)
Hank Aaron / Braves 44.
Editorial illustration for Black Sports Magazine, circa 1980s. Watercolor and tempera on board. Image measures 22x17 inches on 30x22-inch board. Signed “R. Leung” in ink, lower right.
Estimate
$400 – $600
David macaulay (1946- )
“Inflatable Cathedral.”
Illustration for Great Moments in Architecture by Macaulay (Boston: Houghton Mifflin, 1978). Pen and ink on paper. 246x345 mm; 9¾x13¼ inches, on 15x19½-inch sheet. Signed “David Macaulay” and dated 1976 below image at lower left. Matted.
Exhibited: “David Macaulay: Drawings: ‘Great Moments in Architecture,’” SPACED Gallery of Architecture, December 4, 1976 to January 7, 1977; Deutsches Architekturmuseum, Frankfurt, 1984.
Estimate
$1,500 – $2,500
David macaulay (1946- )
“Mobile Home.”
Illustration for Great Moments in Architecture by Macaulay (Boston: Houghton Mifflin, 1978). Pen and ink on paper. 248x345 mm; 9¾x13¼ inches, on 13½x18½-inch sheet. Signed “David Macaulay” and dated 1976 below image at lower left. Matted.
Exhibited: “David Macaulay: Drawings: ‘Great Moments in Architecture,’” SPACED Gallery of Architecture, December 4, 1976 to January 7, 1977; Deutsches Architekturmuseum, Frankfurt, 1984.
Estimate
$1,500 – $2,500
Saul mandel (1926-2011)
Mother, baby, and cat.
Illustration published in the Family Clinic section of Parents’ Magazine, July, 1967. Mixed media on paper. 340x410 mm; 13½x16 inches, mounted to 15x20-inch board. Signed “Mandel” in ink, lower left image.
Mandel was a prolific and multi-talented artist and designer. He created artwork for numerous major advertising campaigns and magazine illustrations but is perhaps best-known for his iconic Jolly Green Giant character. His work has won awards and is held in several museums around the world.
Provenance: From the artist's family.
Estimate
$800 – $1,200
Saul mandel (1926-2011)
“How to rent practically everything for a party.”
Illustration for the article by Jill Newman published in Woman’s Day magazine, December 19, 1978. Black and color ink on two overlapping sheets of celluloid. 285x215 mm; 11¼x8½ inches, sheet, taped to 20x13-inch board. Signed in lower right corner. Accompanied by a printed tear sheet from the magazine.
Mandel was a prolific and multi-talented artist and designer. He created artwork for numerous major advertising campaigns and magazine illustrations but is perhaps best-known for his iconic Jolly Green Giant character. His work has won awards and is held in several museums around the world.
Provenance: From the artist's family.
Estimate
$800 – $1,200
Saul mandel (1926-2011)
“A man’s restaurant is his paradise.”
Two illustrations for Vanessa Duchesne’s review of Manhattan Cafe in the Menus & Venues section of Madison Avenue Magazine, November, 1985. Watercolor and ink on paper. Sheets measure 300x375 mm; 11½x14¾ inches and 300x223 mm; 11½x8¾ inches. Each signed “© Mandel” in ink. Tear sheets of the cover of the magazine and the full article accompanies the artwork.
Mandel was a prolific and multi-talented artist and designer. He created artwork for numerous major advertising campaigns and magazine illustrations but is perhaps best-known for his iconic Jolly Green Giant character. His work has won awards and is held in several museums around the world.
Provenance: From the artist's family.
Estimate
$800 – $1,200
(men’s action magazine)
Poker Game Confrontation.
Likely illustration for Man's Action magazine, 1959. Artist unidentified. Gouache on board. 365x570 mm; 14½x22¼ inches. Unsigned; dated 1959 on verso. Laid into matte; archivally framed.
Estimate
$1,200 – $1,800
André edouard marty (1882-1974)
“Notre-Dame vue du Pont de la Tournelle.”
Mixed media, including watercolor, gouache, pen, and ink on paper. 220x145 mm; 8¾x5½ inches, on 8¾x6¼-inch sheet. Signed “A.E. Marty” and dated 1940 in lower left image. Hinged to backing board with matte; simply framed.
Exhibited: “A. E. Marty,” Galerie du Luxembourg, Paris, November 1975 to January 1976, cat. no. 74.; “André E. Marty,” Julian Hartnoll, London, December 1 to 16, 1977, cat. no. 46.
Provenance: Private collection, New York.
Estimate
$700 – $1,000
André édouard marty (1882-1974)
“Les dames n’avaient pas osé se risquer dehors…”
Illustration for Constance dans les Cieux by Comte de Bondy (Paris: Aux Éditions de la Lampe d’Argile, 1925). Pen, ink, and watercolor on paper. 165x143 mm; 6½x5½ inches, on 9¾x7½-inch sheet. Signed “A. E. Marty” in lower right image and captioned in graphite in lower margin. Hinged to matte and framed.
Estimate
$800 – $1,200
André édouard marty (1882-1974)
Little Bo Peep.
Illustration for Vanity Fair, stamped Nov 26, 1923, though possibly unpublished, as image could not be located in their archives. Watercolor, gouache, and graphite on paper. 316x272 mm; 12½x10¾ inches (sheet). Signed “A. E. Marty” in lower right image. Written in graphite at lower center of verso: “Given to Wolf Faber by / Frank Crowninshield / at closing of Vanity Fair.” Crowninshield was the famed editor of Vanity Fair from 1914 to 1936. Tipped to board.
Estimate
$800 – $1,200
Earl mayan (1916-2009)
“The Final Judgment.”
Illustration for a the same-titled story published in The Saturday Evening Post, with their stamp on verso, circa 1960. Tempera on board 673x343 mm; 26½x13½ inches. Signed in image, lower left (cleverly disguised as the name engraved on pillar of a fountain). Archivally matted.
Provenance: Property of the artist's family.
Reproduced: Illustration Magazine, issue Fifty-Seven, page 36.
Estimate
$1,000 – $1,500
John mcclelland (1919-2016)
First Haircut.
Illustration published on the cover of American Weekly magazine, March 1, 1959, with their stamp on verso. Gouache on board. 381x432 mm; 15x17 inches, image, on 18x22-inch board. Signed “John McClelland” lower right image. Double-layer window matte adhered to margin. Accompanied by a copy of the magazine (the Hearst-Corporation’s Sunday newspaper supplement).
Estimate
$800 – $1,200
Robert mcginnis (1926- )
Nude woman in profile.
Graphite on paper, mounted to foam core board. 196x52 mm; 7¾x2 inches, drawing, on 11x8½-inch board. Signed "R. McGinnis" near woman's left ankle, small graphite scribble at far right edge. Framed.
An attractive pencil drawing by prolific painter and illustrator Robert McGinnis, best known for his paperback cover art for crime fiction and thrillers in the '60s and '70. He is also the creator behind many iconic movie posters including Breakfast at Tiffany's and several James Bond spy thrillers like Live and Let Die, The Man with the Golden Gun, and Diamonds are Forever.
Estimate
$1,500 – $2,500
Neysa McMein (1888-1949) [Marjorie Frances McMein]
Looking Into the Mirror.
Cover for Woman’s Home Companion, published June 1938, with their stamp on verso. Pastel on board. 483x559mm; 19x22 inches. Inscribed and signed in lower right image, “To / Olive Godwin / Neysa McMein.” Framed. See condition report.
Born Marjorie McMein, the artist changed her name to “Neysa” after moving to New York City to pursue a brief acting career. She studied at The School of The Art Institute of Chicago and at the Art Students League. After selling her first drawing to the Boston Star, McMein began illustrating covers for The Saturday Evening Post in 1915 where her covers featuring glamorous and fashionable young women quickly gained popularity and brought her many more commissions for the leading magazines of the day, including Collier’s, McClure’s, Liberty, and Woman’s Home Companion. During World War I, McMein was commissioned to create propaganda posters for the governments of the United States and France, as well as to design fundraising posters for the Red Cross and YMCA. From 1923 to 1937, she produced all the covers for McCall’s. She also created advertisements for leading brands like Lucky Strike, Palmolive, and Betty Crocker, for which she produced a portrait of the fictional home baker. When magazines began reducing costs by replacing expensive commissioned illustrations with the cheaper medium of photography, McMein pivoted from her commercial career and primarily painted commissioned portraits.
McMein was an ardent supporter of women’s suffrage and was known to be fiercely independent with an active social life, which sometimes pushed the boundaries of propriety. She was inducted into the Society of Illustrators Hall of Fame in 1984, 35 years after her death.
Provenance: Estate of Charles Martignette; Heritage Auctions, June 27, 2012
Estimate
$6,000 – $9,000
Neysa McMein (1888-1949) [Marjorie Frances McMein]
“For Their Sakes - Work Together.”
Poster maquette for the National Conference of Christians and Jews, Brotherhood Week. Oil on canvas. 990x700 mm; 39x27½ inches. Signed “McMein” in lower right image. Decorative wood frame.
Born Marjorie McMein, the artist changed her name to “Neysa” after moving to New York City to pursue a brief acting career. She studied at The School of The Art Institute of Chicago and at the Art Students League. After selling her first drawing to the Boston Star, McMein began illustrating covers for The Saturday Evening Post in 1915 where her covers featuring glamorous and fashionable young women quickly gained popularity and brought her many more commissions for the leading magazines of the day, including Collier’s, McClure’s, Liberty, and Woman’s Home Companion. During World War I, McMein was commissioned to create propaganda posters for the governments of the United States and France, as well as to design fundraising posters for the Red Cross and YMCA. From 1923 to 1937, she produced all the covers for McCall’s. She also created advertisements for leading brands like Lucky Strike, Palmolive, and Betty Crocker, for which she produced a portrait of the fictional home baker. When magazines began reducing costs by replacing expensive commissioned illustrations with the cheaper medium of photography, McMein pivoted from her commercial career and primarily painted commissioned portraits.
McMein was an ardent supporter of women’s suffrage and was known to be fiercely independent with an active social life, which sometimes pushed the boundaries of propriety. She was inducted into the Society of Illustrators Hall of Fame in 1984, 35 years after her death.
Provenance: Collection of Meg and Rachel Siegel.
Estimate
$4,000 – $7,500
Frederic kimball mizen (1888-1964)
Healthy Breakfast, Fresh Air, and Exercise.
Advertisement for Cream of Wheat. Oil on canvas. 458x815 mm; 18x32 inches. Unsigned. Not dated.
Mizen was a prominent illustrator from Chicago and this advertisement is said to depict a member of the Wrigley family, among the city's most famous industrialists, known for their eponymous chewing gum.
Estimate
$1,200 – $1,800
(motherhood)
“Dors cher enfant.”
Illustration for chapter VII, page 29 of unidentified publication. Watercolor, gouache, and ink on paper. 158x275 mm; 6¼x10¾ inches, on 17¼x12¾-inch sheet (folded in half). Signed "Avena" or maybe "Aveim" or "Areim" [??] in lower right image; titled and (possibly) dated in graphite on verso. Hinged to matte and framed.
Estimate
$500 – $750
Mark mutchnik (1946-1990)
“Pyramid Variation: 9, 17, and 22.”
Together, 3 illustrations reproduced as posters for the Seattle Art Museum’s “Treasures of Tutankhamun” exhibition held at the Seattle Center Flag Pavilion, July 15 to November 15, 1978. Watercolor over graphite on paper. Each approximately 180x120 mm; 7x4¾ inches, on 10x8-inch sheets. Each titled, signed “M. A. Mutchnik,” and dated 1977 in graphite in lower margin. Hinged to mattes.
Drawing massive crowds, “Treasures of Tutankhamun” is often recognized as the original blockbuster exhibition. The now iconic artifacts extracted from the tomb of the boy-king captivated the American public as they traveled to six cities across the United States from November 1976 to April 1979, spending four months in each Washington, D.C., Chicago, New Orleans, Los Angeles, Seattle, and New York City.
The Seattle leg of “Treasures” opened at Seattle Center’s Flag Pavilion on July 15, 1978. Though the Seattle Art Museum sponsored the exhibition, the institution’s facilities were deemed insufficient. As a result, the Flag Pavilion, originally constructed for the 1962 World’s Fair, underwent a renovation that allowed it to host the approximately 1.29 million visitors who flocked to “Treasures” during its Seattle run. (Reference: Meredith Hindley. “King Tut: A Classic Blockbuster Museum Exhibition That Began as a Diplomatic Gesture” in HUMANITIES, September/October 2015, Volume 36, Number 5.)
Estimate
$700 – $1,000
A. d. neville (1895-1970).
The Sock Mender.
Oil on canvas. 665x565 mm; 22x26 inches. Signed “A. D. Neville” and dated [19]24 in lower left image. Framed. Recently cleaned and restored.
Estimate
$2,000 – $3,000
Peter newell (1862-1924)
“Under the Mistletoe-A glympse back into the hoopskirt period.”
Illustration for an unknown publication, most likely Harper’s Bazar. Gouache, ink, and wash on paper mounted to board. 290x420 mm; 11½x16½ inches, on 13x17¼-inch board which contains caption. Signed “Peter Newell-“98” in lower right corner of image.
Estimate
$1,500 – $2,500
Jean pages (1903-1976)
Original canvas mural for La Caravelle restaurant, New York City.
The French culinary scene depicts the interior of a lively kitchen. Oil on canvas over original wooden stretchers. 1270x1829mm; 50x72 inches.
Jean Pages was a prolific illustrator and muralist who decorated the interiors of many of the city's leading restaurants and private residences. In addition to its excellent French cuisine, La Caravelle was equally renowned for its famous clientele, which included the Kennedys, Walter Cronkite, Marlene Dietrich, John Lindsay, and the Duke and Duchess of Windsor. Pagès was hired to create a series of murals depicting typical Parisian scenes when the establishment served as a speakeasy during the Prohibition era. One of the murals was famously damaged by Salvador Dalí when the great surrealist's cane scratched its surface while dining there with friends. Neither this nor the other mural in the auction are the affected canvas.
Pages was born in Versailles and worked in France before being called to the U.S. in 1927 by the publishing giant Condé Nast, for whom he contributed illustrations to Vogue until the outbreak of World War II.
Among the restaurants and supper clubs Mr. Pages decorated in addition to La Caravelle were The Maisonette at the St. Regis Hotel, the Rendezvous at the Plaza Hotel, Le Pavillon, Le Manoir, Clos Normand, Le Mistral, La Comedic, La Rotisserie and Le Cygne. For the interior decor at the famed Côte Basque, he collaborated with noted designer, Bernard LaMotte.
Provenance: from the artist's family.
Estimate
$3,000 – $4,000
Jean pages (1903-1976)
Original canvas mural for La Caravelle restaurant, New York City.
The French culinary scene depicts a bustling outdoor market. Oil on canvas over original wooden stretchers. 1270x1981 mm; 50x78 inches.
Jean Pages was a prolific illustrator and muralist who decorated the interiors of many of the city's leading restaurants and private residences. In addition to its excellent French cuisine, La Caravelle was equally renowned for its famous clientele, which included the Kennedys, Walter Cronkite, Marlene Dietrich, John Lindsay, and the Duke and Duchess of Windsor. Pagès was hired to create a series of murals depicting typical Parisian scenes when the establishment served as a speakeasy during the Prohibition era. One of the murals was famously damaged by Salvador Dalí when the great surrealist's cane scratched its surface while dining there with friends. Neither this nor the other mural in the auction are the affected canvas.
Pages was born in Versailles and worked in France before being called to the U.S. in 1927 by the publishing giant Condé Nast, for whom he contributed illustrations to Vogue until the outbreak of World War II.
Among the restaurants and supper clubs Mr. Pages decorated in addition to La Caravelle were The Maisonette at the St. Regis Hotel, the Rendezvous at the Plaza Hotel, Le Pavillon, Le Manoir, Clos Normand, Le Mistral, La Comedic, La Rotisserie and Le Cygne. For the interior decor at the famed Côte Basque, he collaborated with noted designer, Bernard LaMotte.
Provenance: from the artist's family.
Estimate
$3,000 – $4,000
Willy pogány (1882-1955)
Young Woman.
Illustration intended for page 12 of The Rubáiyát of Omar Khayyám (New York: Thomas Y. Crowell, 1930). Ink, graphite, charcoal, and wash on board. 260x165 mm; 10¼x6½ inches. Signed "Willy Pogány" in pencil, lower right image on 15x10-inch board. Matted and framed.
Estimate
$2,000 – $3,000
Norman price (1877-1951)
“Gray! What are you doing here without your uniform?”
Illustration for “Love and the Lieutenant” by Robert W. Chambers, published in Woman’s Home Companion, October, 1934, page 26, with their stamp on verso. Gouache and watercolor on academy board. 465x410 mm; 18¼x16¼ inches, on 21x18½-inch board. Signed “Norman Price” in lower right image. Adhered to window matte; framed.
Estimate
$3,500 – $5,000
Arthur rackham (1867-1939)
“Sabrina Fair.”
Illustration for Comus by John Milton (London: William Heinemann, New York: Doubleday Page & Co., 1921). Watercolor, pen, and ink over graphite on board. 275x190 mm; 10¾x7½ inches. Signed “Arthur Rackham” in lower right image. Taped to matte and framed.
Provenance: Gumuchian and Company, January 4, 1944; private collection, New York.
Estimate
$15,000 – $20,000
Leslie ragan (1897-1972)
“West Indies.”
Study, possibly an unpublished advertisement intended for a steamship line. Watercolor, gouache, and graphite on board. 145x230 mm; 5¾x9 inches, on 6¾x10-inch sheet. Titled in lower margin with “Property of Leslie Ragan” in margin at upper left, both in graphite in artist’s hand.
Estimate
$800 – $1,200
Louis rhead (1957-1926)
“‘What happened to the ass?’ asked Sheherazade. ‘I will tell you,’ said the Vizier.’”
Illustration published in The Arabian Nights Entertainments (New York: Harper & Brothers, 1916), page 5. Pen and ink on paper mounted to board. Signed “Louis Rhead” in lower left image, captioned along bottom, and “Chap I / First Introductory Story” penned along top margin.
Estimate
$2,500 – $3,500
William heath robinson (1872-1944)
“The Fair Day.”
Pen, ink, and watercolor on paper. 520x395 mm; 20½x15½ inches, on 22¼x17-inch sheet. Signed “W. Heath Robinson” in lower right image. Cornered to backing board; matted and archivally framed.
Provenance: Chris Beetles, Ltd; private collection.
The illustration was reproduced in The Studio magazine, May 1925, vol. 89, facing page 243 and Holly Leaves magazine, Christmas 1927.
Estimate
$7,000 – $10,000
B. h. sanders (20th century)
Racing Car Striking Farmer.
Illustration for unknown publication. Gouache and watercolor on paper. 355x590 mm; 14x23 inches, on approximately 16¼x25½-inch sheet. Signed “B H Sanders” and dated [19]09 in lower right image. Firmly adhered to board with matte. Not removed from matte for inspection. See condition report.
Estimate
$300 – $400
Tony sarg (1882-1942)
Inspecting Antiquities.
Illustration for an unidentified story, 1912. Gouache and ink on board. 203x295 mm; 8x11¾ inches. Signed “Tony Sarg L.S.C. 12” in lower left corner. Framed.
Published: Henry C. Pitz and Norman Rockwell, 200 Years of American Illustration, New York, 1977, page 145.
A charming, though unidentified image of three men inspecting Egyptian antiquities as evidenced by one of them holding up a verdigris copper Ushabti figure.
In addition to his children’s books, the multi-talented Sarg designed the iconic lion’s head logo for Lyon’s Marmalade, revived puppetry and marionette theater in the U.S., built dedicated barber shops for children within department stores, created jigsaw puzzles and musical toys, and is credited with inventing the helium balloons for the Macy’s Thanksgiving Day Parades.
Estimate
$1,000 – $2,000
(film posters / science fiction)
“Saturn 3.”
Preliminary poster maquette for the 1980 science-fiction film of the same title. Artist unidentified. Oil on board. 915x615 mm; 36x24 inches. Unsigned; not dated.
The film starred the unlikely grouping of Kirk Doulas, Farrah Fawcett, Harvey Keitel, and a sinister robot named Hector, and was directed by Stanley Donen (best known for classic MGM musicals like Singin’ In the Rain and Seven Brides for Seven Brothers). The maquette features the instantly recognizable images of Douglas and Facwett, with Hector looming behind them.
Estimate
$600 – $900
John walter scott (1907-1987)
Passionate Embrace.
Illustration for unidentified publication. Gouache on board. 300x450 mm; 12x17½ inches, on 15¼x20½-inch board. Signed “John Scott” in lower right image. Adhered to window matte with double-sided tape.
Estimate
$1,500 – $2,500
Serge (19th century)
Christmas Pudding Dinner.
Mixed media, including pen, ink, watercolor, gouache, and metallic paint over graphite on board. 280x190 mm; 11x7½ inches, on 13x8¾-inch board. Signed “Serge” in lower left image. Not dated. Cornered to board; matted and framed.
Estimate
$300 – $500
E. h. shepard (1879-1976)
“To Hell, child! Your Hell, my Heaven!”
Illustration published in Laurence Housman’s novel The Golden Sovereign, page 252 (London: Jonathan Cape, 1937). 305x253 mm;12x10 inches, on 15x10¾-inch board. Signed “E.H. Shepard” in lower right image, verso additionally signed “E.H. Shepard / Joy Meadow / Longdown / Guildford.”
The description of the scene reads: “He spreads his arms and rises up through the looking-glass; you see his violet frock-coat, his check trousers, his white spats, and patent-leather boots ascending into and passing from view. He twiddles his feet at them and vanishes.”
Estimate
$500 – $750
Everett shinn (1876-1953)
“Joe felt four hands close over his head, and then with a mighty tug he was lifted to the surface.”
Illustration for Shinn’s story “Double Cross-Hatched” published in Puck magazine, March 1918. Ink, wash, and watercolor on rag paper. 365x534 mm; 14½x21 inches, sheet. Signed “E. Shinn 1918” in lower left image. Puck stamp with acquisition date of January 8 and run/publication date of Feb 20 on verso. Attached to old matte at corners.
Provenance: Salander O'Reilly Galleries, New York; current owner.
Estimate
$1,000 – $1,500
Jerome snyder (1916-1976)
Holiday Designs.
Together, group of four holiday-themed illustrations for unknown publications. The first is gouache on black paper. 308x230 mm; 12x9 inches. The remaining three are pen, ink, and gouache on paper. Sizes vary. The largest is 175x115 mm; 7x4½ inches, on 22½x15½-inch sheet. The smallest is 160x120 mm; 6½x4¾ inches, on 22½x15-inch sheet. One illustration is signed “Jerome Snyder” in lower right image. Not dated.
The group includes: “A Very Merry Xmas…A Very Happy New Year…,” Santa and Reindeer, Trumpeting Angel, and Holiday Bough.
Estimate
$300 – $400
Jerome snyder (1916-1976)
“Eminently Edible.”
Together, three color process drawings and six line drawings for “Eminently Edible: Ten True Tales Tastefully Told,” featuring illustrations by Snyder with notes by Sol Chaneles, published in Lithopinion: The Graphic Arts and Public Affairs Journal of Local One, Amalgamated Lithographers of America, and Lithographic Employers, Issue 33, Spring 1974. Color process drawings are colored pencil on onion skin; line drawings are pen and ink on onion skin. Image sizes vary; sheets are each 405x280 mm; 16x11 inches. Unsigned, but figures are identified in ink or graphite in Snyder’s hand in lower right corners. Accompanied by a colored pencil illustration of knives on onion skin collaged onto larger sheet with tape and mounted to large board. Approximately 290x460 mm; 11x18, on 30x20-inch board.
The reputation of the figures pictured each contributed to a treasured dish or aspect of culinary history. The group includes drawings of François René de Chateaubriand, Luisa Tetrazzini, J. A. Brillat-Savarin, Nellie Melba, Antoine-Auguste Parmentier, and Guillaume de St. Jacques.
Estimate
$300 – $400
Beatrice stevens (1876-1947)
“Four Oaks: III. Scherzo.”
Illustration from “A Series of Drawings by Beatrice Stevens,” published in Scribner’s Magazine, vol. 73, no. 4, page 407, April 1923. Pen and ink on thin board. 670x460 mm; 26½x18 inches, on 29¼x23-inch sheet. Signed “Beatrice Stevens” in lower left image and in pencil, on verso, followed by “Pomfret, Connecticut”. Archivally framed.
This illustration is part of a suite of four drawings where Stevens uses the male nude form in order to capture the spirit of the four movements of classical musical compositions (Allegro, Andante, Scherzo, and Allegro con brio). While the female nude is a common trope in the history of art, the Four Oaks suite is a rare example of an early female illustrator employing the use of the decorative male nude.
Estimate
$2,000 – $3,000
Sir john tenniel (1820-1914)
“The New Passenger.”
Preliminary drawing for an illustration published in Punch magazine, January 6, 1883. Graphite on paper. 160x208 mm; 6¼x8 inches, on 7½x10¾-inch sheet. Signed with monogram in lower left image. Hinged to board with matte.
Provenance: Collection of Herbert Stansbury (syndicate author and illustrator); Private collection.
Estimate
$700 – $1,000
(textile design) simonn cornet
“Soieries d’Ameublement: Pour une Chambre d’Homme * Pour un Living-Room.”
Together, two Art Deco textile/wallpaper designs. Mixed media, including gouache, graphite, and crayon on paper. Each design is 315x240; 12½x9½ inches, mounted together to 19x25-inch sheet. Titled at upper center; signed “Simonn Cornet” in upper right corner, with “12” written in blue at lower right. Pinned to sheet and framed together.
Estimate
$1,200 – $1,800
Murray tinkelman (1933-2016)
“The First War.”
Illustration for page 48 of At The Center of the World by Betty Baker (New York: Macmillan Publishing Co., 1973). Pen and ink on paper. 360x275 mm; 14¼x10¾ inches, on 16x13-inch sheet mounted to larger board. Signed “M. Tinkelman” in lower right image. Matted.
Baker’s book is based on the creation myths of the Pima and Papago tribes of southern Arizona and northern Mexico.
Estimate
$300 – $400
Enric torres-prat (1939- )
“Dawn.”
Cover illustration to book of the same title by Octavia E. Butler (New York: Warner Books, 1987). Oil on unstretched canvas. 640x390 mm; 25¼x15½ inches, on 27x17-inch canvas. Signed “Enric” in left image, near center. Not dated.
Dawn, the first book in Butler’s Xenogenesis trilogy, adeptly explores gender and race in a post-apocalyptic world. Butler, an African-American author, received a MacArthur Fellowship in 1995, making her the first science-fiction writer to win the MacArthur Foundation’s so-called “genius grant.”
Estimate
$2,000 – $3,000
Arthur watts (1883-1935)
“The Listeners.”
Illustration likely for The Radio Times or Punch magazine, circa 1930. Mixed media, including watercolor, gouache, and graphite on paper mounted to board with painted border. 380x295 mm; 15x11½ inches, on 19¼x15-inch board. Unsigned; not dated. Cornered to board; matted and framed. See condition report.
Provenance: "Illustrated Books and Original Book Illustrations," Christie's, December 11, 1998, lot 49; private collection; private collection, New York.
Estimate
$250 – $350
Honi werner (20th century)
“Homme Fatale.”
Cover art for the same-titled novel by Paul Mayersberg, (New York: St. Martin’s, 1992). Oil, wash, and glaze on vellum paper. 300x215 mm; 11¾x8½ inches. Initialed “HRW” in lower right corner. Glued to board and set in window matte. Framed.
Werner created iconic covers for a broad range of literary and mystery books by authors including Thomas Berger, Alice Hoffman, Bebe Moore Campbell, E.L. Doctorow, John Irving, Isabel Allende, Philippa Gregory, Peter Hoeg and Donna Leon. According to the Partners & Crime website, Werner stopped painting on physical canvas and paper around 1997 at which time she began to paint on her computer.
Provenance: Partners & Crime Mystery Booksellers, New York; private collection, 1997.
Estimate
$500 – $750
George harrison wert (1888-1950)
“The Guardian of the Virgin Gold.”
Illustration for story of the same title by Walter W. Liggett, published in Collier’s, September 19, 1925, page 11. Oil on canvas. 380x765 mm; 15x30 inches. Signed “G. H. Wert” in lower right image.
Estimate
$800 – $1,200
Gustavus chafee widney (1871-1955)
“Strife and bitterness and defeat - they are gone in the breath of the wind, the croon of the surf, the drift of light and shadow on the dreamy isle across the bay.”
Story illustration for “The Serpent and Mr. Hendry’s Heavens: The Call of the Brown Woman and a Plodder’s Revolt Against Tradition” by Stanley R. Osborn, published in Collier’s, September 23, 1911, page 22, with their label on verso. Pen, ink, and wash on board. 170x450 mm; 6¾x17½ inches. Signed “Widney” and dated [19]11 in lower right image. Float mounted and hinged through backing board; matted.
Estimate
$300 – $400
Nicky zann (1943-2020)
Mad Hatter.
Cover illustration for The Ellery Queen Omnibus (New York: International Polygonics, Ltd., 1988). Ink, graphite, and correction fluid on Bristol paper. 195x225 mm; 7½x8¾ inches, mounted to 7¾x9-inch sheet. Initialed “Z” in standing figure’s pant leg, at left. Accompanied by an early preliminary sketch in graphite.
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.
Estimate
$400 – $600
Fashion, Theater & Film
(film / warner brothers / seven arts) john truscott
Archive of set design sketches for the 1967 film Camelot.
Group of approximately 115 production designs and sketches of set renderings and miscellaneous props including weapons, furnishings, clothing, decorations, etc. used primarily in the main characters' bedrooms and for a snow scene. Mixed media on various papers, a few with fabric swatches still attached. Sizes vary, the largest of the sketches measure 430x280 mm; 17x11 inches, several smaller. Most anonymous, but a great majority of the highly accomplished drawings signed "J. Foyer and Jack F."
Following the success of the Broadway musical directed by Josh Logan, Warner Brothers released a popular movie adaptation of Camelot starring Richard Harris and Vanessa Redgrave. The production team, with stage design led by John Truscott, went to extraordinary lengths to achieve historical accuracy for the medieval tale of King Arthur and Guinevere. His efforts were rewarded with two Academy Awards for art direction and costume design.
Estimate
$1,000 – $2,000
Charles carl gesmar (1900-1928)
Mistinguett in black lingerie.
Costume design. Watercolor and graphite, heightened with silver, on paper. 318x242 mm; 12½x9½ inches, sheet. Signed and annotated in pencil.
Estimate
$1,000 – $1,500
Charles gesmar (1900-1928)
Exotic costume design.
Watercolor and graphite on paper. 470x320 mm; 18½x12½ inches. Signed “C. Gesmar” in pencil, lower margin. Large, clean tear to right side. Taped around perimeter to matte; framed.
Estimate
$250 – $350
Edith head (1907-1981)
“Julie Andrews.”
Costume sketch for unknown production. Graphite and watercolor on paper. 355x260 mm; 13¾x10¼ inches, on 15x11-inch sheet. Unsigned, but with notes in Head’s hand at upper right image and at left center.
Edith Head received thirty-five Oscar nominations and won eight Academy Awards for Best Costume Design, making her the most honored costume designer and woman in Academy Award history to date. Her award-winning designs appeared in the films The Heiress (1950), Samson and Delilah (1951), All About Eve (1951), A Place in the Sun (1952), Roman Holiday (1954), Sabrina (1955), The Facts of Life (1961), and The Sting (1974).
Estimate
$350 – $500
Edith head (1907-1981)
“Rita Hayworth / A Hole in the Head.”
Costume sketch for the 1959 film “A Hole in the Head,” directed by Frank Capra. Watercolor, gouache, and graphite on paper removed from spiral bound sketchbook. 390x295 mm; 15¼x11½ inches, on 16¾x13¾-inch sheet. Signed “Edith Head” in lower right image and labeled in Head’s hand at upper left: “Rita Hayworth / A Hole in / the Head.”
Hayworth was later recast and her replacement Eleanor Parker wore this design when she starred in the role of Eloise Rogers in the film.
Edith Head received thirty-five Oscar nominations and won eight Academy Awards for Best Costume Design, making her the most honored costume designer and woman in Academy Award history to date. Her award-winning designs appeared in the films The Heiress (1950), Samson and Delilah (1951), All About Eve (1951), A Place in the Sun (1952), Roman Holiday (1954), Sabrina (1955), The Facts of Life (1961), and The Sting (1974).
Provenance: Nate D. Sanders Auctions, October 29, 2013, lot 66.
Estimate
$400 – $600
Al hirschfeld (1903-2003)
“Mr. and Mrs. Richard Burton.”
Published in The New York Times, March 3, 1968. Pen and ink on board, 1968. 685x559 mm; 27x22 inches. Signed "Hirschfeld 3" in ink, lower right and titled in Hirschfeld's hand along bottom right edge. Laid into Margo Feiden Gallery raw silk-covered matte.
This was Hirschfeld's first newspaper drawing of the famous couple, although he had drawn them together for an S.J. Perelman article in TV Guide and twice to promote the film of Who’s Afraid of Virginia Woolf. The work was later published as a limited edition lithograph in an edition size of 150 in the early 1990s. He would not draw them together again until he captured them for the 1983 Broadway production of Noel Coward's Private Lives (sold at Swann Galleries in June, 2021).
Provenance: Margo Feiden Galleries, Ltd; private owner, 1995.
Estimate
$5,000 – $7,500
Al hirschfeld (1903-2003)
Ellen Greene in Little Shop of Horrors.
Illustration for the 1982 Off-Broadway production at the Orpheum Theatre, published in The New York Times, September 3, 1982. Pen and ink on board. 535x230 mm; 21x9 inches, on 27x20¾-inch board. Signed “Hirschfeld” in lower right image and titled in artist’s hand “Ellen Greene / ‘Little Shop of Horrors,’” in lower right corner. Laid into matte; framed.
Provenance: Margo Feiden Galleries; Producer gifted to present owner, New York.
Estimate
$3,000 – $4,000
Adrianne lobel (1955- )
“On the Town.”
Group of 23 original scenic concept designs for the 1997 adaptation performed at Central Park's Delacorte Theatre, New York, directed by George C. Wolfe. All with graphite, four images include color pencil (one with ink); one drawing on paper, the rest on tissue (some tissue drawings backed with white paper). 15 smaller drawings on 253x356 mm; 10x14-inch sheets; 8 larger ones on 356x482 mm; 14x19-inch sheets.
On the Town is one of the most beloved musicals of all time. The 1944 show about three sailors who try to cram a lifetime of New York experience into a single 24-hour leave, debuted Leonard Bernstein's famous score to lyrics and script by Betty Comden & Adolph Green. This production was its first major New York revival since 1971.
In Lobel's own words, On the Town was "the biggest and most ambitious production ever attempted at the Delacorte Theatre in the park. There is nothing there - and in order to do a sprawling musical with many locations, I had to come up with a giant machine that could hold a band, have a dance floor, and bring on all the scenery - at the same time not losing the sense of the spectacular locale of the park. It was only after sketching to the jazzy music for several weeks that I realized what I was drawing - a gigantic bridge with a 1940s band sitting on top - a bridge that could become Times square, The Museum of Natural History, Coney Island and many other places." The show was a great success in its original Central Park setting but failed to repeat that magic when it moved to Broadway.
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
$4,000 – $6,000
Adrianne lobel (1955- )
“Little House on the Prairie.”
Group of 18 original scenic concept designs for the musical based on the “Little House on the Prairie” children’s book series by Laura Ingalls Wilder, which premiered at the Guthrie Theater, Minneapolis, Minnesota, in 2008. Gouache, graphite, and ink over color laser prints of scene backdrops. 215x280 mm; 8½x11 inches, sheets.
The original production, directed by Francesca Zambello with a musical score by Rachel Portman, ran from July 26 through October 19, 2008 and broke numerous records at the Guthrie.
The cast included Melissa Gilbert (who famously played Laura Ingalls in the celebrated television series) as “Ma”, Steve Blanchard as “Pa”, Kara Lindsay (Laura), Jenn Gambatese (Mary), Sara Jean Ford (Nellie), Kevin Massey (Almanzo Wilder) and Brian Muller (Clarence Brewster).
The musical continued with a 5-week engagement at the Paper Mill Playhouse, Millburn, New Jersey, on September 10, 2009 prior to a U.S. National tour that began in October 2009 at the Ordway Theatre, St. Paul, Minnesota.
Lobel’s design concept was that the actors would literally build their own scenes just as the pioneers had to build everything themselves. The set was a simple series of wooden walls that could be reconfigured into many different structures and locations.
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
Robert perdziola (1961- )
“Tarquinius, Prince of Rome.”
Costume design for Duncan Rock in the Boston Lyric Opera's March 2019 production of Benjamin Britten's "The Rape of Lucretia." Watercolor, gouache, and graphite on paper. 365x250 mm; 14½x10 inches, on 16½x13¾-inch sheet. Titled in artist's hand and signed "Perdziola" in lower left image.
Perdziola is an American stage designer. While most of his work has been for operas and ballets, he has also worked in theater and film.
Estimate
$500 – $750
Robert perdziola (1961- )
“Millie Dillmount - ‘Gimmie Gimmie.’”
Costume design for Sutton Foster’s performance of the song “Gimme Gimme” in the La Jolla Playhouse’s October 2000 world premiere of “Thoroughly Modern Millie.” Watercolor, gouache, and graphite on paper. 395x235 mm; 15¾x9¼ inches, on 19x15-inch sheet. Titled in artist’s hand, signed “Perdziola,” and dated April [20]01 in lower right image.
Perdziola is an American stage designer. While most of his work has been for operas and ballets, he has also worked in theater and film.
Estimate
$500 – $750
Zig (louis gaudin; 1882-1936)
Two costume studies for Arletty as Myrrhiné and a courtesan.
Created for the production Xantho chez les Courtisanes, by Jacques Richepin, 1910. Graphite, gouache, and ink on paper. Each measures 318x228 mm; 12½x9 inches. Signed in red pencil, lower margins; rectos also captioned in pencil, and stamped with production design number.
Léonie Marie Julie Bathiat, known professionally as Arletty, was a French actress, singer and fashion model.
Estimate
$1,500 – $2,500
Georges de feure (1868-1943)
“La Robe Rouge.”
Mixed media, including gouache and watercolor over graphite on paper. 385x210 mm; 15x8¼ inches, on 16½x9¼-inch sheet. Signed “de Feure” in lower center image. Tipped to backing board at upper corners; matted.
Estimate
$3,000 – $4,000
Georges de feure (1868-1943)
“Aux Courses.”
Mixed media, including gouache and watercolor on paper mounted to board. 298x245 mm; 11¾x9¾ inches, on 13¼x12¼-inch sheet adhered to 16x13½-inch backing board. Signed “de Feure” in lower left corner. Extensive craquelure to blue sky.
Estimate
$2,000 – $3,000
Erté [romain de tirtoff 1892-1990]
“Une Robe.”
Illustration published in Harper’s Bazar, September 1925, with their stamp on verso. Pen and ink on paper. 161x90 mm; 6¼x3½ inches, on 9¾x6½-inch sheet. Signed “Erté” in lower right image. Verso has artist’s stamp and is titled in his hand. Archivally taped to matte at upper corners.
Estimate
$2,500 – $3,500
Erté [romain de tirtoff 1892-1990]
“Décor Hollandais.”
Gouache on paper. 140x200 mm; 5½x7¾ inches, on 10½x14½-inch sheet. Signed “Erté” in lower right image; titled and with Erté’s stamp on verso.
Estimate
$600 – $900
(advertising) scott evans (20th century)
Glamour Girl.
Probable fashion advertisement, produced under the Gilbert Sutton advertising agency, circa 1948. Reproduced on the agency’s page in the 27 Annual of Advertising and Editorial Art (New York: Pitman Publishing Corporation for The Art Directors Club of New York, 1948), page 275. Mixed media, including oil and tempera on board. 278x215 mm; 11x8½ inches, on 18x16-inch board. Signed “Scott Evans” in lower left image; inscribed “To Harold [illegible] / Scott Evans” on matte at lower right. Hinged to hand-painted matte and framed.
The reproduction of the image in the Annual indicates that the illustration may have been included in the Annual National Exhibition of Advertising and Editorial Art shown at the Grand Central Galleries from June 1 to 19, 1948.
Estimate
$400 – $600
Joe eula (1925-2004)
Archive of over 100 loose fashion sketches and drawings laid into the artist’s own binder.
Sketches of haute couture and ready-to-wear designs by Eula, loose and laid into divided sections devoted to: Pierre Cardin; Lanvin; Christian Dior; Simonetta and Alberto Fabiani/Jean Desses/Balmain/Ferrara; Roberto Capucci; Madame Alix Gres; Nina Ricci; Philippe Venet/André Courrèges; Guy Laroche; and Yves Saint Laurent; also includes drawings for other designers and several unidentified sketches, many contained in an illustrated folded folio sheet titled “Personalities (Paris) Page 3” and illustrated with charming little inset sketches of Simonetta, Nina, Jean Moreau, and Desses. Circa 1960s -80s. Drawings are rendered in mostly ink, marker and/or graphite; includes some photomechanicals used for publication in The New York Herald Tribune. Several with Eula’s signature and notations, and measurements. Various sizes, the average measures 255x346 mm; 10x13¾. The black plastic sketchbook bears Eula’s notes and loose sketches inside the covers (the rear with a cute pair captioned “It’s either this or this”).
A fabulous collection of Eula’s own designs, sectioned off by him for his own reference purposes. We have left them intact as he organized them.
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.
Provenance: From the Estate of Joe Eula.
Estimate
$4,000 – $6,000
Joe eula (1925-2004)
Archive of over 100 sketchbook fashion drawings for mainly Italian designers.
Sketches of haute couture and ready-to-wear designs for Roberto Capucci, Valentino, Ken Scott/Falconetto, Emilio Pucci, Antonio Castillo, and Gianni Baldini; also includes drawings for other designers and several unidentified sketches. Circa 1960s -80s. Drawings are rendered in mostly ink, marker and/or graphite; includes some photomechanicals used for publication in The New York Herald Tribune. Several with Eula’s signature and notations, and measurements. Various sizes, the average measures 255x346 mm; 10x13¾. The drawings exist in two states: bound into Eula’s own black plastic sketchbook or loose sheets taken from this or other notebooks (comprising the majority). The book bears Eula’s cover label and a few notes inside the covers.
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.
Provenance: From the Estate of Joe Eula.
Estimate
$3,000 – $4,000
Joe eula (1925-2004)
Charles Aznavour.
Together, two drawings for the poster and window card for the Broadway play "Aznavour" which premiered at the Lunt Fontaine Theatre, March 1983. The first is a crayon study with wash on paper, with printing indications in pencil along the right margin. Signed "Eula 83." 420x350 mm; 16½x13¾ inches. The second is more detailed, rendered in ink, watercolor, wash, and graphite on thicker paper. 440x293 mm; 17½x11½ inches. Signed and titled "Eula 83 / Aznavour" in lower margin.
Provenance: From the Estate of Joe Eula.
Estimate
$1,000 – $1,500
Joe eula (1925-2004)
One Kodak contact sheet, Five portrait sketches, and one design.
Includes: A large onionskin sheet containing five rough graphite sketches of Miles Davis used on the album cover of "Sketches of Spain" Drawing sight size about 13x10 inches (one rectangular portion cut out of sheet, presumably excising one or two figures), [1960] * Portrait of Eugenia Sheppard. Ink on paper. 13½x10½ inches. Signed "Eula" in lower right corner * Contact sheet containing 29 photographs of Eula and a final shot of him and Halston. 17x14 inches * Sketch of Noel Coward and Pamela Churchill. Ink on paper. 12x19 inches. Signed "Eula" * Two large sketches of Bernard John Coffey. 19x25 inches. Unsigned.
Provenance: The Estate of Joe Eula.
Estimate
$1,000 – $1,500
Jim howard (1930- )
Dapper Urbanites.
Fashion advertisement for the California-based department store, Bullocks, circa 1980s, with their stamp in lower margin. Mixed media, including charcoal, ink, wash, and gouache on paper. 390x485 mm; 15½x19 inches, on 18x19½-inch sheet. Signed “Jim Howard” in right center image.
Howard’s four-decade career as a fashion illustrator began with advertising campaigns for Neiman Marcus in the late 1950s and extended through the height of the fashion illustration industry in the ‘70s and ‘80s until photography became the preferred medium for fashion brands. After his time at Neiman Marcus, where he was an in-house fashion illustrator and assistant artistic director at the Texas headquarters, he moved to New York City in the 1960s to become the artistic director of the department store chain Franklin Simon & Co. Howard eventually moved into freelancing and made a name for himself illustrating for major department stores, including Saks Fifth Avenue, Bonwit Teller, B. Altman and Company, and Marshall Field’s, where he created illustrations for fashion houses, such as Calvin Klein, Oscar de la Renta, Dior, and Yves Saint Laurent that were often published in The New York Times. The Denver Art Museum highlighted the award-winning artist’s work in its 2018 exhibition “Drawn to Glamour: Fashion Illustrations by Jim Howard.”
Howard’s charcoal illustrations are visually appealing in their dramatic shading and use of active poses, emotive expressions, and detailed settings to create engaging narratives around the figures and their garments.
Estimate
$700 – $1,000
Jim howard (1930- )
Art Connoisseur.
Fashion advertisement for the California-based department store, Bullocks, with their stamp in right margin. Mixed media, including charcoal, ink, wash, gouache, and white pencil on thin board. 508x280 mm; 20x11 inches, on 20x12¼-inch sheet. Signed “Jim Howard” in lower right image; date stamped “Sep 5 1986” and “Sep 11 1986” on verso.
Howard’s four-decade career as a fashion illustrator began with advertising campaigns for Neiman Marcus in the late 1950s and extended through the height of the fashion illustration industry in the ‘70s and ‘80s until photography became the preferred medium for fashion brands. After his time at Neiman Marcus, where he was an in-house fashion illustrator and assistant artistic director at the Texas headquarters, he moved to New York City in the 1960s to become the artistic director of the department store chain Franklin Simon & Co. Howard eventually moved into freelancing and made a name for himself illustrating for major department stores, including Saks Fifth Avenue, Bonwit Teller, B. Altman and Company, and Marshall Field’s, where he created illustrations for fashion houses, such as Calvin Klein, Oscar de la Renta, Dior, and Yves Saint Laurent that were often published in The New York Times. The Denver Art Museum highlighted the award-winning artist’s work in its 2018 exhibition “Drawn to Glamour: Fashion Illustrations by Jim Howard.”
Howard’s charcoal illustrations are visually appealing in their dramatic shading and use of active poses, emotive expressions, and detailed settings to create engaging narratives around the figures and their garments.
Estimate
$600 – $900
Jim howard (1930- )
Fall Jumpers for the Jitney Set.
Fashion advertisement for the California-based department store, Bullocks, with their stamp in lower margin. Mixed media, including charcoal, ink, wash, and gouache on paper. 270x255 mm; 10½x10 inches, on 15x11¾-inch sheet. Signed “Jim Howard” in lower right image; date stamped “Sep 23 1986” on verso.
Howard’s four-decade career as a fashion illustrator began with advertising campaigns for Neiman Marcus in the late 1950s and extended through the height of the fashion illustration industry in the ‘70s and ‘80s until photography became the preferred medium for fashion brands. After his time at Neiman Marcus, where he was an in-house fashion illustrator and assistant artistic director at the Texas headquarters, he moved to New York City in the 1960s to become the artistic director of the department store chain Franklin Simon & Co. Howard eventually moved into freelancing and made a name for himself illustrating for major department stores, including Saks Fifth Avenue, Bonwit Teller, B. Altman and Company, and Marshall Field’s, where he created illustrations for fashion houses, such as Calvin Klein, Oscar de la Renta, Dior, and Yves Saint Laurent that were often published in The New York Times. The Denver Art Museum highlighted the award-winning artist’s work in its 2018 exhibition “Drawn to Glamour: Fashion Illustrations by Jim Howard.”
Howard’s charcoal illustrations are visually appealing in their dramatic shading and use of active poses, emotive expressions, and detailed settings to create engaging narratives around the figures and their garments.
Estimate
$500 – $750
Georges lepape (1887-1971)
“Mam’zelle Victoire.”
Possibly unpublished version of advertisement produced for “Mam’zelle Victoire” perfume by Rosine, a branch of the house of Paul Poiret. Mixed media, including gouache, graphite, ink, and gold highlighting on paper. 300x300 mm; 11¾x11¾ inches, on 15x14¼-inch sheet. Signed “Geo. Lepape” and dated 1915 in upper right image, in graphite. Hinged to backing board, which has Galerie du Luxembourg stamp on verso; matted.
Estimate
$6,000 – $9,000
Georges lepape (1887-1971)
“Le Retour.”
Illustration for unknown publication. Gouache, graphite, and silver highlighting on paper mounted to thin board. 317x214 mm; 12½x8¼ inches, mounted to 13½x9½-inch board. Signed “Geo. Lepape” and dated 1916 in lower right image.
Exhibited: Galerie Luxembourg, April to June 1978, cat. no. 68.
This original gouache was subsequently reproduced in Georges Lepape, ou l’élégance illustrée by Claude Lepape and Thierry Defer (Paris: Herscher, 1983), page 84.
Estimate
$5,000 – $7,500
Georges lepape (1887-1971)
“Les Oiseaux Blancs.”
Version of cover for Femina, published in the magazine’s quarterly war issue, June 1917. Mixed media, including gouache, watercolor, graphite, and gold highlighting on paper. 293x237 mm; 11½x9¼ inches, on 11¾x9½-inch sheet. Titled in graphite in lower left margin; signed “Geo. Lepape” and dated 1917 in lower right image, in ink. Inscribed near and underneath signature “A mes chers parents / [souvenirs bien affectueux] / 19 mai 1919.” Hinged to backing board with matte.
This original gouache was subsequently reproduced in Georges Lepape, ou l’élégance illustrée by Claude Lepape and Thierry Defer (Paris: Herscher, 1983), page 92.
Estimate
$8,000 – $12,000
Georges lepape (1887-1971)
Group of 16 working sketches and publication sheets for DOP hair care advertisements.
Comprises pencil, ink, gouache, and color ink drawings, mostly on onion skin, a few on paper, and 2 on transparencies. Average sheet measures 229x293 mm; 9x11½ inches, most with 3 binder holes. Most contain notations in publisher’s hand, including measurements, color and graphic indications, and placement of decorative details. One ink drawing is signed and dated “Georges Lepape `47” in pencil.
Estimate
$1,200 – $1,800
Georges lepape (1887-1971)
“Papiers à Lettres ‘Élite.’”
Maquette for a printed advertisement for the Élite paper company. Gouache and graphite on paper, cut and laid onto sheet with hand-drawn border and printed text. 130x101 mm; 5¼x4 inches, image, on 12x9¼-inch sheet. Signed “Lepape” in left lower corner of image.
Estimate
$600 – $900
Georges lepape (1887-1971)
Group of 11 fashion sketches.
Designers and lines unidentified. Some quite rough, others more finished. Graphite. Five on paper; six on onion skin measuring 330x152 mm; 13x6 inches, taped to white paper, and bearing his pink monogram stamp as do three others on paper. One drawing (on a 13x9-inch sheet) is a more thoughtful rendering of a female in dress, her back turned as she gazes out to sea, signed “Lepape Ste Maxime 1949” (Sainte Maxime was the town in Provence where Lepape retired).
Estimate
$2,000 – $3,000
Alberto fabio lorenzi (1880-1969)
The Pearl Necklace.
Illustration for unknown publication. Gouache on paper. 170x150 mm; 6¾x6 inches, on 11x7-inch sheet. Signed “Lorenzi” in upper right image. Hinged to matte along upper edge; framed.
Estimate
$600 – $900
André edouard marty (1882-1974)
“Diner dans les Jardins de Poiret: l’Hôtel” * “l’Oasis.”
Together, two illustrations for the article “Le Dîner de la Gazette du Bon Ton” by Henry Bidou published in La Gazette du Bon Ton, July 1914. Ink, watercolor, and gouache on paper. The first is195x488 mm; 7¾x19¼ inches, on 8½x21-inch sheet. The second is 137x600 mm; 5½x23¾ inches, on 6¼x25¾-inch sheet. Each signed “A.E. Marty” and dated “Juin 1914” in lower image, the first at left and the second at right. Both adhered to board on left edge; matted and framed together.
Exhibited: “Les Années 25: Art Déco/Bauhaus/Stijl/Esprit Nouveau,” Musée des Arts Décoratifs, March to May 1966; “Poiret le magnifique,” Musée Jacquemart-André, 1974, cat. no 255. Labels for both exhibitions on verso of backing board.
Marty’s illustrations accompany an article in the Gazette du Bon Ton documenting a party in celebration of the publication held by “one of the most famous couturiers in Paris” in the garden of his home at an “old Hôtel” in Paris. Couturiers, artists, and writers who contributed to the Gazette du Bon Ton attended the soiree, which included dinner in the elegant garden strung with garlands of lights, a dance performance, and an elaborate fireworks display. The location, host, and the prominent attendees remain unnamed in the original article. However, the exhibition catalogue for “Poiret le magnifique” states that Poiret hosted the affair at his Hôtel d’Antin, where he held numerous elaborate parties.
Estimate
$2,500 – $3,500
Manuel orazi (1860-1934)
Art Nouveau Woman with Sunflower Headdress. * Art Nouveau Woman Holding Kettle.
Together, original painting and original study for unidentified projects, likely unpublished. Mixed media, including watercolor, gouache, metallic paint, and pencil on paper. The first is 630x500 mm; 24¾x19½ inches (sheet). Firmly adhered to linen board. Signed with Orazi's monogram in lower left image; not dated. The second is 625x370 mm; 24½x18½ inches (sheet). Adhered to thick paper mount. Unsigned; not dated. Each matted and with simple gold-painted wood frames, study is missing glass.
The figure in the first and more finished artwork resembles Princesse Lointaine, who was famously played by Sarah Bernhardt and whose elaborate tiara adorned with lilies was immortalized and widely reproduced in imagery by poster artist Alphonse Mucha. While the sunflowers pictured here negate the likelihood of the artwork being intended as an image of the Princesse Lointaine, it certainly contains tropes and decorative elements quintessential to Orazi's oeuvre and the Art Nouveau style as a whole, such as use of sinuous curves and the intricate headdress, which he gives careful attention, likely due to his background as a jewelry designer. Orazi's jewelry was displayed at Samuel Bing's famed Maison de l'Art Nouveau in 1896, and his designs were also sold at La Maison Moderne.
Though it differs in the details and overall composition, the original study bears resemblance to Orazi's famous lithograph Femme aux Orchidées (Nymph with Orchids) in its rendering of a silhouette of a woman in profile with long tendrils of hair blowing in the wind.
Born in Italy, Orazi primarily worked in Paris creating graphic art in the Art Nouveau style and illustrations for advertisements, posters, calendars, books, and newspapers.
Such original studies by Orazi are uncommon on the market and highly desirable.
Provenance: Gallery Sixtyeight Auctions; Private collection, Toronto.
Estimate
$7,000 – $10,000
Children's Book & Magazine Illustration
Dora barks (early 20th century)
“The Crinkum Crankums.”
Together, group of 9 humorous illustrations for possibly unpublished work, circa 1910. Pen, ink, and watercolor on thin board. Each signed “Dora Barks” in lower left or lower right image. Each approximately 190x290 mm; 7½x11½ inches, on 10½x14½-inch sheets. Hinged to individual boards and matted separately. Each with nonsense verse on label adhered to verso, some of which are handwritten.
The British artist Dora Barks illustrated several children’s books in the 1910s and 1920s, many of which were verses and rhymes written by Ethel J. Barks including, The Tale of a Tail (Birmingham; London: Warrilows, Ltd., 1918), The Meet of the Gay Gissyquacks (London: Art & Humour Publishing Co., 1922), and a short series of books chronicling the adventures of ‘Chops’ the dog (Birmingham; London: Warrillows, Ltd., circa 1920).
Provenance: "Modern Literature & First Editions," Dominic Winter Auctioneers, December 13, 2018, lot 621; Private collection, New York.
Estimate
$1,000 – $1,500
Charlotte becker (1901-1984)
Small archive of published and working drawings and family photo album.
Various sizes and media. Includes: 18 works of original illustration art featuring her cherubic-faced children. Mostly watercolor, ink, and/or gouache. Many signed by Becker, a few with American Artists Co. stamped on verso. No specific publications identified. Average sheet measures 253x203 mm; 10x8-inches.
Printed material includes a few advertisements, a calendar, and a juvenile poster that contain her images * A Heckscher Theatre Illustrators Show program from 1941 featuring a number "Cheer Up Brother" that starred Becker and featured artwork by Dean Cornwell, John La Gatta, Gilbert Bundy, and John Falter.
44-page photography album from the 1910s-20s, with images of Becker, her family, friends, and travels, neatly captioned on mounts.
Becker was responsible for a great majority of commercial images of beaming, rosy-cheeked babies and young children that appeared on countless magazines, calendars, advertisements, and within her own two published juvenile works during the first half of the 20th century. She attended The Art Students League, the Cooper Union, and was an active member of the Society of Illustrators. Becker is credited for introducing the milk bottle into imagery of babies, an aesthetic decision which led to them being called "dairy pictures" by the advertising industry who used them to promote the association between consumption of dairy products with happy, plump, healthy children.
Estimate
$800 – $1,200
Molly benatar (early 20th century)
“The Story of a Spring Morning.”
Dust jacket spine and upper cover design for book of the same title by Mrs. [Mary Louisa] Molesworth (London: W & R Chambers, Ltd., 1923). Watercolor, gouache, and ink on board. 325x305 mm; 12¾x12 inches, on 17x15¼-inch board. Signed “Molly Benatar” in lower right image. Accompanied by a copy of the book (without the dust jacket).
Estimate
$250 – $350
Jan brett (1949- )
“A Partridge in a Pear Tree.”
Cover illustration for Brett’s The Twelve Days of Christmas (New York: Dodd, Mead & Company, 1986). Pen, ink, watercolor, gouache, and collage on paper. 244x200 mm; 9½x8 inches, on 12x11-inch sheet. Taped to matte. Signed “Jan Brett” and dated 1986 in right image. Loose frame backing inscribed “For my Editor, Betty Schwartz / Best Wishes~ / Jan Brett / September 1st, 1986.” Accompanied by a printed poster advertisement for the book.
Estimate
$1,200 – $1,800
Charles edmund brock (1870-1938)
“Scenes in Fairyland.”
Title page for Scenes in Fairyland, or Miss Mary’s Visits to the Court of Fairy Realm by Canon Atkinson (London: Macmillan and Co., 1892). Pen and ink on thin board. 155x100 mm; 6x4 inches, on 12x9-inch sheet. Initialed “CEB” in lower left image. Accompanied by a copy of the book.
Provenance: Chiswick Auctions, March 31, 2020, lot 262; Private collection, New York.
Estimate
$200 – $300
Harrison cady (1877-1970)
“Animal Alphabet.”
Endpapers for the 1921 book of the same title by Cady (Racine, Wis.: Whitman Publishing Company, 1921). Ink on thin board. 400x595 mm; 15¾x23½ inches, on 19¼x26-inch sheet. Unsigned. Cornered to mount and matted. See condition report.
Estimate
$1,200 – $1,800
Eric carle (1929-2021)
Frog.
Hand-painted and glazed collage with gouache on board. 190x265 mm; 7½x10½ inches. Signed “Eric Carle” in lower left image and inscribed “For Hens Gottmer with Love” at upper left. Hens Gottmer was the publisher of Carle’s books in The Netherlands (J.H. Gottmer/H.J.W. Becht B.V., Haarlem).
Estimate
$3,000 – $5,000
Eric carle (1929-2021)
King Cat and His Subjects.
Hand-painted and glazed collage on board. 283x220 mm; 11x8½ inches (sheet). Signed “Eric Carle” and inscribed “FOR HENS WITH LOVE/Northampton, Christmas 1990” in lower right image. Tipped to mount and framed. Hens Gottmer was the publisher of Carle’s books in The Netherlands (J.H. Gottmer/H.J.W. Becht B.V., Haarlem).
Provenance: Skinner, May 31, 2020; private collection.
Estimate
$5,000 – $7,500
Eric carle (1929-2021)
“And now I shall eat you up!”
Double-page spread for Watch Out! A Giant! by Carle (Cleveland and New York: Wiliams Collins + World Publishing Company, 1978), pages 24 and 25. Hand-painted and glazed collage on board. 360x495 mm; 14¼x19½ inches, on 15x20-inch board. Signed “Eric Carle” and dated 1978 in lower left margin, with artist’s stamp on verso. Inscribed “For Hens Gottmer with appreciation [heart] Love Eric Carle” in lower center margin. Hens Gottmer was the publisher of Carle’s books in The Netherlands (J.H. Gottmer/H.J.W. Becht B.V., Haarlem). A Dutch copy of the book accompanies the lot.
Estimate
$5,000 – $7,000
Marguerite de angeli (1889-1987)
“Without further words he made a sign of farewell, and, keeping Jan in the midst of the group, went off.”
Illustration for de Angeli’s Black Fox of Lorne (Garden City, N.Y.: Doubleday, 1956), page 33. Graphite on paper. 160x180 mm; 6¼x7½ inches, 8¾x9¼-inch sheet. Inscribed and signed at lower right: “To Ginny + Bill / with Love / Mama de A.” Original simple black frame, with publisher’s printed label on backing; matted to 5½x7 inches, which covers the 2-inch tear as well as the inscription. See condition report.
A 1957 Newbery Honor book, Black Fox of Lorne is a work of historical fiction based in the 11th century about Viking twins shipwrecked on the Scottish Isle of Skye. This illustration features the young Jan (one of the book’s twin protagonists), his father Harald Redbeard, and Bègan Mòr, Thane of Skye.
The work may have been prepared as a special presentation piece around the time of publication, as the back of the original frame bears a vintage printed label naming the title, author, and publisher, Doubleday Junior Books.
Estimate
$400 – $600
Howell dodd (1910-2005)
“Camp Rassawek was a criss-cross of swinging flashlight beams converging on him.”
Story illustration for “Scouts by Capture” by Philip Lightfoot Scruggs, published in Boys’ Life magazine, February 1946, pages 4 and 5. Ink and wash, heightened in white gouache, on board. 178x432 mm; 7x17 inches, on 14¼x22-inch board. Signed “Howell Dodd” in lower right image.
Estimate
$700 – $1,000
Bernard garbutt (1900-1975)
“Hammer Head.”
45-page rough draft for an unpublished horse-racing themed children’s book of the same title by Garbutt, circa 1950s. Mixed media, including ink, watercolor, and gouache on paper, most with applied text. Pages are mostly loose from paper covers and aged cellotape binding. Image sizes vary; sheets are 180x250 mm; 7x9¾ inches. Unsigned, but with notes in Garbutt’s hand on interior cover and in lower margin of first two pages. The cover bears the ink stamp of Bertha Klausner, the author’s literary agent.
Bernard Garbutt was a Disney animator, drawing instructor, and prolific children’s illustrator, notable for his realistic depictions of animals. Garbutt led animal life drawing classes for Disney studio animators at the Los Angeles Zoo. These classes were crucial to the Disney staff improving their drawing skills, which enabled them to create Snow White and the Seven Dwarfs, Bambi, Dumbo, and many other classic films. Garbutt’s contributions were so significant that Frank Thomas and Ollie Johnston dedicated a section of their book Disney Animation: The Illusion of Life to him (New York: Hyperion, 1981).
Estimate
$700 – $1,000
Ginn & co (publisher)
“The Three Little Pigs.”
Group of 4 illustration boards for the fable, as issued in the well-known children’s Kindergarten Kit reader series published by Ginn and Company, circa 1960s. Tempera on board. 340x507 mm; 13¼x20 inches, boards. Publisher’s labels in margins. WITH–Two additional smaller illustrations: a squirrel on an autumnal tree, 10½x8 inches, and a farmer dashing off, 4¾x8¼ inches, from an unidentified Ginn Music Series publication.
Estimate
$400 – $600
Dong kingman (1911-2000)
“The Nightingale.”
Illustrations for pages 4-5 and 6-7 of Kingman’s interpretation of the same-titled story by Hans Christian Andersen (Mamaroneck, N.Y.: Once-Upon-A-Time Press, 1948). Includes two finished boards and process sheets. Watercolor and ink. Approximately 300x410 mm; 12x16 inches. Illustration for 4-5 in black wash as published. Illustration for 6-7 in color version (as published) and in black wash. In addition, there are 3 black wash acetate overlays for that spread indicating color separations used for final published image. Finally, there is an unused illustration with text mock-up on paper. A copy of the published book accompanies the artwork.
The order of the illustrations for pages 6-7 differs from the final published layout.
The Nightingale was referenced as “the only good comic book in existence” in Frederic Wertham’s 1954 book Seduction of the Innocent, which denounced the comic book medium for its detrimental effect on children and eventually led to the establishment of the Comics Code Authority (CCA). Wertham calls attention to The Nightingale’s high-quality printing and paper and its beautiful colors, though he states that it cannot be considered a normal comic book because the dialogue is not delivered in balloons and it does “not confirm to the comic-book formula according to which a story is so abundantly illustrated that the action can be followed almost without reading any of the words” (pages 312-313). The Nightingale was the first of an intended, but ultimately unrealized, series by the publisher meant to elevate and redefine the comic book medium.
A master of watercolors, Kingman was a Chinese-American artist known for his picturesque landscapes and urban scenes and for pioneering the “California Style” school of painting. Kingman worked for the WPA from 1936 to 1941 and held numerous successful one-man gallery shows and well-received museum retrospectives. Throughout his career, Kingman was commissioned to illustrate the covers of leading magazines, including Time, Life, and Fortune, and painted numerous murals for companies like the Bank of California, the Ambassador Hotel in Hong Kong, and the Lingman Restaurant in New York City, which has been restored and is now housed in the Brooklyn Public Library. Additionally, Kingman designed posters for American Airlines and the Olympics. He also dabbled in Hollywood in the 1950s and 60s by serving as a technical advisor for numerous films and designing the title backgrounds for the films 55 Days in Peking and Flower Drum Song. In 1981, he was invited to exhibit his work by the Ministry of Culture of the Peoples Republic of China, the first American artist to hold a retrospective since the countries resumed diplomatic relations.
Kingman taught at various institutions, including Columbia University, Hunter College, the Famous Artists School, and the Academy of Art College in San Francisco. Over his 70-year career as an artist, he won numerous awards and accolades including two Guggenheim fellowships in 1942 and 1943, and the American Watercolor Society’s Dolphin Medal in 1987, the organization’s highest honor. His work is held in the permanent collections of leading institutions, such as the Metropolitan Museum of Art, the Boston Museum of Fine Arts, the Whitney Museum, Museum of Modern Art, the Art Institute of Chicago, and the Pennsylvania Academy of Fine Arts. (Reference: DongKingman.org)
Estimate
$2,000 – $3,000
Arnold lobel (1933-1987)
“Days With Frog and Toad.”
Unused concept design, an alternate cover study for the book of the same title by Lobel (New York: Harper & Row, 1979). Graphite on opaque tracing paper. 210x140 mm; 8¼x5½ inches, on approximately 11¼x9-inch sheet. Unsigned. Tipped to matte at upper edge with archival tape. Diagonal fold crease near center.
An iconic image of Frog and Toad, the design echoes the chapter “The Kite,” pp. 16-27.
Provenance: The Artist's Estate; Private collection, New York.
Estimate
$4,000 – $6,000
Arnold lobel (1933-1987)
“Frog has a gift for Toad.”
Preliminary drawing for The Frog and Toad Coloring Book by Lobel (New York: Harper & Row, 1981), page 15. Graphite on opaque tracing paper. 245x185 mm; 9¾x7¼ inches, on approximately 14x9-inch sheet. Unsigned. Tipped to matte at upper edge with archival tape and tissue.
Provenance: The Artist's Estate; Private collection, New York.
Estimate
$2,500 – $3,500
James marshall (1942-1992)
“‘I don’t mind if I do,’ said Goldilocks, helping herself to the biggest bowl.”
Variation of illustration published in Marshall’s Goldilocks and the Three Bears (New York: Dial Books for Young Readers, 1988). Watercolor and ink on paper. 295x465 mm; 11¾x18¼ inches, on 12¼x18¼-inch sheet. Signed “Marshall” in lower right image. Inscribed, signed, and dated “For Francelia Love Jim, New Year’s Eve 1987” in upper margin. Adhered to board; matted and framed. Accompanied by a copy of the book.
Estimate
$2,000 – $3,000
Patricia polacco (1944- )
“Meteor!”
Variant/unpublished illustration for book of the same title by Polacco (New York: Dodd, Mead & Company, 1987). Mixed media, including marker, gouache, and graphite on paper. 375x605 mm; 14¾x23¾ inches, on 17½x28¾-inch sheet. Inscribed, signed, and dated “To Betty - From Patricia Polacco [19]’89 With Gratitude” in lower margin.
Estimate
$500 – $750
Maurice sendak (1928-2012)
“Give and Take.”
Study for page 15 of Thanks & Giving All Year Long by Marlo Thomas and Friends (New York: Simon & Schuster Books for Young Readers, 2004). Graphite on artist acetate paper. 280x215 mm; 11x8½ inches, on 12x9-inch sheet. Unsigned, but dated “June 22, 2004” in the artist’s hand at lower right. Hinged to matte at upper edge and archivally framed. Accompanied by a copy of the book.
The finished watercolor was Sendak’s contribution to the book, which was a cumulative celebration of original donated texts, illustrated art, music, et cetera on behalf of St. Jude Children’s Research Hospital. The hospital was founded by Ms. Thomas’ father, Danny Thomas, in 1962. The original watercolor is in Ms. Thomas’ personal collection.
Provenance: Gifted to Lynn Caponera by the artist; Private collection, New York.
Estimate
$15,000 – $20,000
(sesame street)
Winter Wonderland.
Illustration for unknown Sesame Street publication, circa 1980s. Ink, watercolor, and colored pencil on paper. 420x310 mm; 16½x12¼ inches, on 20x14¾-inch sheet. Unsigned.
This illustration features the beloved characters Big Bird and Elmo ice skating and Bert attempting to sled, while The Count, Prairie Dawn, and Telly fly above in a hot air balloon.
Estimate
$600 – $900
(sesame street)
A Day at the Firehouse.
Illustration for unknown Sesame Street publication, circa 1980s. Ink and watercolor on paper. 410x300 mm; 16x11¾ inches, on 20¼x14½-inch sheet. Unsigned.
Featuring Bert and Ernie helping a fire chief while a delighted Betty Lou sits in the truck, this charming illustration was likely used in a 1980s Australian publication that followed Betty Lou on her visits to various locations and introducing specialized vocabulary for each situation.
Estimate
$600 – $900
Diane stanley (20th century)
“Her only comfort was to stand at the window and gaze out on a world that she could never enter.”
Illustration for page 12 of Stanley’s retelling of Petrosinella: A Neapolitan Rapunzel (New York: Frederick Warne, 1981). Watercolor and colored ink on paper. 105x90 mm; 4¼x3½ inches, on 7½x9½-inch sheet. Signed “Diane Stanley” in lower right margin. Hinged to board with matte and archivally framed. Accompanied by a copy of the 1995 Puffin Books edition of the book.
Provenance: Bush Galleries, Norwich, VT; Private collection.
Estimate
$250 – $350
Diane stanley (20th century)
“She ran into the grove to look for snowdrops. And they were all over!”
Illustration for The Month-Brothers: A Slavic Tale retold by Samuel Marshak (New York: William Morrow and Company, 1983). Mixed media, including watercolor and ink on paper. 90x125 mm; 3½x5 inches, on 6¾x11-inch sheet. Unsigned; not dated. Hinged to matte; framed. Accompanied by a copy of the book.
Estimate
$250 – $350
Kurt wiese (1887-1974)
“‘Your father wants you to line up in a straight row behind us so that you can all be sure to see.” * “The Puff-Tail family rolled over the edge of their nest and under the grass and fur coverlet, where they huddled and shivered and shook, huddled and quivered, wobbling their noses with fright.”
Together, three illustrations on two sheets for pages 20-21 and 59 of What Every Young Rabbit Should Know by Carol Denison (New York: Dodd, Mead and Company, 1948), each with publisher’s stamp on verso. Charcoal on paper. The first two illustrations are on a single sheet. 75x190 mm; 3x7½ inches and 70x240 mm; 2¾x9¼ inches, respectively, on an 8½x10¼-inch sheet. Hinged to board; matted. The third is 155x195 mm; 6x7½ inches, on 7¼x8-inch sheet. Tipped to matte. Each unsigned; not dated. Accompanied by an ex-library copy of the book.
Provenance: Gifted to "C.R." by author Carol Denison (as indicated on verso); Private collection.
Estimate
$800 – $1,200
Jane breskin zalben (1950- )
“‘Oh, oysters,’ said the Carpenter, `You’ve had a pleasant run!’”
Double-page interior illustration 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. 255x410 mm; 10x16¼ inches, on 10½x17-inch sheet. Signed “Jane Breskin Zalben” in lower right image. Cornered to board and double-matted with silk linen. Accompanied by the hardcover first edition of the book signed by Zalben.
Estimate
$1,200 – $1,800
Jane breskin zalben (1950-)
“The Starry Night.”
Illustration for her book Mousterpiece: A Mouse-Sized Guide to Modern Art, (New York: Neal Porter/Roaring Brook Press, 2012). Mixed media, including watercolor, tempera, pen, with collage, on paper. 158x210 mm; 6¼x8¼ inches, on 12x9-inch sheet. Signed “Jane Breskin Zalben” in lower right margin. Archivally tipped to matte. Accompanied by a first edition of the book and a copy of the newly issued First Chinese Edition (2020), both signed by Zalben.
This image of Janson painting her version of Vincent van Gogh’s “The Starry Night” appears on page 24, before the artist added captions to the Dalí art rendering in the background. Zalben’s book Mousterpiece was a runaway hit, especially at museums where art programs for children regularly use the story of a small mouse named Janson (after art historian H. W. Janson) to introduce them to the modern masters. Janson lives in a museum and learns to paint in the style of Albers, Rousseau, Warhol, Picasso and others until she creates her own original work, her “mousterpiece,” and thus “arriving” as an artist. The book was listed on The Horn Book’s “Calling Caldecott” list among other accolades.
Estimate
$1,000 – $1,500
Comics, Cartoons & Animation
Charles addams (1912-1988)
Uncle Fester and Morticia.
Blue ink on paper removed from spiral-bound sketchbook and mounted to board. 155x300 mm; 6x11¾ inches, on 8½x11¾-inch sheet. Inscribed, signed, and dated in lower margin: “For John Panevast [?] / Chas Addams / San Antonio / 1959.”
Estimate
$1,200 – $1,800
Charles addams (1912-1988)
Morticia Addams.
Blue ink on paper removed from spiral-bound sketchbook and mounted to board. 280x200 mm; 11x7½ inches, on 11¾X8¾-inch sheet. Inscribed, signed, and dated at lower right: “For Lee / Chas Addams / San Antonio / 1959.”
Estimate
$1,200 – $1,800
Charles addams (1912-1988)
Mounting Preferences.
Two unidentified illustrations, most likely for an advertising campaign, circa 1930s or 1940s. Watercolor, ink, and gouache on board. 203x115 mm; 8x4½ inches each. Unsigned.
This charming pair juxtaposes a woman's unbridled joy at a work of abstract art in the manner of Jean (Hans) Arp with a disinterested man in his smoking gown, standing before his (quintessentially Addams-esque) mounted bear head. These may have been two boards from a larger series of illustrations as evidenced by the lack of Addams' signature, which he reserved for the final image of a series.
Provenance: Originally sold by the Boston art dealer L.A. Bigelow, which at the time was located at 42 Bromfield Street.
Estimate
$4,000 – $6,000
Charles addams (1912-1988)
“Iron Maiden.”
Frontispiece for the Addams cartoon compilation Drawn and Quartered (New York: Random House, 1942). Pen and ink wash, heightened in white, on board. 140x185 mm; 5½x7¼ inches, on 11¾x11½-inch board. Signed “Chas Addams” in lower right image; inscribed and signed again on matte at lower right: “For Melisande who casts / the nicest shadows/ Chas Addams.” Taped to matte and framed with museum glass. Accompanied by a copy of the 1962 Simon & Schuster edition of the book, where the illustration appears on page 5.
Melisande was Addams’ love interest when the book was in production and the artist gifted her this original. Assumed to have been lost ever since, it recently appeared as part of her estate.
Provenance: Estate of Melisande Congdon-Doyle.
Estimate
$6,000 – $9,000
Culmer barnes (1874-1936)
“‘Hey! Fellers! Jimmie’s pinched!’ ‘Run tell his wife!’”
Cartoon published on page 23 of Life magazine, July 5, 1917, with their copyright stamp on verso. Pen and ink on thin board. 135x335 mm; 5¼x13¼ inches, on 5¾x14¼-inch sheet. Signed “C. Barnes” in lower left image with typed caption affixed to verso. Hinged to window matte with board.
In the published caption, the name “Jimmie” is changed to “Sammie.”
Estimate
$400 – $600
(the beatles.) yellow submarine.
“Chief Blue Meanie.”
Original animation cel from the feature length animated film (United Artists/King Features Syndicate, 1968). Hand-painted gouache on celluloid, with production notations in ink in lower margin. 285x220 mm; 11¼x8¾ inches, on 12¼x16-inch sheet. Hinged to backing board with masking tape. Matted and framed, with a certificate of authenticity mounted to the frame verso.
The design of the Chief Blue Meanie and his minions is attributed to German illustrator Heinz Edelmann, and not, as was often thought, Peter Max.
Estimate
$1,000 – $1,500
Harrison cady (1877-1970)
“Gulliver Knickerbocker and the Lilliputians.”
Cartoon published in LIFE magazine, published September 19, 1912. Pen and ink on thin board. 675x560 mm; 26½x22 inches (sheet). Unsigned. Tipped to mount; matted. See condition report.
Literature: Violet and Denis Kitchen, Madness in Crwods, The Teeming Mind of Harrison Cady, Beehive Books, 2019. Page 96.
This cartoon by Cady riffs on Jonathan Swift's famous satirical novel Gulliver's Travels by comparing the influx of Jewish immigrants into New York City to Gulliver and the Lilliputians. Cady drew upon stereotypes to depict the tiny Jewish men, rendered with exaggerated large and curved noses, who appear preoccupied with taking over the economy and turning a profit on everything from Gulliver's curly hair and hat, which they cut with saws and scissors, to the very land they inhabit that has been renamed "New Jerusalem."
Like many illustrators of his day, Cady's work sometimes reflected commonly held prejudices and several of Cady's illustrations leading up to World War I are tinged with the anti-Semitic and anti-immigrant sentiments seen here. It is not known if Cady shared these problematic views, or if he was carrying out the opinions of his publishers and their requirements for assignments.
As with many early Cadys, this sheet is singed at the edges as a result of a devastating fire at his Crown Heights, Brooklyn apartment in 1926 from which most of his artwork was saved, but barely. The Cady works in the Smithsonian Institute show similar fire and water damage in addition to the uneven edge loss where mildew destroyed the paper beyond restoration.
Estimate
$1,500 – $2,500
Jim davis (1945- )
“Life is funny.”
Original “Garfield” daily comic, published May 2, 1994, with United Feature Syndicate pastedown in first panel. Pen, ink, zip-a-tone, blue pencil, and correction fluid on Bristol board. 105x355 mm; 4¼x14 inches, on 5x15-inch sheet. Signed “Jim Davis” and dated in final panel. Inscribed and signed “To Sarah - Thanks for everything and GOOD LUCK! Jim Davis” in lower margin.
Estimate
$700 – $1,000
Kim deitch (1944- )
“The Boulevard of Broken Dreams.”
Color version of black and white double-page spread published in the graphic novel of the same title by Kim Deitch with Simon Deitch (Seattle, WA: Fantagraphic Books, 1993). Hand-colored and -detailed illustration over printed background on paper. 253x305 mm; 10x12 inches, on 11x16½-inch sheet. Signed “Kim Deitch” in margin at lower right. Hinged to board; matted and framed.
Deitch was part of the underground comix movement of the 1960s. His work often centers on fictionalized histories of the American animation industry and features variations of characters from beloved classic comics and cartoons, such as Waldo, a black feline reminiscent of Felix the Cat, pictured here at lower center.
Provenance: Bess Cutler Gallery; Private collection, New York.
Estimate
$800 – $1,200
Rudolph dirks (1877-1968)
“Zzzz . . . P-s-s-t . . . Pfff” The Captain and the Kids Sunday comic.
Original “The Captain and the Kids” Sunday comic, published December 27, 1942 (United Feature Syndicate). Pen and ink with later colored pencil, on Bristol board. 383x572 mm; 15x22½ inches, on slightly larger sheet. Signed “R. Dirks” in first panel and with United Feature Syndicate pastedown label in fourth.
Rudolph Dirks was hired by William Randolph Hearst’s New York Journal at the height of its circulation war with Joseph Pulitzer’s rival paper, New York World. Hearst’s editors commissioned Dirks to develop a Sunday comic based on Wilhelm Busch’s popular prankish German character duo, Max and Moritz, in order to compete with the successful comic Down in Hogan’s Alley in Pulitzer’s World. Dirks created The Katzenjammer Kids, which starred Hans and Fritz, naughty protagonists who rebelled against the authority of “Mama” and “der Captain.” After fifteen years of success, Dirks wanted to take a temporary year-long hiatus, which was denied by the syndicate. When he left without permission, Harold Knerr took over the strip. Dirks sued, but despite a long legal battle, Hearst was allowed to continue the strip’s publication under Knerr’s direction. However, Dirks was permitted to create a nearly identical strip for the rival Pulitzer paper in 1914, which he initially titled Hans and Fritz, but later renamed The Captain and the Kids due to rising anti-German sentiment during World War I. With similar plotlines and characters, the two comics soon achieved near equal popularity. This comic is a fine example of the chaotic world created by Dirks where the pranks carried out by Hans and Fritz wreak havoc upon the relationships between “Mama,” “der Captain,” “King Bongo,” and his queen.
Dirks made significant contributions to the graphic language of comic strips throughout his lifetime. Though not the first to use sequential panels or speech balloons, he influenced their wider adoption. Dirks is also often credited with popularizing the use of speed lines, “seeing stars” for pain, and “sawing wood” for snoring.
Estimate
$1,000 – $1,500
Asher ein dor (1943- )
Untitled (Starman).
Acrylic on board with glaze. 696x423 mm; 27½x16¾ inches. Signed and dated [September 15, 1972], lower left margin.
Asher Dikstein (Ein Dor) is one of the most pioneering and important artists of Israeli comics. He edited the magazines Bambi and Buki, illustrated comic strips, as well as books from the series Hasamba, contributed comic strips to the children's magazine Etsbe'oni, designed and illustrated book covers of Patrik Kim, Bill Carter and Ringo books, and more. Ein Dor eventually became religious and moved to Safed.
Estimate
$500 – $750
Asher ein-dor (1943- )
Untitled (LSD / Charly).
Acrylic on board with glaze. 1005x350 mm; 39½x13¾ inches. Signed and dated [October 24, 1972], lower image.
Asher Dikstein (Ein Dor) is one of the most pioneering and important artists of Israeli comics. He edited the magazines Bambi and Buki, illustrated comic strips, as well as books from the series Hasamba, contributed comic strips to the children's magazine Etsbe'oni, designed and illustrated book covers of Patrik Kim, Bill Carter and Ringo books, and more. Ein Dor eventually became religious and moved to Safed.
Estimate
$500 – $750
Emily flake (21st century)
“Halloween Costumes for Babies.”
Original “Lulu Eightball” comic strip, published October 30, 2013. Pen and ink on paper. 90x115 mm; 3½x4½ inches, on 5¾x7½-inch sheet. Unsigned; not dated. Hinged to mount with matte.
Flake’s “Lulu Eightball” comic strip ran in alt-weeklies from 2002 to 2016. An anthology of the strips has been published in two volumes by Atomic Books.
Estimate
$600 – $900
William gropper (1897-1977)
“Swing to the Left.”
A New Deal/WPA-themed 4-panel political cartoon featuring F.D.R., for an unknown publication. Pen and ink on paper. 315x236 mm;12½x9¼ inches, sheet. Signed “Gropper” in bottom panel.
Provenance: Collection of the artist, then by descent to family.
Estimate
$400 – $600
William gropper (1897-1977)
“Political Comics.”
A New Deal/WPA-themed 8-panel political cartoon for an unknown publication. Pen and ink on Vidalon paper. 440x304 mm; 17¼x12 inches, on 20¼x13¾-inch sheet. Signed “Gropper / With apologies-“ in lower right panel.
A wry cartoon in which Gropper plays on popular cartoon characters of the day including Mickey Mouse, Popeye (very cleverly drawn as F.D.R.), the Katzenjammer Kids, and the Happy Hooligans to poke fun at Roosevelt’s political missteps.
Provenance: Collection of the artist, then by descent to family.
Estimate
$500 – $750
Vincent (v. t.) hamlin (1900-1993)
“With a yank of its eight-inch bicuspids, the huge saurian whisked our hero off his feet…”
Original “Alley Oop” daily comic, published June 8, 1962, with NEA, Inc. syndicate pastedown in final panel. Pen and ink over graphite and blue pencil on Bristol board. 153x514 mm; 6x20¼ inches, on 7x20¾-inch sheet. Signed “V. T. Hamlin” in final panel; dated in and above final panel, and again in first panel. Titled “Oop’s Best Friend” in graphite in upper margin.
Estimate
$600 – $900
George herriman (1880-1944)
“A Buggy Full of Clay . . .” Krazy Kat Sunday Comic Strip
dated December 25, 1927 (King Features Syndicate, 1927). Pen and ink on Bristol board. 573x523 mm; 22¾x22½ inches. Signed “Herriman” in ink, center bottom margin, and with KFS copyright pastedown in lower right, “12-25” in pencil to its right. Light conservation recently performed; see condition report for details. Framed.
Ignatz learns a painful lesson after he tries to abscond with a fresh-from-the-fire brick.
Estimate
$15,000 – $25,000
George herriman (1880-1944)
“This Will Point the Way to Where I’m At . . .” Krazy Kat Sunday Comic Strip
dated June 24, 1934 (King Features Syndicate, 1934). Pen and ink on Bristol board. 573x577 mm; 22¾x18¾ inches, sheet. Bottom left panel signed and dated "Herriman / 6-24" in ink, and with KFS copyright pastedown. Framed.
Offisa Pup puts another timely end to a classic Krazy Kat/Ignatz encounter.
Provenance: From the collection of artist/illustrator Rick Meyerowitz.
Estimate
$20,000 – $30,000
George herriman (1880-1944)
Two Embarrassing Moments / Bernie Burns comic strips.
Together, two original single-panel strips, published March 22, 1930 and January 27, 1932 (King Features Syndicate). Ink over graphite on Bristol board. Images measure 178x178 mm; 7x7 inches, on slightly larger sheets. Dated along bottom and with King Features Syndicate labels.
Herriman drew the Bernie Burns daily strip, also known as Embarrassing Moments (the feature’s original title based on its running gag), simultaneously with his famous Krazy Kat comic from 1928-1932. It began in 1922 and was drawn by several cartoonists before his stint.
Estimate
$1,000 – $1,500
Daniel johnston (1961-2019)
“Salvation.”
Mixed media, including pen and marker on paper. 280x215 mm; 11x8½ inches (sheet). Signed “Daniel Johnston” in lower right image.
Faded text at upper left reads: “THERE ARE MANY GREAT DAYS AND MANY GREAT DAYS TO CUM.”
Johnston was a significant figure in outsider art and the alternative music scene, building a following by recording his music on lo-fi cassette tapes in his home and distributing them to people he met. His cult status was propelled when Nirvana leader Kurt Cobain wore a tee shirt featuring artwork from Johnston’s 1983 cassette album Hi, How Are You at the 1992 MTV Music Awards. Cobain was a fan and repeatedly praised Johnston in interviews. Johnston’s art and music drew upon his ongoing struggles with bipolar disorder and schizophrenia, for which he spent periods in psychiatric institutions. Johnston was the subject of a 2005 documentary entitled The Devil and Daniel Johnston.
Estimate
$1,000 – $2,000
Bil keane (1922-2011)
“Daddy just yawned and we’re all passin’ it around” * “Wow! Look! Ants!”
Together, two original “The Family Circus” daily comics, published March 18, 1974, and May 1, 1975, respectively, with The Register and Tribune Syndicate pastedowns. Pen and ink over graphite on stiff paper, with printed caption pastedowns. Each signed “Bil Keane” at lower right and dated at lower left. 267x227 mm; 10½x9 inches, sheets. Each warmly inscribed and signed to Jack and Tina Tippit.
Provenance: Estate of William F. Brown and Tina Tippit Brown.
Estimate
$350 – $500
Polly keener (1946- )
Cotillion.
Illustration reproduced in Drolleries!: Celebrating the Art of Polly Keener by Robert (Ted) Keener (San Francisco, CA: Blurb Books, 2014). Mixed media, including colored pencil, pen, and ink on paper. 280x390 mm; 11x15¼ inches, on 14x17-inch sheet. Signed “Polly Keener” and dated 1975 in lower right image, with artist’s stamp on label taped to verso of backing board. Hinged to thin board; matted and framed.
Polly Keener is the creator of the cartoon strip, “Hamster Alley” and the puzzle/cartoon feature “Mystery Mosaic,” both of which are nationally syndicated. This is an example of her “Animal Drolleries” cartoons that parody humans through the clever use of animal characters. Keener also authored the book Cartooning (Englewood Cliffs, N.J.: Prentice Hall, 1992), which featured a foreword by cartoonist Jim Davis, the creator of “Garfield.”
Estimate
$250 – $350
Jimmy mack [james mcmenamy jr.] (1912-1992)
“This shortage of civilian doctors forced my wife to cancel her nervous breakdown this year.”
Cartoon published in Nifty Gags-Cartoon magazine, November 6, 1944, page 12. Ink and watercolor on paper. 210x230 mm; 8¼x9 inches, on 10¼x11½-inch sheet. Unsigned, but with artist’s stamp on verso. Captioned in graphite in lower margin. Taped to window matte.
Jimmy Mack is best known as the creator of the long-running comic strip “Dotty Dripple” (1944-1974) and the World War II era military gag comic “Draftie” (1941-46).
Estimate
$250 – $350
Dorothy mckay (1904-1974)
“Ah! Men!”
Cartoon for Esquire magazine, published June 1937, page 52, with their stamp on verso. Watercolor over graphite on board. 460x305 mm; 18x12 inches, on 19½x13-inch board. Signed “McKay” in lower left image. Hinged to matte.
Estimate
$300 – $400
Shelby mcpherson (dates unknown)
Black Sports Magazine.
Two editorial illustrations relating to contracts and salaries for African-American athletes. Watercolor, acrylic, and graphite on paper. The largest measures 570x400 mm; 22½x15¾ inches, sheet. Signed in full, lower image. The second measures 325x330 mm; 12¾x13 inches, image, on slightly larger sheet. A painted-over segment still shows the ghost of a title: “The Magazine for Today’s Black College Student.” Signed on verso. Both matted.
Estimate
$600 – $900
[otto messmer (1892-1983)] (pat sullivan).
“Homes are scarce in this stone age.” * “My Kingdom for a pair of roller skates.” * “Ah, coconuts - at last I eat.”
Together, group of 3 original “Felix the Cat” Sunday comics, published consecutively on May 7, 14, and 21, 1933, with King Features Syndicate pastedowns. Pen and ink over graphite on Bristol board. Each 410x520 mm; 16¼x20½ inches, on 18¼x23-inch sheet. Unsigned.
Messmer worked for the Pat Sullivan Studios, who claimed credit for the character.
Estimate
$8,000 – $12,000
[otto messmer (1892-1983)] (pat sullivan).
“The circus manager said he’d give us another ticket to the show if we swept out the animal tent.”
Original “Felix the Cat” Sunday comic, published August 20, 1933, with King Features Syndicate pastedown. Pen and ink over graphite with blue pencil 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
[otto messmer (1892-1983)] (pat sullivan).
“I’m leaving it up to you, Felix, to watch my skates while I’m in school.”
Original “Felix the Cat” Sunday comic, published October 8, 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
Rick meyerowitz (1943- )
The Meltropolis 2118.
Ink and wash on paper. 2018. 530x640 mm; 20¾x23¾ inches, on 22x27½-inch paper. Signed "Rick Meyerowitz, Cartographer" below title; additionally signed, dated, and titled on verso.
Ink and wash on paper. 2008. 530x640 mm; 20¾x23¾ inches, on 22x27½-inch paper. Signed "Rick Meyerowitz, Cartographer" below title; additionally signed, dated, and titled on verso.
Exhibited: “Picturing the City: Illustrated Maps of NYC” New York Public Library, September 2017-April 2018.
Meyerowitz's highly amusing architectural map describing what life could be like in New York in the year 2118 was created for the NYPL show and won the silver medal at the Society of Illustrators in 2018.
The insets along the top featuring "Great Moments in Starchitecture" which serve as a visual border are spot-on in their humorous interpretations of fantastical NYC buildings and structures by modern architects. Throughout Meyerowitz's cityscape, floods have turned streets into waterways, rendering districts into separate islands such as "Grand Canal Street" which cuts off "Tribewa (Triangle Below Water)" from Battery Park Reef, next to which "Financial Straits" and its "Outer Banks" sit near "Staten Rock." The stroller-strewn sidewalks of Cobble Hill and Brooklyn Heights have turned all of Brooklyn into "Land-O-Babies," and midtown modernist skyscrapers are now simply the "Oligarch District" flanked by "Museum Marsh" and "Central Puddle." One could spend hours discovering the amusing details hiding throughout this brilliant brainchild of the ever-creative illustrator and National Lampoon icon.
Estimate
$2,500 – $3,500
Geoffry moss (1938-)
Camera Shoot.
Illustration published in Moss's book The Art and Politics of Geoffrey Moss (New York: Hawthorn Books, 1977). Pen and ink with wash on paper. 110x250 mm; 4¼x9 3/4 inches, on 11 3/4x16 1/2-inch sheet.Signed in lower left. Tipped to matte and framed.
Moss was the first nationally-syndicated political cartoonist of work created exclusively without captions.
Estimate
$300 – $400
Willard mullin (1902-1978)
“The South”-group of three editorial illustrations
for the article “Football Forecast” by Grantland Rice, published in Look magazine, Sept 12, 1950. Ink, watercolor, and wash on paper. Cut from the original full-sized sheet which contained all the team mascots. Average size 177x177 mm; 7x7 inches (sheet). Each signed “Willard Mullin” in lower margins, stamped, and partially captioned on versos. Taped to mattes and framed.
Mullin’s illustrations for the seasonal “football forecast” in Look were a popular feature.
Estimate
$500 – $750
Mitch o’connell (1961-)
“Know Your Anger’s Name.”
Album cover design for the single of the same title by the alternative rock group The Hedonists, released by Homestead Records, 1993. Pen, ink, and gouache on thin board. 480x700 mm; 19x27½ inches, on 22¼x29-inch sheet. Signed “M. O’C” and dated [19]92 in upper right image. Tipped to board and archivally matted; framed.
Mitch O’Connell is recognized as a leader of the “Lowbrow” art movement. Incorporating Pop Art imagery, his work is inspired by comics, pin-ups, and kitsch, resulting in an aesthetic that is grounded in vintage, yet with a cool contemporary edge. His work has been published in leading magazines and newspapers, such as Rolling Stone, The New Yorker, Newsweek, Time, The New York Times, and The Village Voice. Advertising campaigns for major companies from McDonalds to Coca-Cola have featured his illustrations and he has designed album covers and posters for bands like The Ramones, Weezer, and No Doubt. His popular tattoo designs, which grace the walls of tattoo parlors and the skin of their clientele, have been compiled and published into two volumes.
Provenance: Bess Cutler Gallery; Private collection, New York.
Estimate
$1,000 – $1,500
Brant parker (1920-2007) & johnny hart (1931-2007)
Two “The Wizard of ID” daily comic strips.
The first, “Doc, Wake Up!” Published October 30, 1968. 176x509 mm; 7x20 inches, sheet. Inscribed “To Tina (Tippit) . . . like if you ever have any trouble sleeping, call me… Brant Parker.”
The second: “Gluck, gluck, gluck…POOF…” published July 17, 1975. 176x532 mm; 21x23 inches, sheet. Inscribed to Tina “Tequila gluckers get ‘poof-poofed’. . . love, Charley.’ And with an autograph letter signed to the Browns by the Parkers, along with the published comic clipped from the newspaper. Ink with wash and Zip-a-tone on board and paper, respectively. Both signed “B. Parker and with Field Enterprises pastedowns.
Provenance: Estate of William F. Brown and Tina Tippit Brown.
Estimate
$400 – $600
Charles schulz (1922-2000)
“May Queen…”
Original “Peanuts” daily comic, published April 29, 1986, with United Feature Syndicate pastedown in first panel. Ink on Bristol board. 126x540 mm; 5x21 inches, on 7x24-inch sheet. Signed “Schulz” in final panel and dated in second panel.
Estimate
$15,000 – $20,000
Otto soglow (1900-1975)
“Don’t forget his Majesty’s Birthday.” The Little King Sunday Comic strip.
Published July 21, 1968, with King Features Syndicate pastedown. 400x585 mm; 15¾x23 inches, sheet. Signed “O. Soglow” and “King” along right .Additionally inscribed by Soglow “To Tina (Tippet Brown) - From one Capricorn to Another / Love - O. Soglow.” WITH–A self-portrait sketch, also inscribed to Brown, on a Lambs Club paper placemat. 11x15-inches.
Provenance: Estate of William F. Brown and Tina Tippit Brown.
Estimate
$350 – $500
Arthur szyk (1894-1951
“China needs the tools…she can do the job!”
Cartoon for unknown publication. Pen and ink on paper. 190x175 mm; 7½x7 inches, on 11¾x9-inch sheet. Signed “Arthur Szyk” and dated “N.Y. [19]49” in lower right image; captioned in graphite in lower margin. Hinged to board with matte.
Provenance: "Original illuminations, illustrations, cartoons by Arthur Szyk," Parke-Bernet Galleries, May 11, 1965, lot 15 (of two).
Estimate
$800 – $1,200
Richard taylor (1902-1970)
“If you have ever tried to stagger up from a chaise lounge at the foot of a bed in a dark room, you know what now happens.”
Cartoon for King Features Syndicate, published October 22, 1938, with their stamp on verso. Pen, ink, wash, and gouache on board. 165x275 mm; 6½x10¾ inches, on 10¼x15-inch board. Signed “R. Taylor” in upper left image and captioned in graphite in lower margin.
Estimate
$300 – $400
Richard taylor (1902-1970)
“Harry has no interest in mundane pleasures.” * “Curtis sees so much more in these things than I do, he says this one is terribly obscene.”
Together, two art-related cartoons for unknown publications. The first is pen, ink, watercolor, and gouache on paper. 425x285 mm; 16¾x11¼ inches (sheet). Signed “R. Taylor” in lower right image and captioned in graphite on verso. The second is ink and wash on board, heightened in white. 330x220 mm; 13x8¾ inches, on 15x10-inch board. Signed “R. Taylor” in lower left image and captioned in ink in lower margin.
Estimate
$300 – $400
Richard taylor (1902-1970)
“It’s never happened before in the history of the ideal mortuary.” * “Just once more, and we’ll have ‘em sold on ‘the age-test hermetical vault.’”
Together, two cartoons for unknown publications. Pen and ink on paper mounted to board, heightened in white. The first is 264x205 mm; 10¼x8 inches (sheet), mounted to 15x10-inch board. The second is 200x245 mm; 8x9¾ inches, on 10x15-inch board. Each signed “R. Taylor” in lower right image and captioned in ink in lower margin.
Estimate
$300 – $400
Mort walker (1923-2018)
Group of three illustrations.
“Beetle Bailey” comic strip dated June 30, 1974, signed by Walker and with King Features Syndicate pastedown in final panel. 300x425 mm; 11¾x16¾ inches * Portrait drawing of Beetle. Marker on paper. 14x11-inch sheet. Inscribed and signed “To Tina with Love / Mort Walker.” * Color cartoon of Sarge and the troop singing Happy Birthday to Bill Brown. Ink and watercolor. 8½x11-inch sheet. Inscribed “Many Happy Returns! Jean and Mort.” All warmly inscribed to Bill and Tina Tippit, good friends and fellow members of the Westport, Ct. artist circle.
Provenance: Estate of William F. Brown and Tina Tippit Brown.
Estimate
$350 – $500
Bill ward (1919-1998)
“Flossie-be careful not to fan the guy in the first row-he’s aft to burst into flames!”
Cartoon published in Gaze magazine, 1960, with Humorama stamp on verso. Graphite, crayon, and gouache on paper. 575x428 mm; 23x17 inches. Signed “Ward” in center lower image. Captioned in ink along bottom edge of 24½x17-inch mount against which it is resting, but not adhered.
Provenance: Bess Cutler Gallery; Private collection, New York.
Estimate
$700 – $1,000
Bill ward (1919-1998)
“Golly, Mr. Gotrocks, you were right! A picture of Ben Franklin is worth a thousand words!”
Cartoon published in Fun House Comedy magazine, July 1967, with Humorama stamp on verso. Graphite, crayon, and gouache on paper. 598x428 mm; 23½x17 inches. Signed “Ward” in left lower image. Captioned in ink along bottom edge of 24½x17-inch mount on which it is loosely cellotaped.
Provenance: Bess Cutler Gallery; Private collection, New York.
Estimate
$700 – $1,000
Bill ward (1919-1998)
“Cracked Interviews the Insurance King.”
Illustration for page 45 of Cracked magazine, issue no. 146, published November, 1977. Mixed media, including ink and wash heightened in white, with charcoal, pencil, and zip-a-tone on thin paper. 440x335 mm; 17¼x13¼ inches, on 18¼x14-inch sheet. Signed “Ward” in lower left image. Cornered to board with matte; framed.
Estimate
$1,000 – $1,500
(walt disney studios) frank mc savage (1903-1998)
Group of 7 Disney studio-related drawings and a portrait of a World War II serviceman.
The serviceman, by the first name of Ford, received this group of studio sketches in correspondence with Frank McSavage. Graphite and/or color pencil on 1940s-era Disney studio 5-hole paper measuring 254x305 mm; 10x12 inches. Includes: an animator's rough drawing of Panchito Pistoles related to the title song in "The Three Calballeros," 1944 (studio animator drafts credit the specific related scene to Ward Kimball) * Four numbered graphite animation rough drawings of Donald Duck and one colored pencil drawing of him inscribed "with best wishes to Ford / F. McSavage" * a "blue" studio gag drawing featuring Pluto, implying his contracting VD in South America. Also includes a color pastel portrait of the Navy man captioned "Impression of Ford" on a larger, 15½x12½ sheet of Disney Studio punched paper.
Estimate
$1,000 – $2,000
(walt disney studios) glen keane (20/21st century)
“Best Wishes to Santa Mouse from Disney Mouse!”
Graphite drawing of Mickey Mouse holding little Santa Mouse, created as a gift for Bill and Tina Tippit Brown. 216x280 mm; 8½x11 inches, on 12½x15½-inch sheet of animation paper. Inscribed “To Bill and Tina” and signed “Glen Keane” below inscription.
Provenance: Estate of William F. Brown and Tina Tippit Brown.
Estimate
$400 – $600
(walt disney studios) gilles de tremaudan / art babbitt
“Mickey’s Garden.”
Together, three storyboard sketches for animated short of the same title, released in July 1935. Colored pencil on paper. The first, “Still Growing” (Mickey Hears Pluto) by Gilles De Tremaudan, is 124x160 mm; 5x6½ inches, on 7x8½-inch sheet. Titled “Still Growing” in lower margin. The second, Mickey and Grasshopper, also by Tremaudan, is 100x225 mm; 4x8¾ inches, on 5¾x9¾-inch sheet. Vertical crease at left. The third, Mickey Mixes Poison by Art Babbitt, is 175x228 mm; 6¾x9 inches, on 8x9¾-inch sheet. Two vertical creases at left. All have notations and numbering in margins. All tipped to board at upper corners with archival tape; matted together and framed.
Provenance: "Christmas of '85," Alexander Gallery, New York, December 1985; Private collection, New York.
Estimate
$15,000 – $25,000
(walt disney studios.)
“Mother Tiger and Babies” * “Mother Tiger Asleep.”
Together, an original story sketch and preliminary drawing for Disney’s 1941 film release of Dumbo. The first is watercolor over graphite on 5-peghole paper. 150x200 mm; 6x8 inches, on 8¾x8¼-inch sheet. “WDP” (Walt Disney Productions monogram stamp) in lower left image; sheet marked “#780” in graphite, lower right corner. Walt Disney Productions/Courvoisier Galleries label on frame verso. Archivally hinged to matte and framed. The second is charcoal on thin 5-peghole paper, with typed label with scene information stapled to sheet below image. 168x210 mm; 6½x8¼ inches (illustration including label), on 8¾x8¼-inch sheet. “WDP” (Walt Disney Productions monogram stamp) in lower right image; numerical marks in graphite, lower right corner. Walt Disney Productions/Courvoisier Galleries label (loose).
Estimate
$3,500 – $5,000
(walt disney studios.) one hundred and one dalmatians.
“Perdita.”
Original animation cel for the 1961 Walt Disney film. Hand-painted celluloid mounted to board. 115x80 mm; 4½x3¼ inches, on 6¼x8-inch sheet. With gold Disneyland Art Corner label mounted to verso.
Estimate
$1,000 – $1,500
(walt disney studios.)
“Gargoyles.”
Original pan production background of the Manhattan skyline with matching layout drawings, from the opening scene of the very first episode of Buena Vista Television's animated series "Gargoyles." "Cel Vinyl" acrylic on two layers of acetate; gargoyles and background are hand-painted watercolor on paper; all elements mounted together on board with tape. Image area measures 230x935 mm; 9x36¾ inches, and the overall set-up measures 12½x40 inches. "Walt Disney Television Original Animation Art" seal on upper layer of acetate in lower right image. Archivally matted and framed with a certificate of authenticity mounted on the frame verso.
The lot is accompanied by two production drawings. The first is pencil on yellow paper. 270x480 mm; 10½x19 inches. The second is a photocopy with added marker, crayon, correction fluid, and collaged paper with graphite notations. 297x620 mm; 11¾x24½ inches. Both have production notations throughout and the Disney seal in lower right image.
According to the certificate of authenticity from the Walt Disney Company that accompanies the lot, Gargoyles "premiered in October 1994 and is the first dramatic action series from Walt Disney Television Animation. The Gargoyles, legendary winged warriors who protected a Scottish fortress in the tenth century, appear one thousand years later in New York City. Stone by day, fearsome flesh and blood creatures by night, these defenders of justice protect Manhattan from human barbarians and their evil deeds."
Provenance: Sotheby's, New York, June 10, 1995, lot 555; private collection, New York.
Estimate
$2,500 – $3,500
"The New Yorker" Cartoons & Cover Art
Charles addams (1912-1988)
“Just a minute, you guys - we’re missing one shovel.”
Cartoon for The New Yorker, published February 19, 1955, with their copyright stamps on verso. Watercolor, ink, and gouache on board. 350x355 mm; 13¾x13¾ inches, on 14¾x18¾-inch board. Signed "Chas Addams" in lower left image and captioned below. Hinged to matte.
Provenance: Addams exhibition and sale at the Faculty Club of the University of Pennsylvania, Philadelphia, November 1979; by descent to current owner.
Accompanied by a copy of the December 1979 issue of The Pennsylvania Gazette. The magazine reproduces a photograph of Addams admiring this original cartoon hanging in the exhibition in the Faculty Club Gallery at the University of Pennsylvania, which featured, and offered for sale, 35 of his original cartoons for The New Yorker.
Addams briefly attended the University of Pennsylvania from 1930 to 1931.
Provenance: Addams exhibition at the Faculty Club of the University of Pennsylvania, Philadelphia, November 1979; by descent to current owner.
Estimate
$8,000 – $10,000
Charles addams (1912-1988)
“Well, I’m ready if you are.”
Cartoon for The New Yorker, August 14, 1965, with their copyright label on verso, and subsequently re-published in Addams’ Happily Ever After (New York: Simon & Schuster, 2006). 380x390 mm; 15x15¼ inches, on 16x15¾-inch board. Signed “Chas Addams” in lower right image and captioned in lower margin.
Provenance: Estate of Joan Benny (daughter of comedian, Jack Benny); Private collection.
Estimate
$7,000 – $10,000
Ludwig bemelmans (1898-1962)
Along the Riverbank.
Interior illustration for The New Yorker, published April 17, 1954, with their stamps on verso. Ink on paper. 330x250 mm;13x10 inches, sheet. Initialed “LB” in lower right image. Moderate foxing and hard crease running width of sheet at center.
Estimate
$4,000 – $6,000
Blair drawson (1943- )
“Annie Warbucks.”
Illustration announcing the preview for the musical of the same title for the “Goings on About Town” section of The New Yorker, published August 2, 1993, with their copyright label on verso. Acrylic, graphite, and collage on paper. 165x185 mm; 6½x7¼ inches, on 10x11-inch sheet. Initialed “D.” in lower right image, with artist’s stamp on verso. Not dated.
“Annie Warbucks,” which played at Variety Arts in New York City, is the sequel to the famed production “Annie.”
Blair Drawson’s editorial illustrations have been published in leading magazines including, The New Yorker, Time, Esquire, and Rolling Stone. In addition to his editorial work, Drawson was commissioned by Canada Post to create designs for postage stamps, and has produced children’s books, erotica, poems, and fine art paintings. Though he has moved away from commercial illustration, Drawson now devotes his time to expressing his personal artistic vision in his Toronto studio.
Estimate
$400 – $600
Michael ffolkes (1925-1988)
“She wouldn’t leave her name. Just said Room 14, Hotel Balzac, Rue de Seine, ‘38.”
Cartoon for The New Yorker, published December 5, 1983, with their copyright label on frame backing. Ink, watercolor, pencil, and correction fluid on board. 255x250 mm; 10x9¾ inches, on 12x13½-inch board. Signed “Ffolkes” in lower right image and captioned in lower margin. Taped to matte and framed.
The published caption reads “…Rue de Seine, ‘34.”
Estimate
$600 – $900
Helen hokinson (1893-1949)
“I want something that won’t show the hairs of a brown dog and a gray cat.”
Cartoon for The New Yorker, published April 24, 1937, with their copyright stamp on verso. Ink and wash on paper. 315x285 mm; 12½x11¼ inches, on 14¼x12¼-inch sheet. Signed “Helen E. Hokinson” in lower right image. Typed caption pasted to lower margin. Cornered to board; matted.
Estimate
$600 – $900
Helen hokinson (1893-1949)
“You mean I don’t get anything back on the bottles?”
Cartoon for The New Yorker, published October 12, 1940. Ink and wash over graphite with collage on paper. 255x230 mm; 10¼x9 inches, on 12¼x11-inch sheet. Signed “Helen E. Hokinson” and inscribed “With sincere regards to Alice D. from Helen E. H.” in lower right image. Modern typed caption pasted to lower margin. Cornered to board; matted.
Estimate
$600 – $900
Lee lorenz (1933- )
“Your wife gets the house, the car, the dog, your I.R.A., and ten thousand dollars a month. In return, she acknowledges your right to exist.”
Cartoon for The New Yorker, published March 20, 2006, with their inventory label on verso. Ink, wash, correction fluid, and collage on paper. 250x390 mm; 10x15¼ inches, on 14x17-inch sheet. Signed “Lorenz” in lower right image. Accompanied by a printed tear sheet of the cartoon.
Estimate
$600 – $900
Lee lorenz (1933- )
“I dropped twelve pounds the first week and kept it off!”
Cartoon for The New Yorker, published April 10, 2006, with their inventory label on verso. Ink, wash, and correction fluid on paper. 295x390 mm; 11½x15¼ inches, on 14x17-inch sheet. Signed “Lorenz” near lower center image. Accompanied by a printed tear sheet of the cartoon.
Estimate
$600 – $900
Lee lorenz (1933- )
“I’m Vlad the Impaler and I approve this message.”
Cartoon for The New Yorker, published Oct 13, 2008, with their inventory label on verso. Ink, wash, and correction fluid on paper. 310x405 mm; 12x16 inches, on 14x17-inch sheet. Signed “Lorenz” near lower center image, captioned in lower margin.
The slightly altered published caption reads: “I’m Vlad the Impaler, and I approved this message.”
Estimate
$600 – $900
Lee lorenz (1933- )
“Stonehenge Decoded.”
Cartoon for The New Yorker, published February 1, 2010, with their inventory label on verso. Ink, wash, and correction fluid on paper. 335x400 mm; 13¼x16 inches, on 14x17-inch sheet. Signed “Lorenz” in right center image.
Estimate
$600 – $900
Charles elmer martin (1910 - 1995)
“I thought I heard a twig snap.”
Cartoon for The New Yorker, published December 20, 1958, with their copyright stamps on verso. Mixed media, including ink, wash, gouache, and charcoal on paper. 470x380 mm; 18½x15 inches, on 21x16-inch sheet. Initialed “CEM” in lower right image. Taped to matte and framed together with typed caption.
Estimate
$2,500 – $3,500
Warren miller (1936- )
“Hey! Just because we’re in a conundrum doesn’t mean we can’t have a little pun.”
Study for a cartoon for The New Yorker, published March 28, 1983. Pen, ink, and wash on paper, heightened in white. 432x356 mm; 17x14 inches. Signed and inscribed, “For Natasha from W. Miller” in lower left image, captioned in lower margin. Not dated. Accompanied by a signed tear sheet of the published version with the modified caption, “Hey! Just because we’re in the doldrums doesn’t mean we can’t have a little fun.”
Estimate
$400 – $600
Frank modell (1917-2016)
Vegetable Stand.
Cartoon for The New Yorker, published December 9, 1974, with their copyright label on verso. Ink, collage, and correction fluid on paper. 370x330 mm; 14½x13 inches, on 16¾x14¼-inch sheet. Signed “Modell” in lower left image. Hinged to board with window matte.
Estimate
$300 – $400
Frank modell (1917-2016)
“If possible, we’d like a seat in between us.”
Cartoon for The New Yorker, published August 20, 1979. Ink, wash, correction fluid, and collage on paper. 405x490 mm; 15¾x19 inches, on 18¾x24-inch sheet. Signed “Modell” in lower right image. Hinged to board with window matte.
Estimate
$300 – $400
Frank modell (1917-2016)
“We have no special place in mind. We’re just pooped and want to sack out.”
Cartoon for The New Yorker, published February 22, 1982, with their copyright label on verso. Ink, wash, correction fluid, and collage on paper. 365x325 mm; 14½x12½ inches, on 15¾x13-inch sheet. Signed “Modell” in lower right image and captioned in graphite in lower margin. Hinged to board with window matte.
Estimate
$300 – $400
Frank modell (1917-2016)
“All I want to know is how far away from here I can get for under two thou.”
Cartoon for The New Yorker, published January 9, 1984, with their copyright label on verso. Ink, wash, and collage on paper. 280x420 mm; 11¼x16½ inches, on 15¼x20-inch sheet. Signed “Modell” in lower right image and captioned in ink in lower margin. Hinged to board with window matte.
Estimate
$300 – $400
Richard taylor (1902-1970)
“It is called, appropriately, ‘The Carry-all.’”
Cartoon for The New Yorker, published February 25, 1939, with their stamp and inventory number on verso. Pen, ink, wash, and gouache on board. 175x230 mm; 7x9 inches, on 10x15-inch board. Signed “R. Taylor” near lower left image.
Estimate
$300 – $400
Richard taylor (1902-1970)
“I said, please don’t feel it’s necessary to make conversation.” * “We’d better get our stories straight, the Fuerer’s [sic] going to be mad as hell!” * “Of course I’m thinking out loud, but why don’t we just quit.”
Together, group of three war-related cartoons for The New Yorker, with their stamps and inventory numbers on versos, published June 14, 1941, April 10, 1943, and July 22, 1944, respectively. Pen, ink, and wash on board, heightened in white. The first is 415x290 mm; 16½x11½ inches, on 19½x15-inch board. Signed “R. Taylor” in lower right image. The second is 400x280 mm; 15¾x11 inches, on 20x15-inch board. Signed “R. Taylor” in lower right image and captioned in graphite in lower margin. Published caption differs, reading “We damn well better get our stories straight now. This is going to be hard to explain to das Hauptquartier.” The third is 330x270 mm; 12¾x10¾, on 20x15-inch board. Signed “R. Taylor” in upper left image and captioned in graphite in lower margin. Published caption differs, reading “Of course, I’m merely thinking out loud, but why don’t we just quit?”
Estimate
$700 – $1,000
Richard taylor (1902-1970)
“You needn’t be frightened, Mr. Jones. Our polls show that practically nobody listens to this station.”
Cartoon for The New Yorker, published February 24, 1945, with their stamp on verso. Pen, ink, and wash on board, heightened in white. 285x260 mm; 11¼x10¼ inches, on 20x15-inch board. Signed “R. Taylor” in upper left image.
Estimate
$300 – $400
Tom toro (1982-)
“No thanks, reading is my escape.”
Cartoon for The New Yorker, published June 7, 2020. Watercolor, pen, ink, and correction fluid on paper. 280x356 mm; 11x14 inches, sheet. Signed “Toro” in lower left image, captioned in lower margin. Accompanied by two preparatory sketches.
Estimate
$800 – $1,200
Tom toro (1982-)
“Don’t let anyone see how much we enjoy knitting.”
Cartoon for The New Yorker, published September 26, 2021. Watercolor, pen, ink, and correction fluid on paper. 260x360 mm; 10¼x14¼ inches, sheet. Signed “Toro” in lower right image, captioned below. Accompanied by two pages of preparatory sketches.