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
