Illustration Art
Officers
Christine von der Linn
Director
cv@swanngalleries.com
(212) 254-4710 ext. 20
Leah Fletcher
Administrator
lfletcher@swanngalleries.com
(212) 254-4710 ext. 21
George S. Lowry
Chairman
Nicholas D. Lowry
President, Principal Auctioneer
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Andrew M. Ansorge
Vice President & Controller
Alexandra Mann-Nelson
Chief Marketing Officer
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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, including Advertising:
Harold anderson (1894-1973)
Santa Claus heading out.
Illustration for an unknown holiday story or advertisement. Oil on canvas with varnish. 690x1020 mm; 27x40 inches. See condition report.
Anderson’s iconic depictions of Santa Claus always embody the spirit of the holiday, and this jolly Claus, putting up a “be back soon” sign on his front door before heading out to deliver presents is no exception.
Estimate
$3,000 – $5,000
Charles g. atamian (1872-1947)
Woman arranging flowers on mantel.
Illustration for an unidentified story. Mixed media with ink, chalk, and gouache on artist’s board. 380x280 mm; 15x11 inches. Signed and dated “Ch. Atamian 1910” lower right. Tipped to window matte and framed to 22x18 inches.
Estimate
$500 – $750
Paul bacon (1923-2015)
“The Bourne Supremacy.”
Cover Art for the bestselling spy novel The Bourne Supremacy by Robert Ludlum (New York: Random House, 1986). Mixed media on paper. 83 mm; 3¼ inches, tondo; matted and framed to 13x13 inches. Signed “Paul Bacon” in pencil, in lower right margin beneath circular image.
Provenance: Estate of the artist.
Bacon’s work is iconic though his name is not well known. He pioneered the distinctive book cover style known as the “big book look” where the use of minimal imagery and large point, bold lettering allowed the book to stand out on the shelves. Such famous titles include Joseph Heller’s Catch-22, Kurt Vonnegut’s Slaughterhouse-Five, One Flew Over the Cuckoo’s Nest, the original hardback cover for Jaws, and Phillip Roth’s Portnoy’s Complaint. He also worked on projects for the legendary Blue Note jazz label, designing covers for Thelonious Monk, Wes Montgomery, Dizzy Gillespie, and Chet Baker. By the end of his long career, he had created a staggering six and a half thousand book covers and over two hundred album covers.
Estimate
$500 – $750
James barkley (1941-)
“Queen.”
Double-page introduction spread illustration published in Alex Haley and David Stevens’ novel of southern plantation life Queen: The Story of an American Family, (New York: Reader’s Digest, 1994). Watercolor and collage with mixed media on board, mounted to foam core. 394x534 mm; 15½x21 inches. Signed “Barkley” in pencil, center right image.
The novel is a partly biographical, historical fiction story of a child born to an enslaved woman and her master, and how her life unfolds after abolition. It was made into a miniseries adaptation for CBS television titled “Alex Haley’s Queen” in February 1993 starring Halle Berry in the title role.
Estimate
$2,000 – $3,000
Irene bashkiroff-valira (1913-1999)
“Miss Twisty: Back to the City.”
Illustration for the last chapter of Miss Twisty: Adventures in the Country by Irene B. Valira (New York and Paris: Valira, 1948). Graphite on paper. 310x260 mm; 12¼x10¼ inches. Signed “I.B. Valira” in image, lower right. Tipped to window matte and framed to 20x18 inches.
A copy of the first trade edition in dust jacket accompanies the artwork.
Valira’s charming self-published book about a city gal who takes a summer break with a farm family in the country, following her adventures and foibles. The book’s jacket bears an endorsement by Natalia Gontcharova who notes that the young American artist “brings great talent and a deep sense of humor” to her drawings. The full caption of this final illustration, showing Miss Twisty boarding the train back to the city reads: “And to the new adventures . . . So long Junior, so long little Sis! . . . Hope, to come back.”
Estimate
$500 – $750
Cecil c. beall (1892-1967)
“Cheerleader.”
Illustration for an unknown story. Gouache and watercolor on board. 463x337 mm; 18¼x13¼ on 23½x18-inch board. Signed “C. C. Beall” in lower left image. Hinged to window matte and framed to 28x22½ inches.
Estimate
$800 – $1,200
Cecil c. beall (1892-1967)
Nerdy guy gets the girl.
Illustration for an unknown story, circa 1950. Gouache and applied gloss on Whatman board. 532x382 mm; 21x15 inches, on 22x17½-inch board. Signed “C.C. Beall” in lower right image. Hinged to window matte and framed to 27x23 inches.
Estimate
$1,000 – $1,500
Cecil c. beall (1892-1967)
Police raid on casino.
Illustration for an unidentified story. Watercolor on Whatman board. 582x600 mm; 23x23½ inches. Signed “C. C. Beall” in lower right. Tipped to window matte.
Provenance: Illustration House, 1989; private collection, New York, acquired from the above.
An intriguing scene featuring two couples, elegantly dressed in white-tie and tails, evening gowns, and jewels, with one woman’s chin proudly held high as they are escorted out of the casino to a waiting paddy wagon.
Estimate
$500 – $750
Aubrey beardsley (1872-1898)
Three Stylized Clematis Flowers.
Ornamental device for Book VI, chapter XVIII of “Le Morte d’Arthur,” London: Dent, 1893-94. Pen and ink on paper. 91x60 mm; 3½x2½ inches. Inlaid to size on 9¾x7½-inch sheet with hand-drawn borders, “402” in pencil on verso. [1893].
The clematis in “Morte d’Arthur” represents both intellectual beauty and artifice and anticipates 20th century abstract design. This ornament is repeated in Book IX, chapter XIX, page 402 and Book XVII, chapter IV, page 785. Zatlin, Linda, Aubrey Beardsley: A Catalogue Raisonné, Vol 1; #472.
Provenance: J. M. Dent to Erhard Weyhe Collection, Sotheby’s New York 15 December 1988 to Jack and Caroline Milne; Swann Galleries, 2016; Private Collection.
Estimate
$3,000 – $4,000
Lonie bee (1902-1995)
Uncle Sam enjoying a beer.
Illustration likely for a Pabst Blue Ribbon billboard. Oil on canvas. 535x1045 mm; 21x45 inches, framed to 22x46. Signed “Lonie Bee” in lower right. Provenance: Illustration House, 1989; private collection, New York, acquired from the above.
A charmingly irreverent illustration of Uncle Sam relaxing with a refreshing beer, his shoes casually propped up on a pile of books next to a bottle of champagne. The clear message here is that he’s no fussy, high-fallutin’ father of his country and prefers to kick back with a beer at the end of a hard day of democracy.
Estimate
$2,500 – $3,500
John blackburn (1939-2006)
“Coley Wild in the Street.”
Illustration published on the cover of the second book in Blackburn’s Coley series. Ink and marker on paper with glaze. 406x289 mm; 16x11½ inches. Signed “©John Blackburn” and “Jay Blackburn” lower margin. 1989.
Provenance: Private collection, Los Angeles, California.
John Blackburn was born in Statesboro, Georgia in 1939. He attended art school in Nashville, Tennessee. After graduation, he settled in Atlanta but relocated to Los Angeles in the 1960s where his career flourished. There he drew illustrations for such publications as Physique Pictorial, Physique Art Quarterly, One, In Touch, FirstHand, ManTalk, Manscape, and Guys magazines. During the late 70’s, Blackburn created the character of Coley Cochran, a 19-year-old bisexual who is kidnapped and undergoes a rite which turns him into a Dorian Gray-like ageless “voodoo sex god,” narcissistic and able to seduce anyone. The artist incorporated his own experiences and memories of being a young gay man in the south during the ’60s and ’70s into Coley’s character and narrative. He self-published four volumes of the popular series between 1989-1991.
Estimate
$500 – $750
Mahlon blaine (1894-1969)
“Crossing The Water or At The Water’s Edge.”
Illustration for Vol. II, Page 230 of the Bibliophilist Society edition of The Decameron of Boccaccio (London, circa 1930). Pen, ink, and gouache on paper. 380x235 mm; 15x9¼ inches, on 16¼x10½-inch sheet. Initialed “M.B.” in lower right image. Hinged to board with window matte.
Estimate
$800 – $1,200
Hannes bok (1914-1964)
Preliminary pencil illustration with extensive notations.
For an unidentified work. Graphite on stiff paper, with inked color indication notes written in the right margin. 280x435 mm; 11x17¼ inches, sheet. Unsigned but with the artist’s estate stamp in the left margin; verso contains a partial black and white print of trees, with an approximate image area of 5½x4 inches. Float-mounted and archivally framed to 17½x23½ inches.
Provenance: The Jerry Weist Collection; private collection, Texas.
Estimate
$300 – $500
Joseph bowler (1928-2017)
Elderly couple on couch.
Illustration for an unidentified story. Oil on canvas. 460x762 mm; 18x30 inches, framed to 19x31 inches. Signed “Bowler” in lower left image.
Provenance: Illustration House, 1989; private collection, New York, acquired from the above.
Bowler was an equally prolific portraitist as illustrator. This image reveals his ability to capture his subjects’ personalities and lives in a simple but insightful composition.
Estimate
$600 – $900
Braldt bralds (1951-)
Karl Marx. V for Victory.
Illustration for the cover of Der Spiegel, issue #34, August 8, 2005. Oil on wood panel. 348x270 mm; 13¾x10½ inches. Signed and dated “© Braldt Bralds. `05” in lower right. Archivally float-mounted and framed to 25¼x21¾ inches.
Born in 1848, Karl Marx is considered the “Father of Communism.” A scholarly political theorist and philosopher, he lived in times of social upheaval which he came to see as a severely unbalanced system between the privileged and working classes, a struggle that had been going on since early civilization. Marx believed that capitalism merely replaced feudalism; he foresaw an inevitable rise of corporate monopolies in that system, which he believed would eventually destroy the lives of all but those at very the top. “Though his writings urged populations to unite and strive for a classless civilization, things didn’t work out idyllically in the communist governments that arose; they weren’t immune to megalomaniacs either, and created a few of note. Communism, along with its idealistic founders, were vilified.”– Bralds,The Way I Saw Things: The Art of Braldt Bralds. However, by the turn of the 21st Century, Marx’s points were being reconsidered. In August 2005 Der Spiegel ran its cover story about this (“Ein Gespenst Kehrt Zurück; Die neue Macht der Linken”), commissioning Bralds to illustrate it. His keen portrait shows a vindicated Marx giving the “V for Victory” hand sign as his reputation receives a little cleaning.
Estimate
$3,500 – $5,000
Don brautigam (1946-2008)
“The Pirating of Mel Fisher’s Gold.”
Cover story illustration published in Free Enterprise magazine, June 1976. Primarily airbrush with liquid acrylic finished with Krylon artist spray fixative on board. 415x354 mm; 16¼x14inches. Signed “D. Brautigam” in lower left; artist’s stamp on verso.
Provenance: The estate of the artist.
Brautigam was a highly skilled illustrator who pioneered the use of black paint against striking colors to create some of the most iconic heavy metal album covers and thriller/horror genre book covers throughout the 1980s and 90s. Among his most famous are the 1986 Metallica album Master of Puppets, Mötley Crüe’s 1989 album Dr. Feelgood, and numerous covers for the wildly popular Signet paperbacks of Stephen King novels including The Stand and The Dark Half.
Estimate
$800 – $1,200
Don brautigam (1946-2008)
“Ziggurat.”
Cover for the same-titled science fiction novel by Robert Katz (New York: Houghton Mifflin, 1977). Primarily airbrush with liquid acrylic finished with Krylon artist spray fixative on board. 385x315 mm; 15¼x12½ inches. Initialed “D.B.” in lower right image, with artist’s stamp on verso. Provenance: The estate of the artist.
Estimate
$800 – $1,200
Hablot knight brown (phiz) (1815-1882)
Photographer on the beach.
Likely one of a series of scenes of the country and seaside which Brown executed in the 1860s. Watercolor and wash on paper mounted to board. 172x240 mm; 6¾x9½ inches, sheet. Signed “Phiz” in pencil, lower left image. Cornered to matte.
H.K. Brown, known by his pseudonym “Phiz” was most famous for his illustrations of Dickens novels, but also contributed to newspapers and magazines of the mid-nineteenth century. In 1869 he published a book of images titled Sketches of the Seaside and Country, containing pictures similar to this amusing scene featuring a photographer battling the uneven terrain of sand and wind, attempting to photograph a family with a cumbersome glass plate camera.
Estimate
$400 – $600
Charles edward chambers (1883-1941)
Meeting the lady of the house.
Illustration of a domestic scene, likely for a story in Century, Scribner’s, or Harper’s Bazar magazine, circa 1925. Watercolor, ink, and wash on board. 508x406 mm; 20x16 inches, board. Signed “C.E. Chambers” lower left corner.
Estimate
$350 – $500
Denis-antoine chaudet (1763-1811)
Three illustrations for “Idylles de Theocrite.”
Plus two by another artist. Together, 5 illustrations later engraved by Delignon for Idylles de Théocrite Book VII (Paris, 1788). Original watercolor, wash, and ink on paper. Generally 83x58 mm; 3¼x2¼ inches, images, tipped to 10x8½-inch window mattes. Three signed “Chaudet” but two unsigned and in a slightly different style and ink, likely by another artist.
Estimate
$500 – $750
David chestnutt (20th century)
“Think Wild!”
Cover of the first paperback edition of the novel of the same title by Arnold Madison (New York: Archway, 1970). Watercolor on paper. 260x153 mm; 10¼x6 inches, sheet; attached to 14½x11¼-inch illustration board. Signed (perhaps not in artist’s hand) and with paperback issue number on verso. A copy of the book accompanies the artwork.
A wild and colorful illustration for a tale of teenagers whose restoration of their beloved junkyard car “Blue Monster” becomes a symbol of delinquency by a conservative group and plants them on the receiving end of their bigotry and violence.
Estimate
$600 – $900
Howard chandler christy (1872-1952)
“Juliet Comes To Polonius.” Illustration for Shakespeare’s Hamlet.
Illustration published on page 67 of William Shakespeare’s The Tragedy Of Hamlet (New York: Dodd, Mead and Company, 1897. Oil on board, mounted to masonite. 615x460 mm; 24x18 inches. Signed “H.C. Christy” lower right corner. Minor restoration; see condition report.
Estimate
$4,000 – $6,000
Thomas maitland cleland (1880-1964)
“Home-Coming.”
Tracing for the lithograph based on Cleland’s same-titled painting of 1951, reproduced as a decorative graphic and for calendars. Graphite on tracing paper with looser, fine red pencil tracing on verso matching the image on recto. 440x660 mm; 17¼x26 inches, sheet. Unsigned. Accompanied by a copy of the offset lithograph created from the finished painting by the Harris Offset Press, 1951. Tipped to window matte.
Provenance: Private collection, Connecticut.
Cleland’s practice was to re-draw his work directly onto the lithographic plates from tracing paper, which would then be printed onto a sheet-fed Harris offset press. Though a painstaking task, he felt it necessary to achieve the accuracy he desired. His early mentor was D. B. Updike of Merrymount Press, who provided both commissions and criticism, leaving Cleland chronically unsatisfied with anything less than perfection. Comparing the pencil drawing to the four-color lithograph, one can see subtle differences in the shading, linework, and composition, but the result is extraordinary.
Estimate
$1,500 – $2,500
George connelly (1908-)
Naked strength.
Illustration for the story “Right as Rain” by Jim Kjelgaard published in Sports Afield magazine, June 1946 and collected in Hound Dogs and Others: A collection of stories by Members of Western Writes of America edited by Kjelgaard (New York: Dodd, Mead, 1958). Watercolor on board. 280x565 mm; 11x22¼ inches. Signed “Geo L. Connelly” in left image. Matted and framed to 17x29 inches.
Exhibited: The Art Directors Club of Philadelphia 14th Annual Exhibition of Advertising Art, submitted by Sports Afield Art Directors Ted Kesting and George Glasser, with their label on verso.
Estimate
$600 – $900
George connelly (1908-)
On the dock.
Illustration for a story published in Farm Journal magazine, June 1949, with their stamp on verso. Watercolor and gouache on board. 242x700 mm; 9½x27½ inches, on 17x30-inch board. Signed “Geo. L. Connelly” in upper right image. Taped along edges to matte.
Estimate
$700 – $1,000
Dean cornwell (1892-1960)
The Arabian Horsemen at Herod’s Bier.
Illustration for the novel The Big Fisherman by Lloyd C. Douglas (Boston, 1952), pages 8 and 9. Oil on canvas. 865x1145 mm; 34x45 inches, framed to 43½x54¼ inches. Signed “Dean Cornwell” in lower right.
Provenance: Estate of the artist; Private collection (by descent from the above); Acquired by the above from the present owner.
Exhibited: Louisville, The J. B. Speed Art Museum, Paintings and Drawings by Dean Cornwell, Mural Painter, Illustrator & National Academician from Kentucky, 1953, number 29.
Literature: Patricia Janis Broder, Dean Cornwell, Dean of Illustrators, New York, 1978, pages 121, 123. <br
The painting depicts the funeral scene after the death of King Herod, his body surrounded by military and citizens paying their respects before the burial.
Estimate
$12,000 – $18,000
Dean cornwell (1892-1960)
Peter Sees the Figure on the Shore.
Illustration for the novel The Big Fisherman by Lloyd C. Douglas (Boston, 1952), pages 200 and 201. Oil on canvas. 865x1148 mm; 34x45¼ inches, framed to 43¼x53¼ inches. Signed “Dean Cornwell” in lower right.
Accompanying the lot is a preparatory oil study for the final composition, measuring 230x310 mm; 9x12 inches (framed to 15x18 inches). A copy of the published book is also included in the lot.
Provenance: Estate of the artist; Private collection (by descent from the above); Acquired by the above from the present owner.
Exhibited: Louisville, The J. B. Speed Art Museum, Paintings and Drawings by Dean Cornwell, Mural Painter, Illustrator & National Academician from Kentucky, 1953, number 26.
Literature: Patricia Janis Broder, Dean Cornwell, Dean of Illustrators, New York, 1978, pages 12 and 24.
Estimate
$10,000 – $15,000
Otho cushing (1871-1942)
“The Song of Higher Arthur.”
Illustration to accompany Cushing’s poem of the same name, published in Life magazine, Volume 58, page 1092, December 11, 1914. Pen and ink on illustration board. 520x695 mm; 20½x27½ inches. Signed “Otho Cushing” lower left image. Poem typed on small strip of partially cropped paper, mounted to upper right corner of verso.
Though an accomplished illustrator, cartoonist, and poster artist who studied and taught in the U.S. and abroad, there exists little biographical coverage of Cushing, much as a result of his heirs destroying evidence of his sexuality. Most prolific at the turn of the century when commercial illustration hit its stride in magazines and newspapers, he was influenced by his contemporaries J.C. Leyendecker, Aubrey Beardsley and his admittedly favorite illustrator, Lord Frederic Leighton. Art historians have remarked that across his body of work, a clear homoeroticism can be detected in the proportions and the haughty attitude of his young male subjects, evidenced here by the dance’s onlookers.
Estimate
$400 – $600
Ehler dahl (1895-1945)
Dandy appraising nude sculpture.
Illustration for an unidentified story, circa 1925. Ink, watercolor, and wash on Abbott illustration board. 629x483 mm; 27¼x19 inches, on 30x22-inch board. Signed “Ehler Dahl” in lower right image. Matted and framed to 27x35 inches.
Ehler Dahl was an accomplished and prolific illustrator of fashion and Hollywood celebrity portraits who was better known for work under his pseudonym “Truda Dahl.” Under the Truda name, he was able to popularize his more whimsical pen-and-ink cartoons in the style of Nell Brinkley who was at the height of her fame with her flapper girl cartoons for the Hearst’s syndicated newspapers. “Truda” was requested to illustrate stories for Cupid’s Diary, Sweetheart Stories, All-Story Love Tales, and Love Novel of the Month.
Estimate
$800 – $1,200
Gilbert darling (1916-1970)
Van Heusen shirts Christmas advertisement.
Gouache on board. 445x423 mm; 17¼x16½ inches. Signed “Darling” in center left image.
A husband is pleasantly surprised when his wife, carrying way too many Christmas gifts down the stairs drops a few, revealing a cascade of crisp new Van Heusen oxfords.
Estimate
$500 – $750
Joseph de mers (1910-1984)
“Go West, Young Man.”
Titled illustration for an unidentified story in The Saturday Evening Post, circa 1955, with their stamp and label on verso. Gouache on board. 483x483 mm; 19x19 inches. Signed in pencil, upper right.
Estimate
$500 – $750
R. farrington elwell (1874-1962)
Polo players on horseback.
Illustration for an unknown story or article. Oil on canvas, circa 1925. 762x610mm; 30x24 inches. Signed “R. Farrington Elwell” in lower right image.
Elwell was a talented painter of horses who gained much of his early training through his connection with William F. “Buffalo Bill” Cody, illustrating some of the the famous performer’s advertising and publicity. He later went on to work for such publications as Harper’s, Century Magazine, American Magazine, and The Outing Magazine as well as for pulp magazines such as Frank Leslie’s Popular Monthly, Adventure, West, Short Stories, and Frontier Stories before retiring to Arizona.
Estimate
$400 – $600
Harry fenn (1845-1911)
“Pushing through the Everglades / Burning Saw Grass.”
Illustration for the article Glimpses of the Everglades by William Hosea Ballou, published in Harper’s Weekly, March 12, 1887, volume 31, issue 1577. Ink, wash, and gouache on paper, mounted to board. 420x305 mm; 10½x12 inches. Signed by Fenn in ink, lower left, captioned in pencil in margin below image.
L>The article discusses one of the earliest and most complete expeditions to the Florida Everglades by Major A. P. Williams and his crew, including artist Harry Fenn, who drew these from life. The trip, during which several rivers were discovered and several islands named, was arranged by Major Edward A. Burke, then-owner of the New Orleans Times-Democrat and the notes and drawings were put together for him by author Wolf Harlander.
Estimate
$300 – $400
Virgil finlay (1914-1971)
Science Fiction Book Club Newsletter - Space War.
Preliminary proposed illustration. Mixed media with gouache and ink on illustration board. 195x135 mm; 7¾x5¼ inches, image, on 9¼x6¾-inch sheet. Signed “Virgil” in lower right image and again along bottom margin, along with his return mailing address. Archivally float-mounted with exposed margins and framed to 16½x14 inches.
Estimate
$1,500 – $2,500
James montgomery flagg (1870-1960)
“He would sit and talk and laugh with them on the piazza.”
Illustration for the story “A Successful Wife” published anonymously in Everybody’s magazine, April 1910, page 493 and then later as “A Successful Wife: A Story” under the (possibly pseudonymous) name G. Dorset by Harper & Brothers, 1910. Graphite, pen, and ink on board. 483x660 mm; 19x26 inches. Signed “James Montgomery Flagg” in lower right margin. Matted and framed to 26x32.
Flagg’s charming illustration for this story about the modern woman of the day, the increasing divorce rates, and the exploration of women who stay in a poor marriage and those who have the courage to escape, rather than struggling to make a “success” of it.
Estimate
$3,500 – $5,000
James montgomery flagg (1870-1960)
“This was the way we all dressed in 1923!” Couple on bench.
Illustration for an unidentified story, likely Good Housekeeping. Circa 1923. Watercolor on thick paper mounted to board. Image measures 690x505 mm; 27¼x20 inches, attached to 31½x24 inch-matte. Signed “James Montgomery Flagg” in lower right image. Additionally signed and inscribed “To Bill & Jean with good wishes. James Montgomery Flagg / This was the way we all dressed in 1923!” along lower margin.
Provenance: Gifted from the artist to William and Jean Krefetz; thence by descent to current owner, private collection, Argentina.
Estimate
$4,000 – $6,000
Gustave fraipont (1849-1923)
Bound album of 56 drawings for La Grande Diablerie.
56 original illustrations for Éloy d’Amerval’s semi-erotic novel La Grande Diablerie, Poème du xve siècle,(Paris: Georges Hurtrel, 1884). Pen and ink, occasional graphite, and some on printed proof backgrounds with enhanced ink decoration; each mounted on tabs bound into unsigned modern half brown morocco, spine decorated with small devils, stars, scrolls, and a central vampire bat. A copy of the published book accompanies the album of artwork.
The illustrations show the devil as his mischievous self, appearing to the viewer, but not the subjects for whom he is about to cause trouble. “Delightful publication printed in a small number, enriched with a quantity of coloured chapter headings, endpapers and hors texte, finely engraved and in the best taste […] Curious bibliophile work” Caillet (I, 255) Vicaire (I, 40).
Fraipont was a Belgian painter, sculptor, illustrator and poster-designer. Born in Belgium, he later became a naturalized French citizen.
Estimate
$5,000 – $7,500
Georges garen (1854-1913)
“Embrasement de la Tour Eiffel.”
Original illustration for the lithograph produced for the 1889 World’s Fair in Paris (May 5-October 31, 1889) by French printer and bookseller Jean Noël Monrocq. Watercolor and gouache on paper mounted to thicker paper stock. 520x330 mm; 20½x13 inches on 24¼x17 inches, sheet. Signed “G. Garen” in lower right image, and with a small portion of the artist’s handwritten label still adhered to original frame backing (included, though frame not present) with his initial descriptive title of “Tour Eiffel vue de nuit”.
Provenance: the artist, gifted to friends, Private collection, Paris, descended through family acquainted with the artist.
Published: cover of Musée d’Orsay exhibition catalogue “1889: La Tour Eiffel et l’Exposition Universelle,” Paris, 1989 (from the lithograph in their holdings).
Exhibited: Salon des Artistes Français, 1885-1906.
Garen’s bold, colorful image of the Eiffel Tower, the centerpiece of the 1889 World’s Fair, and its grand pavillions, alighting the night sky above the twinkling Seine beautifully portrayed the wonders of the world-famous spectacle. It was chosen as one of the representative images of the Exposition and this original painting was made into a mass-produced lithograph on one of the latest printing technologies. This method would be demonstrated live at the show’s Gallery of Machines.
This new press, created by the famed machinist Hippolyte Auguste Marioni was named “La Diligente.” Developed by Jules Michaud (Marioni’s son-in-law), it was a cylinder lithographic zinc matrix press for color printing and the forerunner of rotocalcography (offset lithography). To reproduce the painting, it was divided into 6 parts of roughly equal size to to meet the technical requirements needed to make the matrix. Enhancements were then applied to the final graphic for visual clarity and impact. Once completed, the painting was reassembled and restored, its cut lines masked with gouache (visible here, but well camouflaged).
The lithograph was immediately disseminated throughout Europe, enticing visitors to the Exposition and establishing Garen’s image as its iconic face. This information was provided with the help of Eric Le Ray, author, Marioni, le fondateur de la presse moderne 1823-1904, Paris, Éditions l’Harmattan, 2009) and Pierre-Antoine Lebel, Musée de l’Imprerie et de la Communication Graphique, Lyon.
Estimate
$5,000 – $7,500
Charles dana gibson (1867-1944)
“A Council of War in the Days To Come.”
Published in Life Magazine, August 6, 1896, pages 100-101. Pen and ink on paper. 507x690 mm; 20x27¼ inches, image, on 21½x27¾-inch sheet, archivally backed. Signed “C.D. Gibson” in lower right image.
Provenance: Alan M. Goffman; Private collection, Virginia.
Published: Pictures of People, Charles Dana Gibson, New York: R. H. Russell, 1896.
Cartoonists and illustrators of the time often delighted in depicting the modern woman in uncustomary roles. In her book “Bicycles, Bangs, and Bloomers: The New Woman in the Popular Press” (Lexington: Univ. Press of Kentucky, 1990) author Patricia Marks pointed out how the group of “Gibson Girls” in this image is dressed in military boots, kilts, and marching hats, “revolutionizing the military in squadron of their own.” Gathered for a conference, they are surrounded with swords, medals, and other war paraphernalia while they sing, primp, play piano, drink coffee, and feed a kitten, whose placemat for spilled milk is, of course, a war map.
Estimate
$4,000 – $6,000
William glackens (1870-1938)
“Piccadilly Circus.”
Illustration for the frontispiece to Theodore Dreiser’s A Traveler at Forty, New York: Century Co., 1913). Graphite on paper. 382x330 mm; 15x30 inches, on slightly larger sheet. Signed “W. Glackens” in lower right image. Hinged to window matte and laid into 21x19¼ inch frame with with brass nameplate.
A copy of the 1920 edition of the book accompanies the artwork.
Literature: this image additionally appeared in the following Dreiser articles for The Century>i> magazine: “The First Voyage Over” (August 1913); “An Uncommercial Traveler in London” (September 1913) and “Paris” (October 1913). Pictured in and listed as catalog #58 in William Glackens a Catalog of His Book and Magazine Illustrations, Nancy E. Allyn and Elizabeth H. Hawkes, Delaware Art Museum, 1987.
Estimate
$4,000 – $5,000
Edward gorey (1925-2000)
Smith College Alumnae fund invitation.
Original artwork commissioned by Smith College for a fundraising card. Together, two sheets. The illustration art measures 83x190 mm; 3¼x7½ inches, on a 6x9-inch sheet; the card containing hand lettering measures 1¼x4 inches on a 5½x6¾-inch sheet.
Provenance: The Edward Gorey Charitable Trust, consigned to support its mission of maintaining Gorey’s artistic legacy and the animal welfare organizations he supported.
Estimate
$4,000 – $6,000
Edward gorey (1925-2000)
Untitled / Man lounging with hounds on a dreary day.
Illustration created in 1981, later reproduced in the 2008 Edward Gorey Postcard Planner” (New York: Edward Gorey Enterprises, Inc., in conjunction with Artpost, 2008). Pen and ink on paper, 1981. 165x117 mm; 6½x4¾ inches, image, on 9½x7-inch sheet. Unsigned, but dated “15.v.81” (i.e. May 15, 1981) in Gorey’s hand on verso. An accompanying manuscript note by Andreas Brown titles the note as “A Dog Day Afternoon,” provides color indications for printing, and questions if it may have been used for a 2017 calendar.
Provenance: The Edward Gorey Charitable Trust, consigned to support its mission of maintaining Gorey’s artistic legacy and the animal welfare organizations he supported.
The image appears as one of 26 detachable postcards in the spiral-bound yearly planner. Another version of the drawing, with the same image reversed, was used several years earlier as a greeting card captioned: “I’ve thought about it long and hard, so now I’m sending you this card.”
Estimate
$4,000 – $6,000
Edward gorey (1925-2000)
Golfer.
Pen and ink on paper. 101x51 mm; 4x2 inches on 8½x5¾-inch sheet. Signed in pencil, lower right margin. Four-corner mounted to matte and float-mounted in frame.
Provenance: Gotham Book Mart, private collection, to present owner.
Exhibited: “Gorey World: Paintings, Drawings & Mysterious Objects,” Cartoon Art Museum, San Francisco: September 1996-January 1997, and printed in the catalogue.
Estimate
$3,000 – $4,000
Edward gorey (1929-2000)
“Introduction.”
Vignette of a man and woman leaning on a ship’s railing, regarding one another. Pen and ink on paper. 61x95 mm; 2½x3¾ inches, image, on 8x6-inch sheet. Unsigned, but captioned by Gorey beneath image. Archivally framed to 9x7 inches.
Provenance/Published: Item number 12 in Bromer Booksellers Catalog 113 dedicated to Edward Gorey, published December 2001 and reproduced as the illustration above the Introduction. A copy of the catalogue, signed and dated by Anne Bromer, confirming that “Introduction” is an original illustration by Gorey accompanies the artwork.
At the time, this was the first illustrated dealer’s catalog of Gorey’s works to have appeared in many years. Its 231 items including original artwork, books, posters, and ephemera were lovingly collected by Boston fine book dealers Anne and David Bromer, who were friends with Gorey, and with whom he collaborated on two miniature books in the 1980s, The Eclectic Abecedarium and Q.R.V.
Estimate
$3,000 – $4,000
Frederic gruger (1871-1953)
Women in conversation.
Magazine story illustration for The Saturday Evening Post, with their label adhered to verso. Graphite on thin board. 315x315 mm; 12½x12½ inches, on slightly larger board. Signed “F. Gruger” in lower right image.
Estimate
$400 – $600
Frederic rodrigo gruger (1871-1953)
Romance on the veranda.
Likely illustration for The Saturday Evening Post, circa 1930. Graphite and wash on artist board. Oval image measuring 300x405 mm; 11¾x16 inches, on 12¼x17½-inch sheet. Inscribed and signed “To Bruce from F. R. Gruger” in lower right. Handsomely framed in gold wood oval matted and frame measuring 23x25 inches.
Estimate
$500 – $750
Chuck hamrick (20th century)
“Brown Stone Façade.”
Illustration for an unidentified story, likely for Readers Digest. Tempera on illustration board. 420x560 mm; 16½x22 inches, on 20x30-inch board mounted to foam board. Signed and dated “©88 C. Hamrick” in image, lower right.
Estimate
$300 – $400
Roger hane (1939-1974)
“A Love by the Stars.” De Beers diamond advertisement.
Created for De Beers’ “A Diamond is Forever” ad campaign, 1971. Acrylic on canvas. 914x711 mm; 36x28 inches.
Hane was a highly talented and prolific illustrator during the short span of his professional career. Though he created hundreds of magazine, book, and album cover designs, he is likely best known for the covers of the Collier-Macmillan editions of C.S. Lewis’s Chronicles of Narnia books and the surrealist covers for Carlos Castaneda’s The Teachings of Don Juan and A Separate Reality for Simon & Schuster.
Created for De Beers’ ubiquitous “A Diamond is Forever” campaign -and the company’s slogan - the painting is a gorgeous example of his work, generally scarce on the market. It is rendered in a rich palette, with moody figures and backgrounds to create a sense of mystique. The full text, with its very 1970s astrology vibe, read: “A love by the stars was important. Until the right man of the wrong sign put his star on my finger. And I entered his house with my love.”
Hane was at the height of his creative powers when he died as a result of a mugging in Central Park, but was recognized by the artistic community with several posthumous awards. Philadelphia College of Art, in his home state of Pennsylvania, offers an annual Roger T. Hane Memorial Award to the student with the year’s best illustration portfolio.
Estimate
$5,000 – $7,500
Ruth ford harper (1883-1922)
“Whistful.”
Pastel on board. 547x420 mm; 21½x16½ inches, framed to 26x20½ inches. Signed “R. Ford Harper” beneath portrait.
Cincinnati Art Galleries, with their label on frame back; private collection, Kentucky.
Ruth Ford Harper, née Ruth Heilprin Hammerslough O’Neill, was WORK THIS UP: created the covers of various issues of Good Housekeeping, Harper’s weekly and Sunday Magazine of the New York Tribune under her pseudonym of R. Ford Harper. Ruth who after marrying Alexander Hammerslough in 1906 had became Ruth Heilprin Hammerslough, and lived in New York never became a widely recognized artist because she was working under a pseudonym in such a large city. Born in Washington, DC, Ruth Ford Harper traveled to Europe for three months twice, first when she was 19, and again three years later in 1905. She was a student of William Merritt Chase. In November 1918, she exhibited her art at the Dowell Club 108 W. 55th St, under her real name Ruth H. Hammerslough, and in August 1920 she traveled to Paris to study.(source: https://www.flickr.com/photos/photolibrarian/10106009753)a number of period postcards are visible online which feature her work, in addition to the various magazine / periodical cover art she created
Estimate
$1,000 – $2,000
Charles hawes (1909-1998)
“Today is Father’s Day.”
Illustration for the cover of PIC: The Magazine for Young Men June, 1946. Gouache on board. 431x305 mm; 17x12 inches. Signed “Hawes” in lower right corner. Matted and framed to 21x17¼ inches.
Estimate
$1,200 – $1,800
Harry hershfield (1885-1974)
Group of 4 poster designs commissioned by The National Brewing Company.
Four original gouache, ink, and watercolor designs tipped to black paper backing, accompanied by 4 hand-painted lithographs, 1 photograph, 1 letter, and newspaper clippings. 1941. Generally 533x355 mm; 21x14 inches and slightly larger. Signed “‘Hershfield’”; some stamped “Copyright 1941 Advertising Arts Corp., General Motors Bldg, N.Y.C.” Laid into imitation leather portfolio.
The accompanying 5 press photographs and newspaper clippings feature Hershfeld shaking hands with Federal Security Administrator, Paul V. McNutt as well as a host of political figures (including Mayor Fiorello LaGuardia) as he presents the printed series of patriotic posters, which were issued weekly across the country and “designed to promote Americanism and Unity among Americans.” A Typed Letter Signed by President of the National Brewing Co., A.H. Deute commends Hershfield’s work and states “If anything can bring about that maxim of harmony and team play which the USA can use right now, it is this sort of thing.” July 11, 1941.
Hershfield was a cartoonist and personality best remembered for his strips “Desperate Desmond,” “Dauntless Durham of the U.S.A.,” and “Abie the Agent” a popular comic based on his Jewish immigrant childhood in Cedar Rapids, Iowa. He became a national radio star in 1942 with his NBC comedy show “Can You Top This?”
Estimate
$1,500 – $2,500
Charles constantine hoffbauer (1875-1957)
Back of the Trenches, World War I.”
Illustration for an unidentified story, circa 1917. Mixed media with gouache, graphite, and crayon on buff paper, mounted to paper sheet. Signed “C. Hoffbauer” in lower right and initialed within a circle, lower left. 356x635 mm; 14x25 inches, image, the full sheet measuring 16 inches in height (paper backing sheet 19½x28½ inches. Tipped to window matte.
Estimate
$1,000 – $1,500
Mitchell hooks (1923-2013)
Thumb-sucker/small boy seated.
Illustration of a beguiling for an unidentified story. Acrylic and pencil on Bainbridge board. 532x230 mm; 21x9 inches, image, on 27½x14½-inch board. Signed “Mitchell Hooks” in lower left corner.
Provenance: Illustration House, 1989; private collection, New York, acquired from the above.
Estimate
$300 – $400
George inness, jr. (1854-1926)
“Stalking.”
lllustration for the article “Hunting the Rocky Mountain Goat” by William A. Baillie-Grohman, published in Century Illustrated Magazine, Volume 29, 1884-85, page 198, with their labels on verso of framing board. Oil on board. 410x405 mm; 16¼x16 inches. Signed “Inness Jr.” in lower right corner. Contemporary frame measuring 21x21½.
The work is listed by the artist’s wife Julia G. Smith in the compilation of Inness Jr’s works, #453: Newhouse Galleries, St. Louis, Mo., Index, Book 9.
Estimate
$2,500 – $3,500
Jay paul jackson (1905-1954)
Etta Moten Barnett on stage.
Illustration created for the American Negro Exposition, circa 1940. Watercolor on paper. 317x240 mm; 12½x9½. Signed “Jay Jackson” in pencil, lower right corner. Archivally float-mounted, matted, and framed to 18x14 inches.
Jackson was a prolific artist and cartoonist whose work appeared in the Chicago Defender, a Black newspaper, in the 1940s. Battling racism in the industry, Jackson formed his own feature syndicate in the 1950s to distribute his “Home Folks” cartoon, a humorous, bird’s-eye view of the Black experience in the United States.
Etta Moten Barnett (1901-2004) was a pioneering singer and actress who expanded roles for African-American women on stage and screen. She was best known for her celebrated role as “Bess” in the musical “Porgy and Bess” and was invited to perform at the White House. In addition to her career, she was a political delegate, civic activist and philanthropist.
Estimate
$2,000 – $3,000
Jay paul jackson (1905-1954)
Etta Moten Barnett with partner and other couples dancing
Illustration created for the American Negro Exposition, circa 1940. Watercolor on paper. 315x245 mm; 12½x9½. Signed “Jay Jackson” in pencil, lower right corner. Archivally float-mounted, matted, and framed to 18x14 inches.
Jackson was a prolific artist and cartoonist whose work appeared in the Chicago Defender, a Black newspaper, in the 1940s. Battling racism in the industry, Jackson formed his own feature syndicate in the 1950s to distribute his “Home Folks” cartoon, a humorous, bird’s-eye view of the Black experience in the United States.
Etta Moten Barnett (1901-2004) was a pioneering singer and actress who expanded roles for African-American women on stage and screen. She was best known for her celebrated role as “Bess” in the musical “Porgy and Bess” and was invited to perform at the White House. In addition to her career, she was a political delegate, civic activist and philanthropist.
Estimate
$2,000 – $3,000
Robert jones (1926-)
“Whitey wailed in anguish as the icebreaker sailed off and left him alone.”
Full-page illustration for the story “The Warmhearted Polar Bear” by Robert Murphy in The Saturday Evening Post, December 24, 1955, page 22. Gouache on water color board. Image measures 406x305 mm; 16x12 inches, on 24x21¾-inch board. Signed “R. Jones” in lower right image; partially abraded SEP publisher’s label on verso. A worn issue of the magazine and color copies of the story accompany the artwork.
The Warmhearted Bear was Jones’ first major editorial commission for the Post. He was working for Cooper Studio at the time and began as a weekly salaried artist. As the studio’s illustrators became more established, a status Jones achieved while there, the policy was to split commissions 50/50 with them for advertising art spots. If they landed a coveted editorial (story) assignment, the artist could keep the entire fee. Jones was delighted to have earned 12x more for this story than his previous $100 a week check (see http://todaysinspiration.blogspot.com/2009/06/bob-jones-in-grade-2-well-this-is-what.html)