Delectable Art

This work is accompanied by a Photo-certificate and essay from Ralph Jentsch who will include it in his forthcoming catalogue raisonné Signed lower right. Estate stamp on verso...

Published Thayer Stroller advertisement, 1951 Watercolor and gouache on board Signed lower left

Historically, academic artists have always featured the central figures in their composition in a prominent light with the background figures being darker. In water sports...

Interpretation 1: An utterly exhausted man collapses face-first into a diner's countertop. His face and the countertop become one. Seemingly oblivious to the acute nature of the man's condition, the night server gleefully offers him coffee instead of more appropriate help. Interpretation 2: The night server/psycho killer pours unsuspecting customer poisoned coffee and then taunts his lifeless body in a victorious tone. Like Charles Addams...

Executed in 1930, this abstract yet representational biomorphic charcoal work by African American Artist Charles Henry Alston prefigures his ...

The technique and subject matter work well together in this loosely but masterfully rendered World War 1 romantic illustration of a Soldier and a Parisian woman. Even though this wo...

Children Amongst Foxgloves - Female Illustrator of The Golden Age by a female illustrator of The Golden Age Watercolor on paper, signed 'A. Bowerley' lower left. 11 x 20 in. (sight)...

Murray Tinkelman builds his works out of tiny meticulously placed cross hatchings that are organized into horizontal and diagonal structures. Most are done with a ruler and some fre...

This meticulously rendered work depicts a three-quarter view of a young woman lost in deep introspection. Inscribed on verso: " The Captain's Lady" Leslie of ____________ St. ...

Roy Carruthers is a brilliant mix of George Tooker and Fernando Botero but with unexpected charm. "The Suitor with Voyeur", A variation of this concept was done in oil twenty years later. "The Venus of Ponte Vedra...

Welcome to the wonderfully delightful mind of Ludwig Bemelmans. With a few quick lines, Bemelmans captures the essence of a subject. In this work, the artist portrays a distinguished...

Powerful pencil study of Bachoo, Countess Woronzow. Tchelitchew exaggerates the sitters features with abnormally large eyes for dramatic effect, Bachoo (Countess Bachoobai Woronzow-D...

The postman's delivery of a limp cactus creates a big emotional response the female recipient. Most likely an interior illustration for a newsstand magazine. Signed lower right Sus...

John Ruthven is recognized as the “20th-century Audubon. In this very detailed and meticulously rendered work the artist depicts a Koala in an iconic and proud pose and a Photoreali...

19th Century Street Art - British children's book author and illustrator Edith Farmiloe depicts a waif-like girl - Cockney Gutter Imp - who is disheveled. The artist draws her i...

Signed and dated center right, Seam down center where two sheets attached is original. Some slight surface smudging outside figure area .

Work is not framed. Done for a Manhattan fashion house in the 1980's

Mid-Century fashion watercolors by accomplished Austrian Female Illustrator. Fashion Gret Kalous-Scheffer (1892 Vienna - 1975 Vienna) was a daughter of the renowned Austrian painter...

Girl with Grapes, Charming stylized post-impressionist work by the Hungarian French costume designer and illustrator . Most likely done for a high fash...

Airbrush Illustration on paper Signed Risko lower right Blindstamp Upper Right Published: Vanity Fair Magazine Unframed

Signed, "A Rackham" lower right Sotheby's New York Arthur Rackham is widely regarded as one of the leading illustrators from the 'Golden Age' of British book illustration Rackham...

If people don't swat you . . . then something else happens." Illustration for Blechman's popular book Franklin the Fly (Mankato, MN: Creative Editions, 2007). Watercolor, pen and ink...

Pioneering female abstract artist Elsie Driggs paints stylized abstract organic forms in a warm palette of orange browns and tope. She merges abstraction with some figuration. A structured face composed of lines and tone emerges from an orange background. It's 1939, and even though Driggs is not well known, she is preceding many of the marquee names of abstraction by a decade. Although under the radar, this is a major work and is titled on the back stretcher is " Egyptian Gothic." It features the artist's inventiveness with her fine pencil lines incorporated in flat washes of color and collage elements. Signed lower right and inscribed on frame verso with title, artist and the date of 1939. Provenance, Christie's, Freemans. Framed under glass.. Elsie Driggs (1898 – July 12, 1992 in New York City) was an American painter known for her contributions to Precisionism, America's one indigenous modern-art movement before Abstract Expressionism, and for her later floral and figurative watercolors, pastels, and oils. She was the only female participant in the Precisionist movement, which in the 1920s and 1930s took a Cubist-inspired approach to painting the skyscrapers and factories that had come to define the new American landscape. Her works are in the collection of the Whitney Museum of American Art, the Houston Museum of the Fine Arts, the Fine Arts Museums of San Francisco, the James A. Michener Art Museum in Pennsylvania, and the Columbus Museum of Art, among others. She was married to the American abstract artist Lee Gatch. Career Born in Hartford, Connecticut, Driggs grew up in New Rochelle, a suburb of New York City, in a family that was supportive of her artistic interests. After a summer spent painting with her sister in New Mexico in her late teens, she felt she had found her life's calling. At twenty, she enrolled in classes at the Art Students League of New York, where she studied under George Luks and Maurice Sterne, both of whom were charismatic, inspirational figures in her early life. She also attended the evening criticism classes held at the home of painter John Sloan. Driggs spent fourteen months in Europe from late 1922 to early 1924, drawing and studying Italian art. There she met Leo Stein, first in Paris and later in Florence, who became an important intellectual influence, and who urged her to study Cézanne. He also introduced her to the works of Piero della Francesca, the Renaissance artist for whom she felt throughout her life the greatest admiration.[1] Driggs eventually settled in New York City, where she found representation with the progressive Charles Daniel Gallery.[2] (Advised that the old-fashioned and misogynistic Daniel would be unlikely to take on a woman artist, she signed the works she left for his consideration simply "Driggs" and waited to meet him in person until he had expressed his eagerness to include her in his gallery.)[3] In sympathy with those artists Daniel represented who were part of the burgeoning Precisionist movement, such as Charles Demuth, Charles Sheeler, George Ault, Niles Spencer, and Preston Dickinson, she too painted "the modern landscape of factories, bridges, and skyscrapers with geometric precision and almost abstract spareness."Impressionism and academic or Ashcan realism represented the past, in Driggs' view, and she intended to be resolutely modern. She was an attractive and engaging woman, but her demeanor belied a strong ambition and a clear sense of what it would take to make her mark in the New York art world. Driggs was part of the pre-eminent first group of Precisionist painters, including Demuth and Sheeler, who exhibited at the Daniel Gallery in the 1920s. Although a later group of Precisionist painters, including Louis Lozowick, Ralston Crawford and others, came on the American Art scene during the 1930s, Driggs felt that the style came to an end with the 1929 stock market crash.[5] In 1926 she painted her most famous work, Pittsburgh, a dark and brooding picture now in the permanent collection of the Whitney Museum of American Art, which depicts the gargantuan smokestacks of the Jones & Laughlin steel mills in Pittsburgh. Its focus is an overpowering mass of black and gray smokestacks, thick piping, and crisscrossing wires with only clouds of smoke to relieve the severity of the image, yet it was an image in which she found an ironic beauty. She called the picture "my El Greco" and expressed surprise that viewers in later years interpreted the painting as a work of social criticism. Like the other Precisionists (e.g., Demuth, Charles Sheeler, Louis Lozowick, Stefan Hirsch), she was concerned with applying modernist techniques to renderings of the new industrial and urban landscape, not in commenting on potential dangers the overly mechanized modern world of 1920s America might present. If anything, Precisionism, like Futurism, was a celebration of man-made energy and technology. One year later, she painted Blast Furnaces, in a similar vein. As noted above, Piero della Francesca's mural depicting "The Story of the True Cross" in Arezzo, with its tubular, static and frozen forms was the major influence on Driggs' "Pittsburgh" (it may have been the major influence for "Blast Furnaces" as well).[7] After Pittsburgh, Driggs' most acclaimed work was probably Queensborough Bridge...

Celebrity portrait sketch of actress June Knight but James Montgomery Flagg on card stock in two colors. Signed and inscribed lower right. The work is unframed. There is a slight cr...

"Shine On, Virginia Woolf!" Cover illustration for The New York Times Book Review, published June 8, 1997. Airbrush on paper with mylar overlay with mar...

"They paved paradise and put up a parking lot," Joni Mitchell said. - - Created in 1969, at the dawn of the American environmental movement, artist Richard Erdoes draws a sequential narrative in the form of a coil. From inception to destruction, it illustrates a list of things that humans are doing to destroy the world we live in. The work was commissioned for school-age humans and executed in a whimsically comic way. Yet the underlying narrative is sophisticated and foreshadows a world that could be on the brink of ecological disaster. Graphically and conceptually, this work exhibits an endless amount of creativity and Erdoes cartoony style is one to fall in love with. Signed lower right. Unframed 12.4 inches Width: 12.85 inches Height is the live area. Board is 16x22 inches. Richard Erdoes (Hungarian Erdős, German Erdös; July 7, 1912 – July 16, 2008) was an American artist, photographer, illustrator and author. Early life Erdoes was born in Frankfurt,to Maria Josefa Schrom on July 7, 1912. His father, Richárd Erdős Sr., was a Jewish Hungarian opera singer who had died a few weeks earlier in Budapest on June 9, 1912.After his birth, his mother lived with her sister, the Viennese actress Leopoldine ("Poldi") Sangora,He described himself as "equal parts Austrian, Hungarian and German, as well as equal parts Catholic, Protestant and Jew..."[4] Career He was a student at the Berlin Academy of Art in 1933, when Adolf Hitler came to power. He was involved in a small underground paper where he published anti-Hitler political cartoons which attracted the attention of the Nazi regime. He fled Germany with a price on his head. Back in Vienna, he continued his training at the Kunstgewerbeschule, now the University of Applied Arts, Vienna.[5] He also wrote and illustrated children's books and worked as a caricaturist for Tag and Stunde, anti-Nazi newspapers. After the Anschluss of Austria in 1938 he fled again, first to Paris, where he studied at the Academie de la Grande Chaumiere, and then London, England before journeying to the United States. He married his first wife, fellow artist Elsie Schulhof (d. xxxx) in London, shortly before their arrival in New York City. In New York City, Erdoes enjoyed a long career as a commercial artist, and was known for his highly detailed, whimsical drawings. He created illustrations for such magazines as Stage, Fortune, Pageant, Gourmet, Harper's Bazaar, Sports Illustrated, The New York Times, Time, National Geographic and Life Magazine, where he met his second wife, Jean Sternbergh (d. 1995) who was an art director there. The couple married in 1951 and had three children.[6] Erdoes also illustrated many children's books. An assignment for Life in 1967 took Erdoes to the Pine Ridge Indian Reservation for the first time, and marked the beginning of the work for which he would be best known. Erdoes was fascinated by Native American culture, outraged at the conditions on the reservation and deeply moved by the Civil Rights Movement that was raging at the time. He wrote histories, collections of Native American stories...

This is an elegantly rendered and designed work with fine lines and flat colors by an accomplished female illustrator. Signed lower right Framed in an old simple wooden frame with...

This is an intensely personal and iconic image that is instantly recognizable as a George Tooker. Framed under glass. Hinged to backing board along the upper edge. Mild toning to the sheet. Small 1/4 inch abrasion to the extreme left edge of the sheet, not visible in current framing. Framed Dimensions 21.5 X 17.5 Inches -The artwork will look slightly different under different light conditions. In the former collection of Art Paul, who with Hugh Hefner created Playboy. Peter B...

Provenance: Illustration House, New York, Framed in a simple and modest frame. This is a brilliant post-Cubist work by Dutch-American illustrator Charles Verschuuren...

Scottish female illustrator Annie French renders a charming cropped portrait of a bride in an Art Nouveau / Aubrey Beardsley style with curved theme borders. The piece is unsigned an...

Barbara Nessim is an artist/ illustrator who has contributed to Harper's Bazaar, Esquire, New York Magazine, Rolling Stone, Time, Ms among others. Sign...

This early work from 1955 by Dong Kingman N.A. is as surreal as it is a document of a place. The artist effectively captures a slice of American urban life but constructs the compo...

Mother Goose is a French fairy tale and later of English nursery rhyme. In this illustration, we see an oversized Goose in a yellow bonnet elevated on a step and engaging with an attentively curious young girl and young boy. Large vases of flowers frame them. Titled in pencil center bottom: "Goosey, Goosey Gander. Where do you wander? Signed Margaret Evans Price...

Summertime in Martha's Vineyard is drenched in saturated yellow and reds. People in the foreground look out to the sea. Two people on horseback are masterfully rendered in a loose b...

Christopher "Flore" Florentino A Grand Gesture, 2024 Signed by the artist Acrylic on canvas, framed 70 x 80 inches This piece is unique Currently on display at Art Angels in Los Ang...

Medium: Pastel on Paper Signature: Signed Lower Left Health Club Baking Powder

Mark at the bottom of the image is a pen line trial stroke

Medium: Pen and Watercolor on Paper Dimensions: 10.75" x 14.00" Signature: Signed Lower Right

Date: 1960s Medium: Watercolor on Paper Dimensions: 22.50" x 20.50" Signature: Signed Lower Right From the Estate of Charles Martignette.

Medium: Pen and Ink on Illustration Board Signature: Signed Upper Right The illustration is roughly 11.00" x 7.00" on a 15.00" x 11.00" board. Ink on Illustration Board for `Don McNeill`s Breakfast Club...

Medium: Watercolor and Gouache on Board Sight Size 6.00" x 8.00"; Framed 13.00" x 15.00" Signature: Signed Lower Right Likely done either for a magazine cover or for a postcard. Rev...

Signature: Signed Lower Right "The Last of the School Builders," by Alvin F. Harrow and illustrated by Peter Helck for the Saturday Evening Post, July 12, 1941.

Medium: Graphite on Paper (Right); Oil on Canvas (Left) Signature: Signed Lower Right on Canvas Sizes: 9.00" x 12.00"; 10.00" x 14.00" GRAPHITE DRAWINGS & OIL PORTRAIT - Caricature by George Wachsteter (1911-2004) of the Duke of Windsor...

Medium: Charcoal and Wash on Paper Dimensions: 19.50" x 12.25" Signature: Signed Lower Right Book illustration: Under the Lilacs, by Louisa May Alcott...

Medium: Pen and Ink on Illustration Board Signature: Signed Lower Left Ink on Illustration Board Caricature of Bob Keeshan in the title role of `The Captain Kangaroo Show` on NBC-TV, with Hugh Brannum as Mister Green Jeans...

Medium: Pen and Ink on Illustration Board Signature: Signed Lower Right Ink on Illustration Board Caricature Cover Design of E.G. Marshall & Robert Reed for `The Defenders`, CBS-TV Show that ran 132 episodes from 1961-65, this cover for the Sunday, April 14, 1963 New York Journal American Pictorial Magazine & TView Section, 12" x 9 1/2" image on 22" x 14" board, good condition, edge toning. Includes copies of the original magazine cover...

Medium: Pen and Ink with Watercolor Overlay on Board. The second board has a photostat paste-up with watercolor overlay. Includes original magazine cover. Signature: Signed Lower Center This piece is on 14.75" x 22.00" illustration board, with an image that measures to 9.50" x 14.00." Caricature by George Wachsteter (1911-2004) of Michael Rennie as Harry Lime in the syndicated series `The Third...

Medium: Watercolor and Ink on Paper Dimensions: 28.00" x 19.50" Signature: Signed Center

Medium: Pen and Ink with Colored Pencil Onionskin Overlay on Board Signature: Signed Lower Left This piece is on 22.00" x 15.00" illustration board with the drawing itself measuring ...

Medium: Watercolor, Pen & Ink on Board Dimensions: 16.25" x 11.25" Paramount Pictures Movie Poster Illustrated American Artist

Medium: Graphite Pencil on Paper Signature: Signed Lower Right A pin-up study

Medium: Pastel on Paper Signature: Signed Lower Left Calendar Illustration

Kellogs advertisement with ad sheet included. Advertisement of a little girl with a bowl of Kellogg's Toasted Corn Flakes cereal. Benjamin Sayre Cory Kilv...

Medium: Pastel on Board Dimensions: 30.00" x 24.00" Signature: Signed Lower Left Women with brightly colored shirt

Medium: Watercolor, Gouache and Charcoal on Paper Signature: Signed Lower Right Soldier awakens in bunk, with lipstick mark. "Who kissed me?" Magazine Cover July 1945

Signature: Initialed Center "Birth and Death of Industry," by Albert W. Atwood and illustrated by Guernsey Moore for the Saturday Evening Post, September 15, 1919.

Medium: Charcoal and Watercolor on Board Signature: Unsigned "Introducing Heidi." Original illustration for page 11 of "Heidi" by Johanna Spyri (Philadelphia: David McKay Company, 1922). Charcoal and watercolor on board. 10 1/2x8 inches, on 20x15-inch board. Unsigned but captioned "Chapter I" in lower margin with publisher's label on verso. an original drawing from smith's final fully-illustrated work. Heidi was "a perfect showcase for Smith's illustrative art...

Medium: Pen & Ink, Watercolor Paper Overlay on Board Signature: Signed Lower Right Caricature by George Wachsteter (1911-2004) of Steve Allen and a personalized jester stick for `Th...