George Goursat Art

Louis Rhead Jane Original lithograph Printed signature in the plate 1897/98 On vellum 40 x 31 cm (c. 16 x 12") INFORMATION : Published by 'Estampe Moderne, Paris, 1897-1899 and pri...

Jonas Wood 24 Tennis Court Drawings book (hand signed with hand drawn tennis balls), 2021 Hardback monograph with signed and dated tennis ball drawing Signed and dated with 3 balls d...

Alphonse Mucha "Lorenzaccio, a play in five acts and an epilogue by Alfred de Museet" Plate #114 Image Size: 15" x 11" 1896 Alphonse Mucha was born in Southern Moravia on July 24, 1860. At the age of seventeen the artist left his home, to work as a painter of stage decorations...

Signed lower right, 'Stuart Miller' (American, 20th Century) and painted circa 1965.

Mother and Child is an artwork realized by an unknown artist in 1962. Black Marker Pen on Cardboard 27.5 x 22.5 cm ; 60 55 cm with frame. Unreadable signature in the lower part. ...

PALEOLOGUE, JEAN DE(PAL) (1860 -1942) "Rudge Cycles" Lithograph in color, linen-backed c. 1898 Sheet size: 56.75” x 41.75” Imprimerie Paul Dupont, ParisStamp: Republique Francais, lower left Colors fresh Jean de Paleologue...

Louis Abel GIRARDOT (1848 - 1937) Oriental Woman (Femme du Riff), 1897 Original lithograph Printed signature in the plate On vellum 40 x 31 cm (c. 16 x 12") INFORMATION : Published...

Basilica of the Sacred Heart of Paris is an original drawing in China ink and felt tip pen on cardboard realized in 1950ca. by an Anonymous artist of the XX century. The State of p...

Marina Abramovic The Lovers, 1990 Original Drawing done in Black Marker on title page of the "Lovers" monograph Hand signed by Marina Abramovic in black mar...

115 years after they were created, one can view these silhouettes differently than the artist’s intent. After all, the genesis of this work was an editorial illustration for Life Magazine to showcase elaborate women’s hats. They were done for a commercial assignment with a deadline, and picky editors were overseeing the final work. Today, they have a dual meaning. These charming silhouettes are abstractions as much as they are representations. Moreover, each one is a compact little gem stuffed with observational detail. Golden Age female illustrator Jesse Gillespie's mastery of technical skill, is apparent in minute details and composition. Young women, old women, pendants, necklaces, feathers, and laced vails all contribute to the works understated complexity. The identity of the subjects are revealed by small areas of exposed neck and chin. As the viewers eyes goes from left to right - all six silhouettes read as fashion hieroglyphs in a sentence with a visual rhythm and cadence. . Initialed JG lower right., Matted but not framed. Published: Life Magazine, March 17th, 1910. Provenance: Honey and Wax Bookstore ________________________________ From Wikipedia, the free encyclopedia Jessie Gillespie Willing (March 28, 1888 – August 1, 1972) was an American illustrator during the Golden Age of illustration. She was considered the foremost silhouette illustrator of her time, although she did traditional illustration as well. Willing illustrated for books and magazines including Life, The Ladies' Home Journal, Woman's Home Companion, Mother and Child, McClure's Magazine, Childhood Education, the Sunday Magazine, Association Men (the magazine of the YMCA), Farm and Fireside, Every Week, Children: The Magazine for Parents (which became Parents Magazine), and the American Magazine. She is perhaps most well known for her work for the Girl Scouts. Early life Willing was born in Brooklyn on March 28, 1888 to John Thomson Willing (August 4, 1860 – July 8, 1947)[1][2] and Charlotte Elizabeth Van Der Veer Willing (December 1, 1859 – March 4, 1930).[3] Thomson Willing was a noted illustrator and art editor. He was also well known for finding new artistic talent. Jessie Willing was the eldest of three children. Her brother Van Der Veer (November 30, 1889 – January 14, 1919), who died of pneumonia at the age of 29, was an advertising agent.[4] Her sister Elizabeth Hunnewell Willing (July 26, 1908 – August 15, 1991) was one of the first women to graduate from the Philadelphia Divinity School.[5][6] Elizabeth married the Rev. Orrin Judd, rector of St. Mary's Episcopal Church, on September 22, 1931, and was active in church work.[citation needed] The Willing family moved to the Germantown neighborhood of Philadelphia in 1901 or 1902. Jessie Willing attended the Stevens School, from which she graduated in 1905. She then went on to attend the Philadelphia Academy of Fine Arts from 1906 to 1907.[7][8] Career Willing used her middle name Gillespie as her professional surname. She also often signed her illustrations J.G.[9] The story goes that the art editor of Life magazine was in Thomson Willing's office when he was the art editor of the Associated Sunday Magazine syndicate. Thomson Willing had some of Jessie's artwork on his desk, which the Life editor saw and admired. He asked for the artist's information so that he could give her freelance work. Thomson Willing did not want to be accused of nepotism so he persuaded Jessie to use Jessie Gillespie as her professional name, which she did.[10][11] In addition to her extensive illustration work, Willing was also the editor of Heirlooms and Masterpieces from 1922 to 1931 and the art editor of Jewelers' Circular-Keystone from 1933 to 1939.[12] She specialized in jewelry publicity and advertising. In 1966 she won the Gold medal of the Printing Week Graphic Arts Exhibit in Philadelphia for her Christmas catalog for J.E. Caldwell Co., Philadelphia. Willing was a member of the Plastic Club of Philadelphia,[13] the American Institute of Graphic Arts (AIGA) and the National Arts Club of New York.[14] She was an honorary life member of the National Arts Club[15] and served on its Board of Governors from 1941-1970. In 1963, she received the Gold Medal of the National Arts Club in recognition of 32 years of selfless devotion.[15] Additionally, she was the national director of the American Institute of Graphic Arts (AIGA) from 1943 to 1946.[15] Previous to this she served as the Program Chairman of the AIGA and in that position she put together a travelling exhibit on the "history of narrative art from the first recorded picture story to the comic book of the twentieth century."[16][17] Illustrations in books With Tongue and Pen--Frederick Bair, et al. (MacMillan, 1940) Masoud the Bedouin--Alfred Post Carhart (Missionary Education Movement, 1915) The Path of the Gopatis--Zilpha Carruthers (National Dairy Council, 1926) The Schoolmaster and His Son: A Narrative of the Thirty Years War--Karl Heinrich Caspari (Lutheran Publication Society, 1917) On a Rainy Day--Dorothy Canfield Fisher and Sarah Scott Fisher (A.S. Barnes and Co., 1938) Book of Games for Home, School and Playground--William B. Forbush and Harry R Allen...

Adolphe Willette Lithograph Original Hand Signed erotic nude No 189 Well known for his version of The Seven Deadly Sins Adolphe Léon Willette (30 Jul...

William Heath Robinson (British, 1872 - 1944) 'Boring The First Tunnel With An Early Type Of Rotary Excavator, And The Red Flag', circa 1935 (railway ribaldry was published in this year) The former signed 'W. Heath Robinson (lower left) and inscribed with title (lower left and right) The former to mount 14 X 10.1/4in. (35.5 X 26cm.) The latter 1.1/2 X 8.1/2in. (3.8 X 21.6 cm.) Literature: Railway Ribaldry, first published by the Great Western Railway, Paddington, 1935. William Heath Robinson was an English cartoonist and illustrator best known for drawings of ridiculously complicated machines for achieving simple objectives. During the First World War, he drew large numbers of cartoons, depicting ever-more unlikely secret weapons being used by the combatants. In the UK the term "Heath Robinson" entered popular language during this time as a description of any unnecessarily complex and implausible contrivance. Its continuing popularity was undoubtedly linked to Second World War Britain's shortages and the need to "make do and mend". In the course of his work, Robinson also wrote and illustrated three childrens books including The Adventures of Uncle Lubin (1902) which is regarded as the genesis of his depiction of unlikely machines. The inventions he drew were frequently powered by steam boilers or kettles, heated by candles or a spirit lamp and usually kept running by balding, bespectacled men in overalls. There would be complex pulley arrangements, threaded by lengths of knotted string. One of his most famous series of illustrations accompanied the first Professor Branestawm book written by Norman Hunter. The stories provided a perfect backdrop for Robinson's drawings. One of the automatic analysis machines built for Bletchley Park during the Second World War to assist in the decryption of German message traffic was named "Heath Robinson" in his honour. He died in September 1944 during the Second World War and is buried in East Finchley Cemetery. The Heath Robinson Museum in Pinner opened in October 2016 to house a collection of nearly 1,000 original artworks owned by The William Heath Robinson Trust. In the Wallace and Gromit...