Adelaide Hiebel

The Safety Patrol - Calendar Illustration

1938

Medium: Pastel on Canvas Signature: Signed Lower Right Young Boy and Girl playing with Boat. Barklow Calendar Illustration & Magazine Cover

Medium: Watercolor on Paper Dimensions: 24.00" x 20.0" Signature: Signed Lower Right An Argument in the Park; Shaw Barton Calendar Illustration

Calendar Illustration: Boy laying under tree with dog Gerlach Barklow Calendar Company Signed lower right. Adelaide Hiebel was born in New Hope Wisconsin in 1886. She studied at the Art Institute in Chicago. In 1919 Hiebel was an art instructor when her friend and mentor Zula Kenyon...

Medium: Oil on Board Dimensions: 28.00" x 24.00" Signature: Signed Lower Right Calendar Illustration

Legendary female illustrator creates a graphic and tightly designed triple portrait of her signature subjects. Kids! Signed lower right. Unframed on heavy illustration board. Grace Drayton had a recognizable style which is a hallmark of all great artists. Instantly recognizable, a Grace Drayton subject is a stylized child with a cherubic style, often with round faces, plump bodies, rosy cheeks, and a happy disposition. Three Rosy Cheek Children is an excellent example of her best work. Grace Drayton Born: Grace Gebbie October 14, 1878 Philadelphia, Pennsylvania, US Died: January 31, 1936 (aged 58) Cartoonist, Illustrator Grace G. Wiederseim Notable works Campbell Soup Kids Dolly Dimples Dolly Dingle...

Gisella Loeffler "Going for a Stroll" c. 1919 Gouache on Paper Initialed Framed Size: approx 17 x 13 inches In a village filled with colorful characters, few Taos artists were as colorful as Gisella Loeffler [1900-1977]. From her handmade Austrian clothing and hand-painted furniture to whimsical paintings and letters written in multicolored crayon, joyful color defined the artist, who early on chose to use simply Gisella as her professional name and was known as such to everyone in Taos. 

In spite of her fame there—the Taos News once labeled her a Taos legend—Gisella is rarely included in scholarly discussions of the Taos Art Colony. This oversight is likely due to the naive quality of her work, in which children or childlike adults inhabit a simple, brightly colored world filled with happiness. The macabre, the sad, the tortured, the offensive—all have no place in Gisella’s paintings. Her naive style of work looks very different from that of the better-known early Taos artists. Yet both Gisella’s artwork and her interesting life command attention. Born in Austria, Gisella came to the United States with her family in 1908, settling in St. Louis, MO. After studying art at Washington University in St. Louis, she became a prominent member of the local art community, joining the St. Louis Art Guild as well as the Boston Society of Arts and Crafts. In addition to creating posters for the St. Louis Post Dispatch, Gisella won prizes from the Artists Guild of the Author’s League of America in 1919 and 1920 and from the Kansas City Art Institute in 1923. She also began working in textiles, including batik, to which she would return later in her career.  In the early 1920s Gisella married writer and music critic Edgar Lacher. A difficult character, Lacher may have chafed under Gisella’s success, for the couple divorced in the 1930s. Having seen a local exhibition of paintings by Taos artists Oscar Berninghaus (who was from St. Louis) and Ernest Blumenschein, Gisella felt drawn to Taos, which reminded her of the villages of her native Austria. In 1933 the single mother with two daughters, Undine and Aithra, moved to Taos, where she lived off and on for the rest of her life. She traveled frequently, spending extended periods in Mexico, South America, and California, but always returned to New Mexico. Gisella initially applied an Austro-Hungarian folk-art style to the Indian and Hispanic subjects that she found in New Mexico. In her early work she covered her surfaces with decorative floral and faunal motifs, and her images were flat with no attempt at rendering traditional one-point perspective. Eventually, though, Gisella developed her own style, often using children or childlike figures as subjects. Still, the influence of her native country’s folk art remained evident in her New Mexican, Mexican, and South American images. In 1938 Gisella moved briefly to Los Griegos, north of Albuquerque, to be closer to medical facilities for her eldest daughter, who was suffering from rheumatic fever. Two years later, she moved to California to participate in the war effort, painting camouflage and decals on airplanes for Lockheed. In California, Gisella broadened her range of artistic pursuits. She taught art privately, created illustrations for Scripts Magazine, and did interior design for private homes. She also designed greeting cards, a practice she continued after her return to New Mexico, where she created a series of Christmas cards.  Gisella began illustrating children’s books in 1941 when she collaborated on Franzi and Gizi with author Margery Bianco. Eventually she wrote and illustrated her own book, El Ekeko, in 1964. She also designed ceramics—her Happy Time Dinnerware, marketed by Poppy Trail...

Children games is an original artwor realized by French artist in the late 20th century. Mixed colored china and watercolor. Hand signed on the lower amrgin. Unreadable signature. ...

Watercolour on paper, signed, titled & dated 1933 Image size: 11 ½ x 7 inches (29 x 18 cm) Mounted This work is initialled lower right 'CT' and inscribed lower left 'Bristol Savages...