Robert Moesle

'Figural', Carmel, California Post-Impressionist, Ruskin School of Art, Madrid

Circa 1975

Original watercolor and gouache on archival Molvin arches paper by the well known American illustrator Fred Sweney. The scene depicts Central Park in New York City in a winter landscape with figures in conversation under an illuminated lamp post. Signed lower right. Titled verso in pencil with American Scene magazine #32 and page 30...

Vintage bi-plane

A modern illustration by American artist Ray Quigley depicting two men inside of a church.

Robert Konersman (American, 1889 - 1975) Signed: Konersman (Lower, Left) " Reading Before Bed " c. 1900-1920 Watercolor and Gouache on Paper Laid on Illustration Board Image Size...

Lighthearted Illustration of Outdoor Pursuits This one of a fisherman signed "W. Steig" Provenance: from Mrs. Joseph B. Ryan, Commissioned by Joe Ryan for the bar at his ski resort, Mount Tremblant Lodge, in 1938. Mont Tremblant, P.Q., Canada Watercolor and ink on illustration board, sights sizes 8 1/2 x 16 1/2 in., framed. In 1938 Joe Ryan, described as a millionaire from Philadelphia, bushwhacked his way to the summit of Mont Tremblant and was inspired to create a world class ski resort at the site. In 1939 he opened the Mont Tremblant Lodge, which remains part of the Pedestrian Village today. This original illustration is on Whatman Illustration board. the board measures 14 X 22 inches. label from McClees Galleries, Philadelphia, on the frame backing paper. William Steig, 1907 – 2003 was an American cartoonist, sculptor, and, in his later life, an illustrator and writer of children's books. Best known for the picture books Sylvester and the Magic Pebble, Abel's Island, and Doctor De Soto, he was also the creator of Shrek!, which inspired the film series of the same name. He was the U.S. nominee for both of the biennial, international Hans Christian Andersen Awards, as a children's book illustrator in 1982 and a writer in 1988. Steig was born in Brooklyn, New York in 1907, and grew up in the Bronx. His parents were Polish-Jewish immigrants from Austria, both socialists. His father, Joseph Steig, was a house painter, and his mother, Laura Ebel Steig, was a seamstress who encouraged his artistic leanings. As a child, he dabbled in painting and was an avid reader of literature. Among other works, he was said to have been especially fascinated by Pinocchio.He graduated from Townsend Harris High School at 15 but never completed college, though he attended three, spending two years at City College of New York, three years at the National Academy of Design and a mere five days at the Yale School of Fine Arts before dropping out of each. Hailed as the "King of Cartoons" Steig began drawing illustrations and cartoons for The New Yorker in 1930, producing more than 2,600 drawings and 117 covers for the magazine. Steig, later, when he was 61, began writing children's books. In 1968, he wrote his first children's book. He excelled here as well, and his third book, Sylvester and the Magic Pebble (1969), won the Caldecott Medal. He went on to write more than 30 children's books, including the Doctor DeSoto series, and he continued to write into his nineties. Among his other well-known works, the picture book Shrek! (1990) formed the basis for the DreamWorks Animation film Shrek (2001). After the release of Shrek 2 in 2004, Steig became the first sole-creator of an animated movie franchise that went on to generate over $1 billion from theatrical and ancillary markets after only one sequel. Along with Maurice Sendak, Saul Steinberg, Ludwig Bemelmans and Laurent de Brunhofff his is one of those rare cartoonist whose works form part of our collective cultural heritage. In 1984, Steig's film adaptation of Doctor DeSoto directed by Michael Sporn was nominated for the Academy Award for Best Animated Short Film. As one of the most admired cartoonists of all time, Steig spent seven decades drawing for the New Yorker magazine. He touched generations of readers with his tongue–in–cheek pen–and–ink drawings, which often expressed states of mind like shame, embarrassment or anger. Later in life, Steig turned to children's books, working as both a writer and illustrator. Steig's children's books were also wildly popular because of the crazy, complicated language he used—words like lunatic, palsied, sequestration, and cleave. Kids love the sound of those words even if they do not quite understand the meaning. Steig's descriptions were also clever. He once described a beached whale as "breaded with sand." Throughout the course of his career, Steig compiled his cartoons and drawings into books. Some of them were published first in the New Yorker. Others were deemed too dark to be printed there. Most of these collections centered on the cold, dark psychoanalytical truth about relationships. They featured husbands and wives fighting and parents snapping at their kids. His first adult book, Man About Town, was published in 1932, followed by About People, published in 1939, which focused on social outsiders. Sick of Each Other, published in 2000, included a drawing depicting a wife holding her husband at gunpoint, saying, "Say you adore me." According to the Los Angeles Times, fellow New Yorker artist...

This Harry Beckhoff illustration is masterfully rendered and intricately designed in line and wash. It's as abstract as it's representational with its graphic style, clean lines, and flat patterning. Every element in the composition works in harmony without a line out of place. The flat and abstract nature of the work rivals that of the great modernist painters of the 1930s. Perhaps this was done for a major newsstand magazine like Collier's. Although he studied with Dean Cornwell and Harvey Dunn, he didn't pursue the style of painterly brushstrokes and impastos. Instead, he defined his forms with flat shapes, whose internal forms are defined by thin lines. The emphasis is more on silhouette and line than it is on texture and lighting. Beckhoff also described his work as having been influenced by illustrators like Pierre Brissaud...

Signed lower left: Seymour Ball Inscribed upper left: To Morris E Weiss with best wishes Seymour Ball" Matted not framed

The Pin-Up of ravishing young beauties in mid-century America was a widely popular art form. The assumption that Pin-Up art was the exclusive domain of men is a misnomer. Female illu...

Apocalypse in 1962? At the height of the Cold War, Life Magazine commissions an illustration that describes the world's end by means other than a nuclear war with Russia. Richard Erdoes brilliantly illustrates the work with his highly stylized painting technique. My favorite part of the work is on the left side showing a group of people packed together as they fall into oblivion. A clear reference would be Hieronymus Bosch's "The Last Judgment " Once Again the World Ends." Illustration published in Life Magazine, Feb. 9, 1962 Signed in lower right image. Unframed 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,[1] 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.[2] After his birth, his mother lived with her sister, the Viennese actress Leopoldine ("Poldi") Sangora,[3] 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...

E. Simms Campbell was the first African-American illustrator/ cartoonist published in nationally distributed, slick magazines, he created Esky, the familiar pop-eyed mascot of Esquire. This early work of 1930 was done on assignment for an interior page of Life Magazine. It features two Rowing teams engaged in spirited competition with cheering onlookers. This is a highly stylized black-and-white illustration and is masterfully executed. The work is composed of two illustrations, 6 x 9 inches and 2-3/4 x 2 inches respectively. It is initialed center bottow ESC. unframed Campbell left the University of Chicago and transferred to and received his degree from the Chicago Art Institute.[3] Professional career During a job as a railroad dining-car waiter, Campbell sometimes drew caricatures of the train passengers, and one of those, impressed by Campbell's talent, gave him a job in a St. Louis art studio, Triad Studios. He spent two years at Triad Studios before moving to New York City in 1929. A month afterward, he found work with the small advertising firm, Munig Studios, and began taking classes at the National Academy of Design.During this time, he contributed to various magazines, notably Life, & Judge Following the suggestion of cartoonist Russell Patterson to focus on good girl art, Campbell created his "Harem Girls", a series of watercolor cartoons that attracted attention in the first issue of Esquire, debuting in 1933. Campbell's artwork was in almost every issue of Esquire from 1933 to 1958 and he was the creator of its continuing mascot, the cartoon character in a silk top hat. He also contributed to The Chicagoan, Cosmopolitan, Ebony, The New Yorker, Playboy, Opportunity: A Journal of Negro Life, Pictorial Review, and Redbook. His commercial artwork for advertising included illustrations for Barbasol, Springmaid, and Hart Schaffner...