Shelley C. Schoneberg

Rembrandt

Illustration for “Rembrandt” by Emil Ludwig for Cosmopolitan magazine, published May 1928, illustrated pages 56-57. The full caption reads: “For years Rembrandt preferred to paint t...

Medium: Drawing/Painting

An original watercolor painting by Westley "Wes" Olmsted. This work is currently featured in the exhibition Man of Extremes at Benjaman Gallery in Buffalo, NY. Westley G. Olmsted (1934-2011) was a painter and sculptor. He was born in Buffalo, New York, and was a distant relative Frederick Law Olmsted...

Original drawing on paper Handsigned Unique piece EDOUARD (EDY) LEGRAND French, 1892–1970 Edy-Legrand, whose real name is Edward Louis Warschawsky Leon, born in Bordeaux in 1892, died in Bonnieux in 1970. He was a French illustrator and painter. He made the first part of his career in advertising illustration and literature. Later, his work was devoted to painting. He attended the Ecole des Beaux Artes in Paris, the Art Academy in Munich, and then lived and worked for Tolmer Publishing House in Paris for much of his career. After the Second World War, he spent much time in New York where he worked as an illustrator for various publishers. Legrand was born in Bordeaux, France to a French mother and a Russian-Jewish father. In 1919, as a young painter , Edy-Legrand created the first children's book, Macao and Cosmage or experience happiness, for the New French Review. The compositions are colored by hand by Jean Saudé. This album was greeted with exceptional praise since the 1980s and applauded as a milestone in the history of illustrated book for children. In 1932, Edy-Legrand participated in the first World Exhibition of engraved works of the Art Institute of Chicago, where he represented France. In this exhibit was also work by Picasso, Matisse and Derain, but Edy-Legrand was the only one to receive an honorable mention. Subsequently, he moved to Rabat , in Morocco. Of this period, Jacques Majorelle wrote: "In Morocco, Edy-Legrand is fascinated by the elements of life that he discovered in the unceasing movement of crowds and the vibration of color by the play of light on the costumes and decor. The show is so totally pictorial he complains, at first, to be obliged to fight against the temptation to faithfully reproduce external reality [...]. The more he painted, the more clearly he affirms its independence vis-à-vis the spectacle of nature. He loves above all...