Joseph Yeager

Morehead City Docks, North Carolina

1950

Beautiful mid-century landscape watercolor with a tall, stately tree in the foreground, its many forking branches depicted with exceptional detail, and a verdant background of rollin...

Vibrant figurative seascape of a beach in Mazatlan, Mexico with several figures and a catamaran reflecting beautifully in the shallow water by William A. Corbett (American. 1914-1960). Titled "Beach- Mazatlan" on verso. Signed "William Corbett" in lower left corner. Presented in a simple wood frame, with a double mat of off-white silk and royal blue with plexiglass. Image size: 22”H x 14.75”L William A. Corbett began drawing at an early age. He constructed signs and displays for theaters and nightclubs around Pittsburg. He studied art with Vincent Nesbert at the Pittsburg Art Institute and with Robert Gwathmoy, Roy Hilton, and Robert Laper at the Carnegie Institute of Technology. He also studied painting and sculpture at the Louisville Art Center. Corbett was in the Army Engineers at Fort Knox, Kentucky where he studied, practiced, and had exhibits with army artists there from 1941-1943. He was very much interested in materials and technique, content and style in painting. His favorite Artists were El Greco, Leonardo, Rembrandt, Renoir, Burchfield, and Andrew Wyeth, Jr. He studied two years at Boston museum School with Karl Zerbe, Daivid Aronson and others. He later designed and did art work for General Outdoor Advertising Co. In 1943, he married Ruth Osborne of Louisville and they had one son, Michael. In 1951 he moved to Fort Lauderdale, Florida with his family. Exhibitions: Army Art Show--- 1st Prize in Landscape, 1942 Kentucky & southern Indiana Exhibition-- Honorable mentions for Fisherman's Curse 1949, Don Q...

Vintage mid-1970's landscape watercolor of small figures on the famous Santa Cruz Boardwalk Railroad Bridge by Laura Manss Matarazzo (American, b...

View of St. Marks Basilica, Venice Italy Landscape Watercolor with Gondolas Beautifully detailed landscape watercolor of an iconic ...

Watercolor of castle ruins along a road possibly by John Varley (jr.?). In the foreground, there is a figure with a hat, cane, and red coat beside the roa...

Figurative ink and wash drawing of beagles and a terrier leading the hunter to the quarry by an unknown artist (American, 20th Century). Unsigned. Displayed in a rustic black and bro...

TOBACCO ROAD Mid 20th Century Realism 1940 Drawing from the Novel WPA Literary 3 10 1/2 x 6 (sight), Signed David Fredenthal lower right. Framed by Lowy. Offered here is one of several original drawings by WPA artist David Fredenthal that were first published in the 1940 illustrated edition of the novel TOBACCO ROAD by Erskine Caldwell. Background on the Drawing Erskine Caldwell remarked, on seeing the work of David Fredenthal, 26-year-old painter: "That boy could draw my Tobacco Road people." A casual comment, it was enormously productive. The young painter was just finishing a two-year Guggenhcim Fellowship, preceded by a year's study in Paris, two one-man shows at New York's Downtown Gallery, and a fellowship at the Cranbrook Academy near Detroit. He was out in Colorado Springs when he heard what Caldwell had said about him. Fredenthal hadn't read Tobacco Road. He had not even seen the play - now breaking all records in its seventh year on Broadway. But he swapped a portrait for a second-hand Ford and headed East. In New York he learned that Dnell, Sloan & Pearce were bringing out a deluxe edition of Tobacco Road. But he had no entrée to the publishers, and Caldwell, to his disappointment, was out of town. So he drove on to Georgia to have a look at the Tobacco Road people. He found Dr. I. C. Caldwell, the author's father, in Wrens, Ga., going on his ministerial rounds among people like the Lesters. Fredenthal got a room from a couple who ran a 1-pump filling station...

TOBACCO ROAD Mid 20th Century Realism 1940 Drawing from the Novel WPA Literary 2 10 1/2 x 6 (sight), Signed David Fredenthal lower right. Framed by Lowy....

"Tobacco Road" Mid 20th Century Realism 1940 Drawing from the Novel WPA Literary 19 1/4 x 11 1/2 (sight), Signed David Fredenthal lower right. Framed by ...

This cartoon by Charles Addams is generations ahead of its time. To get the punch line, you need to know the meaning of a Satyr or Pan. Satyr: Part man and part beast. - A male nature spirit with ears and a tail resembling those of a horse, as well as a permanent, exaggerated permanent erection. Early artistic representations sometimes include horse-like legs; Satyrs were characterized by their vulgar, indecent ribaldry, and were rowdy lovers of wine, music, dancing, and women. They inhabited remote locales, such as woodlands, and they often attempted to seduce or rape nymphs and mortal women alike. It's prudish 1950s America, where TV programs show husband and wife sleeping in separate beds. The discussion and representation of sex was repressed. To make a bold statement about censorship and the uncompromising moral climate of the time, Addams uses a reference from the mythical world to make a statement about the real world. In doing so, he anticipates the sexual revolution of the late 1960s and 1970s. The satyr/pan symbolizes nonconformistism. He has his own earthy customs, attitudes, and ideas. Because of that is being handcuffed and formally taken away by the state whose goal is to repress natural erotic fun and frolic that is ubiquitous in todays society. A proper and perfectly pressed Park Ranger cleans out a lustful undesirable from pristine woodlands. With startled expressions, a vulnerable family of correct women witness the event as they are about to have a picnic. The Satyr grasps his Pipes of Pan just over his crotch. The background is populated by phallic symbols. This is one a the rare instances where Addams address the issue of sex. The Ranger is a dead ringer as a self portrait of Addams. Original illustration for a cartoon, showing a uniformed ranger leading away a manacled satyr, in front of a startled picnic party. Ink and grisaille wash on Whatman cold press illustration board, signed "Chas Addams...

"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...

Industrial Man Working Mid 20th Century American Scene Social Realism Modern WPA Jo Cain (1904 - 2003) Hammering Nails 39 x 50 ½ inches Gouache on paper c. 19...