Unknown

Portrait of a High Ranking Asian Official or Religious Figure

Late 19th Century

Bill Crawford (1913-1982). Original illustration artwork depicting teams as they advance to the World Series. Depicted are representations of the St. Louis Cardinals and The Brooklyn...

Barbara Shermund (1899-1978). The Soda Fountain, ca. 1950s. Watercolor and ink on paper, 9 x 12 inches; 13 x 16 inches framed. Signed lower right. Exc...

Barbara Shermund (1899-1978). Tavern on the Green. Watercolor and ink on paper, 9 3/8 x 12 inches. Unsigned. Excellent condition. Provenance: Ethel ...

Ferd Sondern (b.1923) Christmas Toys, 1978. Ink and watercolor on illustration board. Complete panel measures 10 x 18 inches. Signed lower left. Credited on verso. Printer nota...

Ferd Sondern (b.1923) Legend of Leprechaun, 1980. Ink and watercolor on illustration board. Complete panel measures 10.5 x 18 inches. Signed in rock at right side of stream. Cred...

Acquired by the gallery directly from the artist UNFRAMED: 15.75" x 11" FRAMED: 23.375" x 18.5" x 1.125" Artist Statement “‘Tinker Bell’ is one of my series of pictures for a fort...

Barbara Shermund (1899-1978). Fancy Department Store Satirical Cartoon, ca. 1930's. Ink, watercolor and gouache on heavy illustration paper, panel measures 19 x 15 inches. Signed lower right. Very good condition. Unframed. Provenance: Ethel Maud Mott Herman, artist (1883-1984), West Orange NJ. For two decades, she drew almost 600 cartoons for The New Yorker with female characters that commented on life with wit, intelligence and irony. In the mid-1920s, Harold Ross, the founder of a new magazine called The New Yorker, was looking for cartoonists who could create sardonic, highbrow illustrations accompanied by witty captions that would function as social critiques. He found that talent in Barbara Shermund. For about two decades, until the 1940s, Shermund helped Ross and his first art editor, Rea Irvin, realize their vision by contributing almost 600 cartoons and sassy captions with a fresh, feminist voice. Her cartoons commented on life with wit, intelligence and irony, using female characters who critiqued the patriarchy and celebrated speakeasies, cafes, spunky women and leisure. They spoke directly to flapper women of the era who defied convention with a new sense of political, social and economic independence. “Shermund’s women spoke their minds about sex, marriage and society; smoked cigarettes and drank; and poked fun at everything in an era when it was not common to see young women doing so,” Caitlin A. McGurk wrote in 2020 for the Art Students League. In one Shermund cartoon, published in The New Yorker in 1928, two forlorn women sit and chat on couches. “Yeah,” one says, “I guess the best thing to do is to just get married and forget about love.” “While for many, the idea of a New Yorker cartoon conjures a highbrow, dry non sequitur — often more alienating than familiar — Shermund’s cartoons are the antithesis,” wrote McGurk, who is an associate curator and assistant professor at Ohio State University’s Billy Ireland Cartoon Library & Museum. “They are about human nature, relationships, youth and age.” (McGurk is writing a book about Shermund. And yet by the 1940s and ’50s, as America’s postwar focus shifted to domestic life, Shermund’s feminist voice and cool critique of society fell out of vogue. Her last cartoon appeared in The New Yorker in 1944, and much of her life and career after that remains unclear. No major newspaper wrote about her death in 1978 — The New York Times was on strike then, along with The Daily News and The New York Post — and her ashes sat in a New Jersey funeral home...

"To Whom It Is Deserved," an evocative artwork by Eyitayo Alagbe, depicts a powerful narrative of recognition and support. In this piece, two young men take center stage, with one we...

When I was very young I lost self-confidence, and self-esteem, Losing self-confidence and self-esteem at a young age can be a difficult experience. It can impact how you view yoursel...

Her meticulously constructed paintings play with the duality between the simple and the complex, between the observer and the observed.