Haddon Hubbard Sundblom

The Jolly Jester and his Vegetable Dolls, Original Cream of Wheat Advertisement

1928

Medium: Oil on Canvas Signature: Signed Lower Left The Saturday Evening Post Magazine Cover, May 21, 1949. The irritated tire-changer? Why, that's artist George Hughes himself. The...

Medium: Oil on Canvas Laid on Panel Signature: Signed and Dated Lower Left: Chris. A. MacLellan - 34 Sight Size 30.00" x 24.80", Framed 37.00" x 32.00" The Saturday Evening Post cov...

Medium: Oil on Canvas Signature: Signed Lower Right J. C. Leyendecker’s illustrations and advertisements fueled a collective visual memory for the early 20th century American public. Over the course of his career, Leyendecker created 322 covers for The Saturday Evening Post, as well as numerous other magazines, including Collier’s and Ladies’ Home Journal. The only illustrator to eclipse his fame was Norman Rockwell and Rockwell was quick to credit Leyendecker as his mentor and inspiration. This previously unknown work was recently discovered at a small country auction in South Carolina. It is likely an early work by Leyendecker, dating to circa 1900. The sinuous reddish orange flames emitted by the slain dragon recall the steam and vapors found in his later work, including an advertisement for Ivory Soap and a Thanksgiving cover for The Saturday Evening Post. The chiseled features and elegant expressions of the two knights and Christ are similar to those of his many successful advertising campaigns and illustrations. The inclusion of columns and the decorative border also are seen in works ranging from the 1901 Thanksgiving edition cover of Success magazine...

Medium: Oil on Canvas Signature: n/a Soldier's Pride was created as a component of Kuppenheimer's six-piece easel-backed World War I advertisement placards for in-store display. These pieces were expertly printed on a coated cardboard substrate so the black background would dramatically display the clothing item. Kuppenheimer & Hart Schaffner Marx...

Dietz Edzard ( German/French 1893-1963 ). Oil on canvas, 1935. With the artist's signature stamp at lower left. Framed. Property of the Estate of Dr. Max Stern sold for the benefit o...

"In my creation, I pour my soul into the vibrant dance of sunflowers under an evocative sky. Each stroke is a symphony of colors, blending impressionistic warmth with a touch of real...

Oil on canvas, circa 1950, by Suzanne Eisendieck ( 1906-1998 ) Signed lower left: SUZANNE EISENDIECK Dimensions: 22.04 x 17.51 in ( 56 x 44,5 cm ). Framed: 26.37 x 21.45 in ( 67 cm x...

Provenance: Suida-Manning Collection, New York Private Collection Exhibited: Venetian Paintings of the Sixteenth Century, Finch College Museum of Art, New York, October 30-December 15, 1963, no. 31. Veronese & His Studio in North American Collections, Birmingham Museum of Art, Oct. 1-Nov. 15, 1972, and Montgomery Museum of Fine Arts, Dec. 5-Dec. 31, 1972 Literature: Robert L. Manning, A Loan Exhibition of Venetian Paintings of the Sixteenth Century, exh. cat. New York 1963, cat. no. 31ill., as by Veronese Stephen Clayton and Edward Weeks, eds., introduction by David Rosand, Veronese & His Studio in North American Collections, Birmingham 1972, as by Veronese, p. 38 ill. Terisio Pignatti, Veronese, Venice 1976, I, p. 199, cat. no. A225, II, fig. 908, as attributed to Veronese Terisio Pignatti and Filippo Pedrocco, Veronese; catalogo completo dei dipinti, Florence 1991, no. 54°, as attributed to Veronese. Terisio Pignatti and Filippo Pedrocco, Veronese, Milan 1995, II, pp. 517-518ill., cat. no. A 56, under attributed paintings, by Veronese and workshop) John Garton, Grace and Grandeur; The Portraiture of Paolo Veronese, London-Turnhout 2008, p. 237, fig. 77, cat. no. R16, as workshop of Veronese. Scarsellino’s art is widely regarded as critical link between the Renaissance and the Baroque styles in Emilian painting; not only was he an important transmitter of the heritage of the Renaissance, but he was also open to innovative ideas, and was one of the earliest to experiment with the trend to naturalism that would become fundamental to art of the new century. Born around 1550, he received his earliest training from his father Sigismondo, an architect and painter; it was probably while working at his father’s side as a youth that he acquired the nickname Scarsellino, or “little Scarsella”. After absorbing the principles of his art in Ferrara and Parma, he went to Venice in 1570, staying for four years and working in the shop of Veronese. In the following decade, his art —especially in terms of its piety and its development of landscape— demonstrates a strong sympathy with that of the Carracci, with whom he worked in 1592-1593 at the Palazzo dei Diamanti in Ferrara. Maria Angela Novelli and later Alessandra Frabetti both propose that Scarsellino traveled to Rome, although such a trip has not been documented; if he did travel to Rome, it probably would have occurred during the years that Scarsellino’s colleagues Agostino and Annibale Carracci were there, that is, beginning in 1595 and until 1609. The last decades of Scarsellino’s career again involve stylistic experimentation, this time in a manner that would bring his work very close to the progressive figurative naturalism of Carlo Bononi and prepare the way for Guercino. The present portrait of a distinguished gentleman had been long thought to be by Paolo Veronese and was in fact attributed to him by such distinguished connoisseurs as Adolfo Venturi and Wilhelm Suida. The portrait’s style is, however, distinct from Veronese’s, although clearly indebted to it, and the attribution to the young Scarsellino is wholly convincing. The painting would then date from the 1570s – a date confirmed by the costume the subject wears. The puffed hat that appears in the painting had a rather short-lived vogue in the early 1570s. One sees it in Giambattista Moroni’s Portrait of Count...