Herbert Paus

Argument in Steel Mill's Office

1931

Signed Lower Right by artist

Medium: Pen and Ink on Paper Signature: Inscribed and Signed

Saturday Evening Post Story Illustration, November 12, 1938 Both George Brehm and his younger brother Worth, had the ability to illustrate stories about children, particularly boys, sympathetically and convincingly. Perhaps this insight developed from their small-town Hoosier upbringing. George studied at the Art Students League in New York with Twachtman, DuMond, and Bridgman, but did his first illustration for the Reader’s Magazine, published by the Bobbs-Merrill Company near his home in Indianapolis. On the strength of this work, he obtained an assignment from The Delineator in New York, and his career was launched. Over the years, he illustrated a variety of mainstream magazines; his most memorable pictures were done for The Saturday Evening Post for story series by Booth Tarkington...

Medium: Charcoal on Paper Dimensions: 20.00" x 24.50" Signature: Signed Lower Left

A ca. 1935 tonal, watercolor of a steel mill by artist Harold Haydon. Artwork size: 8 3/4" x 11 3/4". Archivally matted to 14" x 18". Provenance: Estate of the artist. Harold E...

John Hermansader (American, 1915 - 2005) Signed: J. Hermansader (Lower, Right) Steelworkers, c. 1940s Oil on Canvas 30" x 24" Housed in a 3" Frame Overall Size: 35 1/2" x 29 1/4" Craquelure throughout. In otherwise good condition. Biography: John Hermansader (1915–2005) was an American painter, graphic designer, and jazz fan. He is remembered for his iconic designs of Blue Note record covers. John Bancroft Hermansader was born on November 1, 1915 near Reading, Pennsylvania. In the 1930s, he studied at the Memphis Academy of Art in Tennessee and the New Bauhaus in Chicago, Illinois. In New York City he studied with Robert Motherwell at the New School of Social Research. In 1939, he and his wife Rosemary were founders of the Hot Club of Newark, New Jersey, a significant group of jazz enthusiasts. John became the first president. In 1951, when Blue Note Records began issuing 10 inch records, Hermansader was one of their first designers, along with Paul Bacon and Gil Melle. Looking back at this era, Michael Cuscuna of Mosaic Records said, “ What John Hermansader and Paul Bacon really did was evoke the feeling of the music. They used everything from Bauhaus designs to things that were really otherworldly.” Angelynn Grant adds, “When people think of Blue Note covers they think of Frank Wolff”s photography and Reid Miles design. But John Hermansader laid the groundwork that got them going along that path.” Richard Cook, who wrote Blue Note Records: The Biography states, “Hermansader in particular balanced the twin issues of photography and type in a way that would mirror the concerns of the Blue Note of the years ahead.” “John Hermansader was passionate about oil painting, “beautiful lyrical abstractions, full of color and movement.” He was an abstract expressionist painter who drew inspiration for his work from listening to jazz.” - (Obituary, Pilot, Redding Conn., July 14, 2005, p. 32A) His exhibitions included and the Gallery of Contemporary Art at Sunken Meadow, Long Island, 1951–58, Panoras Gallery 1956...

A ca. 1934 tonal, watercolor of a steel mill by artist Harold Haydon. Artwork size: 8 3/4" x 11 3/4". Archivally matted to 14" x 18". Provenance: Estate of the artist. Harold E...

A ca. 1935 tonal, watercolor of a steel mill by artist Harold Haydon. Artwork size: 8 3/4" x 11 3/4". Archivally matted to 14" x 18". Provenance: Estate of the artist. Harold E...