Frank Wilcox Art

Crying Clown Portrait in Oil on Canvas Portrait of a sad clown by San Francisco artist John Peers (American, 1922-2009). This portrait is closely fra...

If you are interested in African American Art and in Women in the Arts, I will certainly not need to introduce Lois Mailou Jones (1905-1988). Often associated with the Harlem Renaiss...

Signed lower left, 'Denis Paul Noyer' (French, b. 1940) and created circa 1975. An exceptionally finely-detailed, silver point and colored pencil drawing showing a view of a Parisia...

An Upper East Side of Manhattan New York city scene of bald guy reading newspaper on bench with East River and tugboat in background. The 1970s were the “glory days,” Huffaker says, for himself and a stable of talented illustrators whose work routinely found itself on the covers of the nation’s premier newsmagazines and in the pages of The New York Times. For the better part of that decade, Huffaker was among an elite breed of commercial artists—his hero and fellow Southerner Jack Davis, the legendary Mad Magazine illustrator, among them—working during a remarkable period when art directors routinely turned to illustration to give comic relief to the country’s deeply serious and dark problems. From civil rights and the women’s movement to Vietnam and Watergate, the gas crisis and inflation to the rise of Jimmy Carter, Huffaker mined a deep well of material ripe for his brand of visual wit and caustic satire. He sent his portfolio to children's book illustrator Maurice Sendak, the legendary “Where The Wild Things Are” illustrator to gauge his prospects, and when Sendak replied, “C’mon up, you’ll do all right,” SELECT HONORS: 2 Page-One Awards (from the New York Newspaper Guild), for work in Fortune Magazine and Sports Illustrated. Nominated 3 times for Cartoonist-of-the-Year by the National Cartoonists Society (illustration category). Desi Award of Excellence (Graphic Design Magazine). 20 Award of Merit citations from the Society of Illustrators. One-man show, Society of Illustrators. Illustrators 22 - annual national exhibition for the Society of Illustrators. SELECT MAGAZINE COVERS Time Magazine (6), Sports Illustrated (2), Business Week (12), Forbes, Saturday Review, New York Times Sunday Magazine, The New Republic, Family Weekly, Madison Avenue, New York Daily News Sunday Magazine (2), Junior Scholastic, ACLU, The Nation , and more EDUCATION BA, University of Alabama. Attended Pratt Graphic Center and The Art Students League, New York City. BOOKS WRITTEN AND ILLUSTRATED The Dispensible Man (M. Evans and Co.) and The Bald Book (M. Evans and Co.) BOOKS ILLUSTRATED White Is (Grove Press), The Begatting of a President (Ballantine Books), The Biggest Sneeze (Harper-Collins), H. Phillip Birdsong's ESP (Young Scott Books), Kids Letters to President Reagan (M. Evans), The Worlds Greatest Left-Handers (M. Evans), Does My Room Come Alive at Night (HarperCollins), The Man With Big Ears (HarperCollins), Jake Snake's Race (HarperCollins), and more POLITICAL CARTOONING Political cartoonist at The News and Obsever in Raleigh, NC and syndicated during the early 70's. Today, syndicated in 750 publications 3-times a week with Cagle Cartoons. FINE ART SHOWS Allied Artists of America, Salmagundi Club, Phillips Mill Annual (honorable mention), New Hope Shad Festival (grand Prize), Hunter Museum in Chattanooga ( one -man career retrospective), Santa Fe public library (one--man), Rosenfeld Gallery (Philadelphia), Potter...

A very atmospheric watercolour capturing the light and shimmer of a Venetian canal. One of two views of Venice by the artist that I am offering - please see my other listing. Dennis Page (born 1926) Gondolas Venice Signed Watercolour 8½ x 10½ inches including the frame 17 x 21 inches with the frame Painter, mainly in watercolour who was born in Hampstead, London. He studied art at Harrow and the Central School of Arts & Crafts, where his tutors included Mervyn Peake...

Delicate depiction of a fly fisherman in the rain by Harvey Eckert (American, 1946-2018). This highly detailed landscape watercolor depicts a man fishing in the rain, wading into the water as he smokes a pipe under a tree. Signed and dated in the lower right corner. Presented in a wood frame with a double mat and anti-glare glass. A check from the original purchase is attached to verso (blurred for privacy). Image size: 14"H x 18"W Harvey Eckert (American, 1946-2018) was an American artist from Kansas. He attended Colby Community College, Hays Emporia State and graduated from Wichita University with two degrees. While living in Montana, he was employed by Bob Wards, Fran Johnson’s Sporting Goods and Cashell Engineers as a surveyor and draftsman. Eckert illustrated three books, Caddisflies by the late Gary LaFontaine, Montana Trout Flies and The Master Fly Weaver by the late George Grant. He did illustrations for the following publications: Montana Outdoors, Colorado Streamside, The River Rat published by Trout Unlimited, Fly Fisherman, Rod and Reel...

Untitled (Portrait of Bessy Lyon, Artist Wife) is an oil on canvas painting by Hayes Lyon (1901-1987) from 1945. Presented in a wood frame, outer dimensions measure 35 ¼ x 29 ¼ x 1 ¾ inches. Image size is 30 x 24 inches. About the Artist: A native of Athol, Kansas, Lyon is primarily associated with Colorado. After several summer vacations at the Boulder Chautauqua and at Manitou near Colorado Springs, his family relocated in 1920 to Boulder where his father had a lumber business. Nine years later they settled in Denver where his father owned the Acme Lumber Company. To comply with his desire for his son’s financial self-reliance, Lyon graduated from the University of Colorado at Boulder in 1931 with a B.A. degree in economics. But shortly thereafter he returned to his first love – art – that ultimately became his career. His interest in the arts was nurtured by his mother, herself a talented amateur artist, and by two of his aunts who served as role models. Beginning in 1932, he pursued a five-year course of study at the Chappell School of Art in Denver which by then had become part of the University of Denver. During his time at the school he studied with John E. Thompson and Santa Fe artist, Józef Bakoś. He also met two other Santa Fe-based artists, Willard Nash and B.J.O. Nordfeldt, when they exhibited at Chappell House, then the home of the Denver Art Museum. Lyon likewise attended the Cooke-Daniels Lecture Series there on the arts in the 1930s. Following graduation with a B.F.A. degree from the University of Denver in 1937, he studied privately for about a year with Andrew Dasburg in Taos, New Mexico, that redirected his attention to the rugged Rocky Mountain landscape, which he saw with directness and painted with an economy of means. His canvas, Winter Vista, done following his study with Dasburg, received the Edward J. Yetter Memorial Prize at the 45th Annual Exhibition of the Denver Art Museum in 1939. The painting was reproduced in the September 1939 issue of the Magazine of Art (Washington, DC). That same year his painting, Mount Evans, was included as one of Colorado’s entries in the American Art Today Pavilion at the 1939 World’s Fair in New York. The money he received from the Yetter Prize financed his trip to Mexico City and Guadalajara in 1939 to see firsthand the frescoes of José Clemente Orozco and Diego Rivera and the easel paintings of David Alfaro Siqueiros. Their work was admired by many Americans who participated in the WPA-era mural projects in the United States in the 1930s and early 1940s. The economic fallout from the Great Depression affecting many American artists at the time likewise resulted in Lyon’s participation in the Colorado Art Project, part of the WPA’s national program. Under its auspices he produced three murals in 1940 about the pioneer era of Fort Lupton, Colorado, which were installed in the auditorium of the local high school. Covering 367 square feet of wall space, one of the murals – Behold the West (the largest one) – incorporates the old fort for which the town is named. Before Lyon painted the murals, the students at Fort Lupton High School researched the history of their community and contributed to their cost, facilitating the murals’ allocation to their school under the Colorado Art Project. In the early 1940s Lyon shifted his focus to two new subjects – bathers, and canyons with conifers – reflecting his ongoing search for personal artistic growth. However, his reliance on structure to create form in his paintings and works on paper alienated some of his longtime followers. Nonetheless, his painting Conifers and Canyons won recognition at the 47th Annual Exhibition at the Denver Art Museum. The watercolor version of the piece was among three hundred works in that medium selected by John Marin, Charles Burchfield and Eliot O’Hara from a national competition held by the Section of Fine Arts (Federal Works Agency) and shown at the National Gallery of Art in Washington, DC, in 1941. Later that year Lyon spent time in California where he saw Orozco’s Prometheus, influencing him to increase his range of originality and expression. In 1942 Lyon enlisted in the U.S. Army, spending almost three years in the Mediterranean Theater – Africa and Italy – preparing camouflage operations and scale models of proposed landing sites. He used his free time in Italy to expand his artistic vocabulary by seeing cultural masterpieces in Rome, Florence, Siena and Milan, and through his extensive contact with Giorgio de Chirico, founder of the scuola metafisica art movement, and Gino Severini, a leading member of the Futurist movement. Because of Lyon’s low army rank and pay, de Chirico did a small watercolor for him signing it, "For Mr. Lyon; G de Chirico, 1944." Lyon often visited de Chirico and his wife, Isa, at their apartment near the Spanish Steps in Rome. Following his Army discharge in 1945 fellow Kansas native, Ward Lockwood, invited him to join the Art Department at the University of Texas at Austin where he taught painting from 1946 to 1951. During this period some of Lyon’s work employed the palette of the School of Paris which he had seen while stationed in Europe, while other paintings had a certain flatness found in some of Lockwood’s work from the 1930s. From 1951 to 1953 he was affiliated with the Lower Colorado River Authority in Austin as an illustrator and editor of the employee magazine. In 1953, following time spent in Mexico, he returned to Denver, working as an illustrator at Lowry Air Force Base until retirement in 1961. During that time he did little of his own art because he also was designing and building a home in Arvada, Colorado, and re-establishing himself in the Denver art community after a decade-long absence. His painting, Autumn Aspens (1953-present location unknown) illustrates his experimentation with abstraction. In the early 1960s he began painting from memory that continued until the steadily degenerative effects of Alzheimer’s disease took their toll a decade later. He depicted scenes from his wartime European sojourn and from his early adulthood. The latter include Souvenir of Boulder (1962), a nostalgic return to his boyhood home in Boulder; and Holly Mayer and Friends, a painting of Glenn Miller and his musicians, inspired by Lyon’s first encounter with jazz in Boulder in the 1920s. His lifelong passion for vintage cars and automobile racing...

Emilio Sanchez (1921-1999) created [untitled] “STREET SCENE WITH FRUIT VENDOR” in circa 1950. This unsigned watercolor and came to us directly from the Sanchez estate. It is stamped on the verso "Estate of Emilio Sanchez." This piece is in good to very good condition and painted to the paper's edge. The paper size is 14.88 x 15.25 inches (37.6 x 38.6 cm). “Best known for his architectural paintings and lithographs, Emilio Sanchez (1921-1999) explored the effects of light and shadow to emphasize the abstract geometry of his subjects. His artwork encompasses his Cuban heritage...

Signed lower left, 'A. Manganaro' for 'Antonio Manganaro (Italian, 20th Century), and titled lower center, 'Ability of the Working Classes to Enjoy Meals Under Humble Surroundings'. ...

A bright and beautiful Orientalist landscape by a master of the genre. Watercolor and graphite on cream laid paper, laid down to archival board, 14 3/4 x 6 3/4 inches (374 x 170 m...

This drawing is part of the current exhibition entitled "The fantastic story of the liquid mountain" at Claire Corcia Gallery in Paris. The liquid mountain is populated by living be...

Lighthearted Illustration of Outdoor Pursuits This one of a fisherman signed "W. Steig" Provenance: from Mrs. Joseph B. Ryan, Commissioned by Joe Ryan for the bar at his ski resort, Mount Tremblant Lodge, in 1938. Mont Tremblant, P.Q., Canada Watercolor and ink on illustration board, sights sizes 8 1/2 x 16 1/2 in., framed. In 1938 Joe Ryan, described as a millionaire from Philadelphia, bushwhacked his way to the summit of Mont Tremblant and was inspired to create a world class ski resort at the site. In 1939 he opened the Mont Tremblant Lodge, which remains part of the Pedestrian Village today. This original illustration is on Whatman Illustration board. the board measures 14 X 22 inches. label from McClees Galleries, Philadelphia, on the frame backing paper. William Steig, 1907 – 2003 was an American cartoonist, sculptor, and, in his later life, an illustrator and writer of children's books. Best known for the picture books Sylvester and the Magic Pebble, Abel's Island, and Doctor De Soto, he was also the creator of Shrek!, which inspired the film series of the same name. He was the U.S. nominee for both of the biennial, international Hans Christian Andersen Awards, as a children's book illustrator in 1982 and a writer in 1988. Steig was born in Brooklyn, New York in 1907, and grew up in the Bronx. His parents were Polish-Jewish immigrants from Austria, both socialists. His father, Joseph Steig, was a house painter, and his mother, Laura Ebel Steig, was a seamstress who encouraged his artistic leanings. As a child, he dabbled in painting and was an avid reader of literature. Among other works, he was said to have been especially fascinated by Pinocchio.He graduated from Townsend Harris High School at 15 but never completed college, though he attended three, spending two years at City College of New York, three years at the National Academy of Design and a mere five days at the Yale School of Fine Arts before dropping out of each. Hailed as the "King of Cartoons" Steig began drawing illustrations and cartoons for The New Yorker in 1930, producing more than 2,600 drawings and 117 covers for the magazine. Steig, later, when he was 61, began writing children's books. In 1968, he wrote his first children's book. He excelled here as well, and his third book, Sylvester and the Magic Pebble (1969), won the Caldecott Medal. He went on to write more than 30 children's books, including the Doctor DeSoto series, and he continued to write into his nineties. Among his other well-known works, the picture book Shrek! (1990) formed the basis for the DreamWorks Animation film Shrek (2001). After the release of Shrek 2 in 2004, Steig became the first sole-creator of an animated movie franchise that went on to generate over $1 billion from theatrical and ancillary markets after only one sequel. Along with Maurice Sendak, Saul Steinberg, Ludwig Bemelmans and Laurent de Brunhofff his is one of those rare cartoonist whose works form part of our collective cultural heritage. In 1984, Steig's film adaptation of Doctor DeSoto directed by Michael Sporn was nominated for the Academy Award for Best Animated Short Film. As one of the most admired cartoonists of all time, Steig spent seven decades drawing for the New Yorker magazine. He touched generations of readers with his tongue–in–cheek pen–and–ink drawings, which often expressed states of mind like shame, embarrassment or anger. Later in life, Steig turned to children's books, working as both a writer and illustrator. Steig's children's books were also wildly popular because of the crazy, complicated language he used—words like lunatic, palsied, sequestration, and cleave. Kids love the sound of those words even if they do not quite understand the meaning. Steig's descriptions were also clever. He once described a beached whale as "breaded with sand." Throughout the course of his career, Steig compiled his cartoons and drawings into books. Some of them were published first in the New Yorker. Others were deemed too dark to be printed there. Most of these collections centered on the cold, dark psychoanalytical truth about relationships. They featured husbands and wives fighting and parents snapping at their kids. His first adult book, Man About Town, was published in 1932, followed by About People, published in 1939, which focused on social outsiders. Sick of Each Other, published in 2000, included a drawing depicting a wife holding her husband at gunpoint, saying, "Say you adore me." According to the Los Angeles Times, fellow New Yorker artist...