Leroy Neiman Art

Serigraph in colors on paper. Hand signed and numbered by the artist. Edition of 300. Sheet size 36 x 29 inches. Image size approx 30 x 25 inches. Artwork is in excellent condi...

Vintage tennis screen print by artist LeRoy Neiman titled Deuce, and created in 1972. This print is in excellent condition. Image dimensions are 26" x 19.5" and frame dimensions are ...

— Artwork comes with a certificate of authenticity and a premium-quality frame — Signed and numbered by LeRoy Neiman — Edition size*: 254 — Artworks available*: 218

Original off set lithograph (poster) in colors on paper. Image size approx 19 x 25 inches. Sheet size 24 x 30 inches. Artist signature printed in the plate. Not hand signed. Printe...

LeRoy Neiman Harlequin, 1974 Screenprint on bone china Signed in plate, LeRoy Neiman's Signature fired on the front and numbered 2696/15000 on the back. 10 1/4 in diameter Unframed ...

LeRoy Neiman "Miracle on Ice Study" Original Mixed Media on Artist Board 11 1/2″ x 14 1/2″

Artist: Leroy Neiman (1898-1976) Title: Skateboarder Year: 1977 Medium: Silkscreen on wove paper Size: 25.75 x 20 inches Condition: Excellent Inscription: Signed with the artist's sc...

A serigraph by Leroy Neiman from 2000. A colorful scene of friends enjoying wine in a countryside landscape. Signed and framed in gold wood frame. Artist: LeRoy Neiman, American (1...

Original Mixed Media on Paper Dimensions 14.25″ x 11.25″ unframed. Approximately 28.25″ x 25.25″ Framed Dated 1971.

-- Signed and numbered by LeRoy Neiman -- Comes with Certificate of Authenticity -- Comes with a premium quality frame

Published 1998. Limited Edition Serigraph. (Image Area) Dimensions 30.75″ x 38.5.” Numbered 458 pieces. Signed and numbered by LeRoy Neiman. Also signed by Joe DiMaggio - as was the ...

Original Pen and Ink on paper Dimensions 10.5″ x 13″ unframed 24 x 27″ approximate framed Circa 1959

Original mixed-media on paper Dimensions 6″ x 7″ unframed 20.5″ x 21.5″ framed. This is a study for a work entitled “Les Baigneuses” dated 1971 and is included in LeRoy Neiman’s cat...

Original Pen and Ink on Paper Dimensions 12″ x 16″ unframed 26 x 30 Framed Circa 1959.

Original Graphite and Pen Sketch on Paper 12 1/4″ x 15 5/8″ Viewable 26″ x 29 1/2″ Framed Circa 1960’s

Original Graphite Sketch on Paper 1953 / Signed 1959 Inscribed “Sketch for Robe Feature” 10 5/8″ x 13 1/2″ Viewable 25″ x 29 1/2″ Framed The Robe, a fictional Biblical epic film was ...

LeRoy Neiman Original Mixed media on paper; including tempera, acrylic, pastel, watercolor, and conti crayon Dated 1966 9 1/2″ x 9 1/4″ viewabl...

Original Graphite on Paper Dimensions 12.5″ x 8″ Viewable 27″ x 22.5″ Framed. Signed by Artist. Circa 1962.

LeRoy Neiman Original Mixed media on paper; including tempera, acrylic, pastel, watercolor, and conte' crayon Dated 1966 8 1/2″ x 16 1/4″ viewab...

LeRoy Neiman Original Watercolor on Paper and Trial Proof Etching. Created 1976 Paper 29 3/4” x 22” Framed 33 3/4” x 25 1/2” Watercolor 11.5...

LeRoy Neiman Carnaval gift book in bespoke box (Hand Signed and Numbered), 1981 Hardback Monograph with Vinyl Dust Jacket. Hand Signed by Artist on Colophon on Vellum parchment pape...

Elephant Stampede Tapestry Published 1988 Image Area Dimensions 60" x 81" Hand Woven Silk Tapestry Edition Size 88 Gallery Retail $25,000. Tapestry 35 from the edition of only 88 pi...

"Equestrian Horseman" is a mixed media on paper by LeRoy Neiman. The artwork is signed lower right, "Leroy Neiman '66". The framed piece measures 40 3/4 x 46 1/2 x 1 1/2 in. LeRoy N...

Jim's of Lambertville Fine Art Gallery is proud to present this piece by LeRoy Neiman (1921 – 2012). LeRoy Neiman was born in 1921 in St. Paul, Minnesota. He displayed a great talent for art at a young age, working as an illustrator for local grocery stores as a teenager. Even after being drafted into the Army in 1942, he spent his spare time painting murals on the walls of kitchens and mess halls, where he served as a cook. Once the Army’s Special Services Division took notice of his talents, he was sent to work on painting stage sets for Red Cross shows in Germany after the war. Upon returning to the United States, Neiman enrolled briefly at the St. Paul School of Art before attending the School of the Art Institute of Chicago and later, teaching figure drawing and fashion illustration there. While working at the Art Institute of Chicago, Neiman discovered his primary medium, enamel house paint, when a janitor threw out some half-empty cans of it next door to his apartment. From this medium, he embraced a technique of rapid paint application. While freelancing as an illustrator for the Chicago department store, Carson Pirie Scott, in the 1950s, Neiman met Hugh Hefner, who would become a great friend and help establish his artistic reputation. In 1954, Hefner showed Neiman’s paintings to Playboy’s Art...

Frame: 48.5 x 31.5 Picture: 39 x 22.5 Signed Artist Proof Picture is in excellent condition There’s a stain on the inside portion Around the corner from where he signs. A few scratch...

ARTIST: LEROY NEIMAN TITLE: WHITEY FORD MEDIUM: SERIGRAPH ON PAPER SIZE: 38 X 27 INCHES FRAME SIZE: 54 X 42.5 INCHES YEAR: 2003 EDITION: AP 7/35 DESCRIPTION: SIGNED BY LEROY NEIMAN A...

Hand signed numbered by the artist in pencil. Artwork size: 24.25 x 30 in. Frame size: approx. 37 x 43 in. Artwork appears to be in excellent condition. Artwork has not been examine...

-- Hand signed and numbered by LeRoy Neiman -- Comes with Certificate of Authenticity -- Comes with a premium quality frame

Artist: Leroy Neiman Title: The Minuteman Year Produced: 2002 Medium: Serigraph Edition: 116/280 Size: 28" x 21 1/2" Hand Signed: Hand Signed & numbered in pencil by the artist Condi...

Serigraph in colors on paper. Hand signed numbered by the artist. From the eition of 250. Frame size approx 40 x 48 inches. Artwork appears to be in excellent condition. Has not be...

Artist: LeRoy Neiman (American, 1921-2012) Title: Casino Year: 1972 Medium: Silkscreen, signed and numbered in pencil Edition: 8/300 Image Size: 21 x 25.5 inches Frame Size: 30 x 35...

Artist: Leroy Neiman Title: Black Panther Year Produced: 1975 Medium: Serigraph Edition: 292/300 Size: 28 1/2" x 39" Hand Signed: Hand Signed & numbered ...

LeRoy Neiman Eileen Ford at '21' (Portrait of Eileen Ford), 1978 Original drawing done in marker on original offset lithograph New York's 21 Club menu. Sig...

Artist: Leroy Neiman Title: President Nelson Mandela Year Produced: 1997 Medium: Serigraph Edition: 121/145 Size: 40" x 24" Hand Signed: Hand Signed & n...

Artist: Leroy Neiman Title: Bay Area Baseball, Year Produced: 1990 Medium: Serigraph Edition: 306/450 Size: 28 1/8" x 35 3/4" Hand Signed: Hand Signed & numbe...

Artist: LeRoy Neiman (American, 1921-2012) Title: Casino Year: 1972 Medium: Silkscreen, signed and marked A P ( Artist Proof)  in pencil Edition: AP Paper  Size: 31¾  x 26 inches LeRoy Neiman was a sports artist, a chronicler of contemporary lifestyles and a creator of the action-subject. He is credited with reviving figure painting during the years of the abstract movement when the figure, and realism in general, were abandoned. Neiman paints with a technique that often starts with his own Impressionistic style and continues with a process that looks very similar to the action paintings of the Abstract Expressionists. Accident and chance seem to play significant roles in determining the final appearance of his creations. This is seen in Neimans spontaneous application of paint and color. He paints quickly to grasp moments in time. His works are held in the collections of both the Baseball...

In good condition some minor scratches on the frame

This artwork titled "Baden Baden, Casino" 1988 is an original color serigraph by noted American artist LeRoy Neiman, 1921-2012. It is hand signed and numbered 261/375 in pencil by the artist. The image size is 36 x 42 inches, sheet size is 42 x 48 inches. With the blind stamp of the printer Styria Studio at the lower left corner margin. It is in excellent condition, three small pieces of hanging tape remain on the back. About the artist: Mr. Neiman's kinetic, quickly executed paintings and drawings, many of them published in Playboy, offered his fans gaudily colored visual reports on heavyweight boxing matches, Super Bowl games and Olympic contests, as well as social panoramas like the horse races at Deauville, France, and the Cannes Film Festival. Quite consciously, he cast himself in the mold of French Impressionists like Toulouse-Lautrec, Renoir and Degas, chroniclers of public life who found rich social material at racetracks, dance halls and cafes. Mr. Neiman often painted or sketched on live television. With the camera recording his progress at the sketchpad or easel, he interpreted the drama of Olympic Games and Super Bowls for an audience of millions. When Bobby Fischer and Boris Spassky faced off in Reykjavik, Iceland, to decide the world chess championship, Mr. Neiman was there, sketching. He was on hand to capture Federico Fellini directing "8 ½" and the Kirov Ballet performing in the Soviet Union. In popularity, Mr. Neiman rivaled American favorites like Norman Rockwell, Grandma Moses and Andrew Wyeth. A prolific one-man industry, he generated hundreds of paintings, drawings, watercolors, limited-edition serigraph prints and coffee-table books yearly, earning gross annual revenue in the tens of millions of dollars. Although he exhibited constantly and his work was included in the collections of dozens of museums around the world, critical respect eluded him. Mainstream art critics either ignored him completely or, if forced to consider his work, dismissed it with contempt as garish and superficial — magazine illustration with pretensions. Mr. Neiman professed not to care. Maybe the critics are right," he told American Artist magazine in 1995. "But what am I supposed to do about it — stop painting, change my work completely? I go back into the studio, and there I am at the easel again. I enjoy what I'm doing and feel good working. Other thoughts are just crowded out." His image suggested an artist well beyond the reach of criticism. A dandy and bon vivant, he cut an arresting figure with his luxuriant ear-to-ear mustache, white suits, flashy hats and Cuban cigars. "He quite intentionally invented himself as a flamboyant artist not unlike Salvador Dalí, in much the same way that I became Mr. Playboy in the late '50s," Hugh Hefner told Cigar Aficionado magazine in 1995. LeRoy Runquist was born on June 8, 1921, in St. Paul. His father, a railroad worker, deserted the family when LeRoy was quite young, and the boy took the surname of his stepfather. He showed a flair for art at an early age. While attending a local Roman Catholic school, he impressed schoolmates by drawing ink tattoos on their arms during recess. As a teenager, he earned money doing illustrations for local grocery stores. "I'd sketch a turkey, a cow, a fish, with the prices," he told Cigar Aficionado. "And then I had the good sense to draw the guy who owned the store. This gave me tremendous power as a kid." After being drafted into the Army in 1942, he served as a cook in the European theater but in his spare time painted risqué murals on the walls of kitchens and mess halls. The Army's Special Services Division, recognizing his talent, put him to work painting stage sets for Red Cross shows when he was stationed in Germany after the war. On leaving the military, he studied briefly at the St. Paul School of Art (now the Minnesota Museum of American Art) before enrolling in the School of the Art Institute of Chicago, where, after four years of study, he taught figure drawing and fashion illustration throughout the 1950s. When the janitor of the apartment building next door to his threw out half-empty cans of enamel house paint, Mr. Neiman found his métier. Experimenting with the new medium, he embraced a rapid style of applying paint to canvas imposed by the free-flowing quality of the house paint. While doing freelance fashion illustration for the Carson Pirie Scott department store in Chicago in the early 1950s, he became friendly with Mr. Hefner, a copywriter there who was on the verge of publishing the first issue of a men's magazine. In 1954, after five issues of Playboy had appeared, Mr. Neiman ran into Mr. Hefner and invited him to his apartment to see his paintings of boxers, strip clubs and restaurants. Mr. Hefner, impressed, showed the work to Playboy's art director, Art Paul, who commissioned an illustration for "Black Country," a story by Charles Beaumont about a jazz musician. Thus began a relationship that endured for more than half a century and established Mr. Neiman's reputation. In 1955, when Mr. Hefner decided that the party-jokes page needed visual interest, Mr. Neiman came up with the Femlin, a curvaceous brunette who cavorted across the page in thigh-high stockings, high-heeled shoes, opera gloves and nothing else. She appeared in every issue of the magazine thereafter. Three years later, Mr. Neiman devised a running feature, "Man at His Leisure." For the next 15 years, he went on assignment to glamour spots around the world, sending back visual reports on subjects as varied as the races at Royal Ascot, the dining room of the Tour d'Argent in Paris, the nude beaches of the Dalmatian coast, the running of the bulls at Pamplona and Carnaby Street in swinging London. He later produced more than 100 paintings and 2 murals for 18 of the Playboy clubs that opened around the world. "Playboy made the good life a reality for me and made it the subject matter of my paintings — not affluence and luxury as such, but joie de vivre itself," Mr. Neiman told V.I.P. magazine in 1962. Working in the same copywriting department at Carson Pirie Scott as Mr. Hefner was Janet Byrne, a student at the Art Institute. She and Mr. Neiman married in 1957. She survives him. A prolific artist, he generated dozens of paintings each year that routinely commanded five-figure prices. When Christie's auctioned off the Playboy archives in 2003, his 1969 painting Man at His Leisure: Le Mans sold for $107,550. Sales of the signed, limited-edition print versions of his paintings, published in editions of 250 to 500, became a lucrative business in itself after Knoedler Publishing, a wholesale operation, was created in 1975 to publish and distribute his serigraphs, etchings, books and posters. Mr. Neiman's most famous images came from the world of sports. His long association with the Olympics began with the Winter Games in Squaw Valley in 1960, and he went on to cover the games, on live television, in Munich in 1972, Montreal in 1976, Lake Placid in 1980, and Sarajevo and Los Angeles in 1984, using watercolor, ink or felt-tip marker to produce images with the dispatch of a courtroom sketch artist. At the 1978 and 1979 Super Bowls, he used a computerized electronic pen to portray the action for CBS. Although he was best known for scenes filled with people and incident, he also painted many portraits. Athletes predominated, with Muhammad Ali and Joe Namath among his more famous subjects, but he also painted Leonard Bernstein, the ballet dancer Suzanne Farrell...

LEROY NEIMAN (1921-2012) Known the world over for his striking, vibrant depictions of sporting events, leisure activities and other social gatherings, Leroy Neiman is indisputably on...

"Carnival in Venice" is an oil painting by LeRoy Nemain. The painting is Signed and dated lower middle, "Leroy Neiman, Venice '71 ". The framed piec...

Serigraph in colors on paper. Hand signed and numbered by Leroy Neiman. Edition of 345. Sheet size 24 x 23 inches. Image size 17 x 17 inches. Artwork is in excellent condition...

-- Chicago Option - Limited Edition Serigraph by LeRoy Neiman, Edition 77/450 -- Artwork is hand-signed and numbered by LeRoy Neiman -- Comes with a ce...

Artist: Leroy Neiman (1898-1976) Title: Shaq (Shaquille O'Neal / Los Angeles Lakers) Year: 2000 Medium: Silkscreen on Arches paper Edition: 410, plu...

This artwork titled "Left Bank Cafe, Paris" 1987 is an original color serigraph by noted American artist LeRoy Neiman, 1921-2012. It is hand signed and numbered H.C 166/175 in pencil by the artist. The image size is 26 x 38 inches, sheet size is 32.25 x 44 inches. With the blind stamp of the printer Styria Studio at the lower left corner margin. It is in excellent condition, two small pieces of hanging tape remain on the back. About the artist: Mr. Neiman's kinetic, quickly executed paintings and drawings, many of them published in Playboy, offered his fans gaudily colored visual reports on heavyweight boxing matches, Super Bowl games and Olympic contests, as well as social panoramas like the horse races at Deauville, France, and the Cannes Film Festival. Quite consciously, he cast himself in the mold of French Impressionists like Toulouse-Lautrec, Renoir and Degas, chroniclers of public life who found rich social material at racetracks, dance halls and cafes. Mr. Neiman often painted or sketched on live television. With the camera recording his progress at the sketchpad or easel, he interpreted the drama of Olympic Games and Super Bowls for an audience of millions. When Bobby Fischer and Boris Spassky faced off in Reykjavik, Iceland, to decide the world chess championship, Mr. Neiman was there, sketching. He was on hand to capture Federico Fellini directing "8 ½" and the Kirov Ballet performing in the Soviet Union. In popularity, Mr. Neiman rivaled American favorites like Norman Rockwell, Grandma Moses and Andrew Wyeth. A prolific one-man industry, he generated hundreds of paintings, drawings, watercolors, limited-edition serigraph prints and coffee-table books yearly, earning gross annual revenue in the tens of millions of dollars. Although he exhibited constantly and his work was included in the collections of dozens of museums around the world, critical respect eluded him. Mainstream art critics either ignored him completely or, if forced to consider his work, dismissed it with contempt as garish and superficial — magazine illustration with pretensions. Mr. Neiman professed not to care. Maybe the critics are right," he told American Artist magazine in 1995. "But what am I supposed to do about it — stop painting, change my work completely? I go back into the studio, and there I am at the easel again. I enjoy what I'm doing and feel good working. Other thoughts are just crowded out." His image suggested an artist well beyond the reach of criticism. A dandy and bon vivant, he cut an arresting figure with his luxuriant ear-to-ear mustache, white suits, flashy hats and Cuban cigars. "He quite intentionally invented himself as a flamboyant artist not unlike Salvador Dalí, in much the same way that I became Mr. Playboy in the late '50s," Hugh Hefner told Cigar Aficionado magazine in 1995. LeRoy Runquist was born on June 8, 1921, in St. Paul. His father, a railroad worker, deserted the family when LeRoy was quite young, and the boy took the surname of his stepfather. He showed a flair for art at an early age. While attending a local Roman Catholic school, he impressed schoolmates by drawing ink tattoos on their arms during recess. As a teenager, he earned money doing illustrations for local grocery stores. "I'd sketch a turkey, a cow, a fish, with the prices," he told Cigar Aficionado. "And then I had the good sense to draw the guy who owned the store. This gave me tremendous power as a kid." After being drafted into the Army in 1942, he served as a cook in the European theater but in his spare time painted risqué murals on the walls of kitchens and mess halls. The Army's Special Services Division, recognizing his talent, put him to work painting stage sets for Red Cross shows when he was stationed in Germany after the war. On leaving the military, he studied briefly at the St. Paul School of Art (now the Minnesota Museum of American Art) before enrolling in the School of the Art Institute of Chicago, where, after four years of study, he taught figure drawing and fashion illustration throughout the 1950s. When the janitor of the apartment building next door to his threw out half-empty cans of enamel house paint, Mr. Neiman found his métier. Experimenting with the new medium, he embraced a rapid style of applying paint to canvas imposed by the free-flowing quality of the house paint. While doing freelance fashion illustration for the Carson Pirie Scott department store in Chicago in the early 1950s, he became friendly with Mr. Hefner, a copywriter there who was on the verge of publishing the first issue of a men's magazine. In 1954, after five issues of Playboy had appeared, Mr. Neiman ran into Mr. Hefner and invited him to his apartment to see his paintings of boxers, strip clubs and restaurants. Mr. Hefner, impressed, showed the work to Playboy's art director, Art Paul, who commissioned an illustration for "Black Country," a story by Charles Beaumont about a jazz musician. Thus began a relationship that endured for more than half a century and established Mr. Neiman's reputation. In 1955, when Mr. Hefner decided that the party-jokes page needed visual interest, Mr. Neiman came up with the Femlin, a curvaceous brunette who cavorted across the page in thigh-high stockings, high-heeled shoes, opera gloves and nothing else. She appeared in every issue of the magazine thereafter. Three years later, Mr. Neiman devised a running feature, "Man at His Leisure." For the next 15 years, he went on assignment to glamour spots around the world, sending back visual reports on subjects as varied as the races at Royal Ascot, the dining room of the Tour d'Argent in Paris, the nude beaches of the Dalmatian coast, the running of the bulls at Pamplona and Carnaby Street in swinging London. He later produced more than 100 paintings and 2 murals for 18 of the Playboy clubs that opened around the world. "Playboy made the good life a reality for me and made it the subject matter of my paintings — not affluence and luxury as such, but joie de vivre itself," Mr. Neiman told V.I.P. magazine in 1962. Working in the same copywriting department at Carson Pirie Scott as Mr. Hefner was Janet Byrne, a student at the Art Institute. She and Mr. Neiman married in 1957. She survives him. A prolific artist, he generated dozens of paintings each year that routinely commanded five-figure prices. When Christie's auctioned off the Playboy archives in 2003, his 1969 painting Man at His Leisure: Le Mans sold for $107,550. Sales of the signed, limited-edition print versions of his paintings, published in editions of 250 to 500, became a lucrative business in itself after Knoedler Publishing, a wholesale operation, was created in 1975 to publish and distribute his serigraphs, etchings, books and posters. Mr. Neiman's most famous images came from the world of sports. His long association with the Olympics began with the Winter Games in Squaw Valley in 1960, and he went on to cover the games, on live television, in Munich in 1972, Montreal in 1976, Lake Placid in 1980, and Sarajevo and Los Angeles in 1984, using watercolor, ink or felt-tip marker to produce images with the dispatch of a courtroom sketch artist. At the 1978 and 1979 Super Bowls, he used a computerized electronic pen to portray the action for CBS. Although he was best known for scenes filled with people and incident, he also painted many portraits. Athletes predominated, with Muhammad Ali and Joe Namath among his more famous subjects, but he also painted Leonard Bernstein, the ballet dancer Suzanne Farrell...

-- Artwork is signed and numbered by LeRoy Neiman -- Artwork comes with a certificate of authenticity -- Comes with a premium quality frame

- Hand signed and numbered by LeRoy Neiman, - Artwork comes with a certificate of authenticity and a high quality frame. - Limited Edition Serigraph, Edition 270/275

This beautiful portrait of the late Robert F. Kennedy surrounded by his own words. This image was created by Neiman in cooperation with the family of the late Senator LeRoy Neiman...

One of America's most popular and successful artists with a take on the world's favorite city with "Cafe de la Paix." A prized serigraph of his, since not everyone loves sports art (...

Colorful abstract expressionist lithograph celebrating the 1976 Olympics in Montreal Canada by American artist LeRoy Neiman. The work f...

Artist: Leroy Neiman (1921-2012) Title: Nadia Year: 1976 Medium: Silkscreen on wove paper Size: 22 x 30.5 inches Condition: Excellent Inscription: Signed by the artist in the image N...

LeRoy Neiman (1921 – 2012) Title: Happy Birthday Mr. President Medium: Serigraph Measurements: 35" x 32" Framing: Framed Edition: 4...

LEROY NEIMAN (1921-2012) Known the world over for his striking, vibrant depictions of sporting events, leisure activities and other social gatherings, Leroy Neiman is indisputably on...

-- Artwork is signed and numbered by LeRoy Neiman -- Artwork comes with a certificate of authenticity -- Comes with a premium quality frame -- Limited Edition Serigraph, Edition 290/400

Serigraph in colors on paper. Hand signed and numbered by the artist. Edition of 300. Sheet size 36 x 29 inches. Image size approx 30 x 25 inches. Custom framed as pictured. ...

This artwork titled "Diamond Head, Hawaii" 1988 is an original color serigraph by noted American artist LeRoy Neiman, 1921-2012. It is hand signed and numbered 192/375 in pencil by the artist. The image size is 28 x 38 inches, sheet size is 34.25 x 44.25 inches. With the blind stamp of the printer Styria Studio at the lower left corner margin. It is in excellent condition, two small pieces of hanging tape remain on the back. About the artist: Mr. Neiman's kinetic, quickly executed paintings and drawings, many of them published in Playboy, offered his fans gaudily colored visual reports on heavyweight boxing matches, Super Bowl games and Olympic contests, as well as social panoramas like the horse races at Deauville, France, and the Cannes Film Festival. Quite consciously, he cast himself in the mold of French Impressionists like Toulouse-Lautrec, Renoir and Degas, chroniclers of public life who found rich social material at racetracks, dance halls and cafes. Mr. Neiman often painted or sketched on live television. With the camera recording his progress at the sketchpad or easel, he interpreted the drama of Olympic Games and Super Bowls for an audience of millions. When Bobby Fischer and Boris Spassky faced off in Reykjavik, Iceland, to decide the world chess championship, Mr. Neiman was there, sketching. He was on hand to capture Federico Fellini directing "8 ½" and the Kirov Ballet performing in the Soviet Union. In popularity, Mr. Neiman rivaled American favorites like Norman Rockwell, Grandma Moses and Andrew Wyeth. A prolific one-man industry, he generated hundreds of paintings, drawings, watercolors, limited-edition serigraph prints and coffee-table books yearly, earning gross annual revenue in the tens of millions of dollars. Although he exhibited constantly and his work was included in the collections of dozens of museums around the world, critical respect eluded him. Mainstream art critics either ignored him completely or, if forced to consider his work, dismissed it with contempt as garish and superficial — magazine illustration with pretensions. Mr. Neiman professed not to care. Maybe the critics are right," he told American Artist magazine in 1995. "But what am I supposed to do about it — stop painting, change my work completely? I go back into the studio, and there I am at the easel again. I enjoy what I'm doing and feel good working. Other thoughts are just crowded out." His image suggested an artist well beyond the reach of criticism. A dandy and bon vivant, he cut an arresting figure with his luxuriant ear-to-ear mustache, white suits, flashy hats and Cuban cigars. "He quite intentionally invented himself as a flamboyant artist not unlike Salvador Dalí, in much the same way that I became Mr. Playboy in the late '50s," Hugh Hefner told Cigar Aficionado magazine in 1995. LeRoy Runquist was born on June 8, 1921, in St. Paul. His father, a railroad worker, deserted the family when LeRoy was quite young, and the boy took the surname of his stepfather. He showed a flair for art at an early age. While attending a local Roman Catholic school, he impressed schoolmates by drawing ink tattoos on their arms during recess. As a teenager, he earned money doing illustrations for local grocery stores. "I'd sketch a turkey, a cow, a fish, with the prices," he told Cigar Aficionado. "And then I had the good sense to draw the guy who owned the store. This gave me tremendous power as a kid." After being drafted into the Army in 1942, he served as a cook in the European theater but in his spare time painted risqué murals on the walls of kitchens and mess halls. The Army's Special Services Division, recognizing his talent, put him to work painting stage sets for Red Cross shows when he was stationed in Germany after the war. On leaving the military, he studied briefly at the St. Paul School of Art (now the Minnesota Museum of American Art) before enrolling in the School of the Art Institute of Chicago, where, after four years of study, he taught figure drawing and fashion illustration throughout the 1950s. When the janitor of the apartment building next door to his threw out half-empty cans of enamel house paint, Mr. Neiman found his métier. Experimenting with the new medium, he embraced a rapid style of applying paint to canvas imposed by the free-flowing quality of the house paint. While doing freelance fashion illustration for the Carson Pirie Scott department store in Chicago in the early 1950s, he became friendly with Mr. Hefner, a copywriter there who was on the verge of publishing the first issue of a men's magazine. In 1954, after five issues of Playboy had appeared, Mr. Neiman ran into Mr. Hefner and invited him to his apartment to see his paintings of boxers, strip clubs and restaurants. Mr. Hefner, impressed, showed the work to Playboy's art director, Art Paul, who commissioned an illustration for "Black Country," a story by Charles Beaumont about a jazz musician. Thus began a relationship that endured for more than half a century and established Mr. Neiman's reputation. In 1955, when Mr. Hefner decided that the party-jokes page needed visual interest, Mr. Neiman came up with the Femlin, a curvaceous brunette who cavorted across the page in thigh-high stockings, high-heeled shoes, opera gloves and nothing else. She appeared in every issue of the magazine thereafter. Three years later, Mr. Neiman devised a running feature, "Man at His Leisure." For the next 15 years, he went on assignment to glamour spots around the world, sending back visual reports on subjects as varied as the races at Royal Ascot, the dining room of the Tour d'Argent in Paris, the nude beaches of the Dalmatian coast, the running of the bulls at Pamplona and Carnaby Street in swinging London. He later produced more than 100 paintings and 2 murals for 18 of the Playboy clubs that opened around the world. "Playboy made the good life a reality for me and made it the subject matter of my paintings — not affluence and luxury as such, but joie de vivre itself," Mr. Neiman told V.I.P. magazine in 1962. Working in the same copywriting department at Carson Pirie Scott as Mr. Hefner was Janet Byrne, a student at the Art Institute. She and Mr. Neiman married in 1957. She survives him. A prolific artist, he generated dozens of paintings each year that routinely commanded five-figure prices. When Christie's auctioned off the Playboy archives in 2003, his 1969 painting Man at His Leisure: Le Mans sold for $107,550. Sales of the signed, limited-edition print versions of his paintings, published in editions of 250 to 500, became a lucrative business in itself after Knoedler Publishing, a wholesale operation, was created in 1975 to publish and distribute his serigraphs, etchings, books and posters. Mr. Neiman's most famous images came from the world of sports. His long association with the Olympics began with the Winter Games in Squaw Valley in 1960, and he went on to cover the games, on live television, in Munich in 1972, Montreal in 1976, Lake Placid in 1980, and Sarajevo and Los Angeles in 1984, using watercolor, ink or felt-tip marker to produce images with the dispatch of a courtroom sketch artist. At the 1978 and 1979 Super Bowls, he used a computerized electronic pen to portray the action for CBS. Although he was best known for scenes filled with people and incident, he also painted many portraits. Athletes predominated, with Muhammad Ali and Joe Namath among his more famous subjects, but he also painted Leonard Bernstein, the ballet dancer Suzanne Farrell...

This artwork titled "Prowling Leopard" 2003 is an original color serigraph by noted American artist LeRoy Neiman, 1921-2012. It is hand signed and numbered 64/425 in pencil by the artist. The image size is 26.5 x 35 inches, framed size is 40 x 48 inches. It is custom framed in a gold frame, with fabric matting and green/gold spacer. It is in excellent condition. About the artist: Mr. Neiman's kinetic, quickly executed paintings and drawings, many of them published in Playboy, offered his fans gaudily colored visual reports on heavyweight boxing matches, Super Bowl games and Olympic contests, as well as social panoramas like the horse races at Deauville, France, and the Cannes Film Festival. Quite consciously, he cast himself in the mold of French Impressionists like Toulouse-Lautrec, Renoir and Degas, chroniclers of public life who found rich social material at racetracks, dance halls and cafes. Mr. Neiman often painted or sketched on live television. With the camera recording his progress at the sketchpad or easel, he interpreted the drama of Olympic Games and Super Bowls for an audience of millions. When Bobby Fischer and Boris Spassky faced off in Reykjavik, Iceland, to decide the world chess championship, Mr. Neiman was there, sketching. He was on hand to capture Federico Fellini directing "8 ½" and the Kirov Ballet performing in the Soviet Union. In popularity, Mr. Neiman rivaled American favorites like Norman Rockwell, Grandma Moses and Andrew Wyeth. A prolific one-man industry, he generated hundreds of paintings, drawings, watercolors, limited-edition serigraph prints and coffee-table books yearly, earning gross annual revenue in the tens of millions of dollars. Although he exhibited constantly and his work was included in the collections of dozens of museums around the world, critical respect eluded him. Mainstream art critics either ignored him completely or, if forced to consider his work, dismissed it with contempt as garish and superficial — magazine illustration with pretensions. Mr. Neiman professed not to care. Maybe the critics are right," he told American Artist magazine in 1995. "But what am I supposed to do about it — stop painting, change my work completely? I go back into the studio, and there I am at the easel again. I enjoy what I'm doing and feel good working. Other thoughts are just crowded out." His image suggested an artist well beyond the reach of criticism. A dandy and bon vivant, he cut an arresting figure with his luxuriant ear-to-ear mustache, white suits, flashy hats and Cuban cigars. "He quite intentionally invented himself as a flamboyant artist not unlike Salvador Dalí, in much the same way that I became Mr. Playboy in the late '50s," Hugh Hefner told Cigar Aficionado magazine in 1995. LeRoy Runquist was born on June 8, 1921, in St. Paul. His father, a railroad worker, deserted the family when LeRoy was quite young, and the boy took the surname of his stepfather. He showed a flair for art at an early age. While attending a local Roman Catholic school, he impressed schoolmates by drawing ink tattoos on their arms during recess. As a teenager, he earned money doing illustrations for local grocery stores. "I'd sketch a turkey, a cow, a fish, with the prices," he told Cigar Aficionado. "And then I had the good sense to draw the guy who owned the store. This gave me tremendous power as a kid." After being drafted into the Army in 1942, he served as a cook in the European theater but in his spare time painted risqué murals on the walls of kitchens and mess halls. The Army's Special Services Division, recognizing his talent, put him to work painting stage sets for Red Cross shows when he was stationed in Germany after the war. On leaving the military, he studied briefly at the St. Paul School of Art (now the Minnesota Museum of American Art) before enrolling in the School of the Art Institute of Chicago, where, after four years of study, he taught figure drawing and fashion illustration throughout the 1950s. When the janitor of the apartment building next door to his threw out half-empty cans of enamel house paint, Mr. Neiman found his métier. Experimenting with the new medium, he embraced a rapid style of applying paint to canvas imposed by the free-flowing quality of the house paint. While doing freelance fashion illustration for the Carson Pirie Scott department store in Chicago in the early 1950s, he became friendly with Mr. Hefner, a copywriter there who was on the verge of publishing the first issue of a men's magazine. In 1954, after five issues of Playboy had appeared, Mr. Neiman ran into Mr. Hefner and invited him to his apartment to see his paintings of boxers, strip clubs and restaurants. Mr. Hefner, impressed, showed the work to Playboy's art director, Art Paul, who commissioned an illustration for "Black Country," a story by Charles Beaumont about a jazz musician. Thus began a relationship that endured for more than half a century and established Mr. Neiman's reputation. In 1955, when Mr. Hefner decided that the party-jokes page needed visual interest, Mr. Neiman came up with the Femlin, a curvaceous brunette who cavorted across the page in thigh-high stockings, high-heeled shoes, opera gloves and nothing else. She appeared in every issue of the magazine thereafter. Three years later, Mr. Neiman devised a running feature, "Man at His Leisure." For the next 15 years, he went on assignment to glamour spots around the world, sending back visual reports on subjects as varied as the races at Royal Ascot, the dining room of the Tour d'Argent in Paris, the nude beaches of the Dalmatian coast, the running of the bulls at Pamplona and Carnaby Street in swinging London. He later produced more than 100 paintings and 2 murals for 18 of the Playboy clubs that opened around the world. "Playboy made the good life a reality for me and made it the subject matter of my paintings — not affluence and luxury as such, but joie de vivre itself," Mr. Neiman told V.I.P. magazine in 1962. Working in the same copywriting department at Carson Pirie Scott as Mr. Hefner was Janet Byrne, a student at the Art Institute. She and Mr. Neiman married in 1957. She survives him. A prolific artist, he generated dozens of paintings each year that routinely commanded five-figure prices. When Christie's auctioned off the Playboy archives in 2003, his 1969 painting Man at His Leisure: Le Mans sold for $107,550. Sales of the signed, limited-edition print versions of his paintings, published in editions of 250 to 500, became a lucrative business in itself after Knoedler Publishing, a wholesale operation, was created in 1975 to publish and distribute his serigraphs, etchings, books and posters. Mr. Neiman's most famous images came from the world of sports. His long association with the Olympics began with the Winter Games in Squaw Valley in 1960, and he went on to cover the games, on live television, in Munich in 1972, Montreal in 1976, Lake Placid in 1980, and Sarajevo and Los Angeles in 1984, using watercolor, ink or felt-tip marker to produce images with the dispatch of a courtroom sketch artist. At the 1978 and 1979 Super Bowls, he used a computerized electronic pen to portray the action for CBS. Although he was best known for scenes filled with people and incident, he also painted many portraits. Athletes predominated, with Muhammad Ali and Joe Namath among his more famous subjects, but he also painted Leonard Bernstein, the ballet dancer Suzanne...

Artist: LeRoy Neiman, American (1921 - 2012) Title: Nude Year: 1960 Medium: Oil on Masonite, signed and dated l.r. Size: 8 x 11.5 inches Frame: 16 x 19.5 inches

Artist: LeRoy Neiman, American (1921 - 2012) Title: Skateboarder Year: 1977 Medium: Serigraph, printed signature Size: 27 in. x 22 in. (68.58 cm x 55.88 cm) Frame Size: 34 x 28 inches