The Illustrated Gallery

Young man playing the trumpet with chickens, a dog, and a cat.

Medium: Oil on Canvas Signature: Signed Lower Right Featured in The Saturday Evening Post, September 8, 1934. 'The Challenge to Liberty' by Herbert Hoover Story illustration featur...

Original cover for The Saturday Evening Post, published March 12, 1910. The image features a little girl in a red coat on roller skates Medium: Oil on canvas Signature: Signed Lowe...

Date: 1944 Medium: Oil and Graphite on Paperboard Sight Size 14.00" x 11.00", Framed 22.00" x 19.00" Study for cover of The Saturday Evening Post, May 27, 1944 Norman Rockwell disc...

Medium: Oil on Canvas Dimensions: 28.00" x 20.00" Signature: Signed and Dated Upper Right The End of the Road "Don't tell me you're my sister, you plu...

Medium: Oil on Canvas Signature: Inscribed: "My best wishes to/my friend Judy Bedell/sincerely/Norman Rockwell Included with the painting, the dress that the model wore for this pai...

For Norman Rockwell's Four Seasons calendar series for Brown & Bigelow By the end of World War II, Norman Rockwell was a household name throughout the United States and consid...

Signed by Artist Lower Right Maxwell House Coffee Illustration Few artists have ever pulled on our nation's heartstrings, particularly in reference to family and generations, as adeptly as Norman Rockwell. From his earliest advertisements to his patriotic World War II subjects, Rockwell's virtuoso was in his ability to capture the essence of American culture and a view of a more innocent time in our country's history. Rockwell states: "I was showing the America I knew and observed to others who might not have noticed. And perhaps, therefore, this is one function of the illustrator. He can show what has become so familiar that it is no longer noticed. The illustrator thus becomes a chronicler of his time." (as quoted in Norman Rockwell: A Definitive Catalogue, Stockbridge, Massachusetts, 1986, p. xii) Recognizing the need for reminiscence from young and old alike, Rockwell effectively captures a timeless scene: Here, two old friends gingerly and jovially play a game of chess, sipping coffee as they wait for their furry friend to make the next move. The work is executed in Rockwell's signature descriptive style of finely drawn, clear realism with a wealth of fascinating detail. In discussing his career, Rockwell commented, "I was showing the America I knew and observed to others who might not have noticed. And perhaps, therefore, this is one function of the illustrator. He can show what has become so familiar that it is no longer noticed. The illustrator thus becomes a chronicler of his time." (as quoted in Norman Rockwell: A Definitive Catalogue, Stockbridge, Massachusetts, 1986, p. xii) Rockwell seemingly utilizes one of his favorite models in the present work-James K. Van Brunt. The artist recalled his initial meeting with Van Brunt in 1924 in New Rochelle, New York: "I remember it was June and it was terribly hot. I was working in my underwear and not getting along too well because my brushes were slippery with perspiration. Suddenly the downstairs door banged and I heard someone come up the stairs treading on each step with a loud, deliberate thump...A tiny old man with a knobby nose, an immense, drooping mustache, and round, heavy-lidded eyes stamped bellicosely into the studio. 'James K. Van Brunt, sir,' he said, saluting me and bowing all at once. 'Five feet two inches tall, sir. The exact height of Napoleon Bonaparte!' And he pushed out his thin little chest, which was encased in a fawn colored vest. 'I have fought the Confederate Army at Antietam, Fredericksburg, and in the Wilderness,' he said. 'I have battled the nations of the Sioux under Dull Knife, Crazy Horse and Sitting Bull. I have fought the Spaniards, sir, in Cuba.' And he rapped his cane on the floor and looked at me very belligerently. Then, having ascertained that I wasn't going to contradict him, he took off his gloves and his wide brimmed hat, laid them on a chair, and patted his mustache. 'This mustache, sir,' he said, 'is eight full inches wide from tip to tip. The ladies, sir, make much of it.' And he winked at me and walked over to my mirror to stare at his mustache." (My Adventures as an Illustrator, New York, 1994, p. 206) Van Brunt was a consummate professional as a model, carefully practicing his poses in the mirror in advance of a session and, at times, inspiring the idea for the cover illustration. Rockwell stated that he used to suggest a cover almost every time they saw one another and referred to the day when Van Brunt first showed up at his studio as "one of the luckiest days of my life." (My Adventures as an Illustrator, p. 206) James K. Van Brunt appeared in ten Post covers by Rockwell, as well as countless other paintings used as advertisements, such as the present work. Given Van Brunt's distinctive visage with his mustache, the editor at the Post, George Horace Lorimer, complained. "Rockwell recalled, 'Mr. Lorimer said to me, 'I think you're using that man too much. Everybody's beginning to notice it. Maybe you'd better stop for a while. That mustache of his is too identifiable.' Rockwell informed Van Brunt of the problem, 'If you take off your mustache I can use you again...Otherwise I just can't.' Two weeks later Van...

Medium: Oil on Canvas Signature: Signed Lower Right Literature: Laurie Norton Moffatt, Norman Rockwell: A Definitive Catalogue, Norman Rockwell Museum at Stockbridge, Stockbridge, M...

Signed Lower Right Wall Street in 1985.

Story illustration for “The River’s End” by James Oliver Curwood for Good Housekeeping, published March 1919, page 14. The full caption reads: “There were no tears in Miriam Kirksto...

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...

Study for the Cover illustration for The Saturday Evening Post, June 30th, 1934 LITERATURE: C.D.B. Bryan, Mort Walker and the Art of Illustration, Architectural Digest, July 1988, ...

This illustration was created for the Hills Brothers Coffee company in 1929 and was used on promotional products as well as coffee cans in the years thereafter. Literature: Laur...

Medium: Pastel on Board Dimensions: 30.00" x 24.00" Signature: Signed Lower Left Fashionable woman with brightly colored shirt

A romantic illustration for the story “Reach for Tomorrow” by Barbara Paul for Good Housekeeping magazine, published August 1975. The story is described as “an exhilarating new roma...

Original cover for The Saturday Evening Post, published November 8, 1930 First published on the cover of the November 8, 1930, issue of The Saturday Evening Post, Norman Rockwell’s ...

Date: 1932 Medium: Oil on Canvas Dimensions: 28.00" x 22.00" Signature: Signed "J.F. Kernan" Lower Right Cover illustration for Capper's Farmer magazine, July 1932

Date: 1932 Medium: Oil on Board Dimensions: 23.00" x 18.63" Framed Dimensions: 33.00" x 28.63" Signature: inscribed MP Jr. No. 76. / Painted by Maxfield Parrish / Maxfield Parrish I...

Medium: Oil on Canvas Signature: Signed Lower Right Sight Size 28.00" x 24.00", Framed 30.00" x 27.00" Cover of Saturday Evening Post Magazine, October 31, 1908. Exhibitions: It's a Man's World, Illustration Art by and for Men: November 14-17 2012, Illustration House NYC The National Arts Club NYC Jan 6- 19 2013 Christie's New York, Illustrating America: Norman Rockwell and His Contemporaries, November 30, 2013- January, 2014 Joseph Christian Leyendecker was one of the most famous and prolific illustrators of his time and painted one less cover for The Saturday Evening Post than Norman Rockwell. He was the creator of the cherubic New Year’s Baby and the handsome Arrow Shirt Man who set the style for men’s fashion for decades. In addition to his beautiful men, women and children, Leyendecker’s covers and advertisements depicted subjects ranging from sports to war to politics. This 1908 Post cover shows a young newsboy holding pictures of William Howard Taft...

Signed by Artist Lower Left The present work was published on the cover of the September 4th, 1948 edition of The Saturday Evening Post. An accompanying “Keeping Posted” article about Norman Rockwell’s process behind the painting was printed on page 10 inside the issue. (Image above) The Post described, “Boston baseball fans saw a strange spectacle at Braves’ Field early this summer. As the stands filled, two respectable-looking men stood on the field staring at the spectators. Every now and then they would point to someone, run up into the stands and invite the man or woman to sit in a box above the dugout. Then the thinner of the two would contort his face into an expression of wild delight or disgust and invite the spectator to do the same, while a photographer made pictures. The explanation is on our cover. The two suspicious characters were Kenneth Stuart, the Post’s art editor and the artist, Normal Rockwell. For a detailed description of how Boston...

Medium: Oil on Canvas Signature: Signed Lower Left The Saturday Evening Post unpublished cover, 1943 The story behind the New Year's Baby Hitching to War is a fascinating one: The...

Medium: Oil on Board Signature: Signed on Reverse 1 of a 4 part Illustration, Used as Promotional Poster Exhibited: Chadds Ford, Pennsylvania, Brandywine River Museum, Maxfield Pa...

Medium: Oil on Board Signature: Signed Lower Right 1 of a 4 part illustration used as a promotional poster Exhibited: Chadds Ford, Pennsylvania, Brandywine River Museum, Maxfield ...

Medium: Oil on Board Signature: Each Upper Panel, Signed 'Maxfield Parrish/Windsor./Vermont.' (On the Reverse); Each Lower Panel, Signed 'Maxfield Parrish' (Lower Right) Each 1 of a...

Medium: Oil on Board Signature: Signed Lower Right 19.875" x 14.00" Each Panel 1 of a 4 Part Illustration used as a promotional poster Poster for The Red Cross—Watching...

Medium: Oil on Canvas Sight Size 53.00" x 136.00", Framed 66.00" x 149.00" Signature: Signed Lower Left Interwoven Stocking Company Advertisement Reproduced on gift boxes, Advertisement appeared in Saturday Evening Post, December 8, 1928, pg.2 The long lost NC Wyeth painting...

Dean Cornwell's large scale oil painting, commissioned by the Goodyear Tire and Rubber Company, presents a domestic scene of Betsy Ross crafting the first American flag surrounded by...

Signature: Signed Lower Left Medium: Oil on Canvas Artwork Dimensions: 28" x 22" Framed 36" x 30" Saturday Evening Post Cover, September 18, 1920 - Leyendecker addressed the theme of American patriotism in several ways. His famous Fourth of July covers asserted the import of American independence through stock characters: George Washington, Uncle Sam, the Statue of Liberty, colonial Freedom Fighters, and modern-day soldiers. In addition, his World War I and World War II covers depicted soldiers proudly defending their country. Leyendecker also profiled U.S. presidents and historical figures - George Washington, Robert E. Lee, William Howard Taft...

Medium: Gouache on Board Signature: Signed Lower Right Saturday Evening Post magazine cover, October 25, 1941

Artwork Dimensions: 16.00" x 12.125" Frame Dimensions: 22.5" x 18.75" Medium: Oil on Paper Mounted to Board Signature: Signed Lower Right, Signed Again and Dated August of 1904 on Reverse The Rawhide Part III, 'He swung himself into the saddle and rode away.' Signed with initials M·P...

Artwork Dimensions: 38" x 28.00" Frame Dimensions: 52.5" x 42.5 (5" deep frame)" Medium: Oil on Canvas Signature: Signed Lower Right A close friend of Norman Rockwell, Mead Schaeffer focused his early career on illustrations for classic, historical, and adventure novels, including Moby Dick, The Count of Monte Christo, and King Arthur and His Knights. The featured lot, a masterpiece of political intrigue, was published as a story illustration for Joseph C...

Medium: Oil on Canvas Signature: Signed Twice and Dated Lower Left: Harvey / Dunn 1932 Harvey Dunn's Dawn, Dawn, Dawn is a truly exceptional illustration that captures a key moment of American History. In the present work, Dunn skillfully depicts colonial soldiers...

Original cover for The Saturday Evening Post, published May 12, 1923. A patriotic illustration of Uncle Sam trying on hats in front of a mirror. Housed in a custom frame with stars ...

"The Coward" (Woman Kissing Soldier). Original cover illustration for Life Magazine, published April 1919. Norman Rockwell’s The Coward (or, Woman Kissing Soldier) was published on...

Medium: Mixed media on board Dimensions: 19.00" x 15.50" Framed 29" x 25.5" Signed: Lower Left Collier's magazine cover, January 1906 and appears as a color plate in Thirty Favorite...

Original cover illustration for The American Weekly magazine, published June 2, 1957. The image features a little boy with freckles carrying a ring pillow down the aisle at a weddin...

Original cover for Liberty magazine, published February 27, 1932 In a clever riff on Emanuel Leutze’s iconic 1851 painting Washington Crossing the Delaware, the neighborhood childre...

LITERATURE: L.N. Moffatt, Norman Rockwell: A Definitive Catalogue, Vol. II, Stockbridge, Massachusetts, 1986, p. 1107, no. M48, illustrated. --- The first Saturday Evening Post cov...

EXHIBITED: Museum of American Illustration at the Society of Illustrators, New York, "Americans Abroad: J.C. Leyendecker and the Influence on American Illustration," May 21-July 12, ...

Good Housekeeping, October 1929, cover illustration. This charming Good Housekeeping cover depicts a beautiful toddler helping his mother put bright red apples in her apron in prepa...

Literature: The Saturday Evening Post, April 4, 1942, cover illustration. J. Cohn, Covers of the Saturday Evening Post: Seventy Years of Outstanding Illustration From America’s Fa...

The Saturday Evening Post, June 25, 1949, cover illustration. Page 3 of the Post states: Long ago, that dam behind which the East Arlington, Vermont, lads are swimming in Mead Scha...

Original calendar illustration for Metropolitan Life Insurance Company, published 1919. The illustration features a couple spending a quiet evening at home. A woman sews blue stars ...

Farm and Home magazine cover, January 1919 Following the Armistice in November 1918, American GIs began returning home in February of the next year. The months in between were fille...

According to Edward Nudelman, a leading expert on the artist and author of Jessie Willcox Smith: A Bibliography, the artwork is chronologically and stylistically related to Smith's i...

Original cover for Collier's magazine, published December 21, 1901 The image features a woman sitting on a bench next to a dog and holding a book. Artwork Dimensions: 20" x 14" Fra...

Original Halloween cover illustration for The Saturday Evening Post, published published October 25, 1930. A vintage Halloween illustration of children trick-or-treating by a histor...

Original cover illustration for The Saturday Evening Post, published August 25-September 1, 1962. A little boy eager to go fishing sits watching his father sleep away the morning. ...

Original cover for Liberty magazine, published November 21, 1931. Set during the Great Depression, Sandy and Lil have lost everything in the stock market crash. The couple is qua...

Original cover painting illustrating The Saturday Evening Post, May 8, 1948. "Bill, the Birdhouse Builder, lives and builds in Artist John Falter's home town, Atchison, Kansas, and ...

Original cover painting for The Saturday Evening Post, published April 13, 1946 The Post described, “Not long ago, Constantin Alajalov, who painted our cover for this week, had an e...

Medium: Oil on Panel Sight Size 31.00" x 21.25", Framed 36.00" x 22.00" Signature: Signed Lower Left Maxfield Parrish began his career at age 25 as an illustrator, painting magazin...

Post Cover March 23, 1935

Original illustration for an unidentified publication, circa 1895 Medium: Watercolor and gouache on paper Artwork Dimensions: 24.00" x 16.00" Framed Dimensions: 37" x 29" Signatur...

In 1930, Maxfield Parrish turned his attention to painting landscapes exclusively. Cascades is a fine example of the style that defined his late career. The composition features a fa...

Saturday Evening Post Cover, April 2, 1932

Date: 1927 Medium: Oil on Canvas Dimensions: 27.00" x 18.00" Signature: Signed Lower Right "We Amused Ourselves for an Hour or More, Darting in and out Among the Crowd and Setting o...

A young graduate holds his diploma and receives a congratulatory hand shake as his parents watch with pride. An original illustration from the 1960s with vibrant colors

Original cover of The Saturday Evening Post, published May 15, 1915. The artwork captures the quiet wonder of a young girl kneeling among ferns at the edge of a small pond, gazing a...