The Illustrated Gallery

Framed Dimensions: 36.00" x 48.00" Signature: Signed Lower Right J.G Brown's "Monopolist" was listed in 1885's Spring Exhibit catalogue of M.A. It was displayed on a panel in The We...

Date: 1955 Medium: Acrylic on Board Dimensions: 30.00" x 20.00" Movie poster design.

Date: 1930 Medium: Oil on Canvas Dimensions: 28.00" x 30.00" Signature: Signed Lower Left Story illustration: “The Dead Ride Hard”, McCall’s Magazine, ca. 1930;

Medium: Oil on Canvas Signature: Signed Lower Left Dimensions: 24.00" x 18.00" Image of a druggist with a young girl and dog.

Medium: Oil on Board Signature: Signed Lower Right Revere F. Wistehuff was one of the central group of cover artists in the New Rochelle Art Colony in the 1920's, '30s, '40s which i...

Date: 1951 Medium: Oil on Canvas Dimensions: 30.00" x 25.00" Signature: Signed Lower Left Original Halloween cover illustration for The Saturday Evening Post...

Medium: Pastel on Board Dimensions: 15.75" x 13.25" Signature: Signed Lower Right Readers Digest Cover Woman in Yellow Riding Crop

Date: 1987 Medium: Gouache on Paper Dimensions: 17.00" x 24.75" Signature: Signed Lower Right Published in Time Magazine, November 23, 1987. Large promotional advertisement execute...

Medium: Oil on Board Signature: Signed Lower Right Saturday Evening Post Cover, April 29, 1961 Amos Sewell was born in San Francisco and moved to New York where he attended the Arts Students League. One of his teachers was Harvey Dunn whom he emulated and who inspired him to become an illustrator. He did many covers for Country Gentleman and The Saturday Evening Post and is best known for painting everyday people doing everyday things. One of his best-loved covers is “Visiting Hours,” where a father and son come to visit Mom in the hospital. Since the misses appears to be recovering nicely, their attention drifts to the baseball game on television. Notice the rabbit ears, the black and white television...

Cover of Saturday Evening Post magazine, February 19, 1949 The parents and grandmother are taking a picture of the baby while trying to make him smile. Jack Welch was a tall Texan from Cleburne. He went through public school in Temple, Texas, took the W. L. Evans correspondence course in cartooning, and did a short turn at Southern Methodist University illustrating yearbooks. This was enough to launch him as a newspaper artist; he worked for papers in Texas, California, Chicago, Philadelphia, and New York. The next logical step was an advertising agency sketch man...

Medium: Oil on Canvas Signature: Signed Lower Right Ladies Home Journal Story Illustration, April 1931 "The Easter Candle" by Dagvar

Medium: Pen and Ink on Illustration Board Signature: Signed Upper Right 13.25" x 10.00" illustration on 20.00" x 15.00" board. India ink on board layout of Sal Mineo...

Medium: Watercolor and Ink on Board Signature: Signed Lower Right Paperback cover Robert Conrad and Trum.

Signed Lower Right by Artist Paperback Cover 'An Easy Man to Love' Written by Lee Stafford January 1, 1997

Medium: Painting Signature: Signed Lower Left Contact for dimensions.

Medium: Painting Signature: Signed Lower Right Contact for dimensions.

Signed by artist lower left corner. Literature: Laurie Norton Moffatt, Norman Rockwell: A Definitive Catalogue, Stockbridge, Massachusetts, 1986, vol. I, no. A242, p. 362, illustrated Notes: Painted circa 1925. A letter from Norman Rockwell to the Graham family discussing the painting accompanies the lot.In April 1921, Dodge Brothers entered into a burgeoning partnership with the Graham Brothers, an Evansville, Indiana family-run, truck manufacturing business, headed by three siblings, Joseph B., Robert C. and Ray A. Graham. By 1920, their company was building complete truck and bus bodies with various engines which, in April 1921 caught the attention of Dodge’s president, Frederick J. Haynes. Haynes saw the Graham product as a way to get Dodge into the heavy truck business without compromising their own car production. The two companies agreed to have Graham Brothers build trucks solely with Dodge engines and drive trains, and sell them exclusively through Dodge dealerships nationwide. The partnership resulted in a new name, Graham Brothers, Inc., a company relocation to Detroit, and the opening of numerous factories nationwide over the next several years. In 1925, Joseph, Robert and Ray were appointed Dodge directors and executives, and were among the largest stockholders of the company. By 1926, Graham Brothers, Inc. was the largest exclusive truck manufacturer in the world. In later years, the brothers went on to build the Graham-Paige Motors Corporation, further expanding their success in the automotive business.Around 1925, the current painting was commissioned from Normal Rockwell...

Signed by Artist Lower Right Saturday Evening Post Cover, November 22, 1930

Signed by Artist Lower Right Collier's Illustrated Weekly Cover, October 25, 1902

Signed with initials M.P. (lower right); inscribed Article III. "Irrigation" water let in on a field of alfalfa (in the lower margin) Written on back "February of 1902. Hot Springs,...

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...

Original cover for Good Housekeeping, published October 1922. The Young Scholar, reproduced on the cover of the October 1922 issue of Good Housekeeping, demonstrates Jessie Willcox ...

J.C. Leyendecker's "Boy Scouts Signaling with Flags," first published on the cover of The September 9, 1911 edition of The Saturday Evening Post, quickly became an iconic image of the Boy Scouts of America, which was founded the previous year. Embodying core values like leadership, teamwork, and preparedness, its widespread reproduction cemented its status as a defining visual representation of the organization. The painting depicts two scouts practicing flag signaling, a vital early 20th-century communication skill and a requirement for the Eagle Scout...

Original cover for The Saturday Evening Post magazine, published May 14, 1932 Joseph Christian Leyendecker’s Circus Bareback Rider (1932) is a standout example of his work for The S...

Medium: Oil on Board Signature: Signed Middle Left Cover of Saturday Evening Post magazine (Easter edition), April 1905. This is one of Leyendecker's first Easter covers for the Sa...

Illustration for “Rembrandt” by Emil Ludwig for Cosmopolitan magazine, published May 1928, illustrated pages 56-57. The full caption reads: “For years Rembrandt preferred to paint t...

Original cover for Liberty magazine, published August 17, 1929. Lil calls Sandy down to a nice breakfast to be served in her new fruit dishes, as she asks Sandy to bring her purse and materials to fix the carpet runner, which he forgets. Lil is horrified to find her sideboard key in baby Ulysses’ mouth and she proceeds to feed the baby while asking Sandy to give her updates on a recent triple suicide outlined in the newspaper. Ulysses pounds his cereal spoon, sending sprays of milk across the table onto Sandy’s elbow and Lil’s new fifty-dollar negligee. (Liberty magazine, August 17, 1929, p. 38) “For the Love o’ Lil: The Picture Story of an American Family” In 1926, under his long-term contract to produce a cover per week for Liberty magazine, Leslie Thrasher introduced a signature cast of characters that appeared each week, telling a serialized story through his illustrations. Liberty touted its new cover serial as “something no magazine has ever done before…Heretofore, all magazine cover...

Original cover for Liberty magazine, published February 7, 1931. It’s wintertime and the streets are filled with muddy slush as the children of the neighborhood, Gwendolyn Smithers and Red Hancock, play outside. Red climbs to the top of a swaying wooden fence and begins to walk across it like a tightrope as he brags to Gwendolyn, “I bet you can’t do this.” Hoping he would slip, Gwendolyn giggles, “Ho-ho! I bet I can do it with my eyes shut.” As his ankles shake on the wobbling fence, Red bravely shouts, “I dare you...

Original cover for Liberty magazine, published August 4, 1928. Having left her husband Sandy, Lil returns to the Morse family home with her two-month-old baby. Ma Morse worries abou...

“Hearts are Trumps: Pop Morse, as the Dummy, Makes a Grand Slam,”original cover for Liberty magazine, published March 19, 1927 Pop Morse is immersed in his income taxes as Lil remin...

Medium: Oil on Canvas Signature: Signed Lower Right Watching Over Them, Brown & Bigelow illustration

Gerlach Barklow Co. calendar illustration Signed Lower Right

Medium: Acrylic on Board Signature: Unsigned The Making of the American Flag, 1994.

Medium: Watercolor on Paper Postcard, American Girl #98, Edward Gross Co.

Medium: Oil on Board Signature: Unsigned Calendar Illustration

Medium: Oil on Paper

Medium: Watercolor on Board Signature: Signed Lower Right Likely a camel cigarette advertisement.

Original cover for Liberty magazine, published October 3, 1931 Sandy is excited to receive an unexpected $35 income tax refund check. After going to the bank, he goes to lunch with ...

This vibrant mid-century illustration by Lawrence Gordon Low, painted directly from life, was submitted to a magazine cover contest sponsored by the paint company Devoe and Raynolds,...

Magazine story illustration for “Hero Come Home” by Ruth Burr Sanborn for The Saturday Evening Post, published September 12, 1942, page 24. This sentimental illustration, accompany...

Date: 1976 Medium: Watercolor Dimensions: 13.75" x 9.50" Signature: Signed Lower Left Paperback book cover art for 'The Big Sleep' by Raymond Chandler, published by Vintage Books (#...

Magazine story illustration for part four of “Black Jack” by Robert E. Pinkerton, published in The Saturday Evening Post, December 11, 1943, page 32. This compelling illustration, ...

"Heah's a Few Little Trinkets I Picked Up," or "Phil and the Judge" Probable book or magazine illustration showing the character named Phil in front of a judge. Artwork Dimension...

The image features a political discussion. Published to accompany the poem “The Day of Reckoning” in Drawings by A. B. Frost (New York: Duffield & Co.), 1904. Subsequently released ...

Original cover for Liberty magazine, published February 2, 1929. Lil and Sandy stop by New York city on their way to Florida. Elegantly dressed and driving a fancy car, the couple a...

Original cover for The Saturday Evening Post magazine, published July 14-July 21, 1962 This 1962 Post cover by George Hughes evokes the carefree spirit of summer road trips. While m...

Original cover for The Saturday Evening Post magazine, published January 23, 1960 A businessman sits on the beach at a resort surrounded by financial newspapers and office communica...

Back Cover illustration for the April 8, 1950 Easter edition of The War Cry, a magazine published by the Salvation Army This heartwarming image graced the back cover of the 1950 Eas...

Original Christmas holiday cover for The Saturday Evening Post, published December 6, 1958 We’re thrilled to announce the acquisition of an original 1958 Christmas cover for The Sat...

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 considered...

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...

Original cover for Liberty magazine, published June 22, 1929. Sandy, away on a business trip, calls Lil to check in. The two discuss bills and talk about how much they miss each oth...

“Their Romantic Honeymoon: The Bride and Groom Visit Niagara Falls,” original cover for Liberty magazine, published July 9, 1927 Newlyweds Lil and Sandy are on their honeymoon at N...

Signed by Artist Lower Right Commissioned from the artist by Coats & Clark thread company circa 1939 Exhibited at the Mint Museum, January 2022

Date: 1940 Medium: Oil on Canvas Dimensions: 38.00" x 30.00" Signature: Signed Lower Right Original Cover Illustration for The Saturday Evening Post, December 28, 1940 At the heart of this touching and humorous Christmas work which appeared on the December 28, 1940 cover of THE SATURDAY EVENING POST, is the juxtaposition of the heads of the astonished boy holding a Drysdale package, the Drysdale poster of the store Santa in costume, and the drowsy man wearing the Santa pants and boots under his overcoat, obviously on his way home from work. Rockwell’s gift as a storyteller in pictures is displayed here at its best. The simple use of predominantly three colors – red, black and white, and the omission of any extraneous detail, add to the strength of this fine example of illustration art. Exhibitions Fort Lauderdale Museum of the Arts, Ford Lauderdale, Florida, Norman Rockwell: A Sixty Year Retrospective, February 11- March 5, 1972. The Booklyn Museum, March- April 1972 Corcoran Gallery of Art, Washington D.C, May 26, 1972- July 23, 1972 McNay Art Institute, San Antonio, Texas, July 1972- August 1972 M.H De Yound Memorial Museum, Golden State Park, San Francisco, California, Norman Rockwell: A Sixty Year Retrospective, September 9, 1972- September 5, 1972. Osaka, Japan, Hankyu Department Store, April 4-9, 1975. Press The Saturday Evening Post, December 29, 1940, cover illustration. A.L. Guptill, Norman Rockwell: Illustrator, New York, 1946, p.179, cover illustrated. T.S. Buechner, Norman Rockwell: Artist and Illustrator, New York, 1970, no. 529, illustrated. T.S. Buechner, Norman Rockwell: A Sixty Year Retrospective, exhibition catalogue, New York, 1972, p. 78, illustrated. M. Hart Hennessey and A. Knutson, Norman Rockwell: Pictures for the American People, exhibition catalogue, New York, 1999, p. 160, illustrated. C. Finch, Norman Rockwell’s America...

Original magazine advertisement for ‘Cream of Wheat’ hot cereal, published 1914. From the archives of Nabisco, and Kraft Foods; nº 226. Artwork Dimensions: 28" x 22" Framed Dimens...

“Exalt His Name Together” Calendar illustration; publisher: (Shaw-Barton), January 1962; The Household Hints Calendar Original calendar accompanies this piece Sight Size: 24.75" x ...

Possibly unpublished poster illustration, on the theme of ‘Stand by our Soldiers’. Based on the helmet design, this was likely illustrated in early 1940's. This features Mardee Hoff,...

Preliminary cover illustration for Collier's magazine, presumably unpublished This whimsical cartoonish image of a young woman dashing across a vibrant green landscape likely served...

"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...