The Illustrated Gallery Paintings

Medium: Oil on Canvas Signature: Signed Lower Right Cover of Liberty magazine, January 26, 1929

Medium: Acrylic on Board Signature: Signed Lower Right

Medium: Oil on Canvas Signature: Signed Lower Left Grandmom with grandson and dog

Medium: Oil on Canvas Signature: Signed Lower Right Mom and dad are very proud of their son becoming a 32-degree mason, and have presented him with his lamb skin apron which signifies purity. Notice the finite detail and colors that made James Calvert Smith...

Medium: Oil on Board Signature: Signed Lower Left

Medium: Oil on Board Signature: Signed Lower Left Original cover illustration for The Saturday Evening Post, July 28, 1956. The Post described, “The cows don't realize it is rude t...

Medium: Watercolor on Paper Signature: Signed Lower Right

Medium: Oil on Canvas Signature: Signed Lower Right Du Pont Safety Calendar, 1941, June # 2270 in the Catalogue Raisonné, 2009

Medium: Oil Painting Signature: Signed Lower Left Hide Rack

Medium: Oil on Canvas Signature: Signed and dated lower right: Frank E. Schoonover / 33. Inscribed on the reverse: Chapter 6 127 / 1967 The Crimson Cutlass interior book illustratio...

Medium: Painting Signature: Signed Lower Center, Inscribed at Bottom of Image Contact for dimensions.

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

Medium: Oil on Paper Laid Down to Board Signature: Signed Lower Left This is an illustration for the book by Samual McChord Crothers, The Children of Dickens, originally published in 1925. Bob Cratchit first appeared in Charles Dickens' A Christmas Carol as the victimized clerk of cold-hearted Ebenezer Scrooge. Timothy Cratchit, also known as Tiny Tim...

Medium: Mixed Media Signature: Signed Lower Right Contact for dimensions.

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 Board Signature: Signed Lower Left

Date: 1955 Medium: Gouache on Board Dimensions: 24.00" x 18.50" Signature: Signed Lower Right Original cover illustration for The Saturday Evening Post, February 5, 1955. The Post ...

Medium: Oil on Canvas Signature: Signed Lower Left

Medium: Oil on Canvas Signature: Signed on the Back

Medium: Oil on Canvas Signature: Signed on the Back House Enchanted

Medium: Oil on Canvas

Medium: Watercolor Signature: Signed Lower Right Sight Size 28.00" x 19.00", Framed 37.00"x 28.00"

Medium: Oil on Paper Laid on Panel Signature: Signed Lower Right Initialed lower right: M.P. Signed on the reverse: Maxfield Parish Initialed and numbered by the artist's son on the reverse: M.P. Jr. / No. 68. When Maxfield Parrish painted the comical A Dark Futurist in 1923 for Life magazine, he had already established himself as America's leading book and magazine illustrator. His early artwork for children's classics like L. Frank Baum's Mother Goose in Prose (1897), Kenneth Grahame's Dream Days (1900), and Eugene Field's Poems of Childhood (1904) popularized his signature atmospheric settings, cobalt blue-and-gold palette, and dreamy figures inhabiting magical worlds. Likewise, his covers for Century, Collier's, Harper's Bazaar, Ladies' Home Journal, Life, and Scribner's Magazine were highly desirous and instantly recognizable, often more stylized than his book imagery; no other journal illustrator could match Parrish's winning combination of precise draftsmanship, strong graphic design, and amusing characters. According to David Apatoff, Art Critic, The Saturday Evening Post, "Parrish abandoned his customary heavy details and rainbow colors to present a bolder, more high-contrast design silhouetted against a stark white background - a treatment more suitable for a modern magazine cover vying for attention on a crowded newsstand. A Dark Futurist is silhouetted against a white field with no background or details to prop it up. The composition is carefully centered with only differences in the hands and the artist's necktie to break the symmetry. These are crucial to the success of the design. Just as important as Parrish's clean, high-contrast style in these pictures is the refreshing humor and sophistication in content, which is usually absent from Parrish's fairytale paintings. A Dark Futurist shows us a different kind of modernism. Parrish steps out of his timeless fairy tales to tweak one of the most incendiary artistic movements of his day. Futurism, with its militant manifesto and its outspoken artists, was all the rage in Europe. Parrish pokes them, showing a "dark" and anxious futurist with pursed lips and thick glasses, poised to paint but not exactly sure of, or optimistic about, what the 'future' will hold. This suggests that Parrish was alert to, and had opinions about, current events of the day - something one might never guess from his usual subject matter." In his early Collier's illustrations, Parrish also developed memorable themes that he would return to in his 1920s magazine work. One of his most popular characters was the "seer," or man with keen visual powers, most often depicted as an artist, but also appearing as a tourist, scientist, and philosopher. Parrish's seer was recognizable by particular physical attributes: round glasses, indicating his visual and analytical acuity, and an overcoat and/or hat signifying his role as observer of the outside world. A Man of Letters, sold last year at Heritage Auctions, was one of the first Life covers Parrish rolled out for Gibson, and he repeated the character of the artist-seer, emphasizing the comic spin, for two later editions: A Dark Futurist (Life, March 1, 1923) captures a Parrish-like artist in foggy round glasses and a long green coat...

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

Medium: Oil on Wood Panel Signature: Signed ‘Parrish’ (On the Reverse) Finished painting done as a prototype for the mural at the University of Pennsylvania LITERATURE L.S. Cutler ...

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...

Medium: Oil on Board Signature: Signed Sight Size 20.13" x 16.38", Framed 26.00" x 23.00" Maxfield Parrish’s popularity as an illustrator began with his early work for magazine publishers. An Easter 1895 cover for Harper’s Bazaar, one of the leading publications of the day, was followed by a successful foray into book illustration beginning in 1897 when Parrish completed illustrations for Frank Baum’s Mother Goose in Prose. His unique style and vivid imagination were well suited to illustrating children’s literature and resulted in numerous commissions. The List of Characters is one of 26 paintings, which appeared as an illustration in Louise Saunders' book, The Knave of Hearts. Lawrence S. Cutler and Judy Goffman Cutler write, “The last book Parrish illustrated, The Knave of Hearts (1924), was his masterpiece. When Parrish discovered this children’s play, he proposed an illustrated edition to Scribner’s, to which the publisher enthusiastically agreed …It was written by Louise Saunders, who was the wife of Maxwell Evarts Perkins of Scribner’s, an important editor in the 20th century and discoverer of authors Thomas Wolfe, Ernest Hemingway, F. Scott Fitzgerald and others. The couple were summer residents at Cornish and close friends of the Parrishes” (Maxfield Parrish and the American Imagists, Edison, New Jersey, 2004, p. 172). According to Coy Ludwig, “The artist’s enthusiasm was shared by the publisher, who requested sketches or more precise information upon which to base a cost analysis, as final approval could not be given until the costs were estimated. Parrish prepared an elaborate dummy or mock-up of the proposed publication, complete with watercolor sketches of the illustrations, and sent it to the publisher early in 1921 …The twenty-six paintings for The Knave of Heartswere executed within three years, and the book, a sumptuous production, was published on October 2, 1925… The volume, selling for ten dollars, was packaged in a telescoping box...

Medium: Oil on Board Signature: Signed Lower Right

Medium: Oil on Canvas Signature: Signed Lower Right

Medium: Oil on Board Signature: Signed Lower Left Framed 37.00" x 29.00" Saturday Evening Post Cover, August 21, 1915

Medium: 3D Framed Sculpture Signature: Signed Lower Left Contact for exact dimensions.

Medium: Oil on Board Signature: Signed Lower Right

Medium: Oil on Board Signature: Unsigned Summer Love by Robert Maguire

Medium: Oil on Canvas Signature: Signed Lower Right Ladies Home Journal, December 1939, pg 31. Illustration for Mary Hastings Bradley "Another Woman" "The kiss had been less casual...

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...

Signature: Signed Lower Right Cover Illustration: Saturday Evening Post, October 3, 1931

Medium: Oil on Canvas Signature: Signed Lower Left Saturday Evening Post Cover, February 25, 1939

Medium: Oil on Board Sight Size 28.00" x 24.00", Framed 34" x 30" Signature: Signed Upper Left Cover Illustration for the February 16, 1924 issue of The Country Gentleman...

Date: 1932 Medium: Oil on Canvas Sight Size 30.00" x 22.00", Framed 38.00" x 30.00" Signature: Signed Lower Right Saturday Evening Post Cover, October 1, 1932. Exhibitions: Christi...

Signature: Unsigned Contact for dimensions. Three Men Admiring Woman in Pink

Medium: Oil on Canvas Signature: Signed Lower Left

Medium: Oil on Canvas Signature: Signed Lower Right Collier's Magazine Cover, March 24, 1923

Medium: Oil on Canvas Signature: Signed Lower Right Sight Size 29.00" x 21.00", Framed 35.00" x 27.00" Collier's Magazine Cover, October 20, 1923

Medium: Oil on Board Signature: Unsigned "Defense on the sea begins on the shore." Study for a World War II propaganda poster for the "Industr...

Medium: Oil on Board Signature: Initialed 'RI' Lower Right "Defense in the air begins on the ground." Study for a World War II propaganda poster for the "Industry--The Arsenal of De...

Medium: Pastel on Canvas Calendar Illustration, Gerlach Barklow Calendar Company of Juniet, Illinois

Medium: Oil on Canvas Signature: Signed Lower Left Action Adventure East of Suez, Far East Adventure Stories Cover Illustration, March 20, 1931

Medium: Oil on Canvas Signature: Signed Lower Right

Medium: Oil on Board Signature: Signed Lower Left Cosmopolitan Magazine, 1940

Medium: Acrylic on Canvas Signature: Signed Lower Right

Medium: Oil on Canvas Signature: Signed Lower Right Provenance, The Executive V.P. office of the Pennsylvania Railroad

Contact for exact dimensions.

Medium: Oil on Board Signature: Signed Lower Right

Medium: Oil on Canvas Signature: Signed Lower Right fishermen battling high seas

Medium: Painting Signature: Unsigned August 1978 USRD Magazine "Below the Falls" (angler's Paradise)

Medium: Oil on Canvas Signature: Signed and Dated Lower Left Probable magazine illustration of a woman contemplating a bouquet and letter, for unknown publication. Inscribed, signe...

Medium: Unknown Signature: Unknown Likely an illustration for a Gerlach Barklow Calendar This oil on canvas painting was created by Warren B. Davis. Davis was known for painting pretty women. This painting of a pretty woman...

Medium: Oil on Canvas Signature: Signed Upper Left Story illustration for “The Stars Look Down” by A.J. Cronin, illustrated by Cornwell and W. Smithson Broadhead...

Medium: Oil on Canvas Signature: Signed Lower Left

Medium: Oil on Canvas Signature: Signed Upper Left "Dan Content 29" Story Illustration, Good Housekeeping Magazine, September 1929, pg 32-33 Biography: Daniel Content was born of Dutch parents and grew up in New York City. He attended New Eutriek High School in Brooklyn, NY. He studied under Dean Cornwell at the Pratt Institute as well as attending the Art Students League. Mr. Content worked as a freelance artist for about thirty years. He illustrated for such magazines as Colliers, Cosmopolitan, Readers Digest, and McCall's. In 1928 he illustrated the Windermere Series printing of Robin Hood. During World War II he traveled with the USO to Burma and India entertaining the service men with personal sketches. In the late 1950s he was an Art Director for Benton & Bowles in NYC. He also taught at the workshop School of Advertising Art. Mr. Content continued his sculpting and painting long after retirement. Some of his work can be found at Society of Illustrators in their permanent Museum. Exhibited: Masters of the Golden Age: Harvey Dunn and His Students South Dakota Art...