The Illustrated Gallery Figurative Paintings

Medium: Oil on Porcelain Dimensions: 20.00" x 16.00" Signature: Signed Lower Left

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...

A beautiful decorative screen featuring elegant women in a garden setting painted by the renowned American illustrator Howard Chandler Christy. Medium: Oil on Panel in Three Parts D...

Original Kuppenheimer Style Book Cover, Fall / Winter 1910-1911 edition For the Fall/Winter 1910-1911 Kuppenheimer Style Book, Francis Xavier Leyendecker crafted a captivating cov...

Cover of The Saturday Evening Post, November 26, 2955 Medium: Oil on board Dimensions: 33.50" x 26.25" Signed: Lower Left Stated on pg 3 of the Post magazine 'So it's off to Gran...

Cover of The Saturday Evening Post, October 27, 1906 Medium: Watercolor on board Dimensions: 17.00" x 12.00" Signed: Lower Right EXHIBITED: Norman Rockwell Museum, Stockbridge, Ma...

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

Medium: Oil on Canvas Dimensions: 30.00" x 40.00" An original illustration commissioned by the Thomas D. Murphy Company for their art calendars, published 1977. The dynamic imag...

Medium: Oil on Illustration Board Signature: Signed Lower Left

Original advertisement for the Treo Girdle Company, published in the October 1923 issue of McCall’s Magazine, page 93, and likely in other publications as well. This original adver...

Original study for the cover illustration of The Saturday Evening Post, published June 2, 1923 Medium: Oil on canvas Artwork Dimensions: 21.5 x 15.75 in. Framed Dimensions: 25 x 18...

Overall Dimensions, including artist frame: 54 x 80 in. Each Painted Panel: 33 x 24 in. Medium: Oil on Panel Signature: Each panel signed and dated Literature: Coy Ludwig, Maxfiel...

Cover of The Saturday Evening Post, September 30, 1950 Puppies for Sale, the cover illustration for the September 30, 1950, issue of The Saturday Evening Post, is a remarkable examp...

The Saturday Evening Post Magazine, July 23, 1921 (cover illustration). Sarah Stilwell-Weber is celebrated for her captivating illustrations of children. While her early work often ...

Sarah Stilwell Weber's original cover illustration for Alice Turner Curtis's A Little Maid of Virginia, from Turner’s popular “Little Maid” series of historical fiction. This freshly...

Medium: Oil on Canvas Signature: Signed Lower Right Dimensions: 33" x 28", Framed Dimensions: 36.5" x 31.5" Original advertisement for Packard Motor Company, published 1930. Though...

Medium: Oil on Canvas Signature: Signed Lower Left

Medium: Oil on Canvas Signature: Signed Lower Right

Medium: Oil on Canvas Signature: Signed Lower Left This work was featured on the cover of The Saturday Evening Post, June 11, 1949 The Post described the cover as follows: "Having found the setting he wanted for his circus-theme cover painting - on the Brotherton farm near Westport, Connecticut- Stevan Dohanos began rigging up a beam for the farm boy...

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

Maclean's Magazine Cover, September 15th, 1930

Medium: Acrylic on Board Dimensions: 21.25" x 27.00" Signature: Signed Lower Right The First Service Stations, 1902 Haynes-Apperson, Great Moments in Early American Motoring

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...

Date: 1921 Medium: Gouache on Board Dimensions: 20.75" x 17.00" Signature: Signed Lower Right (Monogram)

A humorous illustration of a grandmother reluctantly baiting a fishing hook with a worm in a rowboat as two young boys and a dog look on in amusement Artwork Dimensions: 30" x 24" ...

Medium: Oil on Canvas Signature: Signed Lower Left Size: 26.20" x 24.00" As noted in Vintage Illustration by Rick and Charlotte Martin, Hy Hintermeister was actually the pen name of the father-son team of John Henry Hintermeister and Henry Hintermeister. The two created calendar art and prints for nearly fifty years. The Martins write, "Like Norman Rockwell, the Hintermeisters excelled in situational or storytelling illustration." Calendar Illustration

Medium: Oil on Canvas Approximate Date: 1943 Dimensions: 35.00 x 22.00" Signature: Signed Lower Left American Junior Red Cross, Poster Illustration

Approximate Date: 1949 Medium: Mixed Media on Paper Dimensions: 18.50" x 22.00" Signature: Signed Lower Right Story Illustration

Dimensions: 10.00" x 22.00" A beautiful piece illustrating a couple playfully lounging outside on a gorgeous day. This piece has a spectacular use of color, and evokes a real sen...

Date: 1940 Medium: Oil on Canvas Signature: Signed Lower Right Dimensions: 26.00" x 26.00" Fertilizer advertisement, image of a man, girl, boy and dog. This illustration was...

Date: 1938 Medium: Oil on Canvas Signature: Signed Lower Left Dimensions: 27.00" x 25.00" Calendar Illustration

Medium: Acrylic on Board Dimensions: 11.50" x 33.75" Signature: Signed Lower Right

Medium: Oil on Canvas Signature: Signed Lower Left Sight Size 29.25" x 21.00", Framed 44.00" x 35.00" The Speed God Mercury, Collier's Magazine Cover, January 19, 1907 Leyendecker,...

Medium: Oil on Canvas Signature: Signed Lower Right

Medium: Oil on Board Cover Illustration for the New York Times Best Seller, The Dinner Party written by Howard Fast, published by Dell Books

Date: 1991 Medium: Acrylic on Canvas Dimensions: 22.00" x 28.00" Signature: Signed Lower Right Zebra Books Robert Berran has been a prolific romance and historical book cover illust...

Date: 1970 Medium: Oil on Canvas Dimensions: 25.00" x 22.00" Signature: Signed Lower Right Fawcett book cover. Robert Berran has been a prolific romance and historical book cover il...

Signature: Signed

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: 1926 Medium: Oil on Canvas Dimensions: 28.00" x 30.00" Framed Dimensions: 35⅛ x 39⅛ in. Signature: Signed Lower Left Magazine story illustration for "The Dead Ride Hard," for ...

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...

Date: 1987 Medium: Gouache on Paper Dimensions: 17.00" x 24.75" Framed Dimensions: 29.00" x 37.00" Framed under glass Signature: Signed Lower Right Published in Time Magazine, Novem...

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

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...

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...