The Illustrated Gallery Figurative Paintings

Medium: Oil on Canvas Signature: Unsigned The present work is a study for the cover of the March 18, 1922 cover of The Saturday Evening Post.

Image shows Kobe Bryant shooting a basketball for the LA Lakers Medium: Oil Painting Signature: Signed Lower Right

Medium: Oil on Canvas Signature: Signed Lower Right Liberty Magazine Cover, August 26th 1939

Medium: Oil on Canvas Signature: Signed Middle Right Original cover for TV Guide, published May 13, 1978 featuring the “Little House on the Prairie" televisi...

Medium: Oil on Canvas Signature: Signed Lower Left One of seven paintings in the Great Moments in U.S. Olympic History collection, Howe's artwork shows that achieving greatness begins with a dream. Here, a young boy dreams of running with the U.S. Olympic Track...

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...

Medium: Oil on Canvas with an Element of Collage Signature: Signed Lower Left Original cover illustration for The Saturday Evening Post, February 27th, 1954. The Post described, “...

Medium: Oil on Canvas Signature: Signed Lower Left Sight Size 36.00" x 34.00; Framed 43.75" x 41.75" "The Great Things of Life—Travel, Edison Mazda Lamps/General Electric advertisement" Signed and dated lower left: Dean / Cornwell / 21 Dean Cornwell's advertisements for companies like Coca-Cola, Palmolive Soap, and Philadelphia Blended Whiskey are as chock full of atmosphere and narrative drama as his magazine story illustrations. The present work graced one of eleven advertisements in ""The Great Things of Life"" series, commissioned by General Electric, which ran in monthly 1921 editions of The Saturday Evening Post. Each of these ads, designed by a different artist - among them, Arthur I. Keller, Elizabeth Shippen Green, Clarence F. Underwood, and Sarah Stillwell Weber -- suggested that the warmth of the Edison Mazda Lamp, or incandescent light bulb, went hand in hand with middle-class virtues and opportunities, including ""Reverence,"" ""Contentment,"" ""Gratitude,"" and ""Chums."" For ""Travel,"" Cornwell imaged a honeymooning couple disembarking from a car, about to enter a brightly illuminated inn: ""The Honeymoon Trail is a trail of Light -- Soft lights, orange blossoms, and solemn vows - A handful of confetti, laughing goodbyes and a porch--light smiling its happy farewell -- Bright headlights throwing their radiance over the road; and the lights of welcome in an old-fashioned inn -- So another couple sets forth on the honeymoon trail -- a trail that lingers in memory as long as life lasts, indelibly etched by the magic of light. We speak of life as a journey; have you ever stopped to think how much Edison Mazda Lamps contribute to the pleasure of the journey?"" (General Electric advertisement, The Saturday Evening Post, 1921). The present work is accompanied by three copies of the advertisement as featured in The Saturday Evening Post. " Dean Cornwell, born in 1862, was an American artist who was best known as a muralist and for his famous illustrations in national magazines including Harper's Bazaar, Redbook, and Cosmopolitan. He was born in Louisville, Kentucky and as a child observed his civil engineer father do industrial drawings, which led to his interest in art. Cornwell studied at the Art Institute of Chicago and built his career as a cartoonist for the Lousiville Herald and the Chicago Tribune. Cornwell illustrated the works of some of the most famous names in the literary world, including Edna Ferber, Ernest Hemingway, Pearl S. Buck, and Somerset Maugham. He also created murals for the 1939 World's Fair, Bethlehem Steel, and the General Motors Building in New York City. Cornwell's spectacular murals grace buildings...

Medium: Oil on Board Signature: Signed on Back

Medium: Oil on Canvas Signature: Signed Lower Right Painting of a pensive woman seated in a chair Hans Amis, born in Canton, China, in 1957, is a graduate of the Fine Art College i...

Medium: Oil on Canvas Signature: Signed Lower Right Sight Size 28.00" x 23.00", Framed 34.00" x 29.00" Cover of The Saturday Evening Post, February 2, 1935

Medium: Oil on Canvas Signature: Unsigned Sight Size 24.00" x 16.50;" Framed 31.75" x 24.75" "Universal Peace" by Hamilton Holt, August 1911. Cosmopolitan Magazine...

Medium: Oil on Canvas Signature: Signed Lower Right "A Successful Man," by Ella Wheeler Wilcox, from book Poems of Optimism (1919).

Medium: Oil on Canvas Signature: Unsigned A Gunfight Forthcoming

Medium: Oil Painting Signature: Unsigned Cover of 'April Gold' written by Grace Livingston Hill

Medium: Oil Painting Signature: Signed Lower Right Book Cover 'The Tryst' written by Grace Livingston Hill, 1992

Medium: Oil Painting Signature: Unknown Original Poster Illustration

Medium: Oil on Board Signature: Signed Lower Left Sight Size 34.50" x 28.00;" Framed 39.50" x 32.50" Eyes of Love: Bachelor Party, Pictorial Review, October 1921

Medium: Oil on Canvas Signature: Unsigned, stamped "The estate of/ EDMUND F. WARD" on the stretcher, with a partial composition on the reverse. Provenance: Through the artists estate

Medium: Gouache on Board Signature: Signed 'Darden' Lower Left Sight Size 17.25" x 34.25," Framed 21.125" x 38.125" llustration from a story in Black Sports Magazine, circa 1975. A dynamic image showing the Hall of Famer stealing a base from Chicago Cubs...

Medium: Painting Signature: Unsigned Contact for dimensions.

Medium: Oil on Paper Signature: Signed Lower Right

Original cover for Liberty magazine, published September 18, 1926. Lil receives an unexpected flower delivery at the Morse home, while a jealous Sandy glowers in alarm and disapprov...

Original cover for Liberty magazine, published January 22, 1927. Blissful in her recent engagement to Sandy, Lil spends an evening at home knitting him a pair of green zigzag sport ...

Original cover for Liberty magazine, published July 24, 1926 Sandy, Lil, and their friends gather on the front porch of the Morse home to sing. They began in the late afternoon, but...

Original cover for Liberty magazine, published January 26, 1929. After the passing of Sandy’s Great-Uncle Ulysses, Sandy and Lil walk around the cluttered brownstone mansion he left...

Medium: Acrylic on Board Signature: Signed Lower Right

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

Medium: Watercolor on Paper Signature: Signed Lower Right

Medium: Oil Painting Signature: Signed Lower Left Hide Rack

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: 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 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: 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 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...

Original pulp paperback cover for The Year of the Tempest by Peter Matthiessen, published by Bantam, New York, 1957 (Bantam #A1578). This was the first paperback edition of the novel...

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 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 Right