Pennsylvania - Figurative Paintings

Original cover for Liberty magazine, published March 16, 1929. Lil and Sandy return home from their vacation, finding the late winter weather dreary after experiencing the warm suns...

“And Why Not?: Lil and Sandy Warm Up Their Imagination,” original cover for Liberty magazine, published April 7, 1928 As Mr. and Mrs. Morse leave for a date night at the local lodge, Lil and Sandy spend an evening in front of the fireplace at the Morse home. Sandy turns on sentimental music, gathers marshmallows and a toasting fork, and lights the logs in his father-in-law’s fireplace. The fireplace’s golden glow becomes a picture frame for the couple’s dreams of their future son. Sandy excitedly imagines their baby going to college and being the “head of every class, scholarships galore, and captain of basketball, hockey, crew, and football.” Little Sandy is also imagined to be a brave soldier and even serve as future president of the United States. “Dreams of their son…red embers on the hearth…Their fireplace fantasy!” (Liberty magazine, April 7, 1928) “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 May 30, 1931. The circus train arrived overnight and set up their great white tent, causing great excitement and anticipation to every...

Medium: Oil on Canvas Mounted to Plywood Signature: Unsigned

Date: 1944 Medium: Oil, Pastel, and Ink on Board Dimensions: 26.50" x 17.00" Signature: Unsigned original movie poster art design, for the 1944 film ...

Date: 1955 Medium: Acrylic on Canvas Dimensions: 20.75" x 14.25" Signature: Unsigned This illustration was published as the cover for House of Deceit by Rae Loomis, Ace S-124, 1955.

Medium: Oil and Pastel Painting on Canvas Dimensions: 14.00" x 22.00" Signature: Unsigned

Date: 1990 Medium: Oil on Board Dimensions: 19.00" x 11.50" Signature: Signed Middle Right Cover of 'Blood Sisters' written by Santini

Medium: Oil on Board Dimensions: 24.00" x 20.00" Signature: Signed Lower Right

Medium: Oil on Board Dimensions: 13.00" x 14.50" Signature: Signed Middle Left

Date: 1915 Medium: Oil on Canvas Dimensions: 40.00" x 28.00" Signature: Signed Lower Right Rip Van Winkle, Cream of Wheat advertisement, 1915 This p...

Date: 1976 Medium: Mixed Media on Board Dimensions: 38.25" x 28.50" Signature: Signed Lower Right This artwork was created as a promotional poster for the film, Bugsy Malone...

Date: 1936 Medium: Oil on Canvas Dimensions: 28.00" x 18.00" Cover for Liberty magazine, 11/20/1937. Restored and authenticated by artist.

Date: 1930 Medium: Oil on Canvas Dimensions: 21.00" x 28.00" Signature: Signed Lower Right MOTOR Magazine, The Automotive Business Paper September, 19...

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 off our Crackers", The Story of a Bad Boy...

Date: 1998 Medium: Acrylic on Board Dimensions: 30.00" x 21.00" Signature: Signed Lower Right This painting was published as the cover for Reforming Harriet by Eileen Putman, Signet...

Medium: Oil on Board Dimensions: 24.00" x 20.00" Signature: Signed Lower Right

Medium: Oil on Canvas Dimensions: 30.00" x 20.00" Signature: Signed Lower Right (Illegible) Illustration, image of seated man reading story to children.

Date: Late 1950s Medium: Gouache on Board Dimensions: 16.25" x 17.50" Signature: Unsigned Coricidin Cold Tablet Advertisement, Schering Corporation Advertisement

Date: 1988 Medium: Gouache and Acrylic on Paper Dimensions: 9.50" x 26.00" Signature: Signed Lower Right Image of performers in front of the word "Variety." TV Guide, April 16, 1988.

Date: 1915 Medium: Oil on Canvas Dimensions: 40.00" x 28.00" Cream of Wheat ad

Medium: Watercolor and Gouache Dimensions: 13.50" x 10.50" Signature: Signed Lower Left

Date: 1922 Medium: Oil on Canvas Dimensions: 25.00" x 25.00" Signature: Signed Lower Left "Tain't 'cause they don't want us, Nobbs. It's 'cause we're inel'gible" (Nobbs laid hi...

Medium: Gouache on Board Dimensions: 12.50" x 17.00" Signature: Signed Lower Right

Medium: Acrylic and Ink on Board Dimensions: 17.25" x 42.50"

Medium: Oil on Board Dimensions: 14.00" x 18.00" Signature: Signed Lower Left Biblical illustration

Medium: Oil on Board Dimensions: 18.00" x 14.00" Signature: Signed Lower Left Biblical illustration.

Medium: Oil on Canvas Dimensions: 36.00" x 26.00" Signature: Signed Lower Right Elderly printer firing apprentice after he dropped a drawer of type.

Date: 1921 Medium: Oil on Canvas Dimensions: 30.00" x 21.00" Signature: Signed Lower Right This illustration was published in Trail's End by George W. Ogden, Grosset & Dunlap, ...

Medium: Oil on Board Dimensions: 16.00" x 20.00" Signature: Signed Lower Right Book cover, Robert Berran has been a prolific romance and historical book cover illustrator sin...

Date: 1987 Medium: Oil on Canvas Dimensions: 22.00" x 16.00" Signature: Signed Lower Left Harlequin book cover Robert Berran has been a prolific romance and historical book co...

Medium: Watercolor on Board Dimensions: 19.00" x 15.00" Signature: Signed Lower Right American Weekly magazine

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

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...

Medium: Oil on Canvas Dimensions: 22.00" x 27.00" Signature: Signed Lower Right Image of a girl saying goodbye to her parents.

Original cover illustration for the book The Samson Strike by Tony Williamson, 1979. Released from prison after a wrongful conviction, former Marine Jimmy Samson discovers his life i...

Medium: Oil on Canvas Dimensions: 34.00" x 17.00" Signature: Unsigned Date: 1933 Paddy the Next Best Thing, movie poster illustration, c. 1933 This illustration was used on a movie poster for Paddy the Next Best Thing starring Warner Baxter and Janet Gaynor...

Medium: Oil on Canvas Dimensions: 36.00" x 18.00 The Graduates, Watch Advertisement

Medium: Oil on Canvas Dimensions: 29" x 20" Signature: Initialed Lower Left American Artist (20th Century)

Medium: Oil on Canvas Dimensions: 24.00" x 15.00" This illustration depicts a couple lying the grass immersed in romantic conversation.

Medium: Oil on Board Signature: Signed Lower Left Illustration for “Blood of my Blood – The Sacrifice”, published in Ladies Home Journal, April 1930, page 4.

Original cover for Liberty magazine, published February 7, 1931 As Jerry the iceman drives his big truck up the hill, splashing through the slushy puddles, bystanders continue to sh...

Approximate Date: 1930s Signature: Signed Lower Right Dimensions: 11.50" x 8.50" Medium: Oil on Board

Medium: Oil on Board Dimensions: 18.00" x 15.50" Signature: Signed Lower Right

Original paperback cover artwork for the book 'Best Friends' by Consuelo Baehr, Dell books, published 1981.

"Mini Mart" is a piece by Qiaira Riley made from acrylic paint and paper on found wood. This piece measures measures 24"h x 24"w unframed. "Inspired by the changing visual landscape of my hometown of Chicago, I created these works to explore how the gentrification of the south-side disrupts intimate, private memories associated with public spaces in the name of urban "renewal," even creating commodifiable opportunities to make community memories public and profitable, yet not sacred. I was attending a suburban private liberal arts college; many classmates often seemed obsessed with fantastical, cheap narratives about my community and the folks in it that deeply contrasted the memories of love and care I had grown up with. These works remember and reclaim these spaces while showing off my favorite public treasures, sights, and delicacies. There are also odes to the sweet parts of my adolescence that I hope urban development will not shift: running around the city with my father, who has worked for the Chicago Park District for over 25 years, my mom getting me a 6 piece from Harold's Chicken whenever I got a good report card, or stopping by Zberry, the city's first black-woman owned froyo shop to get a treat after school. I moved to Philadelphia that same year with just two suitcases, my art supplies storage...

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...

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

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...

Medium: Oil on Board Signature: Signed Lower Left Dimensions: 23 7/8" x 20.00" Cover of The Saturday Evening Post, June 21, 1958

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...

The Vigil-at-Arms, illustration for a poem by William Lucius Graves published in Scribner's Magazine, December 1904 Medium: Oil on Canvas Signature: Signed

Medium: Mixed Media on Board Signature: Signed on Verso Contact for dimensions. Maxfield Parrish created the present work as a playbill to commemorate a performance of Ivanhoe, whi...

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: 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 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 Canvas Signature: Signed Lower Left Saturday Evening Post Cover, July 21, 1956 This Falter cover was owned by Sarah Johansen, daughter of John Falter. She is the you...

Original cover for Liberty magazine, published February 28, 1931. After being struck by a car in a hit and run accident, Red Hancock is on his third day of recovery in the hospital....