Illustration & Advertising Art

At the turn of the 20th century, Industrial Revolution inventions brought technological advancements to printmaking that ushered in a Golden Age of American illustration. Publishers and calendar companies developed new techniques for producing multi-color offset lithographs that were fast, affordable, and flat-out glorious to view, blurring the distinction between fine art and "art for commerce." The best examples by the finest commercial illustrators were revered by the public, and today are beloved by collectors.

A fantastic original oil on board illustration by George Washington Hood exploring Swedish mythology, illustrating the story Silverwhite & Lillwacker in “The Swedish Fairy Book.” Caption reads “Then Silverwhite drew his sword with a great sweep, & rushed upon the sea troll.” From the Golden Age of Illustration this painting is a magical work that is beautifully framed and ready to enjoy, a 1921 First Edition copy of the published book with illustration featured on page 44 is included in the sale.

Silverwhite & Lillwacker

Artist: George Washington Hood

A large, Victorian era, original watercolor on illustration board by frequent LIFE Magazine illustrator, Charles Howard Johnson. This was most likely an interior, 2-page, color plate illustration for Truth Magazine. A stylized Belle Epoque, old world gondola scene. Nicely framed in a large, period, gesso wood frame.

Victorian Moon

Artist: Charles Howard Johnson

A large and impressive oil on canvas by beloved American illustrator Haddon Sundblom titled “Moonlight and Roses.” An inspired and luminous, traditional southern Gone With the Wind inspired scene that was likely a commission for Maxwell House Coffee. Included in the assembled cast of characters is a self portrait of the artist himself. Framed in an ornate period gilt frame with a Louisville Kentucky verso framing label.

Moonlight and Roses

Artist: Haddon Sundblom

A large and fantastic oil painting by New York Illustrator and artist Edmund F. Ward for an interior story in The Pictorial Review Nov. 1921; titled “The Girl Who Wanted a Fairy Prince”. A magical other-worldly scene that serves as the artists image selection in the Walt Reed penned “The Illustrator in America”. Additionally this painting has been exhibited at The Norman Rockwell Museum in 2002, and at The Society Of Illustrators in 1984. Nicely framed in a handsome hand crafted white gold museum quality frame.

The Girl Who Wanted a Fairy Prince

Artist: Edmund Ward

A well executed and conceived oil on illustration board created as cover art for an as of yet unidentified Romance paperback. Scene features a Gone With The Wind inspired Civil War era southern plantation interior scene with the requisite pretty maiden. Artwork is by the illustrator Ray Pease, and comes nicely framed and in a fine state of preservation.

A Romance Novel

Artist: Raymond Pease

This Raphael Kirchner Ziegfeld Follies pastel is a newly unearthed piece of New York City theater history, and a once in a generation find. Part of a suite of five illustrations which feature the erotic and luminous showgirls who starred in the legendary theater revue Ziegfeld Follies and made the name synonymous with images of the most beautiful, brazen and sensuous women in early 20th century New York. This portrait of Vivienne Segal hung in the lobby of the historic Century Theater until it shut its doors in 1936.

Vivienne Segal: Ziegfeld Follies Century Girl

Artist: Raphael Kirchner

A scarce and wonderful original gouache painting on illustration board by Anne Harriet Sefton a.k.a. Fish; this was the cover for The December 1921 Christmas edition of Vanity Fair Magazine. Work is in the humorous yet refined swinging youth style that came to personify the art deco jazz age. Painting is elaborately framed in a hand carved ornate antique wood frame and comes with a bound volume of 1921 Vanity Fair Magazines which includes the complete December 1921 volume.

Three Under The Mistletoe

Artist: Anne Harriet Fish

Titled at turns “Flower Girl” and “Message of Love,” this original oil on canvas by Edward D’Ancona was created for the John Frederick Calendar Company. Featuring an elegant and wholesome depiction of the good girl glamour art ideal, this marks a winsome departure by the prolific and infamous creator of the panties dropping, embarrassment style of cheesecake that signaled the wane of the era of “The Great American Pin-up.”

Message of Love

Artist: Edward D'Ancona

A delightful, vibrant watercolor work by Frances Tipton Hunter commissioned either for calendar use or as a cover for an American mainstream magazine. A wholesome Americana depiction titled “For A Good Boy,” this scene typifies the style Hunter was known for. A group of children marvel at the center boys new bicycle presented him on his birthday the card reads “For a Good Boy…” Piece is nicely matted and framed, signed lower right and addressed on the verso in the artist’s hand with her Philadelphia Pa. address.

For a Good Boy

Artist: Francis Tipton Hunter

A New Year’s themed cover painting by Leslie Thrasher for the January 9, 1932 edition of Liberty Magazine. The painting finds the serialized couple “Sandy and Lil” renewing their wedding vows in the midst of the Great Depression with a cherubic baby New Year with quill pen acting as the notary clerk. Image follows the tradition of January New Years Babies covers painted by Norman Rockwell and J. C. Lyendecker in The Saturday Evening Post.

New Years Baby, 1932

Artist: Leslie Thrasher

« Previous Page