Original Art from the Grand Age of American Illustration
This sassy secretary pin up pastel was created by Earl Moran for the Brown & Bigelow Calendar Company in about 1940. The work appeared as a mutoscope card with the title “A Sweet Job”. Office girl pin-up depictions were common during the pre-WWII lean economic years of the Great Depression, and this is an inspired example of that genre. A published mutoscope card of the image is included in the sale.
Artist: Earl Moran
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This early original pin-up pastel which Earl Moran created for the Brown & Bigelow Calendar Company of Saint Paul Mn is a variation of the 1942 mutoscope card “Easy To Take”. It is unclear whether Moran liked his naughty nurse themed offering so much that he created this similarly styled image soon after its publication, or if this was Moran’s original idea, and Brown & Bigelow asked for him to turn from the French Maid homecoming piece seen here into an example of the popular candy striper pin up which was published as a hotcha girl image.
Artist: Earl Moran
A radiant and pristine original pastel glamour pin-up illustration by Pearl Frush, created in 1944 and used in the 1945 Gerlach-Barklow calendar line under the title “Lovely as the Dawn”. This really shows to great affect what Frush was able to create with her almost photo-realist in technique pastel mastery. Housed in its handsome original presentation frame properly lined behind glass with a verso tag from Robberson Steel Co. of Oklahoma who was gifted this pastel in exchange for their advertising.
Artist: Pearl Frush
A moving and evocotive, free flowing oil rendering of a Spanish-themed nude senorita by Edmund Ward. Making his first illustrations for the Saturday Evening Post before he was age 20, Ward had a successful career as an illustrator of works that ranged in style and subject matter from dark tonalist in oils to humorous in wash and watercolor. For many years he illustrated the Alexander Botts and Assistant District Attorney Doowinkle stories for the Post.
Artist: Edmund Ward
An original published gouache illustration painting on board by the Connecticut painter and illustrator Robert Fawcett. The verso label states this was used in a Saturday Evening Post story titled the ‘Ghost Inn Society’. Signed in initials ‘RF’ and notated as Robert Fawcett on the Curtis Publishing Company verso affixed label. Outside the margins are centering spots for print usage. Image shows three women in discussion in a cluttered mid-century office done in a Norman Rockwell-like Americana illustrative style. Fine condition, well framed.
Artist: Robert Fawcett
A haunting and technically masterful painting on board by science fiction and pulp illustrator Hannes Bok, the first artist to win the prestigious Hugo Award. In 1954, Bok contributed this image for the back cover plate of Destiny – No.10, the early sci-fi fanzine published to coincide with the 12th World’s Science Fiction Convention in San Francisco. In that usage, the Tolkien-esque martian illustrates the the Richard E. Geis poem “Kill Me Earthmen.” This is titled on verso “Sentry” and is dated 1944 lower left.
Artist: Hannes Bok
An original pastel sketch of an aquatically themed pin-up girl in a sailors cap by the prolific American pin-up artist Earl Steffa Moran. This is not a finished calendar pastel it was either a preliminary sketch for his 1941 Brown & Bigelow Calendar “I’ll be Seeing You” or was a presentation drawing given as a gift to a fan, friend or family member. This is 100% guaranteed to be an original pastel by Earl Moran; it is signed in the lower left corner and there is a verso note in the artist’s hand as seen on the back of the frame. Beautifully matted and framed behind glass and ready to enjoy.
Artist: Earl Moran
An endearing, albeit slightly sinister, interior hearth and home Americana scene titled “Magic Spell” by noted calendar and pin-up artist Vaughan Bass. In this late 1940s work, the newly invented television takes center stage in a room of otherwise unsupervised children of all ages. All participants are transformed by the magic spell cast by the glowing console. The unpainted television screen surface would act as advertising placement in the finished calendar where text would be added to appear as though it was on the T.V.
Artist: Vaughan Bass
An inspired and outrageous, entirely hand painted and created paper-mache decorative mask by Hannes Bok, this captures an exuberant, outlandish Art Deco Egyptian – Orientalist style. One of our favorite illustrators, Bok was born Wayne Woodard and grew up in Duluth Minnesota. As an adult, the artist carved out a meager living as an illustrator and “part time astrologer”. What we love most about Bok is his steadfast idealism and refusal to conform to the whims and rigors of publishing trends. Not surprisingly Bok died penniless in New York City. As today’s collectors and scholars unearth the lost history of the pulps the star of Hannes Bok burns brighter than at any time during his long and prolific career.
Artist: Hannes Bok
Art Frahm pushes the boundaries of cheesecake pin-up in this scandalous and daring oil on canvas. Titled “Oooh, Is There a Man in the House?” this late 1940s Goes Litho calendar commissioned pin-up painting features a brunette in shockingly sheer negligee peeking around the corner in a brazen mix of apprehension and curiosity. This winsome brunette exhudes a level of erotic sophistication not always seen in the post-World War II pin up world.
Artist: Art Frahm
