burlesque

Working within the gritty and near-apocalyptic style of the ashcan school, Paul Raphael Meltsner captures here the shimmying decadence of movement that defined Depression-era burlesque, as well as the art form’s manner of dehumanizing both performer and patron. Though brazenly showcasing her human form, the dancer in the foreground hides her face from the canvas, and the audience recedes into the merest suggestion of faces represented merely as forms. This is a moving and masterful artwork, reminiscent of the works of Everett Shinn, a contemporary of Meltsner’s.

The Faceless Crowd

Artist: Paul Meltsner

This large, fresh to the market Henry Clive painting was created for the June 20th, 1948 cover of The American Weekly. The work finds the artist portraying Delilah as posed by Earl Carroll showgirl Beryl Wallace in seductive harem girl garb with barber’s shears prominently featured. Clive created a series of these artworks under the title “Enchantresses of the Ages” for Randolph Hearst’s American Weekly title where Clive enjoyed a three decade career as cover illustrator.

Enchantresses Of The Ages – Delilah

Artist: Henry Clive

A dazzling, large oil on canvas painting by frequent Saturday Evening Post cover artist Frederic Stanley. This wild prohibition-era, Charleston-dancing, Roaring Twenties flapper girl celebrates a Loew’s Theatre New York Policeman’s Ball Burlesque show. This is a wonderfully rendered artwork and a piece of New York history originally owned by Eve Green, the first wife of hotel magnate Harry Helmsley. Created for the cover of the program associated with this 1926 review, this important work showcases the 1920s jazz-age aesthetic of Manhattan’s bustling Vaudeville/Burlesque social scene.

The Policeman’s Ball, 1926

Artist: Frederic Stanley

A new to the market delightful gouache painting by the Chicago area artist and “Sundblom Shop” pin-up illustrator Harry Ekman. A stylish redheaded Burlesque performer with bright red lips in sexy opera gloves and an ostrich plumed fan. Work is nicely matted and framed and a fine example by this prolific yet hard to come by gifted pin-up artist and commercial illustrator.

The Ostrich Plume Girl

Artist: Harry Ekman

A dazzling art deco era original oil on canvas by noted New York Illustrator Walter Beach Humphrey. Humphrey did 3 covers for The Saturday Evening Post in 1923. He also was a frequent cover contributor for Colliers , Liberty and Argosy Magazines. He currently has works on display at the Norman Rockwell Museum in their Toast of the Town exhibit. The model was the artist’s wife Connie Regina. I am assuming this was painted as a decorative work as I cannot imagine a cover it could have been used for with the possible exception of a Burlesque or Follies Bergere type program cover.

Decorative Art Deco Nude

Artist: Walter Beach Humphrey

A macabre gouache rendering by Mahlon Blaine for an as of yet undetermined publication. A highly charged noir erotic scene depicting a Vaudeville era Burlesque performer in allegorical temptation scene. The devil, with serpent’s tongue is shown behind a nude dancer representing temptation. The two figures left and right are shown as stand ins for good and evil. Blaine was a unique talent, and counter culture avant-garde artist who worked outside of the confines of the mainstream.

Demonized Burlesque Dancer

Artist: Mahlon Blaine

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