illustration art - heritage auctions · pdf filefrom the spheres of social satire and...

LoT VieWinGHeritage auction Galleries fine arts annex1518 Slocum St., Dallas, TX 75207Monday, June 2 – Thursday, June 5, 2008 9:00 PM – 5:00 PM CT, with Extended Viewing on Wednesday, June 3 until 8:00 PM CT

fax BiddinGDeadline, Wednesday, June 4, 2008, by 5:00 PM CTFax: 214-409-1425

LiVe TeLePHone BiddinGClient Service: 866-835-3243Must be arranged on or before Wednesday, June 4, 2008, by 5:00 PM CT

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LiVe auCTionHeritage auction Galleries fine arts annex 1518 Slocum St., Dallas, TX 75207

auCTion session

(Live floor, Phone, mail, fax, internet, Ha.com/Live)

Lots 66001-66364Thursday June 5, 2008 at 1:00 PM CT

auCTion resuLTsImmediately available at HA.com/Illustrationart

LoT seTTLemenT and PiCK-uPAvailable immediately following each session or Weekdays 9:00 AM – 5:00 PM CT, by appointment only.

auCTioneers TX Auctioneer licenses: Samuel Foose 11727; Robert Korver 13754; Scott Peterson 13256; Bob Merrill 13408; John Petty 13740; Mike Sadler 16129; Ed Griffith 16343; Andrea Voss 16406; Jacob Walker 16413; Charlie Mead 16418; Eric Thomas 16421; Douglas Nyholm 16431; Ashly Taylor 16436.

15022

Lots are sold at an approximate rate of 120 lots per hour, but it is not uncommon to sell 100 lots or 150 lots in any given hour. View lots online at HA.com/Illustrationart • This auction is subject to a 19.5% Buyer’s Premium.

BID LIVE during the Auction on Heritage Live HA.com/Live

THIS AUCTION IS PRESENTED AND CATALOGUED BY HERITAGE AUCTIONS, INC. Cataloged by: Don Mangus, and Mark Stokes

Edited by: Barry Sandoval, Jim Steele, and David ToshCatalog and Internet Imaging by: Maribel Cazares, Beatriz Faustino, Kevin Gaddis, Courts Griner, Lindsey Johnson,

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Martinez, Eric Mendez, Alex Mendoza, and Ricky TorresProduction and Design by: Katie Brown, Mary Hermann, and Debbie Rexing

Special Thanks To: Doug Ellis, Alma M. Gilbert, David Pardee, Larry Shell, Morris Weiss, and Christine B. Podmaniczky, Associate Curator, N. C. Wyeth Collections

© 2008 Heritage Auctions, Inc.

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Heritage Signature Auction #7000

Illustration ArtJune 5, 2008 | Dallas, Texas

®

3500 Maple Avenue, 17th Floor • Dallas, Texas 75219Phone 214-528-3500 • 800-872-6467

HA.com/Illustrationart

Steve IvyCEO

Co-Chairmanof the Board

Jim HalperinCo-Chairmanof the Board

Jim HalperinCo-Chairmanof the Board

Greg RohanPresident

Paul MinshullChief Operating

Officer

Ed JasterVice President

Heritage Auctions

Barry SandovalDirector of Operations,

Comics

Dear Fellow Collector,

It’s time for some summer fun, and we have just the event to kick o� the seasonal festivities: our tenth Illustration Art auction, showcasing some of the � nest works ever created for the far-reaching � eld of illustration.

Once again, we o� er an artful array of “genre gems” for the Illustration Art collector to pick and choose from:

From the rari� ed realm of classic illustration we spotlight masterworks by such hall-of-fame talents as Max� eld Parrish, Norman Rockwell, Dean Cornwell, Mead Schae� er, John Lagatta, LeRoy Neiman, Amos Sewell, Charles Naegel, Maynard Dixon, Harold Von Schmidt, Gustaf Tenggren, and their brethren.

From the mind-boggling galaxies of the science � ction and fantasy genres we present scenes to stir the imagination by such titanic talents as Chesley Bonestell, Boris Vallejo, Basil Gogos, Keith Parkinson, Larry Elmore, Ken Kelly, Clyde Caldwell, Don Ivan Punchatz, Rowena Morrill, Ed Emshwiller, Vincent DiFate, Chris Achilleos, and others.

From the o� eat, over-the-top world of testosterone-laden, he-man adventure come explosive thrillers rendered by Norman Saunders, Rudolph Belarski, Walter Baumho� er, Rudy Nappi, Frederick Blakeslee, George Gross, Earl Norem, John Duillo, Gil Cohen, and Will Hulsey -- what a line-up of pulp action all-stars!

From the spheres of social satire and laugh-out-loud cartoons, we o� er way-out works by Saul Steinberg, Dr. Seuss, Al Hirschfeld, James � urber, Arthur Szyk, Winsor McCay, Will Elder, Jack Davis, Gahan Wilson, Charles Addams, Peter Arno, and Rube Goldberg -- and even a couple of works by big-name � ne artists, Ad Reinhardt and Keith Haring.

From the entertainment palaces of the movie industry, “now showing” are such eye-popping extravaganzas as Reynold Brown’s eye-popping poster paintings from “� e Creature Walks Among Us,” “Land Unknown,” and “Monster on the Campus.” Be sure to revisit � urston’s world-famous sixties icon, the poster art for “One Million Years B. C.” On a timely note for movie fans, take a peek at the scene featuring a legendary movie hero icon -- Drew Struzan’s wonderful concept drawing for “Indiana Jones and the Last Crusade.”

Last but not least, what would the Illustration Art auction be without our traditional “beauty parade” of lovely ladies? Not half as glamorous, that’s for sure! So be sure to take a long, lingering look at the pinup pretties of Rolf Armstrong, Gil Elvgren, George Petty, Pal Fried, Peter Driben, Earl Moran, Zoe Mozert, Hajime Soryama, Olivia, E. M. Jackson, Bill Ward, K. O. Munson, and all the others.

As always, it’s our wish that our Illustration Art auctions present something to tempt each and every a� cionado -- now it’s up to you to select your favorites.

Happy collecting to all, and have a great summer.

Sincerely,

Don Mangus

Illustration Art, Auction #7000 | Thursday, June 5, 1:00 PM CT 5Visit HA.com/Illustrationart to view scalable images and bid online.

66001 51001

EDWIN AUSTIN ABBEY (American 1852 - 1911)The Mad Maydes Songe, 1881Gouache on board16 x 10 in.Signed lower leftThis piece was used as an illustration for a Robert Herrick story in Harper’s Monthly, June 1881, on page 24.

This wonderfully executed image is an early Abbey work. It’s a very intimately executed piece that was published fi rst as a magazine illustration and then as a book illustration.

Estimate: $800-$1200

66002 51002

SAMUEL N. ABBOT (American 1874 - 1953)Hotel advertising illustration preliminaryWatercolor on board6.5 x 10.5 in.Not signedFor 25 years Samuel Nelson Abbott was the primary artist for the style books of Hart, Schaffner, and Marx. He was so loyal to his employer that he turned down most other commercial work. This is a preliminary drawing for one of those advertisements.

Estimate: $300-$400

Live, Internet, and Mail Bid Auction #7000

Thursday, June 5, 2008, 1:00 PM CT | Dallas, Texas

Lots 66001-66364

A 19.5% Buyer's Premium ($9 minimum) Will Be Added To All Lots

Visit HA.com/Illustrationart to view full-color images and bid.

6 Illustration Art, Auction #7000 | Thursday, June 5, 1:00 PM CT A 19.5% Buyer’s Premium Applies to all lots

66003 8020

CHRIS ACHILLEOS (English b.1947)Armies of Death, original paperback cover painting, 1987Mixed-media on board28 x 19.5 in.Signed lower left with a monogramThis savage scene appeared on the cover of Ian Livingstone’s book, Armies of Death (Fighting Fantasy Series), Puffi n Books. 1988.

“The kingdom of Allansia is under threat. Agglax the evil Zombie-Lord is amassing an army of undead warriors in eastern Allansia, beyond the Forest of Fiends. You are Allansia’s only hope.”

A copy of the paperback book is included in this lot.

Estimate: $2000-$3000

66004 60010

CHARLES ADDAMS (American 1912 - 1988)New Yorker cartoonInk on paper10 x 16 in.Signed lower right

Estimate: $3000-$4000


66005 66004

ALMAZAN (Spanish 20th Century)El Caballo De Hierro (The Iron Horse)Gouache on board9 x 8 in.Signed lower rightThis piece may have been used on the cover of a Spanish language edition of the Zane Grey novel, The Iron Horse.

Estimate: $300-$500

66006 27003

AMERICAN ILLUSTRATOR (American 20th Century)American Flag in a Snow Storm, original illustrationOil on canvas24 x 18 in.Not signed


66007 25001

AMERICAN ILLUSTRATOR (20th Century)Cracker Jack Aladdin Lunch Box ArtMixed-media9 x 11 in.Not signedThis piece of production art was used to create a metal lunch box for Aladdin Industries. A separate colored pencil on vellum layout drawing is also included in this lot.

Estimate: $500-$800

66008 21016

AMERICAN ILLUSTRATOR (20th Century)Walt Disney’s Lady, 1954, group of three illustrationsGouache on paper6 x 12 in.Not signedA copy of the Little Golden Book is included in this lot.

Estimate: $500-$600


66009 20001

AMERICAN ILLUSTRATOR (20th Century)Walt Disney’s Jungle BookGouache on board16 x 25 in.Not signedThis piece is an original cover illustration used for Disney Magazine.

Estimate: $2000-$2500

66010 21007

AMERICAN ILLUSTRATOR (20th Century)Walt Disney’s The Mickey Mouse Club Mouseketeers Cut Out BookGouache on paper19 x 14 in.Not signedThis group lot features four framed Mouseketeer paper doll page illustrations. The frames range in overall size from 28” x 21” to 33” x 26”.

A copy of the book is also included in this lot.

Estimate: $1000-$2000

66011 21009

AMERICAN ILLUSTRATOR (20th Century)Walt Disney’s Three Little PigsGouache on board18.5 x 14.5 in.Not signedThis piece was probably done for a Whitman publication.

Estimate: $600-$800


66012 21012

AMERICAN ILLUSTRATOR (20th Century)Walt Disney’s Alice in Wonderland, 1951Acrylic on board13 x 10 in.Not signed A copy of the Big Golden Book is included in this lot.

Estimate: $300-$500

66013 21017

AMERICAN ILLUSTRATOR (20th Century)Walt Disney’s Donald Duck and Santa Claus, 1953, Group of 6 illustrationsGouache on paper7 x 6 in.Not signed

A copy of the Little Golden Book is included in this lot.

Estimate: $500-$600

66014 21022

AMERICAN ILLUSTRATOR (20th Century)Walt Disney’s Cinderella Puppet Show Golden Toy Book, 1949Gouache on paper11 x 8 in.Not signedThis lot includes fi ve scene illustrations (plus their vellum overlays with instructions to the printer), and 15 paper puppet illustrations.

A copy of the Golden Toy Book is included in this lot.

Estimate: $500-$800


66015 21028

AMERICAN ILLUSTRATOR (20th Century)Walt Disney’s Donald Duck in America on ParadeAcrylic on board8 x 7 in.Not signedA copy of the Little Golden Book is included in this lot.

Estimate: $500-$600

66016 21029

AMERICAN ILLUSTRATOR (20th Century)Walt Disney’s Big Big Coloring Book, 1954Gouache on board19 x 14 in.Not signedA copy of the coloring book is included in this lot.

Estimate: $500-$600

66017 72004

AMERICAN ILLUSTRATOR (20th Century)Mickey Mouse, ConductorAcrylic on board14 x 13.5 in.Not signedA note on the back of this piece notes, “offi cial Disney Music label logo art.”

Estimate: $300-$500

66018 72007

AMERICAN ILLUSTRATOR (20th Century)Walt Disney’s Lady and the TrampMixed-media on board25 x 25 in.Not signedThis illustration was used on a picture disc.

“The most delightful characters in a dog’s age! One of the Greatest Love Stories Ever Told. She’s from the leash and license set... he’s footloose and collar free!”

A vellum overlay used to produce the disc it included in this lot.

Estimate: $500-$600


66019 72008

AMERICAN ILLUSTRATOR (20th Century)Mickey Mouse Colorforms Set artMixed-media on board15 x 19 in.Not signedThis lot features two fun-fi lled Disney-themed Mickey Mouse Club illustrations, plus their production art overlays.

A copy of the printed Colorforms Set is also included in this lot.

Estimate: $1000-$1200

66020 72009

AMERICAN ILLUSTRATOR (20th Century)Walt Disney’s The Jungle BookMixed-media on board22 x 19 in.Not signedThis merry illustration, done for a home video release of Walt Disney’s The Jungle Book, stars Baloo and Mowgli.

“The Jungle is jumpin’”

Estimate: $300-$500

66021 72010

AMERICAN ILLUSTRATOR (20th Century)Peter Pan’s Tinkerbell, Captain Hook, Mr. Smee, Princess Tigerlily, and the CrocodileMixed-media on board22 x 22 in.Not signedThis piece was used on a picture disc.

Estimate: $500-$600


66022 21002

AMERICAN ILLUSTRATOR (20th Century)Tom and Jerry’s Merry Christmas, 1954Gouache on board12.5 x 9.5 in.Not signedThis lot features six illustrations from the book.

A copy of the Little Golden Book is included in this lot.


66023 21004

AMERICAN ILLUSTRATOR (20th Century)Walter Lantz’s Woody Woodpecker and His Talent Show, record set illustrations, 1949Ink and crayon on coquille paper9 x 12 in.Not signedThis large group lot includes eight original drawings, 16 color guides, 18 color proofs, and a copy of the Capitol Records 78 record book set.

Estimate: $500-$800

66024 72003

AMERICAN ILLUSTRATOR (20th Century)Sonic the HedgehogAcrylic on board17 x 11.5 in.Not signed

Estimate: $300-$500


66025 72005

AMERICAN ILLUSTRATOR (20th Century)Berenstain Bears calendar art, 1990Acrylic on board13 x 13 in.Not signed

Estimate: $300-$500

66026 73002

AMERICAN ILLUSTRATOR (20th Century)PirateOil on canvas19 x 15 in.Not signed

Estimate: $300-$500

66027 21010

AMERICAN ILLUSTRATOR (20th Century)Captain Crossbones, 1958Gouache on board25 x 18.5 in.Not signedThis swashbuckling scene appeared on the cover of Donald Barr Chidsey’s novel, Captain Crossbones, Ace Books, 1958 .

“The pirate from Philadelphia and the wench from Gallow’s End — a swashbuckling novel of the Spanish Main.”

A copy of the paperback is included in this lot.



66028 21008

AMERICAN ILLUSTRATOR (20th Century)She Made Her Bed, original paperback cover illustration, 1960Gouache on board18 x 12 in.Not signedThis sultry redhead was painted for the cover of Evans McKnight’s novel, She Made Her Bed, Beacon Books #B 324, 1960. A cropped version of this portrait also appeared on the cover of Herb Roberts’ novel, These Women, Beacon Books #640F, 1963.

“To get on top, Eve would offer anything. A novel of unconventional love in the off-beat world of radio and TV.”

Copies of both of the paperbacks are included in this lot.

Estimate: $500-$800

66029 21030

AMERICAN ILLUSTRATOR (20th Century)Love Thief, original paperback cover illustration, 1962Gouache on board22 x 14 in.Not signedA steamy scene, spotlighting a passionate embrace, served as the cover of Orrie Hitt’s novel, Love Thief, Beacon Books #B462F, 1962.

”You’ve wondered about this kind of woman — the pig-farm girl who became a glamorous actress be having a special talent — for using men — and sex! The shattering novel of a nymphomaniac.”


Estimate: $1000-$1500

66030 72002

AMERICAN ILLUSTRATOR (20th Century)Flash Gordon Serial, collector’s plate artAcrylic on board11 x 11 in.Signed lower left with a monographDashing Buster Crabbe is spotlighted in this handsome scene based on the Flash Gordon serial from the thirties.

“The fi rst great serial spectacle...from Alex Raymond’s famous newspaper strip.”

Estimate: $300-$500


66031 72012

AMERICAN ILLUSTRATOR (20th Century)Lady Frankenstein, 1971Mixed-media on board21 x 16 in.Not signedThis piece was created to promote the American release of the Italian fi lm, La Figlia di Frankenstein.

“Only the monster she made could satisfy her strange desires.”

Estimate: $300-$500

66032 44001

AMERICAN ILLUSTRATOR (20th Century)Demonic Toys, 1992Mixed-media on paper31 x 19 in.Not signedThis chilling scene was created for the 1992 fi lm, “Demonic Toys,” by the artists at Full Moon Studios.

Estimate: $1000-$1500

66033 21011

FREDERICK BLAKESLEE (American 1898 - 1973)Untitled, original aviation pulp or paperback cover illustration, most likely for Dare-Devil AcesOil on canvas27 x 20 in.Not signed

Estimate: $500-$800

66034 49009

AMERICAN ILLUSTRATOR (20th Century)Crack Detective, January 1943Oil on canvas29 x 20 in.Not signedA copy of the pulp magazine is included in this lot.

Estimate: $4000-$5000


66035 76001

Attributed to NORMAN SAUNDERS (American 1906 - 1988)Party Game, men’s magazine illustrationAcrylic on board17 x 18.5 in.Not signed

Estimate: $1200-$1500

66036 49002

AMERICAN ILLUSTRATOR (20th Century)Thrill Me Again, 1951Gouache on board18 x 14 in.Not signedThis smoldering scene was used for the cover of Albert L. Quandt’s novel, Thrill Me Again, Venus Books #125, 1951.

“Cherry — Sweetheart of the slums. Vivid...packed with passion and raging romance.”



66037 55001

AMERICAN ILLUSTRATOR (20th Century)Western pulp coverOil on board17 x 11 in.Not signedThis piece has a brass plaque which reads, “Presented to Joe Heneley by Roscoe Fawcett.”

Estimate: $2000-$3000


66038 82002

AMERICAN ILLUSTRATOR (20th Century)Western coverMixed-media on board21 x 13 in.Initialed lower right corner

Estimate: $300-$500

66039 82003

AMERICAN ILLUSTRATOR (20th Century)Western Saloon SceneAcrylic on board19 x 12 in.Not signed

Estimate: $300-$500


66040 47001

ROLF ARMSTRONG (American 1889 - 1960)Song of IndiaOil on canvas80 x 60 in.Signed lower rightRolf Armstrong’s glowing portraits of gorgeous fi lm stars and vivacious girls-next-door soon established him one of the best paid commercial artists in America. Often dubbed the “Father of Pinup Art,” his very fi rst calendar pinup, created in 1919, set a new standard for the depiction of feminine charm for over forty years. Armstrong’s art is imbued with grace, vibrancy, and life, and as a result, his work is experiencing a renaissance of interest world-wide. Armstrong originals are attracting an ever-growing number of glamour art collectors.

This sublime scene fi rst appeared as a calendar print, and this spectacular painting was recently reproduced on page 209 of Pin-Up Dreams: The Glamour Art of Rolf Armstrong by Janet Dobson and Michael Wooldridge, Watson Guptill Publications, 2001.

Estimate: $40000-$50000


66041 56001

ROLF ARMSTRONG (American 1889 - 1960)Beach Beauty, pinup illustrationPastel on board39.5 x 27.5 in.Signed lower right

Estimate: $8000-$12000


66042 26001

ROLF ARMSTRONG (American 20th Century)Original pinup illustrationWatercolor on paper15 x 11 in.Signed upper right


66043 60009

PETER ARNO (American 1904 - 1968)Dive BomberMixed-media on paper17.5 x 12 in.Signed upper right

Estimate: $1000-$1500

66044 15004

MIKE BAIR (American 20th Century)Blonde in Outer SpaceMixed-media on board30 x 20 in.Not signed



66045 75003

MECLELLAND BARCLAY (American 1889 - 1943)Magazine illustrationOil on canvas32.5 x 35 in.Signed lower right

Estimate: $4000-$5000

66046 74001

HARRY BARTON (American b.1896)Gothic Romance paperback coverGouache on board24 x 18 in.Signed lower left

Estimate: $500-$800

66047 66016

WALTER M. BAUMHOFER (American 1904 - 1987)Swamp Chase, 1954Oil on canvas18 x 26 in.Signed lower rightThis illustration for Frank Harvey’s story, Swamp Chase, appeared in Argosy, in the July 1954 issue.

Estimate: $1000-$1200


66048 8010

ED BEARD JR. (American 20th Century)Conan the Cimmerian trading card artAcrylic on canvas29 x 23.5 in.Signed lower rightThis sword and sorcery scene appeared on a Legends on Lore InQuest Fantasy Card. InQuest magazine created a series of fantasy and alternate art cards for Magic, often by introducing other famous fantasy settings into the world of Magic. These cards were illustrated by established Magic artists, such as Ed Beard, Jr.

Estimate: $1000-$1500

66049 51003

ARTHUR BECHER (American 1877 - 1960)Harlem IntrigueOil on canvas, mounted on board17 x 30 in.Signed and dated lower rightArthur Becher studied with Howard Pyle from 1902-1904 and like Pyle, he began his career as a lithographer. He worked at Scribner’s, McCall’s, and Ladies’ Home Journal and was a founding member of the NY Guild of Illustrators.

Estimate: $1500-$1800

66050 60017

MAURICE BECKER (American 1889 - 1975)Nazi Brutality, 1942Mixed-media on paper17.5 x 14 in.Signed lower leftMaurice Becker, painter, political cartoonist and social reformer, studied with “Ash Can School” artist Robert Henri in 1908, and showed in the famous 1913 Armory Show in New York City when he was only

twenty-four years old. A pacifi st belonging to the American Union Against Militarism, Becker was sentenced to twenty-fi ve years at hard labor when the United States entered the World War I and Becker was drafted, but refused to fi ght. He was released in 1919 when Woodrow Wilson declared an amnesty for conscientious objectors.

Estimate: $500-$800

66051 81001

MARYJANE BEGIN (American 20th Century)Little Mouse’s Painting, original book back cover illustrationOil on board3.5 x 4.75 in.Signed lower right

Estimate: $1000-$1500


66052 45001

RUDOLPH BELARSKI (American 1900 - 1983)The Man With the Magic Face, original pulp magazine cover illustration, Argosy Weekly, June 4, 1938Oil on canvas34 x 24 in.Signed lower leftAdolf Hitler, Tojo Hideki, and Benito Mussolini share the cover honors with Mr. Mystery in this blazing cover scene by famed pulp artist, Rudolph Belarski. ”Even the Dictators must bow down to Mr, Mystery and his torch that fi res the world.”

A tall ship at sea is painted on the backside of this canvas

A copy of three Argosy pulp magazines, dated June 4, 11, and 18, 1938, with the complete 3-part story that this painting illustrates, are included in this lot.

Estimate: $5000-$6000


66053 21031

JAMES BENTLEY (American 20th Century)No Nice Girl, 1959Gouache on board12 x 10 in.Not signedThis vixen appeared on the cover of Gale Wilhelm’s novel, No Nice Girl, Pyramid Books #G440, 1959.


Estimate: $500-$800

66054 14002

SIMON BISLEY (English b.1962)Fallen Angel, 1997Mixed media on paper21.5 x 15 in.Signed lower rightThis illustration appeared as the cover of the July 1998 issue of Heavy Metal magazine and Heavy Metal also made a statue based on this tableau. The painting was also published on page 13 of The Art of Simon Bisley.

A Heavy Metal favorite, Simon Bisley’s highly detailed style brings super mutants, brawny heroes, and bad-news babes to life with his wicked imagination and no-holds barred approach to illustration.

Estimate: $6000-$8000


66055 30001

CHESLEY K. BONESTELL (American 1888 - 1986)Moon Straight Wall and Birt Crater, original book illustration, 1960Oil on board16 x 19 in.Signed lower leftThis scene was painted for Man and the Moon, plate XIX, The World Publishing Company, Cleveland, 1961. A note written on the back of the art reads, “This is the original - after getting it back from engraver (printer) C. altered it slightly and cut bottom off - engraver cut off the side in printing.”

Estimate: $4000-$6000

66056 80002

NELL BRINKLEY (American 1886 - 1944)UntitledInk on paper13.5 x 16 in.Signed lower rightThis lot comes with a February 1941 auction description from Hammer Galleries, 682 Fifth Avenue, New York, stating that this drawing originally hailed from a group of 24 Nell Brinkley pen and ink drawings from the William Randolph Hearst Collection of art and furnishings and the International Studio Art Corporation.

Estimate: $1000-$1500


66057 8012

GERALD BROM (American b.1965)The Darkness Before the Dawn, original Advanced Dungeons and Dragons module and paperback book cover, 1990Mixed-media on board18 x 22 in.Signed lower rightA copy of the paperback book and also an Advanced Dungeons and Dragons module, Arena of Thyatis, are included in this lot.

Estimate: $2000-$3000

66058 29001

GERALD BROM (American b.1965)Valley of Dust and Fire, 1992Acrylic on board28.5 x 21.5 in.Signed lower rightThis scene appeared as the cover of the Dark Sun: Valley of Dust and Fire game module, Advanced Dungeons & Dragons, TSR Inc., 1992.

Estimate: $2000-$3000


66059 66001

REYNOLD BROWN (American 1917 - 1991)Monster on the Campus, 1959Gouache on paper26 x 20 in.Signed in pencil, lower right“Campus terror! Co-ed beauty captive of man-monster! Students victims of terror-beast!”

This poster was prominently featured in the award-winning 1994 PBS documentary, “The Man Who Drew Bug-Eyed Monsters.”

Headlines screamed, “Co-ed beauty captive of man Monster.” This low budget fi fties horror movie tells the story of a college professor who discovers the remains of a prehistoric fi sh. When blood is accidentally spilled in the remains it turns into a mad Neanderthal killer. It was directed by Jack Arnold (“Creature from the Black Lagoon”) and co-starred Joanna Moore.

The copy for this movie poster painting was created on an acetate overlay, and is not glued to the art board.

Please note that this lot contains only the original art, but not the poster (which is shown to in order to document the illustration’s fi nal, printed use). From the Fabulous Horror Collection of Thomas C. Rainone

Estimate: $25000-$30000


66060 66003

REYNOLD BROWN (American 1917 - 1991)The Creature Walks Among Us, 1955Gouache on paper22 x 19 in.Signed in pencil, lower right”Terror stalks the city’s streets! The Creature walks among us.”

The legendary Reynold Brown was one of the most acclaimed movie poster artists of the fi fties and early sixties, and his work colorfully encapsulated the nation’s postwar social climate.

Even if Universal didn’t create the monster movie genre in the thirties, they certainly perfected it. The genre died down for a few years, but the studio revived the concept successfully in 1954 when they released “The Creature from the Black Lagoon,” a landmark picture that helped to spur the “monster revival” of the fi fties. The Gill Man’s debut was such a sensation that it spawned two sequels, “Revenge of the Creature,” and “The Creature Walks Among Us,” in which scientist Dr. William Barton ( played by Jeff Morrow) attempts to “humanize” the Creature through surgery, with predictable results. All three fi lms featured the spectacular Creature makeup, designed by Bud Westmore for the original fi lm, which has become one of the most recognizable monsters in media history. All pieces associated with the Gill Man are highly desirable, and this painting must be considered among the greatest prizes of them all.

The type on this design is attached to the art board.

A copy of the window card movie poster is included in this lot. From the Fabulous Horror Collection of Thomas C. Rainone.

Estimate: $45000-$50000


66061 66008

REYNOLD BROWN (American 1917 - 1991)The Land Unknown, 1957Gouache on board20 x 20 in.Not signed”Thrills — a paradise of hidden terrors.”

Reynold Brown painted scores of eerily compelling movie posters for such horror fi lms as Attack of the 50 Foot Woman, This Island Earth, I Was a Teenage Werewolf, Tarantula, The Creature from the Black Lagoon, and Monster on the Campus. This piece was a prominent showpiece and featured at the Academy of Arts and Science’s 1997 museum exhibition for Reynold Brown.

Before Steven Spielberg’s phenomenal box offi ce hit, “Jurassic Park,” Universal made this excellent low budget movie about a hidden prehistoric land inhabited by dinosaurs. Among the creatures roaming this land were pterodactyls, plesiosaurus, man-eating plants, and the ferocious T-Rex. Some of the scenes in the fi lm were borrowed from “The Secret Land,” the 1948 documentary on the Richard E. Byrd Antarctic Expedition.

The copy for this movie poster painting was created on an acetate overlay, and is not glued to the art board.

Please note that this lot contains only the original art, but not the poster (which is shown to in order to document the illustration’s fi nal, printed use). From the Fabulous Horror Collection of Thomas C. Rainone.

Estimate: $8000-$10000


66062 24001

PAUL BURNS (American 20th Century)Original Judge preliminary cover illustrationMixed-media on paper11 x 8 in.Signed lower rightThis lot also includes a handwritten three-page letter from Paul Burns regarding the illustration

Estimate: $500-$600

66063 8009

CLYDE CALDWELL (American 20th Century)The Oath and the MeasureAcrylic on board18 x 15.5 in.Signed with a monograph lower leftThis scene appeared on Michael Williams’ book, The Oath and the Measure (Dragonlance: The Meetings Sextet, Vol. 4), Wizards of the Coast, 1992.

“Although Raistlin and Caramon urge him not to go, Sturm Brightblade attends an annual Solamnic ceremony that is interrupted by — a stranger, taunting challenge. Clues from the past. Death. Once he accepts a mysterious gauntlet, young Sturm must make a dangerous journey with some curious friends, rescue a fair if querulous maid, defeat a traitor knight, and learn the secret fate of his long-lost father. He must also learn the meaning of honor.”

Estimate: $2000-$3000

66064 75009

THOMAS CANTY (American 20th Century)Sleeping WomanPencil on vellum14 x 17.5 in.Not signedThomas Canty is an award-winning illustrator and book designer in the fi eld of fantasy literature, often credited with inspiring a “New Romantic” movement in illustration, infl uenced by such earlier artists as Alphonse Mucha, Gustav Klimt, and the Pre-Raphaelites.


66065 21023

MICHELLE CARTLIDGE (English 20th Century)Magic Mouse, preliminary illustrations, 1995Ink and watercolor on paper5 x 5 in.Signed lower rightThese three preliminary illustrations were done for Michelle Cartlidge’s children’s book, Magic Mouse, Campbell Books, 1996.

A copy of the book is included in this lot.

Estimate: $300-$500


66066 64001

SAM CHERRY (American 20th Century)Hearing Footsteps, Detective Tales cover, 1940sOil on stretched canvas18 x 14 in.Not signed

Estimate: $2000-$3000

66067 18002

JOE CIARDIELLO (American 20th Century)The BeatlesInk and watercolor on board17 x 13 in.Signed lower rightJoe Ciardiello has done illustrations for American Express, The Atlantic Monthly, Capitol Records, ESPN, Jazziz, New York Magazine, The New Yorker, Playboy, Rolling Stone, Sports Illustrated, Time, and The Wall Street Journal.

Estimate: $1200-$1800


66068 66007

GIL COHEN (American 20th Century)Men magazine cover, December 1967Gouache on board24 x 18 in.Signed lower right“Top priority mission for a G. !. rescue ace — free the women of love captive stalag.”

A bikini top was added to the girl’s fi gure, the Nazi’s cigar was replaced with a palette and paint brush, and fl owered body painting was added to the girl’s torso for an altered, published version.

Estimate: $2500-$3000

66069 53001

JOSEPH CLEMENT COLL (American 1881-1921)Swimming HorseInk on paper5 x 3 in.Not signedThis lively spot illustration by Joseph Clement Coll was printed in a pre-1915 issue of the Associated Sunday Magazine.

Estimate: $300-$500

66070 75012

DEAN CORNWELL (American 1892 - 1960)Still LifeOil on board21 x 17.5 in.Signed lower left

Estimate: $2000-$3000


66071 49007

DEAN CORNWELL (American 1892 - 1960)Couple in a Rowboat, circa 1915-1920Oil on canvas20 x 34 in.Signed lower rightThis early Dean Cornwell example probably hails from around the years 1915-1920.

Estimate: $9000-$12000

66072 51004

DEAN CORNWELL (American 1892 - 1960)A Finished Story, 1924Oil on canvas24 x 43 in.Initialed and dated upper rightThis illustration appeared in Ben Ames Williams’ story, A Finished Story, in Good Housekeeping, October 1924, on pages 14 and 15.

As one of the best known of Harvey Dunn’s students, Dean Cornwell had a fabulous career as an illustrator. His ability to utilize the white space in his vignettes to create a full spectrum of values made him very popular for multi-picture serials.

Estimate: $3000-$3500


66073 61003

DEAN CORNWELL (American 1892 - 1960)Historical Costume StudyPencil and red conte crayon on vellum24 x 18 in.Not signed


66074 60013

WILLIAM HENRY COTTON (American 1880 - 1958)The Axis PartnersPastel on board12.5 x 9 in.Signed upper leftWilliam Cotton painted portraits, wrote two Broadway plays, and in his day was one of the best known caricaturists in the country. He studied at the Cowles Art School in Boston and at the Académie Julian in Paris. A portrait painter, he founded the National Association of Portrait Painters. He worked for Vanity Fair from 1931 to 1936 as an illustrator. Eleanor Roosevelt deemed his drawing of her for Vanity Fair, “her favorite character picture.” From 1932 on, he was one of the illustrators of the “profi le” department of the New Yorker magazine.

Estimate: $2000-$3000

66075 58003

EDWARD D’ANCONA (American 20th Century)Limbering Up, original pinup illustrationOil on canvas28 x 22 in.Signed lower leftThis painting was reproduced as fi gure 222 on page 152 of The Great American Pin -Up by Charles G. Martignette and Louis Meisel.

This widely reproduced image also appeared on a matchbook cover, and one is included in this lot.

Estimate: $1500-$2000


66076 21015

ELEANOR DART (American 20th Century)A Little Cowboy’s Christmas, 1951Mixed-media on paper5 x 7 in.Not signedThis lot features 15 story illustrations for Marcia Martin’s children’s book, A Little Cowboy Christmas, Wonder Books, 1951.

A copy of the Wonder Book is included in this lot.

Estimate: $500-$600

66077 15007

JACK DAVIS (American b.1926)Convoy, TV Show Poster, 1965Ink on paper14 x 15 in.Signed lower rightThis piece was used as a poster for the 1965 NBC TV series, Convoy.

Estimate: $1000-$1500

66078 32003

ROBERT DAY (American 20th Century)Original magazine cartoon illustrationInk on paper16 x 11 in.Signed lower rightCaption: “...and please let the Brooklyn Dodgers move out to Los Angeles.”

Estimate: $500-$600

66079 86001

ELDON DEDINI (American 1921 - 2006)Playboy cartoonMixed-media on board9 x 13 in.Signed lower rightCaption: “It’s a naive Honshu sake without any real pizzazz, but you’ll be amused at its transcendentalism.”



66080 86002

ELDON DEDINI (American 1921 - 2006)Morning CoffeeMixed-media on paper13.5 x 16.5 in.Signed lower right

Estimate: $400-$600

66081 86003

ELDON DEDINI (American 1921 - 2006)This Space for Rent, 1995Mixed-media on paper17.5 x 12.5 in.Signed lower right

Estimate: $400-$600

66082 86004

ELDON DEDINI (American 1921 - 2006)Cartoon drawingPencil on paper9 x 8.5 in.Signed lower rightCaption: “I think it was Balzac who said, it is easier to be a lover than a husband for the simple reason that it is more diffi cult to be witty every day than to say pretty things from time to time.”

Estimate: $300-$500


66083 18001

VINCENT DI FATE (American b.1945)Can You Hear a Shout in Space?, original book illustration, 1999Acrylic on board19 x 14 in.Signed lower rightThis scene was painted for Scholastic Q & A: Can You Hear A Shout In Space? (Scholastic Question & Answer) by Melvin Berger and Gilda Berger, Scholastic Reference, 2000.

Estimate: $2500-$5000

66084 66014

MAYNARD DIXON (American 1875 - 1946)Rogue Elephant, 1909Mixed-media on paper18 x 13 in.Signed and dated lower rightThis illustration appeared as a story illustration in an issue of Hampton’s Magazine.

Estimate: $8000-$10000


66085 15001

MORRIS SCOTT DOLLENS (American 20th Century)Binary Stars in a Cluster, 1974Oil on board20 x 16 in.Signed lower right

Estimate: $300-$500

66086 75015

GUSTAVE DORE (French 1833 - 1888)Artaxerxes Granting Liberty to the JewsOil on board13 x 10 in.Signed lower right

Estimate: $5000-$6000

66087 75001

GRACE G. DRAYTON (American 1877 - 1936)Baby Bears, The Mishap, 1914Ink on paper7.5 x 9.5 in.Signed lower leftThis lot features two charming Grace G. Drayton illustrations from the children’s book, The Baby Bears and Their Wishing Rings, Century Company, 1914.



66088 40001

PETER DRIBEN (American 1903 - 1975)Beauty Parade cover, 1947Oil on board30 x 21 in.Signed lower left

Estimate: $6000-$8000

66089 28001

DICK DUERRSTEIN (American 20th Century)Playboy Jazz FestivalAcrylic on canvas40 x 30 in.Signed lower rightDick Duerrstein’s work has been displayed in the Walt Disney Studio corporate offi ces, Burbank, California, the Library of Congress, Washington, D.C., and St. Jude’s Research Hospital in Memphis, Tennessee. His work was featured in “The Art of Mickey Mouse” exhibition.

Estimate: $500-$800


66090 21005

JOHN DUILLO (American b.1928)Original men’s magazine cover illustrationGouache on board21 x 16 in.Signed lower right

Estimate: $2000-$3000

66091 61001

WALTER JACK DUNCAN (American 1881 - 1941)Magazine story illustrationMixed-media on paper9 x 10 in.Signed lower center

Estimate: $100-$200


66092 32015

NORM EASTMAN (American b.1931)The Lost Moon Flower, 1989Acrylic on board34 x 26 in.Signed lower rightThis painting was used as the cover scene for Bethany Campbell’s novel, The Lost Moon Flower, Harlequin Books, 1989.

“Whitewater—I want you.” There. She’d uttered the words she’d sworn Aaron Whitewater would never have the satisfaction of hearing from her—and she braced herself for a dose of his infuriating sense of humor. But once he registered her desperation, Whitewater did what few men in Josie’s life had ever been able to do. He made her feel..protected. She knew unshakably that if anyone could help her comb the Kali Yins off Hawaii and rescue the priceless panda that had been stolen from her care, this man could. So she set aside any danger to her heart.”

Norm Eastman, infamous for his lurid men’s magazine covers, takes a softer approach for the cover scene of the 3000th Harlequin Romance title.

A signed copy of the book from the author’s fi les is included in this lot.

Estimate: $400-$600

66093 80001

WILL ELDER (American b.1921)Little Annie Fanny, World Peace, circa late 1960s, early 1970sGouache on board20 x 14.5 in.Not signed“Make Love, Not War!”

Playboy magazine’s Little Annie Fanny campaigns for peace in the world, in her own inimitable manner.

Estimate: $3000-$5000


66094 8008

LARRY ELMORE (American b.1948)Blood Stone LandsAcrylic on board20 x 30 in.Signed lower left-centerOriginal cover illustration for Advanced Dungeons & Dragons: Forgotten Realms, The Savage Frontier by Paul Jaquays, TSR, Inc., 1988.

A copy of the magazine is included in this lot.

Estimate: $3000-$5000

66095 8014

LARRY ELMORE (American b.1948)Tales of Robin Hood, 1988Acrylic on board29 x 18 in.Signed lower leftThis piece appeared on the cover of Clayton Emory’s novel, The Tales of Robin Hood, Baen Fantasy, 1988.

“A new telling of the legend of Sherwood Forest. Danger gathers like storm clouds in Sherwood Forest. A demon-boar ravages the countryside. Black-robed monks ride the king’s road. Witches weave spells in the night. And thugs rape, pillage, and murder in Robin’s name. Attacked on all sides, by sorcery and by sword, Robin Hood and His Merry Men and Women battle for their forest home. Too late they discover the trap laid against them, and Sherwood Forest explodes as enemies descend with fi re, magic, and treachery.”A copy of the book is included in this lot.

Estimate: $2000-$3000


66096 6001

GIL ELVGREN (American 1914 - 1980)On Her Toes, 1954Oil on canvas30 x 24 in.Signed lower leftThis painting was reproduced as figures 303 and 304 in Gil Elvgren All His Glamorous American Pin-Ups by Charles G. Martignette and Louis K. Meisel.

The consignor’s mother overpainted the figure’s upper thigh and plunging neckline for use as a Pangburn’s Western Style Chocolates advertisement. The painting has since been restored and the overpainting has been removed.

Estimate: $30000-$40000


66097 40002

GIL ELVGREN (American 1914 - 1980)Fascination, 1952Oil on canvas30 x 24 in.Signed right-centerThis painting was reproduced as fi gure 360 in Gil Elvgren All His Glamorous American Pin-Ups by Charles G. Martignette and Louis K. Meisel.The sultry Fascination must rank among the most sensuous canvases that Gil Elvgren ever painted. His mastery of the depiction of such delightful visual textures as fi rm fl esh, lustrous hair, fresh fl owers, transparent gauze, and iridescent pearls is remarkable.

Estimate: $30000-$35000


66098 40003

GIL ELVGREN (American 1914 - 1980)Stepping Out, 1953Oil on canvas30 x 24 in.Signed lower center-rightThis painting was reproduced as fi gure 389 in Gil Elvgren All His Glamorous American Pin-Ups by Charles G. Martignette and Louis K. Meisel.

Estimate: $30000-$40000


66099 43001

GIL ELVGREN (American 1914 - 1980)Skirting the Issue, 1952Oil on canvas30 x 24 in.Signed lower rightThis painting was reproduced as figure 324 in Gil Elvgren All His Glamorous American Pin-Ups by Charles G. Martignette and Louis K. Meisel.

An elegant, sophisticated beauty makes this scandalous turn of events delightfully outrageous. As was often the case with his Brown & Bigelow scenes from the fifties, Gil Elvgren added a cute canine companion to serve an innocent bystander to this slapstick situation. This is just the sort of good-natured pinup humor that earned Gil Elvgren the fitting nickname of “the Norman Rockwell of cheesecake.”

Estimate: $30000-$40000


66100 49004

ED EMSHWILLER (EMSH) (American 1925 - 1990)Ellery Queen magazine cover, 1956Gouache on board19 x 14 in.Signed lower rightThis scene was used on the cover of Ellery Queen magazine, January 1956, and reused fi fty years later, on the January 2006 issue.

Copies of both magazines are included in this lot.

Estimate: $3500-$4500

66101 9001

ED EMSHWILLER (EMSH) (American 1925 - 1990)Original cover illustration for a science fi ction digest magazine, circa 1950sOil on board19.5 x 14.5 in.Signed lower left

Estimate: $2500-$3000


66102 74002

MORT ENGLE (American 20th Century)The Evil of Time, 1967Acrylic on board15 x 11 in.Not signedThis illustration appeared on the cover of Evelyn Berckman’s novel, The Evil of Time, Pyramid Books #X-1726, 1967.

“Monstrous horror menaced her in the castle of the dragon’s grave.”


Estimate: $500-$600

66103 21018

ENGLISH ILLUSTRATOR (20th Century)Scarecrow JimWatercolor on paper10.5 x 7.5 in.Not signed

Estimate: $500-$600

66104 32001

ALDEN ERICKSON (American 20th Century)Original magazine cartoon illustration, Group of 3Ink on paperEach 11 x 8 in.Each signedCaptions: ”Doc, I’m beginning to fi nd my wife attractive. Does that mean I’m going through a change of life?”; and ”You mean you’re nobody?”

Estimate: $500-$600


66105 10001

JACK FARAGASSO (American b.1929)Moon Orbit, original illustrationAcrylic on board16 x 11.5 in.Signed lower right

Estimate: $500-$600

66106 27001

JOE FERRARA (American 20th Century)Original Winchester advertising illustrations, Group of 3, circa 1970sGouache on paper6.5 x 8 in.; 6 x 6 in.; 6.5 x 7 in.; 13 x 13 in.Not signed

Estimate: $300-$500

66107 27002

JOE FERRARA (American 20th Century)Original Winchester advertising illustration, circa 1970sGouache on paper7.5 x 23 in.Not signed

Estimate: $300-$500

66108 66015

KATHERINE FIELD (American 1908 - 1951)Thrown Rider, 1940Ink on paper6 x 9 in.Signed lower right

Estimate: $600-$800


66109 8013

FRED FIELDS (American b.1965)DragonLance: Dragon’s Rest, original Advanced Dungeons and Dragons module cover, 1990Mixed-media on board28 x 22 in.Signed lower rightA copy of the Advanced Dungeons and Dragons module, DragonLance: Dragon’s Rest, is included in this lot.

Estimate: $1000-$2000

66110 29003

FRED FIELDS (American b.1965)The Illithiad, original Advanced Dungeons and Dragons module cover, 1998Acrylic on board19 x 16 in.Signed lower right

Estimate: $1000-$1200

66111 29004

FRED FIELDS (American b.1965)Forgotten Realms: Tangled Webs, original paperback book cover illustration, 1998Mixed-media on board20 x 16 in.Signed lower right

Estimate: $1000-$1200

66112 15002

HENRY STEWART FLEMING (American b.1863)Original illustrationOil on canvas30 x 25 in.Signed lower right

Estimate: $500-$800


66113 51005

FRED FREEMAN (American 1906 - 1988)Nuclear Miracles, 1959Gouache on board12 x 6 in.Not signedThis piece was used as an illustration for the story Nuclear Miracles in This Week, February 1, 1959.

Fred Freeman is considered to be one of the “Grand Old Men” of science fi ction illustration. He created illustrations of space exploration long before the men went to the moon. He had a strong belief in the positive use of nuclear energy.

Estimate: $500-$600

66114 39001

PAL FRIED (American/Hungarian 1893 - 1976)Ballerina Tying ShoeOil on canvas34 x 30 in.Signed upper left

Estimate: $2000-$3000

66115 39002

PAL FRIED (American/Hungarian 1893 - 1976)Ester DeakPastel on paper32 x 24 in.Signed lower left

Estimate: $2000-$3000

66116 39003

PAL FRIED (American/Hungarian 1893 - 1976)Four BallerinasOil on canvas30 x 24 in.Signed lower left

Estimate: $2000-$3000


66117 51006

ARTHUR BURDETT FROST (American 1851 - 1928)Watering the Deer, 1883Gouache on paper12 x 16 in.Signed and dated lower leftA. B. Frost is considered to be one of the premiere illustrators of American Sportsman. He is known for his paintings of hunting, fi shing and birding. He also created many humorous expressions of rural life including the characters from the Uncle Remus Tales.

Estimate: $6000-$8000

66118 51007

ARTHUR FULLER (American 1889 - 1966)People in a Parlor, 1921Oil on canvas26 x 20 in.Signed and dated upper rightArthur Fuller was an excellent general illustrator and found work at all of the major magazines.

Estimate: $2500-$3000


66119 38001

THEODOR SEUSS GEISEL (Dr. Seuss) (American 1904 - 1991)Freight-Car-Hawk, editorial cartoon, circa 1920sInk on paper13.5 x 10 in.Signed lower rightCaption: “Git your gun pardner! It’s that freight-car-hawk from the East.”

Estimate: $6000-$8000


66120 14001

Attributed to THEODOR SEUSS GEISEL (Dr. Seuss) (American 1904 - 1991) Decadence Is Its Own RewardMixed-media on paper11.5 x 14.5 in.Signed lower rightThere is an additional pencil sketch on the back of the piece.

This lot also includes a Certifi cate of Authenticity from Dr. Charles D. Cohen, DMD, The Whole Seuss, dated 10-31-07.

Dr. Charles D. Cohen, DMD is the author of The Seuss, the Whole Seuss and Nothing But The Seuss (Random House, 2004), How The Grinch Stole Christmas: A 50th Anniversary Retrospective (Random House, 2007), and Yertle the Turtle and Other Stories: A 50th Anniversary Retrospective (Random House, 2008).

Estimate: $8000-$10000

66121 81002

ROY GERRARD (English 1935 - 1997)Daredevils, original children’s book illustrationInk and watercolor on paper20 x 10.5 in.Signed lower right

Estimate: $1000-$1500

66122 61002

LOUIS M. GLACKENS (American 1866 - 1933)Trading with the Indians, circa 1901Pencil and ink on paper17 x 21 in.Signed lower leftThis piece appeared in an issue of Puck, circa 1901.

Estimate: $400-$500


66123 66013

BASIL GOGOS (American 20th Century)Famous Monsters of Filmland #83 cover, 1971Acrylic on board23 x 19 in.Not signed“Eyes that crawl with madness! Hands that creep like cobras!” Basil Gogos paid tribute to the 1942 fi lm, The Mummy’s Tomb, with this chilling cover scene for Famous Monsters of Filmland #83. From the Fabulous Horror Collection of Thomas C. Rainone.

Estimate: $15000-$18000

66124 32008

RUBE GOLDBERG (American 1883 - 1970)$100,000 Reward For the Man Who Didn’t Call the Turn, original comic strip illustrationInk on paper8.5 x 15.5 in.Signed lower right

Estimate: $500-$600


66125 62001

PHILIP R. GOODWIN (American 1882 - 1935)Untitled, 1904Oil on canvas30 x 20 in.Signed and dated lower right

Estimate: $30000-$40000


66126 74003

DARRELL GREENE (American 20th Century)The Crying Sisters, 1963Acrylic on board18.5 x 14 in.Not signedThis piece was used as the cover to Mabel Seeley’s novel, The Crying Sisters, Pyramid X-1298, 1963.

“A haunting tale of a young girl, a strange man, and a perilous deception.”

Estimate: $300-$500

66127 No lot.

66128 60016

WILLIAM GROPPER (American 1897 - 1977)Bonds Become BombsMixed-media on paper14.5 x 11.5 in.Signed lower center


66129 34008

GEORGE GROSS (American 20th Century)Original men’s magazine cover illustrationGouache on board24.5 x 19 in.Not signed

Estimate: $1000-$2000

66130 21001

GEORGE GROSS (American 20th Century)The Silent Place, original paperback cover illustration, 1969Gouache on board14.5 x 8 in.Not signedThis stormy scene was created for the cover of Rachel Cosgrove Payes’ gothic romance novel, The Silent Place, Ace Books, 1969.


Estimate: $1500-$2000


66131 21020

GEORGE GROSS (American 20th Century)Passion’s Harvest, 1952Oil on board16 x 11 in.Signed lower rightThis torrid scene served as the cover for Florence Stonebraker’s novel, Passion’s Harvest, Cameo Books, 1952.



66132 21024

GEORGE GROSS (American 20th Century)The Games She Played, 1966Gouache on board22 x 15 in.Signed center-rightThis torrid piece appeared as the cover of Alex Carter’s novel, The Games She Played, Softcover Library #B925X, 1966

Estimate: $500-$800

66133 34001

GEORGE GROSS (American 20th Century)The Avenger paperback coverAcrylic on board16 x 10 in.Signed lower right“In the roaring heart of the crucible, steel is made. In the raging fl ame of personal tragedy men are sometimes forged into something more than human. So it was with Dick Benson. He had been a man. After the dread loss infl icted on him by an inhuman crime ring, he became a machine of vengeance dedicated to the extermination of all other crime rings — The Avenger.”

Estimate: $1000-$2000

66134 34002

GEORGE GROSS (American 20th Century)Executioner coverGouache on board14.5 x 10 in.Signed lower rightThe Executioner shoots it out in on the big city rooftops in this thrilling George Gross scene, featuring Don Pendleton’s famous, hard-boiled character.

Estimate: $1000-$2000


66135 34003

GEORGE GROSS (American 20th Century)Paperback coverGouache on board17.5 x 10.5 in.Signed lower left

Estimate: $1000-$2000

66136 34004

GEORGE GROSS (American 20th Century)The Girl in Red, men’s magazine illustrationGouache on board13 x 10 in.Signed lower right

Estimate: $1000-$2000

66137 34005

GEORGE GROSS (American 20th Century)Executioner #9, Vegas Vendetta, 1971Gouache on board16 x 9.5 in.Signed lower rightThis piece appeared as the cover of Don Pendleton’s novel, Executioner #9, Vegas Vendetta, Pinnacle Books, 1971.

Although this piece has “Nick Carter” written at the bottom of the art, this is actually an Executioner cover.

“Mack Bolan, the one-man war machine, bets his life against the glittering the Mafi a forces of glittering Las Vegas — and there’s no business like show business once the Executioner gets into the act.”

Estimate: $1000-$2000


66138 34006

GEORGE GROSS (American 20th Century)Nick Carter, The Living DeathOil on board13 x 8 in.Signed lower rightThis scene was painted for the cover of the Nick Carter novel, The Living Death.

“A hideous destruction-machine is stealing the minds of the world’s most brilliant minds.”

Estimate: $1000-$2000

66139 34007

GEORGE GROSS (American 20th Century)Original men’s magazine cover illustrationGouache on board22 x 14 in.Signed lower right

Estimate: $1000-$2000


66140 35001

GEORGE GROSS (American 20th Century)Western pulp coverOil on canvas32 x 27 in.Signed lower right

Estimate: $3000-$4000

66141 72001

KEITH HARING (American 1958 - 1990)Signed sketch on a card, 1988Ink on paper3.5 x 5.5 in.Signed


66142 8023

LOU HARRISON III (American 20th Century)Savage Sword of Conan #186 cover, 1991Acrylic on board24 x 18 in.Signed lower right

Estimate: $1000-$2000


66143 8024

LOU HARRISON III (American 20th Century)Savage Sword of Conan #184, 1991, original magazine cover illustration Acrylic on board 24 x 18 in. Signed lower right

Estimate: $3000-$4000

66144 50001

HOWARD L. HASTINGS (American 20th Century)MountieOil on board28 x 20 in.Signed lower right

Estimate: $500-$800

66145 21026

VIC HERMAN (American 1919 - 1999)Collier’s and New York Times Book Review Cartoon, Group of 2, 1944-48Ink on paper10 x 9 in.Each signedThis lot features two magazine gag cartoons by Vic Herman.

Caption #1: ”Is it really the straight goods that you became a General because you always washed behind your ears, went to bed without a fuss, and ate oatmeal for breakfast?”

Caption #2: ”He just loves tragedies.”

Estimate: $300-$500


66146 77001

GREG HILDEBRANDT (American b.1939) and TIM HILDEBRANDT (American 1939 - 2006) UntitledAcrylic on board22 x 29 in.Signed lower rightThis eerie scene was published in The Art of the Brothers Hildebrandt.

Estimate: $3000-$4000

66147 68011

ALBERT HIRSCHFELD (American 1903 - 2003)Woody, 1984Etching10 x 9.5 in.Signed lower rightEdition: APXIII/XXPublished by George J. Goodstadt Inc.A Certifi cate of Authenticity comes with this lot.

Estimate: $2500-$3000


66148 68013

ALBERT HIRSCHFELD (American 1903 - 2003)Woody Allen, Silver EditionLithograph print21 x 16 in.Signed lower rightEdition: 65/75Published by Margo Feiden Galleries Ltd.A Certifi cate of Authenticity comes with this lot.


66149 68014

ALBERT HIRSCHFELD (American 1903 - 2003)Keaton and Allen, 1983Lithograph print14.5 x 11 in.Signed lower rightEdition: 185/200Published by George J. Goodstadt Inc.A Certifi cate of Authenticity comes with this lot.

Estimate: $2500-$3000

66150 68029

ALBERT HIRSCHFELD (American 1903 - 2003)Dressing Room, 1994Lithograph print11 x 13 in.Signed lower rightEdition: 261/350Published by Warner Bros. Studio Store Gallery.A Certifi cate of Authenticity comes with this lot.



66151 68001

ALBERT HIRSCHFELD (American 1903 - 2003)Original drawing of Billy CrystalInk on paper, original drawing21 x 17.5 in.Signed lower rightAl Hirschfeld captures the comedic wit of Billy Crystal with this original pen and ink illustration.

Estimate: $10000-$12000

66152 68034

ALBERT HIRSCHFELD (American 1903 - 2003)Clint Eastwood, 1996Lithograph print19 x 15 in.Signed lower rightEdition: 137/160Published by George J. Goodstadt Inc.A Certifi cate of Authenticity comes with this lot.


66153 32013

ALBERT HIRSCHFELD (American 1903 - 2003)Albert Einstein, Genius at Ease, 1994Intaglio etching print18 x 12 in.Signed in pencil lower right; Hirschfeld, and numbered in pencil lower left: 141/175Published by George J. Goodstadt Inc., Publishers

This lot is accompanied by a Certifi cate of Authenticity from George J. Goodstadt Inc.



66154 68015

ALBERT HIRSCHFELD (American 1903 - 2003)Albert EinsteinEtching18 x 12.5 in.Signed lower rightEdition: 31/175Published by George J. Goodstadt Inc.A Certifi cate of Authenticity comes with this lot.


66155 68017

ALBERT HIRSCHFELD (American 1903 - 2003)Jane FondaEtching10 x 8.5 in.Signed lower rightEdition: 94/150Published by George J. Goodstadt Inc.

A Certifi cate of Authenticity comes with this lot.


66156 68036

ALBERT HIRSCHFELD (American 1903 - 2003)Jerry Garcia, 2000Lithograph print20.5 x 17 in.Signed lower rightEdition: 91/160Published by George J. Goodstadt Inc.A Certifi cate of Authenticity comes with this lot.


66157 68028

ALBERT HIRSCHFELD (American 1903 - 2003)Cary GrantEtching12.5 x 9.5 in.Signed lower rightEdition: 85/160Published by George J. Goodstadt Inc.A Certifi cate of Authenticity comes with this lot.



66158 68016

ALBERT HIRSCHFELD (American 1903 - 2003)Self Portrait at 90Lithograph print24 x 18 in.Signed lower rightEdition: 33/190Published by Margo Feiden Galleries Ltd.A Certifi cate of Authenticity comes with this lot.


66159 68021

ALBERT HIRSCHFELD (American 1903 - 2003)Hirschfeld Barber Chair, 1992Lithograph print19 x 22.5 in.Signed lower rightEdition: AP XXIX/XXXIIPublished by George J. Goodstadt Inc.A Certifi cate of Authenticity comes with this lot.


66160 32012

ALBERT HIRSCHFELD (American 1903 - 2003)Classic ComediansIntaglio etching print18.5 x 9.5 in.Edition: 24/200Signed in pencil lower right; Hirschfeld, and numbered in pencil lower left: 24/200

Estimate: $3000-$3500


66161 68027

ALBERT HIRSCHFELD (American 1903 - 2003)Madonna Blond Ambition TourLithograph print25.5 x 17.5 in.Signed lower rightEdition: 13/175Published by Margo Feiden Galleries Ltd.A Certifi cate of Authenticity comes with this lot.


66162 32005

ALBERT HIRSCHFELD (American 1903 - 2003)The Marx Brothers, “A Night at The Opera,” Silver EditionLithograph print22 x 17 in.Edition: 55/75Signed in pencil lower right; Hirschfeld, and numbered in pencil lower left: 55/75

Estimate: $2200-$3000

66163 68019

ALBERT HIRSCHFELD (American 1903 - 2003)Marilyn Monroe With ParasolIntaglio etching print21.5 x 14 in.Signed in pencil lower right; Hirschfeld, and numbered in pencil lower left: Printer’s Proof



66164 68012

ALBERT HIRSCHFELD (American 1903 - 2003)Zero MostelEtching22 x 17 in.Signed lower rightEdition: 17/150Published by Margo Feiden Galleries Ltd.A Certifi cate of Authenticity comes with this lot.


66165 68022

ALBERT HIRSCHFELD (American 1903 - 2003)Zero Mostel, 1975Etching11 x 11 in.Signed lower rightEdition: AP VII/XVPublished by George J. Goodstadt Inc.A Certifi cate of Authenticity comes with this lot.

Estimate: $6000-$8000

66166 68025

ALBERT HIRSCHFELD (American 1903 - 2003)Elvis, 1993Lithograph print15.5 x 12.5 in.Signed lower rightEdition: 78/150Published by George J. Goodstadt Inc.A Certifi cate of Authenticity comes with this lot.

Estimate: $1000-$1200

66167 68018

ALBERT HIRSCHFELD (American 1903 - 2003)Seinfeld FinaleLithograph18.5 x 23 in.Signed lower rightEdition: 30/100Published by Margo Feiden Galleries Ltd.A Certifi cate of Authenticity comes with this lot.



66168 68006

ALBERT HIRSCHFELD (American 1903 - 2003)Frank Sinatra in “Pal Joey”Lithograph print23.5 x 18 in.Signed lower rightEdition: 10/150Published by Margo Feiden Galleries Ltd.A Certifi cate of Authenticity comes with this lot.


66169 68032

ALBERT HIRSCHFELD (American 1903 - 2003)Bruce SpringsteenLithograph print23 x 16 in.Signed lower rightEdition: Printer’s ProofPublished by Margo Feiden Galleries Ltd.


66170 68023

ALBERT HIRSCHFELD (American 1903 - 2003)Untitled (Dancer)Lithograph print25 x 19.5 in.Signed lower rightEdition: 22/120


66171 68035

ALBERT HIRSCHFELD (American 1903 - 2003)Cultural Calendarlithograph print16 x 20 in.Signed lower rightEdition: 182/250Published by George J. Goodstadt Inc.A Certifi cate of Authenticity comes with this lot.



66172 68005

ALBERT HIRSCHFELD (American 1903 - 2003)Casablanca, 1995Lithograph print23 x 20 in.Signed lower rightEdition: 70/250Published by Margo Feiden Galleries Ltd.A Certifi cate of Authenticity comes with this lot.

Estimate: $1000-$1200

66173 68010

ALBERT HIRSCHFELD (American 1903 - 2003)ChicagoLithograph print21 x 20 in.Signed lower rightEdition: 34/100Published by Margo Feiden Galleries Ltd.A Certifi cate of Authenticity comes with this lot.


66174 68030

ALBERT HIRSCHFELD (American 1903 - 2003)Cosby and Family, 1996Lithograph print14.5 x 12 in.Signed lower rightEdition: 4/160Published by George J. Goodstadt Inc.A Certifi cate of Authenticity comes with this lot.


66175 68009

ALBERT HIRSCHFELD (American 1903 - 2003)ForumLithograph print19 x 23 in.Signed lower rightEdition: 13/100Published by Margo Feiden Galleries Ltd.A Certifi cate of Authenticity comes with this lot.



66176 68003

ALBERT HIRSCHFELD (American 1903 - 2003)The Godfathers, 2000Lithograph print19 x 25 in.Signed lower rightEdition: 59/175Published by George J. Goodstadt Inc.A Certifi cate of Authenticity comes with this lot.


66177 68002

ALBERT HIRSCHFELD (American 1903 - 2003)Les Miserables, 1990Lithograph print21 x 29 in.Signed lower rightEdition: AP IX/XPublished by George J. Goodstadt Inc.A Certifi cate of Authenticity comes with this lot.


66178 68031

ALBERT HIRSCHFELD (American 1903 - 2003)Party of Five, 2000Lithograph print26 x 20 in.Signed lower rightEdition: AP 14/15Published by George J. Goodstadt Inc.A Certifi cate of Authenticity comes with this lot.



66179 68020

ALBERT HIRSCHFELD (American 1903 - 2003)PassionLithograph print19 x 15 in.Signed lower rightEdition: 9/100Published by Margo Feiden Galleries Ltd.


66180 68026

ALBERT HIRSCHFELD (American 1903 - 2003)Peter Pan, 1998Lithograph print22 x 27 in.Signed lower right in pencilEdition: 44/100Published by George J. Goodstadt Inc.A Certifi cate of Authenticity comes with this lot.

Estimate: $500-$800

66181 68004

ALBERT HIRSCHFELD (American 1903 - 2003)Phantom of the Opera, 1989Lithograph print19 x 26 in.Signed lower rightEdition: APVIII/XVIIIPublished by George J. Goodstadt Inc.A Certifi cate of Authenticity comes with this lot.


66182 68007

ALBERT HIRSCHFELD (American 1903 - 2003)RentLithograph print19 x 24 in.Signed lower rightEdition: 33/100Published by Margo Feiden Galleries Ltd.A Certifi cate of Authenticity comes with this lot.



66183 68024

ALBERT HIRSCHFELD (American 1903 - 2003)The Sopranos, 2001Lithograph print18.5 x 25 in.Signed lower rightEdition: 42/120Published by George J. Goodstadt Inc.A Certifi cate of Authenticity comes with this lot.


66184 68033

ALBERT HIRSCHFELD (American 1903 - 2003)Star Trek “Original Cast”Lithograph print21 x 27 in.Signed lower rightEdition: 149/375Published by Margo Feiden Galleries Ltd.A Certifi cate of Authenticity comes with this lot.


66185 68008

ALBERT HIRSCHFELD (American 1903 - 2003)Sunset BoulevardLithograph21 x 21 in.Signed lower rightEdition: 87/125Published by Margo Feiden Galleries Ltd.A Certifi cate of Authenticity comes with this lot.


66186 60002

SYD HOFF (American 1912 - 2004)Magazine cartoonInk and watercolor on paper13 x 10 in.Signed lower left

Caption: ”The Three Bears nertz — when are we gonna beat the Axis?”

Estimate: $500-$800


66187 15008

DANIEL R. HORNE (American 20th Century)Hardy Boys, Trouble at Coyote Canyon, 1993Acrylic on board24 x 17 in.Signed lower leftThis rousing cover scene was painted for Trouble At Coyote Canyon, Hardy Boys #119, Aladdin, 1993.

“The Hardy Boys kick up plenty of dust and danger, hot on the trail of a sagebrush saboteur.”


66188 81003

TROY HOWELL (American 20th Century)Treasury of Children’s Literature, original illustration, 1992Oil on board16 x 12 in.Signed lower right

Estimate: $1000-$1500

66189 85003

WILL HULSEY (American 20th Century)Desperate Escape From the Girl Slave Ship of HorrorOil on board25 x 19.5 in.Not signedThis piece appeared as the cover for Man’s Life magazine on the July 1960 issue.

A photocopy of the printed cover is included in this lot.

Estimate: $4000-$5000


66190 51008

WALTER B. HUMPHREY (American 20th Century)Energy, 192118 x 27 in.Initialed lower left


66191 52001

PETER HURD (American 1904 - 1984)Moby Dick and The Devil FishInk on scratchboard14 x 10 in.Not signedThese two scratchboard drawings have their original bill of sale from 1967 attached to the back of one of the frames.

Estimate: $1500-$2000

66192 81004

TRINA SCHART HYMAN (American 1939 - 2004)The Fortune-Tellers, original children’s book double-page spread illustrationMixed-media on paper9.5 x 23 in.Signed lower right with initials

Estimate: $500-$800


66193 51009

E. M. JACKSON (American 20th Century)Woman with CorsageOil on canvas28 x 22 in.Signed lower centerE. M. Jackson was known for his depictions of glamorous and seductive women. He primarily illustrated magazine covers. This was probably one of them although the publication is not known.

Estimate: $4000-$5000

66194 21025

JANET AND ANNE GRAHAME JOHNSTONE (English 20th Century)Eight Rainbow Tales, 1960Acrylic on board11.5 x 10 in.Not signedThis lot features nine illustrations from the children’s book, Eight Rainbow Tales. These pieces have image areas that range in approximate size from 5.5 x 3 in. to 11.5 x 10 in.


Estimate: $300-$500

66195 19001

CHUCK JONES (American 1912 - 2002)Figure StudyCharcoal on paper36 x 24 in.Signed lower right

Estimate: $500-$800


66196 49005

ROGER KASTEL (American b.1931)The Tease, 1967Gouache on board18 x 14 in.Signed lower rightThis piece was used as the

cover of Gil Brewer’s novel, The Tease, Banner Books #B50-102, 1967

“Her name was Bonnie. Eighteen, honey-lush, terrifi ed, and naked. Maybe it was a come-on. Wes McCord didn’t care. When she ran from her motel shower to his Louisiana mansion in the middle of the night — crying rape, offering tricks of love in return for his help — what could he do, turn her out? So what if the rape charge was phony? So what if Bonnie had $350,000 in stolen bank loot and three trigger-happy hoods on her gorgeous tail? Oh come on, Bonnie baby, come on more.. For Wes was broke.”


Estimate: $1500-$2500

66197 75004

ARTHUR I. KELLER (American 1866 - 1924)Magazine story illustrationOil on board24 x 15 in.Not signedCaption: “Anne, you have said a great many things that have hurt me today — but none so much as this.”

Estimate: $500-$800

66198 8001

KEN KELLY (American b.1946)Forest of Fear, 1984Oil on board29.5 x 38.5 in.Signed lower right

Estimate: $2000-$3000

66199 8002

KEN KELLY (American 20th Century)Monster of the Mountains, 1993Oil on board47 x 29.5 in.Signed and dated lower right

Estimate: $2000-$3000


66200 8016

KEN KELLY (American b.1946)The Gatekeeper, 1993Oil on board34.5 x 23 in.Signed lower rightThis image appeared on FPG’s Ken Kelly Colossal Cards #14 in 1995.

Estimate: $1500-$2000

66201 14007

KEN KELLY (American b.1946)Eons of the Night, 1995Oil on board38 x 28.5 in.Signed lower leftThis scene appeared on the cover of the Robert E. Howard short story anthology, Eons of the Night, Baen Books, 1996.

Estimate: $5000-$6000

66202 8006

KEN KELLY (American b.1946)Renegades of GorOil on board31 x 22.5 in.Signed lower leftThis bruising battle scene, also known as Up in Smoke, appeared on the 23rd book of John Norman’s cult series featuring Tal Cabot, Renegades of Gor, Daw Books, 1986.


Estimate: $4000-$6000


66203 8007

KEN KELLY (American b.1946)Dark Castle, White Horse, 1985Oil on board32 x 22 in.Signed lower leftThis scene appeared as the cover to Tanith Lee’s novel, Dark Castle, White Horse, Daw Books #665, 1986.

“In darkness she wakes, a beautiful young woman, forever imprisoned in the Castle of Dark. Guarded and bespelled by two old hags, can she master the secret magic to summon the champion who will set her free? Into the darkness he rides a handsome prince in an unknown realm. Who has conjured him here, and for what desperate deeds?”


Estimate: $2000-$3000

66204 8015

KEN KELLY (American b.1946)Irsud, original paperback book cover, 1985Oil on board39 x 24 in.Signed lower rightA copy of the paperback book and also a Steve Jackson game book with the same cover image, Gurps Fantasy Folk (1990), are included in this lot.

Estimate: $1500-$3000

66205 21006

R. I. KELSEY (American 20th Century)Native American in WoodsGouache on paper6 x 8 in.Signed lower rightThis piece was painted for a Walt Disney fi lm production.

Estimate: $300-$500


66206 46001

JOHN LAGATTA (American 1894 - 1976)Untitled, magazine story illustrationOil on board16 x 33.5 in.Signed lower right

Estimate: $3000-$3500

66207 73001

JOHN LAGATTA (American 1894 - 1976)Reclining WomanOil on stretched canvas30 x 25 in.Signed upper right

Estimate: $3000-$4000


66208 75002

JOHN LAGATTA (American 1894 - 1976)Magazine story illustrationMixed-media on paper19 x 15 in.Signed lower left

Estimate: $1000-$1500

66209 8018

BOB LARKIN (American 20th Century)The Rook #8, original magazine cover illustration, 1981Acrylic on board19 x 14 in.Signed lower rightA copy of the magazine is included in this lot.

Estimate: $1000-$2000

66210 21019

JANE LAUNCHBURY (English 20th Century)Clever Cat and the Clown, 1983Ink and watercolor on paper5 x 5.25 in.Signed lower center

This preliminary children’s book cover study is titled “Version III” at its top border.


Estimate: $500-$600

66211 25003

LEVIN (American 20th Century)The Adventures of Buckaroo Banzai Across the 8th Dimension, original illustration, circa 1984Pencil on paper24 x 20 in.Signed lower right

Estimate: $300-$500


66212 32009

DAVID LEVINE (American b.1926)Liberty Bell, New York ReviewInk on paper8.5 x 7 in.Signed lower left


66213 51010

NORMAN LINDSAY (Australian 1879 - 1969)At the DanceInk on paper12 x 11 in.Signed lower leftNorman Lindsay was an Australian sculptor, writer, and editorial artist. This particular image was probably created for the editorial pages of The Bulletin.

Estimate: $1000-$1500

66214 38002

STANLEY LINK (American 20th Century)The Youthful Patriots, 1914Ink on paper16 x 12 in.Signed lower leftCaptions: ”War with Mexico! Men wanted for the army.”

“Gee! It must be better to be a soldier fi ghting fer your country than workin’ in a dark old place for some rich guy, huh, Lix?”

“Yes Jim, and I could be a nurse.”

Estimate: $300-$500

66215 8017

TODD LOCKWOOD (American 20th Century)King’s Land, original illustrationAcrylic on board26 x 18 in.Signed lower left

Estimate: $2000-$2500


66216 29002

TODD LOCKWOOD (American 20th Century)DragonLance Lost Legends, Volume 2: Fistandantilus Reborn, 1997, original paperback book cover illustration Acrylic on board 26 x 16in. Signed lower left

Estimate: $1000-$1200

66217 51011

ORSON LOWELL (American 1871 - 1956)Two Men in Study, 1905Watercolor on board12 x 13 in.Signed lower left

Estimate: $400-$500

66218 51012

ORSON LOWELL (American 1871 - 1956)Line up of Women Reading Novels, circa 1915Ink on board8 x 20 in.Signed lower rightThis piece appeared as a story illustration in Harper’s Bazaar, in an April issue, circa 1915.

Similar in style and subject matter to Charles Dana Gibson’s work, this piece is a statement on the reading matter of the day. A theme Lowell repeated in several other illustrations, and one that was picked up by other illustrators, such as John Held in the twenties.

Estimate: $500-$600

66219 75010

ORSON LOWELL (American 1871 - 1956)A DerelictInk on paper23 x 23 in.Signed lower rightThis piece was published in the Woman’s Home Companion, February 1909 issue, to illustrate the story, A Derelict.



66220 75013

ORSON LOWELL (American 1871 - 1956)So Sorry, Have Made MistakeInk on paper17 x 12 in.Signed center right

Estimate: $300-$500

66221 21027

L. MABIE (American 20th Century)RabbitWatercolor on board8 x 8 in.Each signed or initialedThese fi ve illustrations were painted for an unidentifi ed children’s book.

Estimate: $300-$500

66222 25002

MATT MAHERN (American 20th Century)UndertakersMixed-media on board17.5 x 11 in.Not signedThis lot features two eerie period scenes painted by Matt Mahern.



66223 66017

RON MAHONEY (American 20th Century)Dawn of the Dead, 1978Mixed-media on paper27 x 17 in.Signed lower left“When there’s no more room left in Hell, the dead will walk the earth — Dawn of the Dead.”

This piece was used on the program poster for George A. Romero’s wildly popular cult fi lm. From the Fabulous Horror Collection of Thomas C. Rainone.

Estimate: $3500-$4000

66224 74004

LOU MARCHETTI (American 1920 - 1992)The Clock at Ravenswood, 1969Gouache on board13 x 15 in.Not signedThis scene appeared on the cover of Jon Teta’s novel, The Clock at Ravenswood, Pyramid Books #X-1975, 1969.

“She was a pawn in a deadly charade that would destroy the man she loved.”


Estimate: $300-$500

66225 8011

ESTEBAN MAROTO (Spanish b.1942)Perseus and Medusa, original illustration, 1977Oil on board19 x 15 in.Signed lower leftA copy of the Earth-Art Graphics print (#67/100) of this same scene is included in this lot

Estimate: $1500-$2000


66226 8019

ESTEBAN MAROTO (Spanish b.1942)Hercules and the Lion, original illustration, 1977Oil on board19 x 15 in.Signed lower rightA copy of the Earth-Art Graphics print (#67/100) of this same scene is included in this lot.

Estimate: $1500-$2000

66227 75008

FORTUNINO MATANIA (Italian 1881 - 1963)Two WomenMixed-media on board13 x 7 in.Signed lower right


66228 21032

JIM MATHEUSE (American 20th Century)Date with Deception (A Summer of Love Trilogy #1, The Nancy Drew Files, Case 48), original paperback cover illustration, 1990Pastel on paper25 x 16 in.Signed lower rightThis romantic scene with a touch of disaster was drawn for the cover of Carolyn Keene’s novel, Date with Deception (A Summer of Love Trilogy #1, The Nancy Drew Files, Case 48), Simon Pulse 1990.

Also included in this lot are a copy of the paperback, a preliminary pencil sketch, several faxed story and layout notes, and a group of black and white photographs of models posing for the scene.

Estimate: $500-$800

66229 72013

MARVIN MATTELSON (American 20 th Century)MGM’s Wizard of Oz Cast, 1990Acrylic on board8 x 8 in.Not signedThis beautiful illustration was done for a collector’s plate

based on the beloved MGM musical.

“Let’s go ‘Over the Rainbow’ with Judy in her greatest hit! Gaiety! Glory! Glamour! Metro-Goldwyn-Mayer’s Technicolor triumph! Biggest screen sensation since ‘Snow White!’ The mighty miracle show that is the talk of America!”

Estimate: $500-$600


66230 11002

PETER MAX (American b.1937)Profi le with Heart, 1992Mixed-media on paper9 x 11 in.Signed lower right

Estimate: $500-$800

66231 68038

PETER MAX (American b.1937)Love Collage, 1Mixed-media8 x 7.5 in.Signed upper centerThis piece has a registration number of 79085.



66232 68039

PETER MAX (American, b.1937).Liberty HeadMixed-media9 x 8 in.Signed at the upper rightThis piece has a registration number of 80570.




66233 1001

WINSOR MCCAY (American 1869 - 1934)Indecision and Weak Will, original newspaper editorial cartoon illustrationInk on paper9 x 23 in.Signed lower right

Estimate: $2000-$2500

66234 15006

JAMES MCKELL (American 1885 - 1956)Two Loggers, original illustrationOil on canvas22 x 30 in.Signed lower right

Estimate: $500-$600

66235 57004

RICK MEYEROWITZ (20th Century)M*A*S*H, TV Guide cover, 1974Ink and watercolor on paper20 x 15 in.Signed lower rightThis uproarious cover scene featuring the cast of the M*A*S*H TV show appeared on the TV Guide cover dated November 2-8, 1974.

Estimate: $500-$800


66236 69002

CHRIS MILLER (American 20th Century)King Poseidon, 1984Acrylic on paper25 x 18.5 in.Signed lower right

Estimate: $6000-$8000

66237 69003

CHRIS MILLER (American 20th Century)Fantasy Nude, 1993Watercolor on paper11 x 18.5 in.Signed lower right

Estimate: $300-$500

66238 69004

DARYL MILLSAP (American 20th Century)Casca 13: The Assassin, 1985Acrylic on board18.5 x 15 in.Signed lower rightThis scene appeared on the cover of Barry Sadler’s novel, Casca 13: The Assassin, Charter Books, 1985.

“Casca Longinus. Cursed by Christ on Golgotha. Condemned to outlive the ages, and wander the globe a constant soldier. Forever fi ghting, surviving, waiting for Him to return. Captured by fanatical Hashishi, Casca (alias Kasim the Spear) is forced to commit murder after murder until the earth is soaked with the blood of the enemies of Hassan al Sabah. The Eternal Mercenary must endure the horror of a thousand deaths, until with awesome skill at arms he can claim a life of his own.”

Estimate: $500-$600


66239 69005

DARYL MILLSAP (American 20th Century)Casca #10: The ConquistadorAcrylic on board20 x 19 in.Signed lower centerThis scene appeared on the cover of Barry Sadler’s novel, Casca #10: The Conquistador, Charter Book, 1984.

Casca the eternal mercenary is spotlighted in another adventure from this classic cult series by the man who wrote the song Ballad of the Green Berets.

“Return to Mexico to conquer a Sun God.”

Estimate: $500-$800

66240 No lot.

66241 59001

EARL MORAN (American 1893 - 1984)Reclining NudeOil on canvas20 x 30 in.Signed lower right

Estimate: $4000-$6000


66242 78001

EARL MORAN (American 1893 - 1984)Woman in Pink DressPastel on board20 x 18 in.Signed lower right

Estimate: $2000-$3000

66243 78002

EARL MORAN (American 1893 - 1984)Blonde Dancer, pinup drawingPastel on board26 x 18 in.Signed lower right

Estimate: $2000-$3000


66244 78003

EARL MORAN (American 1893 - 1984)Hawaiian Dancer, pinup drawingPastel on board26 x 18 in.Signed lower right

Estimate: $2000-$3000

66245 81005

DEAN MORRISSEY (American 20th Century)Redd Rocket, original children’s book preliminary illustrationPencil on paper9 x 11.25 in.Signed lower center

Estimate: $100-$200

66246 66009

GRAY MORROW (American 1934 - 2001)The Girl from the Red Cabaret, 1975Acrylic on paper28 x 19 in.Not signed”There’s more to this Cabaret than meets the eye — ear — or heart.”This piece was originally used as the poster and ad art for the Spanish fi lm, The Girl From the Red Cabaret (aka Chorus Girls). Originally done in black and white, Gray Morrow repainted the piece in color, and at the same time, removed bits of clothing from the fi gures.

Estimate: $500-$600


66247 66010

GRAY MORROW (American 1934 - 2001)Nurses For Sale, 1971Acrylic on board20 x 15 in.Signed lower center-right“Kidnapped, abused, and tormented — held for the highest price. Nurses For Sale.”

This piece was painted for the German fi lm, Käpt’n Rauhbein aus St. Pauli, which was titled Nurses For Sale in the USA.

Estimate: $500-$800

66248 54001

ZOE MOZERT (American 1904 - 1993)PortraitPastel on paper22 x 17 in.Signed lower left

Estimate: $3000-$5000

66249 32004

WILLARD MULLIN (American 1902 - 1978)Upset, original newspaper sports cartoon illustration, 1951Ink and watercolor on paper22 x 16 in.Signed lower right

Estimate: $500-$600


66250 84001

KNUTE O. MUNSON (American 20th Century)Pinup drawingPastel on board43 x 23.5 in.Signed left-center

Estimate: $3000-$5000

66251 85002

LEN MUSK (American 20th Century)Flying AcesAcrylic on board24 x 30 in.Signed lower right

Estimate: $1000-$1500


66252 66011

MYERS (American 20th Century)World War I German Observation Balloon, Revell Model Kit ArtGouache on board12 x 20 in.Signed lower right

Estimate: $300-$500

66253 71001

CHARLES F. NAEGELE (American 1857 - 1944)Portrait of a Lady, Saturday Evening Post cover, 1915Oil on canvas board24 x 18 in.Signed lower rightThis piece appeared as the cover of the Saturday Evening Post, on the February 6, 1915 issue.

Estimate: $2000-$3000

66254 49003

RUDY NAPPI (American 20th Century)Farmer’s Woman, 1954Oil on board26 x 19 in.Not signedThe scene was featured on the cover of the Peggy Gaddis novel, Farmer’s Woman, Venus Books #172, 1954. “Love-hungry and lonely, she led her own life in the valley.”


Estimate: $3000-$4000


66255 11001

LEROY NEIMAN (American b.1927)Tyson vs. Spinks Once and For All, 1988Acrylic on canvas48 x 35 in.Signed lower centerArtist LeRoy Neiman is known for his brilliantly colored, semi-abstract paintings. In 1954, a chance meeting with Hugh Hefner led to a longtime association with Playboy magazine for the artist. He is also well known for his extensive work illustrating sports figures and events. With his trademark Salvador Dali-esque mustache and ever-present sketchpad in hand, the eighty-year-old-plus Neiman remains a fixture at ringside for boxing’s biggest events. This championship fight between Mike Tyson and Michael Spinks lasted only 1:31 seconds into the first round. The contest took place at the Trump Plaza Hotel and Casino in Atlantic City, New Jersey on June 27, 1988.

Provenance:A Martin Lawrence Gallery is affixed to the back of this piece

Estimate: $40000-$60000


66256 37001

LEROY NEIMAN (American b. 1926)Elephant Stampede, 1976Serigraph print30 x 40 in.Signed in pencil lower rightThis print is #265/300.

Estimate: $2000-$3000

66257 37002

LEROY NEIMAN (American b. 1927)Giraffe Family, 1977Serigraph print39 x 28 in.Signed lower right in pencilThis is an artist’s proof (AP) from a regular edition of 300.

Estimate: $1000-$2000

66258 37003

LEROY NEIMAN (American b. 1927)Normandy Sailing, 1980Serigraph print12 x 9 in.Signed lower right in pencilThis print is numbered 205/1000.



66259 25004

LARRY NOBLE (American 20th Century)Mr. Mom, original movie promotion illustration, circa 1983Acrylic on board24 x 20 in.Acrylic on board

Estimate: $500-$600

66260 21014

EARL NOREM (American 20th Century)Stag Annual cover art, 1968Gouache on board5.5 x 11 in.Signed lower leftThis lot features three rip-roaring illustrations that were used on the cover of the 1968 Stag Annual. The image areas of these scenes range in size from 5 x 7 in. to 5.5 x 11 in.



66261 33002

OLIVIA (Olivia De Berardinis) (American b.1948)Costume Study, 1984Charcoal on paper28 x 20 in.Signed lower left

Estimate: $1200-$1500


66262 13001

MAYO OLMSTEAD (American b.1925)Pretty Girl PortraitGouache on board18 x 14 in.Signed lower left

Estimate: $1000-$1500

66263 51013

FREDERICK BURR OPPER (American 1857 - 1937)On the Road, 1885Ink on paper9 x 8 in.Initialed lower left This piece appeared in Puck Magazine, May 20, 1885.

Frederick Opper was part of the fi rst wave of American cartoonists. This is an early version of the Happy Hooligan character that he created for Puck Magazine.

Estimate: $500-$600

66264 9002

HARRY L. PARKHURST (American d.1950)Original pulp magazine cover illustration, 1934Oil on canvas22.5 x 29 in.Signed lower right

Estimate: $2200-$2500


66265 8004

KEITH PARKINSON (American 1958 - 2005)Ars Magica, 1989Acrylic on board25.5 x 39 in.Signed lower rightThis scene appeared on the cover of Judith Tarr’s novel, Ars Magica, Bantam Books, 1989.“Gerbert risked his soul to apprentice to a Moorish sorcerer, then risked his life to steal his master’s book sand instruments of magic.”A copy of the book and a Society of Illustrators Certifi cate of Merit Award for this piece are included in this lot.

Estimate: $3000-$5000

66266 8003

KEITH PARKINSON (American 1958 - 2005)King’s Gold, 1992Acrylic on board30 x 36 in.Signed lower leftThis painting appears as plate 24, on page 73 of Knightsbridge The Art of Keith Parkinson, FPG, 1996.

Keith Parkinson wrote, “In this painting I tell a story about the humans who didn’t pay the toll — but they’re about to. The name of this piece is ‘King’s Gold.’ However if I do a sequel to this painting, I think the gold won’t belong to the King anymore.”

Estimate: $4000-$6000


66267 1006

MAXFIELD PARRISH (American 1870 - 1966)At the Close of Day, 1941Oil on board15 x 13 in. (sight size – actual painting is larger, but partially covered by original hand-made frame)Signed lower right

The magical and transcendental world briefl y illuminated during the fl eeting twilight minutes of dusk is forever frozen in this richly glazed winter landscape. So celebrated was Parrish’s hallmarked treatment of the heavens, writer F. Scott Fitzgerald dropped a knowing reference into one of his novels — “as blue as a Parrish sky.”

When Maxfi eld Parrish announced to an amazed art world, through an Associated Press statement, that he was “through with fi gurative work,” it served as a personal “Declaration of Independence” from the fi gure, and a move in a new direction towards what he felt would be a more personal journey — the fi ne art of landscape painting.

Alma M. Gilbert, in her indispensable monograph, Maxfi eld Parrish Master of Make Believe, cites a familial factor in this decision when she writes, “It is also evident that Parrish was acutely aware that his family, particularly his daughter Jean, whom he adored, described him as ‘just an illustrator, not a real artist like my grandpa, Stephen Parrish.’”

In 1936 Parrish entered into a 27-year arrangement with the Minnesota-based calendar company Brown and Bigelow to produce a series of landscape scenes. For fi ve years he produced one landscape a year. After that, he created two, both a summer and a winter landscape, for another 22 years.

In her book, Alma M. Gilbert has singled out this particular piece (which Brown and Bigelow renamed At the Close of Day from the original Plainfi eld, New Hampshire Village Church at Dusk) as an “exemplary published landscape that speaks to Parrish’s love of his immediate surroundings.”

This painting, also known with the alternate title, Village Street, Winter, was reproduced on pages 6 and 108 of Maxfi eld Parrish Master of Make-Believe by Alma M. Gilbert, Komecky & Komecky, 2005.

PROVENANCE:

Vose Galleries of Boston, Boston MassachusettsMr. Gerhard Willemy Keny, Columbus, Ohio (from 1984)


EXHIBITED:

Brandywine River Museum, Chadd’s Ford, Pennsylvania, 1974 and 1984Cornish Colony Museum, Winsor, Vermont, 2004 and 2006Trust For Museum Exhibitions, Washington D.C., 2005

LITERATURE:

Alma M. Gilbert, Maxfi eld Parrish Master of Make-Believe, Komecky & Komecky, Old Saybrook, Connecticut, 2005, pages 6 and 108.

Estimate: $400000-$600000


66268 16001

GEORGE PETTY (American 1894 - 1975)Original pinup illustration for Esquire calendarWatercolor on board13 x 17 in.Signed lower center

Estimate: $6000-$7500

66269 15003

TOM PHILIPS (American 20th Century)Aliens, 1981Acrylic on board36 x 24 in.Signed lower right


66270 51014

HENRY PITZ (American 1895 - 1976)Red Prior’s LegacyInk on board12 x 8 in.Signed lower rightCaption: ”Presently ‘round the corner from the middle fl ight appeared such a fi gure as I had never seen before.”

This one of the countless pen and ink illustrations that Henry Pitz so brilliantly drew for both books and magazines. The multi-talented Pitz also wrote and illustrated textbooks, magazines, novels, and books about other artists.

Estimate: $450-$600


66271 75007

WILLY POGANY (American 1882 - 1955)Thy Soul Has Snatched Up Mine All Faint and WeakWatercolor on board24 x 15.5 in.Signed lower leftCaption: “Thy soul has snatched up mine, all faint and weak.”

This line is taken from Elizabeth Barrett Browning’s Sonnets from the Portuguese.

Estimate: $2000-$2500

66272 8021

ALLAN POLLACK (American 20th Century)Dangerous Games: Nethreil Trilogy, Book Two, original paperback book cover illustration, 1995Acrylic on board23 x 14 in.Signed lower rightA copy of the paperback book is included in this lot.

Estimate: $1000-$2000

66273 31001

DON IVAN PUNCHATZ (American b. 1936)Nightwings, original book cover illustrationMixed-media on board21 x 13 in.Signed lower right

Estimate: $500-$600

66274 31002

DON IVAN PUNCHATZ (American b. 1936)Herman Hesse/Steppenwolf, original illustrationMixed-media on board21 x 19 in.Signed lower right

Estimate: $500-$600


66275 57001

DON IVAN PUNCHATZ (American b. 1936) Hawksbill Station, 1970, original book cover illustration Mixed-media on board 22.5 x 13 in. Signed with initials lower right Original cover illustration for Hawksbill Station by Robert Silverberg, Avon Books #S411, 1970

“At Samural industries, Paul studies his computer monitors to predict the movement of toxic clouds drifting across the Pacifi c Northwest, If he is wrong a sudden shift of wind can kill thousands. Nick a research scientist for the controversial Santachiara Technologies Survival/ Modifi cation Program, seeks better ways for humans to adapt to Earth’s hostile environment. His girlfriend Isabelle is a kinetic therapist and political activist, violently opposed to the threatening new technology. They are among those who have opted to stay behind, scratching out a perilous existence on a poisoned planet where no one dares leave home without a face-lung and a daily injection of Screen.”

Estimate: $500-$800

66276 57002

DON IVAN PUNCHATZ (American b. 1936) Journey to the Center of the Earth, original book cover illustration Mixed-media on board 16 x 10 in. Not signed

Original cover illustration for the science fi ction classic, Journey to the Center of the Earth, by Jules Verne.

Estimate: $500-$800

66277 57003

DON IVAN PUNCHATZ (American b. 1936) Dayworld Rebel, 1987, original book cover illustration Mixed-media on board 20 x 12 in. Signed lower right

Original cover illustration for Dayworld Rebel by Philip Jose Farmer, Ace Books, the second book of the celebrated Dayworld series.

“The New Era, several thousand years in the future, seems a utopia. War, poverty, hunger and pollution are all obsolete. Overpopulation has been handled by dividing the population into seven groups, each fraction living one day a week while the others await in suspended animation. Farmer’s Dayworld chronicled the life of a man whose unique abilities allowed him to assume a different identity for each day. As this sequel opens, he has been caught and is being questioned. Escaping from his Manhattan prison, he fl ees to the wilds of New Jersey, falling in with a rebel group hiding out in caves. Along with them, he journeys to Los Angeles and contacts a larger subversive organization bent on radical change.”

Estimate: $500-$800

66278 57005

DON IVAN PUNCHATZ (American b. 1936)Doom, gaming magazine coverMixed-media on board15 x 12 in.Signed center

Estimate: $500-$800


66279 57006

DON IVAN PUNCHATZ (American b. 1936)Dragon magazine coverMixed-media on board16 x 13 in.Signed lower right

Estimate: $500-$800

66280 57007

DON IVAN PUNCHATZ (American b. 1936)The Silent Invader, 1977Acrylic on masonite15 x 9 in.Initialed lower centerThis surreal scene appeared on the cover of Robert Silverberg’s science fi ction novel, The Silent Invader, Ace Books #76391, 1977.“Sent to Earth disguised as a fl esh-and-blood Earthman, Abner discovered that his own people were the real villains of space and suddenly he was alone, alienated from his own race and hated by the Medlins, an imposter on Earth. No matter what side he chose he’d be a traitor.”

Estimate: $500-$800

66281 57008

DON IVAN PUNCHATZ (American b. 1936)Night’s Yawning Peal, The Stories of H. P. Lovecraft, original book cover illustrationMixed-media on board17 x 11.5 in.Signed with initials lower right

Estimate: $500-$600


66282 15005

ALEX RAYMOND (American 1909 - 1956)Original magazine story illustration, circa 1930s13.5 x 19 in.Signed lower right

Estimate: $4000-$4500

66283 60005

AD REINHARDT (American 1913 - 1957)No titleInk on paper8 x 7 in.Signed lower rightAs a young man, famed Abstract painter Ad Reinhardt studied art history at Columbia University where he also edited their humor magazine. He also attended the National Academy of Design, the American Artists’ School, and the Institute of Fine Arts of New York University.

Estimate: $1000-$1200

66284 49001

Attributed to WILLIAM REUSSWIG (American 1902 - 1978)Gang World magazine, January 1934Oil on canvas23 x 16 in.Not signed A color photocopy of the printed pulp magazine cover is included in this lot.

Estimate: $4500-$6500


66285 81006

CHRIS RIDDELL (English b.1962)Original Cricket magazine wrap-around cover illustrationMixed-media on paper12.5 x 20 in.Not signed

Estimate: $1000-$1500

66286 83001

SIDNEY H. RIESENBERG (American 1885 - 1971)The Fight, 1935Oil on canvas32 x 21.5 in.Signed lower leftThis illustration appeared in an issue of Boy’s Life magazine.

Sidney Riesenberg, an accomplished landscape painter, but better known as an illustrator, received his art education at the School of the Art Institute of Chicago. Later he contributed illustrations to magazines such as Harper’s, Scribner’s, Collier’s and The Saturday Evening Post. Riesenberg is also noted for the bold posters he created for the Marines and Liberty Loan campaigns. From 1905 to 1909, he traveled, and painted Western subjects for such books as With Whip and Spur, and Pioneers All.

Estimate: $2000-$3000


66287 36001

NORMAN ROCKWELL (American 1894 - 1978)Two Old Men and Dog: Hunting, Brown & Bigelow: Four Seasons Calendar, Autumn, 1950 Oil on masonite 24 x 22 in.Signed lower left

This work is reproduced as fi gure A123 on pages 308-309 of Norman Rockwell A Defi nitive Catalogue by Laurie Moffatt.

This delightful painting is in pristine condition, as fresh as the day Norman Rockwell fi nished it. This is the fi rst public offering of the work since it was purchased by the consignor, a banker, forty-eight years ago in 1960. While at the time of publication the Moffatt catalog noted, “Whereabouts unknown,” the consignor has provided fi rst-rate documentation on the provenance of this wonderful painting.

A sales receipt from Brown & Bigelow dated February 28, 1960 notes that the painting was purchased for the sum of $500, “subject to approval.” Later correspondence with Brown & Bigelow on October 25-28, 1969, done for insurance purposes, adds the following details, “Mr. Jim Nelson, Home Offi ce Dist. Mgr. - Dear Jim, I sold the above man an original Rockwell painting in 1960 for $500. The subject was autumn, two fellows, one out hunting, one fellow is lighting the other man’s pipe. He would like to know the approximate value of the painting today, primarily for insurance purposes. Is there anyone at the plant that could give me this information? Cordially, Bob Nadant, Home Offi ce.” The reply reads, “Dear Bob, I talked to Larry Goodman (Art Dept.). He recommends insurance for $2,000. This picture will increase in value every year. Incidentally we will no longer sell any original paintings so your customer really has a collector’s item. Regards, Jim N.”

Included in this lot are the original receipt and follow up correspondence to Brown & Bigelow regarding the painting.

Estimate: $150000-$250000


66288 41001

NORMAN ROCKWELL (American 1894 - 1978) The Ferry Over, story illustration study for American Magazine, February 1935Charcoal on paper 23.5 x 37 in. Signed lower right “Every girl dreams of a knight in shining armor. Sometimes she meets one...”

This somber scene sets the stage for Sarah-Elizabeth Rodger’s romance story, The Ferry Over. In this tale, Thomas Storm, manager of a Delaware River ferry, now on his deathbed, tries to win from his daughter Prue an important promise concerning her future - to quit spending so much time riding the Ferry and settle down with a husband. Try as she may to honor her father’s dying wish, Prue fi nds herself drawn back to the Ferry again and again, and it’s a good thing, for it’s on the ferry that she fi rst meets, and later wins, her shining knight, Dick Ballantine.

Caption: ”Poor old Tom... trying to force a promise from Prue that would mean the end of everything she held dear.”

This work is reproduced as fi gure S44a on page 596 of Norman Rockwell A Defi nitive Catalogue by Laurie Moffatt.

Our consignors’ involvement with this wonderful Norman Rockwell drawing began in 1979 when they purchased it from Elayne Galleries, St. Louis Park, Minnesota, Elayne Lindberg, proprietor. Our consignors were told by the gallery owners that the fi nished oil painting, for which this drawing was a preliminary study, was lost in a fi re. When this preliminary drawing surfaced, it was brought back to Mr. Rockwell, and he verifi ed its authenticity, and at the same time, signed it with his block letter signature.

A copy of the magazine is included in this lot

PROVENANCE:

Mr. and Mrs. Anthony Van Pelt, Dallas, TXElayne Galleries, St. Louis Park, MinnesotaPresent consignor


Estimate: $40000-$60000


66289 7002

NORMAN ROCKWELL (American 1894 - 1978)Trimming the Tree and Bringing Home the Tree, 1970-1973Pencil on paper11 x 8.5 in.Not signed The fi rst part of this group lot features a Franklin Mint silver plate illustration study for Trimming the Tree, a signed letter from Norman Rockwell, a group of two reference photos, and the issued Franklin Mint plate.

The undated, hand written, signed letter from Norman Rockwell to Donald Walton reads, ”Dear Don — Here are two drawings I am sending to see if I’m on the right track. Also the photos of the models to help the engravers. Before I precede with the other eleven drawings I need your suggestions. Cordially, Norman.”

This Franklin Mint plate comes in its decorative box, and has its Certifi cate of Authenticity as issued.

The second part of this lot has no original art in it, but instead features the Bringing Home The Tree Franklin Mint Silver Plate with a related reference photo group (Franklin Mint, 1970). Included are four photos of Norman Rockwell at the drawing board, six reference photos, fi ve promotion pieces, and the issued Franklin Mint plate of Bringing Home the Tree.

This Franklin Mint plate comes in its protective box, and has a letter to subscribers as issued.

PROVENANCE: Collection of Mr. Donald Walton


66290 49008

FRED RODEWALD (American b.1923)Detective Yearbook magazine, 1950Gouache on board18 x 14 in.Lower rightA copy of the pulp magazine is included in this lot.

Estimate: $3000-$5000


66291 60012

CARL ROSE (American 1903 - 1971)Axis ValhallaWatercolor on board12.5 x 18.5 in.Signed lower left


66292 81007

TONY ROSS (English b.1938)Original Ladybug magazine illustrationMixed-media on paper10 x 8.25 in.Signed lower left

Estimate: $200-$300

66293 1005

ROWENA (Rowena Morrill) (American b.1944)The Horse Goddess, calendar illustration for December, Landmark Calendars, 1988Oil on board26.5 x 34 in.Signed center-right

Estimate: $2000-$2500

66294 21021

PEGGY RUSHTON (English 20th Century)Round the ClockGouache on board10.5 x 8 in.Not signedThis lot features seven lighthearted illustrations from the English children’s book, Round the Clock.A copy of the book is included in this lot.

Estimate: $200-$300


66295 21003

BERNARD SAFRAN (American 1924 - 1995)Confessions of a Ladies’ Chauffeur, original paperback cover illustration, 1954Acrylic on board16 x 12 in.Signed lower leftThis torrid scene was painted for the cover of Confessions of a Ladies’ Chauffeur, by Florence Stonebraker, Croydon Publishing, 1954

A copy of the paperback book is included in this lot

Estimate: $500-$800

66296 50002

RUSSELL SHAMROCK (American 1891 - 1956)At the Football GameOil on canvas15 x 24 in.Signed lower rightRussell Sambrook was a contemporary of other Saturday Evening Post illustrators, such as E. M. Jackson, Douglass Crockwell, Ellen Pyle, Andrew Loomis, and Norman Rockwell.

Estimate: $3000-$4000

66297 10002

ARTHUR SARON SARNOFF (American 1912 - 2000)Thanksgiving, original magazine illustrationGoauche on board27 x 9 in.Signed lower left



66298 49006

NORMAN SAUNDERS (American 1906 - 1988)New Detective, August 1952Oil on board22 x 14 in.Estate stamped and signed by Saunders’ daughter on the back of the workA copy of the pulp magazine is included in this lot.

Estimate: $9000-$12000


66299 67001

MEAD SCHAEFFER (American 1898 - 1980)Adventure Story Illustration, 1926Oil on board30 x 24 in.Initialed and dated lower right

Estimate: $3000-$4000

OUR NEXT ILLUSTRATION ART AUCTION OCTOBER 15, 2008

CONTACT ED JASTER214.409.1288


66300 65001

FRANK E. SCHOONOVER (American 1877 - 1972)Youth Will Be Served, 1911Oil on canvas20 x 30 in.Signed lower rightThis superb baseball illustration appeared in the American Magazine, in the May 1912 issue.

Estimate: $10000-$12000


66301 14003

JOHN CLUBB SCOTT (American 1875 - 1934)Teddy Bear, We Are Seven, 1907Ink on paper17 x 15.5 in.Signed lower right with a monographThe Teddy Bear was created in 1904, and this was done in 1907, making it one of the earliest known surviving pieces of Teddy Bear art. This rare piece of Teddy Bear memorabilia spotlights “T. R.” as he peeps through the grass at a bear family, with the exclamation, “Delighted.” This piece was drawn by John Clubb Scott, who was born was well known for his political cartoons in the New York papers, and this piece was drawn to celebrate Roosevelt’s seventh year as 26th president of the USA (1901-1907).

Estimate: $500-$800

HERITAGE BEARS NO RESPONSIBILITY FOR DAMAGED FRAMES, AND IN SOME CASES WILL DISPOSE OF A FRAME TO PROTECT THE PURCHASED ITEM IN THE SHIPPING PROCESS. PLEASE ADVISE HERITAGE IF YOU WISH THE FRAMED ITEM SHIPPED AS IS, BEARING IN MIND THAT THIS MAY INCREASE THE INCIDENCE OF DAMAGE AND THE COST OF SHIPPING.


66302 63001

AMOS SEWELL (American 1901 - 1983)Flat Tire at the Commuter Station, 1960Gouache on bard33.5 x 25.5 in.Signed lower leftAmos Sewell’s lighthearted small town scene of pure Americana appeared as the cover on the November 26, 1960 issue of The Saturday Evening Post.

Amos Sewell studied under illustration legend Harvey Dunn, and his career began in 1936 with an illustration for Country Gentleman. His work appeared for over 20 years in The Saturday Evening Post.

Estimate: $10000-$15000


66303 82001

SHANKELL (American Artist 20th Century)Anecdotes of Air II, grounded plane, 1930Mixed-media on paper8.5 x 20.5 in.Signed lower rightThis piece appeared in an issue of Woman’s Home Companion.

Estimate: $300-$500

66304 82004

SHANKELL (American 20th Century)Anecdotes of Air, 1930Mixed-media on paper20 x 12.5 in.Signed lower leftThis piece appeared in a Ladies’ Home Companion from the 1930s.

Estimate: $300-$500

66305 8005

BILL SIENKIEWICZ (American 20th Century)Mercedes Nights, 1987Mixed-media on board37.5 x 24 in.Signed lower leftThis incredible Bill Sienkiewicz illustration appeared as the cover of Michael Weaver’s novel, Mercedes Nights, St. Martin’s Press, 1987.

“Will the real Mercedes Night please run for her life? To clone humans was forbidden. But test-tube replicas of America’s hottest vidstar are being sold on the black market to anyone wealthy enough to afford such delights. Some clones have become slaves. Some assassins! And they’re turning the technological maze of the 21st Century upside down — with the real Mercedes Night smack in the middle.”

Estimate: $500-$800


66306 75014

Attributed to ARTHUR B. SINGER (American 1917 - 1990)Magazine story illustration, 1938Oil on canvas, mounted on board27 x 42 in.Signed upper left

Estimate: $500-$800

66308 69001

HAJIME SORAYAMA (Japanese b.1947)Snake GirlWatercolor on board19.5 x 14 in.Signed lower rightFamed Japanese pinup artist Hajimie Sorayama’s fi rst book, Sexy Robot, was published by Genko-sha in 1983. This celebrated collection made the airbrush master’s robotic forms famous around the world. A number of his other pinup works revolve around fi gures in suggestive poses, including highly realistic depictions of girls in latex and leather. His other published collections include Hajime Sorayama, Sorayama Hyper Illustrations (1 and 2), The Gynoids, Naga, and Torquere. A compendium was published as The Complete Works 1964-99.

Estimate: $12000-$15000

66307 72006

JOE SMITH (American 20th Century)McHale’s Navy movie poster art, 1964Gouache of board22.5 x 20 in.Signed lower right“The crew of PT-73 get into trouble when they back the wrong horse in a race. Now they have to come up with a way to raise the money to pay off the winners.”

Estimate: $300-$500


66309 60011

SAUL STEINBERG (American 1914 - 1999)Don Quixote, circa 1943Acrylic on paper14 x 12 in.Signed lower rightSaul Steinberg was one of America’s greatest graphic artists, celebrated for the clever covers and cartoons that he drew for The New Yorker for over fi fty years. Steinberg’s drawings, paintings, prints, collages, and sculptures have been exhibited internationally in galleries and museums. His unique art is equally at home on magazine pages and gallery walls, and it cannot be pigeon-holed into a single category or movement. He was a modernist who constantly crossed cultural boundaries to establish new visual realms.

Estimate: $8000-$12000


66310 75006

ALICE BARBER STEPHENS (American 1858 - 1932)Their Perfume Flooded the House, 1892Ink on board20 x 13 in.Signed lower right

Estimate: $300-$500

66311 64003

EDWARD DALTON STEVENS (American 1878 - 1939)Who Killed Louis Lawson Broadway Butterfl y?, Master Detective cover, October 1931Oil on stretched canvas15 x 11 in.Not signed


Estimate: $5000-$5500


66312 64002

EDWARD DALTON STEVENS (American 1878 - 1939)Damsel Dials Up Murder, Master Detective pulp coverOil on stretched canvas15 x 11 in.Not signed

Estimate: $5000-$5500

66313 51015

HERBERT M. STOOPS (American 1888 - 1948)Couple at Hearth, 1924Oil on canvas28 x 40 in.Signed lower rightAlthough Herbert Stoops is best remembered as an illustrator of historical textbooks, he had a brilliant career as an illustrator for Cosmopolitan, Bluebook, Collier’s, and other magazines.

Estimate: $2500-$3000


66314 70001

DREW STRUZAN (American b.1947)Indiana Jones and the Last Crusade, 1989Mixed-media on paper20 x 13 in.Signed lower right“He’s back in an all new adventure. Have the adventure of your life keeping up with the Joneses. The man with the hat is back. And this time, he’s bringing his Dad.”

This lovely piece is a fi nished mixed-media concept one-sheet design for the 1989 feature fi lm, “Indiana Jones and the Last Crusade.”

Estimate: $2000-$2500

66315 58002

GENE SZAFRAN (American b.1941)UntitledAcrylic on board24 x 24 in.Signed upper right

Estimate: $300-$500

66316 60001

ARTHUR SZYK (American 1894 - 1951)Knights of the Crooked Cross, 1941Ink on paper9 x 13 in.Signed lower rightThis piece is a superb example of Arthur Szyk’s anti-fascist caricature art, denouncing the Axis and their collaborators. Szyk’s savage portrayals of the likes of Hitler, Mussolini, Goring, Tojo and the rest, were a real source of irritation to the would-be conquerors.


66317 60003

ARTHUR SZYK (American 1894 - 1951)Russian and Nazi soldiers, 1941Ink on paper3 x 5 in.Signed lower rightAs stated in the dust jacket of The New Order, “With Hitler’s invasion of Poland (Arthur Szyk’s homeland) in 1939, Szyk made a compelling choice: he set aside the world of illumination and took up the pen as his sword and the brush as his ally, turning to the fi ghting world of political caricature. There was a war to fi ght and Szyk became its soldier in art.”

Estimate: $500-$800


66318 60004

ARTHUR SZYK (American 1894 - 1951)The German Generals of Delicate Health, 1941Ink on paper6 x 8 in.Signed lower rightAs aptly stated in Arthur Szyk’s book, “In The New Order Mr. Szyk’s vitriolic brush depicts with stirring realism the Dictators of Europe and Asia with their hirelings and victims. The brutality and barbarism of the whole New Order become a physical sensation.”

Estimate: $500-$800

66319 60006

ARTHUR SZYK (American 1894 - 1951)Why Are Not You Americans As Decent As He Is?, 1941Ink on paper8 x 6 in.Signed lower rightArthur Szyk was widely celebrated for his anti-Axis political cartoons and illustrations during World War II. Szyk was born in Poland, to Jewish parents, and studied art in Paris and Krakow.

Estimate: $1000-$2000

66320 60007

ARTHUR SZYK (American 1894 - 1951)Give Me a Hand, Somebody, 1941Ink on paper8 x 5 in.Signed lower rightIn 1934, Arthur Szyk exhibited his works in the United States, including a showing of his George Washington/American Revolution series at the Library of Congress. After residing in England for a time, he immigrated to the United States in 1940. Szyk’s graphic jabs at the Third Reich were so scathing, Adolf Hitler was said to have placed a bounty on Szyk’s life. For more information on this remarkable artist, visit the website at www.szyk.org./artist.html.

Estimate: $1000-$1500


66321 60008

ARTHUR SZYK (American 1894 - 1951)German Tourists, 1941Ink on paper11 x 8 in.Signed lower rightDuring World War I Arthur Szyk served in the Russian Army and in 1919-1920, during the Polish-Soviet war, he served as the art director for the Department of Propaganda in the Polish army.

Estimate: $500-$600

66322 58001

ED TADIELLO (American, 20th Century)A Prince For Jenny, 1993Acrylic on canvas24 x 40 in.Signed lower rightThis piece was published as the cover of the Peggy Webb novel, A Prince for Jenny, Bantam Books #44341-0, 1993.“She sketched him as noble, strong, and powerful, but Daniel Sullivan knew he wasn’t at all the man Jenny Love-Townsend believed in.”A copy of the paperback and a printer’s proof of the cover are included in this lot.

Estimate: $500-$800

66323 33001

GUSTAF TENGGREN (American 1896 - 1970)The Duel Between Button Gwinnett and General Lackland McIntoshOil on board23 x 22 in.Signed lower leftThis scene appeared appeared on the cover of The American Legion Monthly magazine, August 1926.

This lot also includes two letters of provenance from Boyd B. Stuler of the American Legion Magazine to Lt. Commander Joseph E. Fields, dated 1951 and 1954. Mr. Stuler owned the work from 1932-1951, until he turned it over to Lt. Commander Fields in 1951.

A copy of the magazine is included with this lot.

Estimate: $6000-$8000


66324 66005

SAUL TEPPER (American 1899 - 1987)AmericaGouache on board20 x 16 in.Signed lower right

Estimate: $500-$800

66325 32006

JAMES THURBER (American 1894 - 1961)Garden Monster Lying, original illustrationInk on paper11 x 8 in.Signed in pencil lower right

Estimate: $2000-$2500

66326 32002

JAMES THURBER (American 1894 - 1961)Bird Nest, original illustrationPencil on paper10.75 x 8 in.Not signed

Estimate: $2000-$2500


66327 32010

JAMES THURBER (American 1894 - 1961)Self-portrait, original preliminary illustration, 1951Chalk on paper10 x 8.5 in.Signed lower rightA framed copy of a July 9, 1951 Time magazine that featured a James Thurber self-portrait is included in this lot.

Estimate: $2000-$2500

66328 32011

JAMES THURBER (American 1894 - 1961)Winter Night, original illustrationPencil on paper10.5 x 8 in.Signed right-center

Estimate: $2000-$2500

66329 32014

JAMES THURBER (American 1894 - 1961)Couple Standing at Bedside, original illustrationPencil on paper27.5 x 22 in.Signed lower right

Estimate: $2000-$2500


66330 66018

THURSTON (American 20th Century)One Million Years B. C., 1966Gouache on board34 x 24 in.Signed lower left“A time when there was no law and man — woman — and beast roamed the earth — untamed.”

This piece is the original art used on the US one sheet, half sheet, window card, three sheet, and twenty-four sheet movie posters.

On the Tonight Show when Raquel Welch was a guest, Johnny Carson rightfully cited this spectacular piece as “one of the great American pop culture images of the 1960s.” This iconic image also graced many sixties paperbacks, and it recently served as a graphic representation for the History Channel’s 1960s Hippie Explosion documentary. This famous scene has been used in countless books, documentaries, and rock ‘n roll album covers since its 1966 debut. Please note that this lot contains only the original art, but not the poster (which is shown to in order to document the illustration’s fi nal, printed use).

Estimate: $65000-$70000


66331 60014

BARNEY TOBEY (American 1906 - 1989)VerbotenInk on paper16 x 13 in.Signed lower right


66332 60015

BARNEY TOBEY (American 1906 - 1989)Beat HitlerInk on paper9.5 x 12.5 in.Signed lower rightCaption: ”How did that get in here?”

Estimate: $500-$600

66333 75005

RICO TOMASO (American 1898 - 1985)The Pluckier SexOil on canvas36 x 30 in.Signed lower rightThis piece was painted as an illustration for R. Forbes’ story, The Pluckier Sex.

Caption: ”Suddenly, she drew out her hand and thrust it in front of her. My heart leaped into my throat and then tumbled heavily into some place where it would be sick.”

Estimate: $1200-$1500

66334 42001

CLARENCE UNDERWOOD (American 1871 - 1929)Crossed Wires, original American Magazine story illustrationGouache on board30 x 17 in.Signed lower right

Estimate: $500-$800


66335 42002

CLARENCE UNDERWOOD (American 1871 - 1929)Untitled, original Saturday Evening Post magazine story illustrationGouache on board28.5 x 22.5 in.

Estimate: $500-$800

66336 42003

CLARENCE UNDERWOOD (American 1871 - 1929)Milk Maid, original American Magazine story illustrationGouache on board28 x 22 in.Signed lower right

Estimate: $500-$800

66337 42004

CLARENCE UNDERWOOD (American 1871 - 1929)With Principals Undisclosed, original American Magazine story illustrationGouache on board30 x 22 in.Signed lower right

Estimate: $500-$800


66338 1002

BORIS VALLEJO (American b.1941)Godsfi re, 1978Oil on board31 x 19 in.Signed lower leftA fantasy feline beauty takes the limelight in this mysterious and otherworldly scene painted for the cover of Cynthia Felice’s science fi ction novel, Godsfi re, Pocket Books # 0671814729, 1978.

Estimate: $1500-$2000

66339 1003

BORIS VALLEJO (American b. 1941)The Demon in the MirrorOil on board25 x 15 in.Signed lower leftThis scene was used on the cover of Andrew J. Offutt and Richard K. Lyon’s novel, The Demon in the Mirror, Pocket Books, 1978.

“Tiana of Reme, illegitimate daughter of a murdered Duke and foster child of Caranga, the greatest of the Pirate captains, Bealost. But a captured Narokan merchantman — and a severed hand — take her to treacherous, alien lands. ‘Not since Jirel of Joiry has there been a sword-wielding heroine like Tiana Highrider. For a long time, the fi eld of sword-and-sorcery writing has been waiting for a swordswoman who can stand beside Conan, Brak, the Gray Mouser. It is good to know that this is only the fi rst of what I hope will be many adventures to come.’ — Andre Norton.”

Estimate: $4000-$6000


66340 1004

BORIS VALLEJO (American b.1941)ThirstOil on board27 x 20 in.Signed lower rightThis sultry scene was one of fi fteen dazzling paintings by Boris Vallejo, done as illustrations for the boldly erotic stories by Doris Vallejo in the book Enchantment, Ballantine Books, 1984. This image weaves a magnifi cent spell of human passion and transcendent power of love.

Estimate: $1500-$2500

66341 66006

FRANK VAUGHAN (American 20th Century)ParatroopersGouache on board16 x 23 in.Signed lower left

Estimate: $500-$600

66342 66012

FRANK VAUGHAN (American 20th Century)Bomber CrewInk on paper14 x 9 in.Not signed

Estimate: $500-$600

66343 66019

FRANK VAUGHAN (American 20th Century)Woman With Red CapeGouache on board11 x 15 in.Not signed

Estimate: $300-$400


66344 75016

DANIEL VIERGE (Spanish 1851 - 1904)Figure StudiesPencil and watercolor on paper11.5 x 8 in.Signed lower left

Estimate: $300-$500

66345 14005

VIETNAMESE WAR PROPAGANDA POSTER PAINTING (1960s)Moi Noc Nha La Mot Phad Dai Danh MyMixed-media on paper19.5 x 28 in.Not signedMixing party fervor with art began with Ho Chi Minh’s rousing 1951 directive, and the effects are still seen on the streets of Vietnam today. Propaganda art is not “high art,” but something produced to motivate — a conduit of information, intended to get a message across as clearly as possible. These paintings were created during the war years and were produced using scarce materials. Moi Noc Nha La Mot Phad Dai Danh My translates roughly as “A roof is a shield to defend against the US.”

Estimate: $300-$500

66346 14004

VIETNAMESE WAR PROPAGANDA POSTER PAINTING (1960s)Khong Co Gi Quy Ho’n Doc Lap Tu DoMixed-media on paper27 x 18.5 in.Not signedA portrait of Ho Chi Mihn serves as the focal point of this propaganda piece.

Vietnamese propaganda art is unlike that of any other nation. The art is unique and starting to be recognized world-wide. In its heyday during the war, both art and the entire country were in upheaval, and the images produced were the most evocative. This might be the only time you see an original painting like this because not many survived, and the ones that did are usually displayed in museums. Khong Co Gi Quy Ho’n Doc Lap Tu Do translates roughly as “Nothing is more precious than freedom of choice.”

Estimate: $300-$500

66347 14006

VIETNAMESE WAR PROPAGANDA POSTER PAINTING (1960s)Giu Lay Mai Tu’o’ng Cho EmMixed-media on paper19.5 x 31 in.Not signedThere is a charming naivety and freshness, a unique sense of the times incorporated in this painting. Color was used as a way of branding, symbolically unifying both art and the nation. This piece came from Vietnam veteran who brought several pieces back after his fi rst tour of duty.

The fl ag of Communist South Vietnam between 1968 and 1975 was similar to that of today, but with the lower half colored blue. This blue, along with the familiar red and yellow, are the most dominant colors used in paintings of this time, with red the most widely used of all because of its vibrancy and emotional impact. Giu Lai Mai Truong Cho Con Em translates roughly as “Keep the school open for the kids.”

Estimate: $300-$500


66348 75011

HAROLD VON SCHMIDT (American 1893 - 1982)Magazine story illustration, 1940Gouache on board21 x 21 in.Signed lower right

Estimate: $1000-$1500

66349 15009

BILL WARD (American 1919 - 1998) Support Woman’s Lib, original men’s magazine illustration Mixed-media on paper 20 x 14 in. Signed lower center

Caption: ”Sure I’m in favor of Women’s Liberation — why shouldn’t a gal express her natural aggressive tendencies?”

Estimate: $3000-$5000

66350 66002

BILL WARD (American 1919 - 1998)Original men’s magazine illustrationMixed-media on paper20 x 14 in.Signed lower left

Estimate: $1200-$1500


66351 79001

BILL WARD (American 1919 - 1998)Men’s magazine cartoonMixed-media on paper23 x 17 in.Signed lower rightCaption: “Here’s another novelty for you — I can write, too.”

Estimate: $1000-$1500

66352 82005

BILL WARD (American 1919 - 1998)Men’s magazine cartoonMixed-media23 x 17 in.Signed lower leftCaption: “I guess You’re right, Miss Marlow — you wouldn’t be caught wearing a thing like that, but I’d give it a darn good try.”

Estimate: $1000-$1500

66353 51016

EDMUND F. WARD (American 1882 - 1991)Weeping Woman with Child, 1923Oil on canvas30 x 30 in.Signed upper leftThis illustration appeared in Edith Wharton’s story, The False Dawn, in Ladies Home Journal, November 1923.

Caption: ”Lewis instantly guessed that she too had seen the paper.‘Tweety you mustn’t consider this of any consequence,’ he stammered.”

Edmund Ward made his professional debut before the age of 20 and worked steadily until his death. He worked in oils, and his paintings prior to 1930 had a dark tonality, were serious in subject matter, and painted in oil.



66354 51017

EDMUND F. WARD (American 1892 - 1991)Jesus at the Marketplace, 1926Oil on canvas20 x 40 in.Signed Lower rightThis piece appeared as an illustration in Pictorial Review, 1926.

Estimate: $600-$800

66355 51018

EDMUND F. WARD (American 1892 - 1991)Heaven, 1925Oil on canvas28 x 32 in.Signed upper right


66356 32007

HAROLD T. WEBSTER (American 1885 - 1952Yes Virginia, There Is a Santa ClausInk and watercolor on paper11 x 10.5 in.Signed lower right

Estimate: $300-$500


66357 72011

DAVID WILLARDSON (American 20th Century)Rolling Stone coverMixed-media on board15.5 x 15.5 in.Signed lower rightDavid Willardson is celebrated for his covers for Rolling Stone, Time, and Newsweek magazines. He has also created album covers for the Beach Boys. Motley Crue, Carpenters, Styx, and the Police.

This piece comes with a printed biography of Willardson.

Estimate: $500-$800

66358 21013

VIOLET WILLIAMS (English 20th Century)Bobalink and Bunty, 1959Gouache on board9 x 5 in.Not signedThis lot features 25 illustrations from the children’s book Bobalink and Bunty by Violet M. Williams. Seventeen of the illustrations are larger, and have an approximate size of 9 x 5 in. There are eight smaller illustrations which have an approximate size of 4 x 5 in.


Estimate: $300-$500

66359 12001

GAHAN WILSON (American b.1930)Do Your Hazards Look More Like the Everglades?Ink on paper7 x 9 in.Signed lower rightThis cartoon illustration was created for a national ad campaign for DeBra Turf and Industrial Equipment Company for their line of golf course maintenance equipment.

A copy of the ad is included in this lot.

Estimate: $500-$600


66360 12002

GAHAN WILSON (American b.1930)Do Your Sand Traps Look More Like the Sahara Desert?Ink on paper7 x 9 in.Signed lower leftThis cartoon illustration was created for a national ad campaign for DeBra Turf and Industrial Equipment Company for their line of golf course maintenance equipment.


Estimate: $300-$500

66361 12003

GAHAN WILSON (American b.1930)Does Your Golf Course Look More Like the Black Forest?Ink on paper7 x 9 in.Signed lower rightThis cartoon illustration was created for a national ad campaign for DeBra Turf and Industrial Equipment Company for their line of golf course maintenance equipment.


Estimate: $300-$500

WE ARE ALWAYS ACCEPTING CONSIGNMENTS IN THE FOLLOWING CATEGORIES:

Fine & Decorative Arts, Antiques, Rare Coins & Currency, Illustration Art, Comics & Comic Art, Civil War & Americana, American Indian Art, Rare Books & Manuscripts, Entertainment Memorabilia, Jewelry & Timepieces, Natural History, Sports Collectibles, Vintage Movie Posters and Stamps.


66362 23001

N. C. WYETH (American 1882 - 1945)Mrs. Van Anden Sings, A Story of the North Country, Scribner’s Magazine illustration, June 1913Oil on canvas25 x 34 in.Signed lower leftIn the realm of the Golden Age of American illustration, few if any artists are held in higher esteem than N. C. Wyeth. His work is at home alongside the vital illustrations of Winslow Homer, Howard Pyle, and Frederic Remington. On assignment from Scribner’s Magazine, N. C. Wyeth traveled the American West, and from these trips, he created over 400 illustrations and paintings, but by 1911, Wyeth had moved away from these Western themes to focus on illustrating classic literature. He painted a series of celebrated book illustrations for Robert Louis Stevenson’s Treasure Island in 1911, Kidnapped in 1913, and Robin Hood in 1917. Wyeth’s work also appeared in Century, Harper’s Monthly, Ladies’ Home Journal, McClure’s, Outing, and Scribner’s magazines.

This haunting mise en scene, painted during this peak period of Wyeth’s career, is a masterfully staged composition featuring a group portrait that captures romantic tension of Mary Synon’s (1881-1965) short story. “Mrs. Van Anden Sings” is a tale of tragic tryst, set in the railway construction camp of the Missinaibi Station in Ontario. The plot revolves around the temptress, Mrs. Van Anden, who sings a compelling siren song of forbidden love, “Kashmiri Song” and nearly ensnares the narrator’s fi ancé, Gordon Nicolson in her romantic designs. Meanwhile, it seems the construction superintendent’s wife, Mrs. Radbourne, is having an affair with a Russian engineer.

Wyeth’s illustration captures the pensive mood of the players as they listen to the haunting melody and lyrics of this song, a parlor room standard from 1909 until World War II. As the story puts it, “Five men and two women were showing their naked souls — and all of them had been living in the Bush country a little too long. Anne Lowden looked as if she were seeing white ghosts. Radbourne glared at the Russian engineer with the calculating, murdering hatred of a master of men. Mrs. Radbourne was gray with fright. And Gordon Nicolson —.” The massed shadow and middle-value forms of these fi gures link the group, while the lovers each gaze away from their spouses. Each character in this narrative is presented with a unique contemplative personality.

Caption: We all listened breathless even after the last chord of it had ceased to throb.

A bound volume with a copy of the magazine is included in this lot

PROVENANCE:

A Scribner’s Magazine publication label is affi xed to the back of this piece. There is an inscription on the top stretcher written in pencil, #29856, and the N. C. Wyeth Museum has confi rmed that this is the Scribner’s inventory number for the painting. The museum has the complete inventory and their inventory card corresponds to this painting.

Estimate: $40000-$60000


66363 8022

THOMAS YEATES (American 20th Century)Amazon, original illustrationInk on paper24 x 15 in.Signed lower right

Estimate: $1000-$1200

66364 51019

FREDERICK C. YOHN (American 1875 - 1933)The Last Days of Pompeii, 1929Oil on canvas28 x 38 in.Not signedThis painting was used as the book cover illustration for The Last Days of Pompeii by Edward Bulwer Lytton, Charles Scribner’s Sons, 1929.

Frederick Yohn is best known for his historical scenes.

Estimate: $1500-$2000

End of Auction

Steve Ivy - Co-Chairman and CEO

Steve Ivy began collecting and studying rare coins in his youth, and as a teenager in 1963 began advertising coins for sale in national publications. Seven years later, at the age of twenty, he opened Steve Ivy Rare Coins in downtown Dallas, and in 1976, Steve Ivy Numismatic Auctions was incorporated. Steve managed the business as well as serving as chief numismatist, buying and selling hundreds of millions of dollars of coins during the 1970s and early 1980s. In early 1983, James Halperin became a full partner, and the name of the corporation was changed to Heritage Rare Coin Galleries. Steve’s primary responsibilities now include management of the marketing and selling efforts of the company, the formation of corporate policy for long-term growth, and corporate relations with financial institutions. He remains intimately involved in numismatics, attending all major national shows. Steve engages in daily discourse with industry leaders

on all aspects of the rare coin/currency business, and his views on grading, market trends and hobby developments are respected throughout the industry. He serves on the Board of Directors of the Professional Numismatists Guild (and was immediate past president), is the current Chairman of The Industry Council for Tangible Assets, and is a member of most leading numismatic organizations. Steve’s keen appreciation of history is reflected in his active participation in other organizations, including past or present board positions on the Texas Historical Foundation and the Dallas Historical Society (where he also served as Exhibits Chairman). Steve is an avid collector of Texas books, manuscripts, and national currency, and he owns one of the largest and finest collections in private hands. He is also a past Board Chair of Dallas Challenge, and is currently the Finance Chair of the Phoenix House of Texas.

James Halperin - Co-Chairman

Jim Halperin and the traders under his supervision have transacted billions of dollars in rare coin business, and have outsold all other numismatic firms every year for over two decades. Born in Boston in 1952, Jim attended Middlesex School in Concord from 1966 to 1970. At the age of 15, he formed a part-time rare coin business after discovering that he had a knack (along with a nearly photographic memory) for coins. Jim scored a perfect 800 on his math SATs and received early acceptance to Harvard College, but after attending three semesters, he took a permanent leave of absence to pursue his full-time numismatic career. In 1975, Jim personally supervised the protocols for the first mainframe computer system in the numismatic business, which would catapult New England Rare Coin Galleries to the top of the industry in less than four years. In 1983, Jim merged with his friend and former archrival Steve Ivy, whom Jim had long admired. Their

partnership has become the world’s largest and most successful numismatic company, as well as the third-largest auctioneer in America. Jim remains arguably the best “eye” in the coin business today (he won the professional division of the PCGS World Series of Grading). In the mid-1980s, he authored “How to Grade U.S. Coins” (now posted on the web at www.CoinGrading.com), a highly-acclaimed text upon which the NGC and PCGS grading standards would ultimately be based. Jim is a bit of a Renaissance man, as a well-known futurist, an active collector of EC comics and early 20th-century American art (visit www.jhalpe.com), venture capital investor, philanthropist (he endows a multimillion-dollar health education foundation), and part-time novelist. His first fictional novel, “The Truth Machine,” was published in 1996 and became an international science fiction bestseller, and was optioned for movie development by Warner Brothers. Jim’s second novel, “The First Immortal,” was published in early 1998 and immediately optioned as a Hallmark Hall of Fame television miniseries. Jim is married to Gayle Ziaks, and they have two sons, David and Michael. In 1996, with funding from Jim and Gayle’s foundation, Gayle founded Dallas’ Dance for the Planet, which has grown to become the largest free dance festival in the world.

Greg Rohan - President

At the age of eight, Greg Rohan started collecting coins as well as buying them for resale to his schoolmates. By 1971, at the age of ten, he was already buying and selling coins from a dealer’s table at trade shows in his hometown of Seattle. His business grew rapidly, and by 1985 he had offices in both Seattle and Minneapolis. He joined Heritage in 1987 as Executive Vice-President and Manager of the firm’s rare coin business. Today, as an owner and as President of Heritage, his responsibilities include overseeing the firm’s private client group and working with top collectors in every field in which Heritage is active. Greg has been involved with many of the rarest items and most important collections handled by the firm, including the purchase and/or sale of the Ed Trompeter Collection (the world’s largest numismatic purchase according to the Guinness Book of World Records), the legendary 1894 San Francisco Dime, the 1838 New Orleans Half Dollar,

and the 1804 Silver Dollar. During his career, Greg has handled more than $1 billion of rare coins, collectibles and art, and provided expert consultation concerning the authenticity and grade condition of coins for the Professional Coin Grading Service (PCGS). He has provided expert testimony for the United States Attorneys in San Francisco, Dallas, and Philadelphia, and for the Federal Trade Commission (FTC). He has worked with collectors, consignors, and their advisors regarding significant collections of books, manuscripts, comics, currency, jewelry, vintage movie posters, sports and entertainment memorabilia, decorative arts, and fine art. Additionally, Greg is a Sage Society member of the American Numismatic Society, and a member/life member of the PNG, ANA, and most other leading numismatic organizations. Greg is also Chapter Chairman for North Texas of the Young Presidents’ Organization (YPO), and is an active supporter of the arts. Greg co-authored “The Collectors Estate Handbook,” winner of the NLG’s Robert Friedberg Award for numismatic book of the year. Mr. Rohan currently serves on the seven-person Advisory Board to the Federal Reserve Bank of Dallas, in his second appointed term. He and his wife, Lysa, are avid collectors of rare wine, Native American artifacts, and American art.

Paul Minshull - Chief Operating Officer

As Chief Operating Officer, Paul Minshull’s managerial responsibilities include integrating sales, personnel, inventory, security and MIS for Heritage. His major accomplishments include overseeing the hardware migration from mainframe to PC, the software migration of all inventory and sales systems, and implementation of a major Internet presence. Heritage’s successful employee-suggestion program has generated 200 or more ideas each month since 1995, and has helped increase employee productivity, expand business, and improve employee retention. Paul oversees the company’s highly-regarded IT department, and has been the driving force behind Heritage’s web development, now a significant portion of Heritage’s future plans. As the only numismatic auction house that combines traditional floor bidding with active Internet bidding, the totally interactive system has catapulted Heritage to the top rare coin website (according to Forbes

Magazine’s “Best of the Web”). Paul was born in Michigan and came to Heritage in 1984 after 12 years as the General Manager of a plastics manufacturing company in Ann Arbor. Since 1987, he has been a general partner in Heritage Capital Properties, Sales Manager, Vice President of Operations, and Chief Operating Officer for all Heritage companies and affiliates since 1996. Paul maintains an active interest in sports and physical fitness, and he and his wife have three children.

Heritage Auction Galleries Staff

Todd Imhof - Vice President

Todd Imhof did not start collecting coins in his teens, unlike most professional numismatists. Shortly after graduating college, Todd declined an offer from a prestigious Wall Street bank to join a former high school classmate in his small rare coin firm in the Seattle area. In the mid-1980s, the rare coin industry was rapidly changing, with the advent of third-party grading and growing computer technologies; as a newcomer, Todd more easily embraced these new dynamics. He soon discovered a personal passion for rare coins, and for working with high-level collectors; in 1991, he co-founded Pinnacle Rarities, a firm specialized in servicing the savviest and most prominent collectors in numismatics. At 25, he was accepted into the PNG, and currently serves on its Consumer Protection Committee and its Legislation/Taxation Issues Committee. In 1992, he was invited to join the Board of Directors for the Industry Council for Tangible Assets, later serving as its Chairman (2002-2005).

Todd enjoys a reputation that is envied by the entire numismatic community, and his relationship with Heritage’s most prominent clients, who seek his expertise and integrity, has only strengthened over the years. Clients and colleagues are impressed by his ability to navigate complex deals with unsurpassed professionalism. By understanding what each collector is trying to accomplish, Todd has the uncanny ability to identify the perfect coins at the right prices. In the famous Phillip Morse Auction, he became the only person in history to purchase two separate $1mm+ coins during a single auction session! Todd is an avid competitive sailor, and collector of fine wines and Olympic medals. He and his wife have two sons and a daughter.

Leo Frese - Vice President

Leo has been involved in numismatics for nearly 40 years, a professional numismatist since 1971, and has been with Heritage for over 20 years. He literally worked his way up the Heritage “ladder” through dedication, hard work, and a belief that the client is the most important asset Heritage has. He worked with Bob Merrill for nearly 15 years and now is the Director of Consignments. Leo has been actively involved in assisting clients sell nearly $500,000,000 in numismatic material. Leo was recently accepted as a member of PNG, is a life member of the ANA, and holds membership in FUN, CSNS, and other numismatic organizations. He believes education is the foremost building block in numismatics. Leo encourages all collectors to broaden their horizons, be actively involved in the hobby, and donate freely to YN organizations. Leo’s interests include collecting Minnesota pottery and elegant Depression glass. Although travel is an important element of his job, he relishes time with his wife Wendy, children Alicen and Adam, and son-in-law Jeff.

Norma L. Gonzalez - VP of Auction Operations

Born in Dallas, Texas, Norma joined the U.S. Navy in August of 1993. During her five-year enlistment, she received her Bachelor’s Degree in Resource Management and traveled to Japan, Singapore, Thailand and lived in Cuba for three years. After her enlistment, she moved back to Dallas where her family resides. Norma joined Heritage in 1998; always ready for a challenge, she spent her days at Heritage and her nights pursuing an M. B. A. She was promoted to Vice President in 2003. She currently manages the operations departments, including Coins, Currency, World & Ancient Coins, Sportscards & Memorabilia, Comics, Movie Posters, Pop Culture and Political Memorabilia. Norma enjoys running, biking and spending time with her family. In February 2004 she ran a 26.2-mile marathon in Austin, Texas and later, in March she accomplished a 100-mile bike ride in California.

Debbie Rexing - VP - Marketing

Debbie’s marketing credentials include degrees in Business Administration in Marketing and Human Resource Management from The Ohio State University, as well as sales and brand development experience for General Foods and Proctor & Gamble. After joining Heritage in 2001, Debbie rapidly became an integral part of the marketing teams involved with Heritage’s most exciting and successful specialties, including U.S. Coins, World Coins, Currency, Music & Entertainment, Vintage Movie Posters, Americana, and U.S. Tangibles Inc. Her varied responsibilities included cross-functional coordination of photography, auction logistics, and marketing. Debbie has been active in coin auctions, staffing the podium, executing client bids, and in lot viewing. Her wide experience in many aspects of the business has provided her with a broad perspective of Heritage’s activities. She and her husband Rick have three children -- Trent, Abbey, and Claire -- and her hobbies include interior design, entertaining and exercise, the beach and water activities, and watching Ohio State football.

Kelley Norwine - VP - Media and Client Relations

Born and raised in South Carolina, Kelley pursued a double major at Southern Wesleyan University, earning a BA in Music Education and a BS in Business Management. A contestant in the Miss South Carolina pageant, Kelley was later Regional Manager & Director of Training at Bank of Travelers Rest in South Carolina. Relocating to Los Angeles, Kelley became the Regional Manager and Client Services Director for NAS-McCann World Group, an international Advertising & Communications Agency where she was responsible for running one of the largest offices in the country. During her years with NAS Kelley was the recipient of numerous awards including Regional Manager of the Quarter and the NAS Courage and Dedication award. After relocating to Dallas, Kelley took a job as Director of Client Services for TMP/Monster Worldwide and joined Heritage in 2005 as Director of Client Development. She was named VP of Marketing for Heritage in 2007. A cancer survivor, Kelley is an often-requested motivational speaker for the American Cancer Society. In her spare time, she writes music, sings, and plays the piano.

Marti Korver - Manager - Credit/Collections

Marti has been working in numismatics for more than three decades. She was recruited out of the banking profession by Jim Ruddy, and she worked with Paul Rynearson, Karl Stephens, and Judy Cahn on ancients and world coins at Bowers & Ruddy Galleries, in Hollywood, CA. She migrated into the coin auction business, running the bid books for such memorable sales as the Garrett Collection and representing bidders as agent at B&R auctions for 10 years. She also worked as a research assistant for Q. David Bowers for several years. Memorable events included such clients (and friends) as Richard Lobel, John Ford, Harry Bass, and John J. Pittman. She is married to noted professional numismatist and writer, Robert Korver, (who is sometimes seen auctioneering at coin shows) and they migrated to Heritage in Dallas in 1996. She has an RN daughter (who worked her way through college showing lots for Heritage) and a son (who is currently a college student and sometimes a Heritage employee) and a type set of dogs (one black and one white). She currently collects kitschy English teapots and compliments.

Ed Jaster – Vice President Heritage Auctions

From the very beginning, Ed Jaster seemed destined for the art business. His parents met while attending the School of the Art Institute of Chicago in the 1940s, the same school their son would later attend. Subsequently, for some 20 years, Ed owned his own commercial art firm in Chicago, acquiring, trading, and selling world class collections of American photography, illustration art, and vintage comic books. Ed brought his vast experience and expertise in collectibles to Heritage Auctions in 2002.

Don Mangus - Comic and Illustration Art Expert/Cataloger

Don is Heritage Auctions’ Comics and Illustration Art Expert. Don brings his experience as a published writer and former college-level Design, Drawing, and Painting instructor to his art descriptions. He is an artist/cartoonist, with both a BFA and a MFA from Southern Methodist University.

Barry Sandoval - Director of Operations, Comics

Barry came to Heritage in 2004 from Germany’s Droemer Knaur publishing group. He edited “The Encyclopedia of Photographers, 1900 to Present” (which won the Kodak Prize for best photography book of the year) as well as books on digital and conventional photography, a German-English dictionary, and other foreign-language reference works. He counts Frank Frazetta, Tom Adams, and Robert McGinnis among his favorite illustrators.

Jim Steele - Catalog Production

This is the third Illustration Art catalog that Jim has helped produce, following his work on Comics catalogs since 2002 and Entertainment Memorabilia catalogs since 2003. His college co-majors in English and Music have come in handy, but Jim counts his lifelong passion for collecting equally important for overseeing the production of some 40 different catalogs to date.

Terms and CondiTions of auCTion

Auctioneer and Auction: 1. This Auction is presented by Heritage Auction Galleries, a d/b/a/ of Heritage Auctions, Inc., or its

affiliates Heritage Numismatic Auctions, Inc., or Heritage Vintage Sports Auctions, Inc., or Currency Auctions of America, Inc., as identified with the applicable licensing information on the title page of the catalog or on the HA.com Internet site (the “Auctioneer”). The Auction is conducted under these Terms and Conditions of Auction and applicable state and local law. Announcements and corrections from the podium and those made through the Terms and Conditions of Auctions appearing on the Internet at HA.com supersede those in the printed catalog.

Buyer’s Premium: 2. On bids placed through Auctioneer, a Buyer’s Premium of fifteen percent (15%) will be added to the

successful hammer price bid on lots in Coin and Currency auctions, or nineteen and one-half percent (19.5%) on lots in all other auctions. If your bid is placed through eBay Live, a Buyer’s Premium equal to the normal Buyer’s Premium plus an additional five percent (5%) of the hammer price will be added to the successful bid up to a maximum Buyer’s Premium of Twenty Two and one-half percent (22.5%). There is a minimum Buyer’s Premium of $9.00 per lot. In Gallery Auctions (sealed bid auctions of mostly bulk numismatic material), the Buyer’s Premium is 19.5%.

Auction Venues: 3. The following Auctions are conducted solely on the Internet: Heritage Weekly Internet Coin, Currency,

Comics, and Vintage Movie Poster Auctions; Heritage Monthly Internet Sports and Marketplace Auctions; Final Sessions. Signature® Auctions and Grand Format Auctions accept bids the Internet, telephone, fax, or mail first, followed by a floor bidding session; Heritage Live, eBay Live, and real-time telephone bidding are available to registered clients during these auctions.

Bidders: 4. Any person participating or registering for the Auction agrees to be bound by and accepts these Terms

and Conditions of Auction (“Bidder(s)”). 5. All Bidders must meet Auctioneer’s qualifications to bid. Any Bidder who is not a client in good standing

of the Auctioneer may be disqualified at Auctioneer’s sole option and will not be awarded lots. Such determination may be made by Auctioneer in its sole and unlimited discretion, at any time prior to, during, or even after the close of the Auction. Auctioneer reserves the right to exclude any person from the auction.

6. If an entity places a bid, then the person executing the bid on behalf of the entity agrees to personally guarantee payment for any successful bid.

Credit: 7. Bidders who have not established credit with the Auctioneer must either furnish satisfactory credit

information (including two collectibles-related business references) well in advance of the Auction or supply valid credit card information. Bids placed through our Interactive Internet program will only be accepted from pre-registered Bidders; Bidders who are not members of HA.com or affiliates should pre-register at least 48 hours before the start of the first session (exclusive of holidays or weekends) to allow adequate time to contact references. Credit may be granted at the discretion of Auctioneer. Additionally Bidders who have not previously established credit or who wish to bid in excess of their established credit history may be required to provide their social security number or the last four digits thereof to us so a credit check may be performed prior to Auctioneer’s acceptance of a bid.

Bidding Options: 8. Bids in Signature® Auctions or Grand Format Auctions may be placed as set forth in the printed catalog

section entitled “Choose your bidding method.” For auctions held solely on the Internet, see the alternatives on HA.com. Review at HA.com/common/howtobid.php.

9. Presentment of Bids: Non-Internet bids (including but not limited to podium, fax, phone and mail bids) are treated similar to floor bids in that they must be on-increment or at a half increment (called a cut bid). Any podium, fax, phone, or mail bids that do not conform to a full or half increment will be rounded up or down to the nearest full or half increment and this revised amount will be considered your high bid.

10. Auctioneer’s Execution of Certain Bids. Auctioneer cannot be responsible for your errors in bidding, so carefully check that every bid is entered correctly. When identical mail or FAX bids are submitted, preference is given to the first received. To ensure the greatest accuracy, your written bids should be entered on the standard printed bid sheet and be received at Auctioneer’s place of business at least two business days before the Auction start. Auctioneer is not responsible for executing mail bids or FAX bids received on or after the day the first lot is sold, nor Internet bids submitted after the published closing time; nor is Auctioneer responsible for proper execution of bids submitted by telephone, mail, FAX, e-mail, Internet, or in person once the Auction begins. Internet bids may not be withdrawn until your written request is received and acknowledged by Auctioneer (FAX: 214-4438425); such requests must state the reason, and may constitute grounds for withdrawal of bidding privileges. Lots won by mail Bidders will not be delivered at the Auction unless prearranged.

11. Caveat as to Bid Increments. Bid increments (over the current bid level) determine the lowest amount you may bid on a particular lot. Bids greater than one increment over the current bid can be any whole dollar amount. It is possible under several circumstances for winning bids to be between increments, sometimes only $1 above the previous increment. Please see: “How can I lose by less than an increment?” on our website. Bids will be accepted in whole dollar amounts only. No “buy” or “unlimited” bids will be accepted.

The following chart governs current bidding increments.

Current Bid ................... Bid Increment Current Bid ............................ Bid Increment <$10 ...................................$1 $20,000 - $29,999 ....................... $2,000 $10 - $29 ............................$2 $30,000 - $49,999 ....................... $2,500 $30 - $49 ............................$3 $50,000 - $99,999 ....................... $5,000 $50 - $99 ............................$5 $100,000 - $199,999 ................... $10,000 $100 - $199 ........................$10 $200,000 - $299,999 ................... $20,000 $200 - $299 ........................$20 $300,000 - $499,999 ................... $25,000 $300 - $499 ........................$25 $500,000 - $999,999 ................... $50,000 $500 - $999 ........................$50 $1,000,000 - $1,999,999 ............. $100,000 $1,000 - $1,999 ..................$100 $2,000,000 - $2,999,999 ............. $200,000 $2,000 - $2,999 ..................$200 $3,000,000 - $4,999,999 ............. $250,000 $3,000 - $4,999 ..................$250 $5,000,000 - $9,999,999 ............. $500,000 $5,000 - $9,999 ..................$500 >$10,000,000 .............................. $1,000,000 $10,000 - $19,999 ..............$1,000

12. If Auctioneer calls for a full increment, a floor/phone bidder may request Auctioneer to accept a bid at half of the increment (“Cut Bid”) which will be that bidders final bid; if the Auctioneer solicits bids other the expected increment, these bids will not be considered Cut Bids, and bidders bidding at such increments may continue to participate. Off-increment bids may be accepted by the Auctioneer at Signature® Auctions and Grand Format Auctions.

Conducting the Auction: 13. Notice of the consignor’s liberty to place bids on his lots in the Auction is hereby made in accordance

with Article 2 of the Texas Business and Commercial Code. A ”Minimum Bid” is an amount below which the lot will not sell. THE CONSIGNOR OF PROPERTY MAY PLACE WRITTEN ”Minimum Bids” ON HIS LOTS IN ADVANCE OF THE AUCTION; ON SUCH LOTS, IF THE HAMMER PRICE DOES NOT MEET THE ”Minimum Bid”, THE CONSIGNOR MAY PAY A REDUCED COMMISSION ON THOSE LOTS. ”Minimum Bids” are generally posted online several days prior to the Auction closing. For any successful bid placed by a consignor on his Property on the Auction floor, or by any means during the live session, or after the ”Minimum Bid” for an Auction have been posted, we will require the consignor to pay full Buyer’s Premium and Seller’s Commissions on such lot.

14. The highest qualified Bidder recognized by the Auctioneer shall be the buyer. In the event of any dispute between any Bidders at an Auction, Auctioneer may at his sole discretion reoffer the lot. Auctioneer’s decision and declaration of the winning Bidder shall be final and binding upon all Bidders. Bids properly offered, whether by floor Bidder or other means of bidding, may on occasion be missed or go unrecognized; in such cases, the Auctioneer may declare the recognized bid accepted as the winning bid, regardless of whether a competing bid may have been higher.

15. Auctioneer reserves the right to refuse to honor any bid or to limit the amount of any bid, in its sole discretion. A bid is considered not made in “Good Faith” when made by an insolvent or irresponsible person, a person under the age of eighteen, or is not supported by satisfactory credit, collectibles references, or otherwise. Regardless of the disclosure of his identity, any bid by a consignor or his agent on a lot consigned by him is deemed to be made in “Good Faith.” Any person apparently appearing on the OFAC list is not eligible to bid.

16. Nominal Bids. The Auctioneer in its sole discretion may reject nominal bids, small opening bids, or very nominal advances. If a lot bearing estimates fails to open for 40–60% of the low estimate, the Auctioneer may pass the item or may place a protective bid on behalf of the consignor.

17. Lots bearing bidding estimates shall open at Auctioneer’s discretion (approximately 50% of the low estimate). In the event that no bid meets or exceeds that opening amount, the lot shall pass as unsold.

18. All items are to be purchased per lot as numerically indicated and no lots will be broken. Auctioneer reserves the right to withdraw, prior to the close, any lots from the Auction.

19. Auctioneer reserves the right to rescind the sale in the event of nonpayment, breach of a warranty, disputed ownership, auctioneer’s clerical error or omission in exercising bids and reserves, or for any other reason and In Auctioneer’s sole discretion. In cases of nonpayment, Auctioneer’s election to void a sale does not relieve the Bidder from their obligation to pay Auctioneer its fees (seller’s and buyer’s premium) and any other damages or expenses pertaining to the lot.

20. Auctioneer occasionally experiences Internet and/or Server service outages, and Auctioneer periodically schedules system downtime for maintenance and other purposes, during which Bidders cannot participate or place bids. If such outages occur, we may at our discretion extend bidding for the Auction. Bidders unable to place their Bids through the Internet are directed to contact Client Services at 1-800-872-6467.

21. The Auctioneer or its affiliates may consign items to be sold in the Auction, and may bid on those lots or any other lots. Auctioneer or affiliates expressly reserve the right to modify any such bids at any time prior to the hammer based upon data made known to the Auctioneer or its affiliates. The Auctioneer may extend advances, guarantees, or loans to certain consignors, and may extend financing or other credits at varying rates to certain Bidders in the auction.

22. The Auctioneer has the right to sell certain unsold items after the close of the Auction. Such lots shall be considered sold during the Auction and all these Terms and Conditions shall apply to such sales including but not limited to the Buyer’s Premium, return rights, and disclaimers.

Payment: 23. All sales are strictly for cash in United States dollars (including U.S. currency, bank wire, cashier

checks, travelers checks, eChecks, and bank money orders, all subject to reporting requirements). All are subject to clearing and funds being received In Auctioneer’s account before delivery of the purchases. Auctioneer reserves the right to determine if a check constitutes “good funds” when drawn on a U.S. bank for ten days, and thirty days when drawn on an international bank. Credit Card (Visa or Master Card only) and PayPal payments may be accepted up to $10,000 from non-dealers at the sole discretion of the Auctioneer, subject to the following limitations: a) sales are only to the cardholder, b) purchases are shipped to the cardholder’s registered and verified address, c) Auctioneer may pre-approve the cardholder’s credit line, d) a credit card transaction may not be used in conjunction with any other financing or extended terms offered by the Auctioneer, and must transact immediately upon invoice presentation, e) rights of return are governed by these Terms and Conditions, which supersede those conditions promulgated by the card issuer, f) floor Bidders must present their card.

24. Payment is due upon closing of the Auction session, or upon presentment of an invoice. Auctioneer reserves the right to void an invoice if payment in full is not received within 7 days after the close of the Auction. In cases of nonpayment, Auctioneer’s election to void a sale does not relieve the Bidder from their obligation to pay Auctioneer its fees (seller’s and buyer’s premium) on the lot and any other damages pertaining to the lot.

25. Lots delivered in the States of Texas, California, or other states where the Auction may be held, are subject to all applicable state and local taxes, unless appropriate permits are on file with Auctioneer. Bidder agrees to pay Auctioneer the actual amount of tax due in the event that sales tax is not properly collected due to: 1) an expired, inaccurate, inappropriate tax certificate or declaration, 2) an incorrect interpretation of the applicable statute, 3) or any other reason. The appropriate form or certificate must be on file at and verified by Auctioneer five days prior to Auction or tax must be paid; only if such form or certificate is received by Auctioneer within 4 days after the Auction can a refund of tax paid be made. Lots from different Auctions may not be aggregated for sales tax purposes.

26. In the event that a Bidder’s payment is dishonored upon presentment(s), Bidder shall pay the maximum statutory processing fee set by applicable state law. If you attempt to pay via eCheck and your financial institution denies this transfer from your bank account, or the payment cannot be completed using the selected funding source, you agree to complete payment using your credit card on file.

27. If any Auction invoice submitted by Auctioneer is not paid in full when due, the unpaid balance will bear interest at the highest rate permitted by law from the date of invoice until paid. If the Auctioneer refers any invoice to an attorney for collection, the buyer agrees to pay attorney’s fees, court costs, and other collection costs incurred by Auctioneer. If Auctioneer assigns collection to its in-house legal staff, such attorney’s time expended on the matter shall be compensated at a rate comparable to the hourly rate of independent attorneys.

Terms and CondiTions of auCTion

28. In the event a successful Bidder fails to pay all amounts due, Auctioneer reserves the right to resell the merchandise, and such Bidder agrees to pay for the reasonable costs of resale, including a 10% seller’s commission, and also to pay any difference between the resale price and the previously successful bid. Auctioneer may sell the merchandise to an under Bidder or at private sale and in such case the Bidder shall be responsible for any deficiency between the original and subsequent sale.

29. Auctioneer reserves the right to require payment in full in good funds before delivery of the merchandise.

30. Auctioneer shall have a lien against the merchandise purchased by the buyer to secure payment of the Auction invoice. Auctioneer is further granted a lien and the right to retain possession of any other property of the buyer then held by the Auctioneer or its affiliates to secure payment of any Auction invoice or any other amounts due the Auctioneer or affiliates from the buyer. With respect to these lien rights, Auctioneer shall have all the rights of a secured creditor under Article 9 of the Texas Uniform Commercial Code, including but not limited to the right of sale. In addition, with respect to payment of the Auction invoice(s), the buyer waives any and all rights of offset he might otherwise have against the Auctioneer and the consignor of the merchandise included on the invoice. If a Bidder owes Auctioneer or its affiliates on any account, Auctioneer and its affiliates shall have the right to offset such unpaid account by any credit balance due Bidder, and it may secure by possessory lien any unpaid amount by any of the Bidder’s property in their possession.

31. Title shall not pass to the successful Bidder until all invoices are paid in full. It is the responsibility of the buyer to provide adequate insurance coverage for the items once they have been delivered to a common carrier or third-party shipper.

Delivery; Shipping; and Handling Charges: 32. Buyer is liable for shipping and handling. Please refer to Auctioneer’s website www.HA.com/common/

shipping.php for the latest charges or call Auctioneer. Auctioneer is unable to combine purchases from other auctions or affiliates into one package for shipping purposes. Lots won will be shipped in a commercially reasonable time after payment in good funds for the merchandise and the shipping fees is received or credit extended, except when third-party shipment occurs.

33. Successful international Bidders shall provide written shipping instructions, including specified customs declarations, to the Auctioneer for any lots to be delivered outside of the United States. NOTE: Declaration value shall be the item’(s) hammer price together with its buyer’s premium and Auctioneer shall use the correct harmonized code for the lot. Domestic Buyers on lots designated for third-party shipment must designate the common carrier, accept risk of loss, and prepay shipping costs.

34. All shipping charges will be borne by the successful Bidder. Any risk of loss during shipment will be borne by the buyer following Auctioneer’s delivery to the designated common carrier or third-party shipper, regardless of domestic or foreign shipment.

35. Due to the nature of some items sold, it shall be the responsibility for the successful bidder to arrange pick-up and shipping through third-parties; as to such items Auctioneer shall have no liability. Failure to pick-up or arrange shipping in a timely fashion (within ten days) shall subject Lots to storage and moving charges, including a $100 administration fee plus $10 daily storage for larger items and $5.00 daily for smaller items (storage fee per item) after 35 days. In the event the Lot is not removed within ninety days, the Lot may be offered for sale to recover any past due storage or moving fees, including a 10% Seller’s Commission.

36. The laws of various countries regulate the import or export of certain plant and animal properties, including (but not limited to) items made of (or including) ivory, whalebone, turtleshell, coral, crocodile, or other wildlife. Transport of such lots may require special licenses for export, import, or both. Bidder is responsible for: 1) obtaining all information on such restricted items for both export and import; 2) obtaining all such licenses and/or permits. Delay or failure to obtain any such license or permit does not relieve the buyer of timely compliance with standard payment terms. For further information, please contact Bill Taylor at 800-872-6467 ext. 1280.

37. Any request for shipping verification for undelivered packages must be made within 30 days of shipment by Auctioneer.

Cataloging, Warranties and Disclaimers: 38. NO WARRANTY, WHETHER EXPRESSED OR IMPLIED, IS MADE WITH RESPECT TO ANY

DESCRIPTION CONTAINED IN THIS AUCTION OR ANY SECOND OPINE. Any description of the items or second opine contained in this Auction is for the sole purpose of identifying the items for those Bidders who do not have the opportunity to view the lots prior to bidding, and no description of items has been made part of the basis of the bargain or has created any express warranty that the goods would conform to any description made by Auctioneer. Color variations can be expected in any electronic or printed imaging, and are not grounds for the return of any lot.

39. Auctioneer is selling only such right or title to the items being sold as Auctioneer may have by virtue of consignment agreements on the date of auction and disclaims any warranty of title to the Property. Auctioneer disclaims any warranty of merchantability or fitness for any particular purposes. All images, descriptions, sales data, and archival records are the exclusive property of Auctioneer, and may be used by Auctioneer for advertising, promotion, archival records, and any other uses deemed appropriate.

40. Translations of foreign language documents may be provided as a convenience to interested parties. Auctioneer makes no representation as to the accuracy of those translations and will not be held responsible for errors in bidding arising from inaccuracies in translation.

41. Auctioneer disclaims all liability for damages, consequential or otherwise, arising out of or in connection with the sale of any Property by Auctioneer to Bidder. No third party may rely on any benefit of these Terms and Conditions and any rights, if any, established hereunder are personal to the Bidder and may not be assigned. Any statement made by the Auctioneer is an opinion and does not constitute a warranty or representation. No employee of Auctioneer may alter these Terms and Conditions, and, unless signed by a principal of Auctioneer, any such alteration is null and void.

42. Auctioneer shall not be liable for breakage of glass or damage to frames (patent or latent); such defects, in any event, shall not be a basis for any claim for return or reduction in purchase price.

Release: 43. In consideration of participation in the Auction and the placing of a bid, Bidder expressly releases

Auctioneer, its officers, directors and employees, its affiliates, and its outside experts that provide second opines, from any and all claims, cause of action, chose of action, whether at law or equity or any arbitration or mediation rights existing under the rules of any professional society or affiliation based upon the assigned description, or a derivative theory, breach of warranty express or implied, representation or other matter set forth within these Terms and Conditions of Auction or otherwise. In the event of a claim, Bidder agrees that such rights and privileges conferred therein are strictly construed as specifically declared herein; e.g., authenticity, typographical error, etc. and are the exclusive remedy. Bidder, by non-compliance to these express terms of a granted remedy, shall waive any claim against Auctioneer.

44. Notice: Some Property sold by Auctioneer are inherently dangerous e.g. firearms, cannons, and small items that may be swallowed or ingested or may have latent defects all of which may cause harm to a person. Purchaser accepts all risk of loss or damage from its purchase of these items and Auctioneer

disclaims any liability whether under contract or tort for damages and losses, direct or inconsequential, and expressly disclaims any warranty as to safety or usage of any lot sold.

Dispute Resolution and Arbitration Provision: 45. By placing a bid or otherwise participating in the auction, Bidder accepts these Terms and Conditions

of Auction, and specifically agrees to the alternative dispute resolution provided herein. Arbitration replaces the right to go to court, including the right to a jury trial.

46. Auctioneer in no event shall be responsible for consequential damages, incidental damages, compensatory damages, or any other damages arising or claimed to be arising from the auction of any lot. In the event that Auctioneer cannot deliver the lot or subsequently it is established that the lot lacks title, or other transfer or condition issue is claimed, In such cases the sole remedy shall be limited to rescission of sale and refund of the amount paid by Bidder; in no case shall Auctioneer’s maximum liability exceed the high bid on that lot, which bid shall be deemed for all purposes the value of the lot. After one year has elapsed, Auctioneer’s maximum liability shall be limited to any commissions and fees Auctioneer earned on that lot.

47. In the event of an attribution error, Auctioneer may at its sole discretion, correct the error on the Internet, or, if discovered at a later date, to refund the buyer’s purchase price without further obligation.

48. Arbitration Clause: All controversies or claims under this Agreement or arising from or pertaining to: this Agreement or related documents, or to the Properties consigned hereunder, or the enforcement or interpretation hereof of this or any related agreements, or damage to Properties, payment, or any other matter, or because of an alleged breach, default or misrepresentation under the provisions hereof or otherwise, that cannot be settled amicably within one (1) month from the date of notification of either party to the other of such dispute or question, which notice shall specify the details of such dispute or question, shall be settled by final and binding arbitration by one arbitrator appointed by the American Arbitration Association (“AAA”). The arbitration shall be conducted in Dallas, Dallas County, Texas in accordance with the then existing Commercial Arbitration Rules of the AAA. The arbitration shall be brought within two (2) years of the alleged breach, default or misrepresentation or the claim is waived. The prevailing party (a party that is awarded substantial and material relief on its claim or defense) may be awarded its reasonable attorney’s fees and costs. Judgment upon the award rendered by the arbitrator may be entered in any court having jurisdiction thereof; provided, however, that the law applicable to any controversy shall be the law of the State of Texas, regardless of its or any other jurisdiction’s choice of law principles and under the provisions of the Federal Arbitration Act.

49. No claims of any kind can be considered after the settlements have been made with the consignors. Any dispute after the settlement date is strictly between the Bidder and consignor without involvement or responsibility of the Auctioneer.

50. In consideration of their participation in or application for the Auction, a person or entity (whether the successful Bidder, a Bidder, a purchaser and/or other Auction participant or registrant) agrees that all disputes in any way relating to, arising under, connected with, or incidental to these Terms and Conditions and purchases, or default in payment thereof, shall be arbitrated pursuant to the arbitration provision. In the event that any matter including actions to compel arbitration, construe the agreement, actions in aid or arbitration or otherwise needs to be litigated, such litigation shall be exclusively in the Courts of the State of Texas, in Dallas County, Texas, and if necessary the corresponding appellate courts. For such actions, the successful Bidder, purchaser, or Auction participant also expressly submits himself to the personal jurisdiction of the State of Texas.

51. These Terms & Conditions provide specific remedies for occurrences in the auction and delivery process. Where such remedies are afforded, they shall be interpreted strictly. Bidder agrees that any claim shall utilize such remedies; Bidder making a claim in excess of those remedies provided in these Terms and Conditions agrees that in no case whatsoever shall Auctioneer’s maximum liability exceed the high bid on that lot, which bid shall be deemed for all purposes the value of the lot.

Miscellaneous: 52. Agreements between Bidders and consignors to effectuate a non-sale of an item at Auction, inhibit

bidding on a consigned item to enter into a private sale agreement for said item, or to utilize the Auctioneer’s Auction to obtain sales for non-selling consigned items subsequent to the Auction, are strictly prohibited. If a subsequent sale of a previously consigned item occurs in violation of this provision, Auctioneer reserves the right to charge Bidder the applicable Buyer’s Premium and consignor a Seller’s Commission as determined for each auction venue and by the terms of the seller’s agreement.

53. Acceptance of these Terms and Conditions qualifies Bidder as a client who has consented to be contacted by Heritage in the future. In conformity with “do-not-call” regulations promulgated by the Federal or State regulatory agencies, participation by the Bidder is affirmative consent to being contacted at the phone number shown in his application and this consent shall remain in effect until it is revoked in writing. Heritage may from time to time contact Bidder concerning sale, purchase, and auction opportunities available through Heritage and its affiliates and subsidiaries.

54. Rules of Construction: Auctioneer presents properties in a number of collectible fields, and as such, specific venues have promulgated supplemental Terms and Conditions. Nothing herein shall be construed to waive the general Terms and Conditions of Auction by these additional rules and shall be construed to give force and effect to the rules in their entirety.

State Notices: Notice as to an Auction in California. Auctioneer has in compliance with Title 2.95 of the California Civil Code as amended October 11, 1993 Sec. 1812.600, posted with the California Secretary of State its bonds for it and its employees, and the auction is being conducted in compliance with Sec. 2338 of the Commercial Code and Sec. 535 of the Penal Code.

Notice as to an Auction in New York City. These Terms and Conditions are designed to conform to the applicable sections of the New York City Department of Consumer Affairs Rules and Regulations as Amended. This is a Public Auction Sale conducted by Auctioneer. The New York City licensed Auctioneers are Kathleen Guzman, No.0762165, and Samuel W. Foose, No.0952360, who will conduct the Auction on behalf of Heritage Auctions, Inc. (“Auctioneer”). All lots are subject to: the consignor’s right to bid thereon in accord with these Terms and Conditions of Auction, consignor’s option to receive advances on their consignments, and Auctioneer, in its sole discretion, may offer limited extended financing to registered bidders, in accord with Auctioneer’s internal credit standards. A registered bidder may inquire whether a lot is subject to an advance or reserve. Auctioneer has made advances to various consignors in this sale.

Notice as to an Auction in Texas. In compliance with TDLR rule 67.100(c)(1), notice is hereby provided that this auction is covered by a Recovery Fund administered by the Texas Department of Licensing and Regulation, P.O. Box 12157, Austin, Texas 78711 (512) 463-6599. Any complaints may be directed to the same address.

Rev. 5_02_08

addiTionaL Terms and CondiTions

Additional Terms & Conditions: FINE & DECORATIVE ARTS AUCTIONS

FINE AND DECORATIVE ARTS TERM A: LIMITED WARRANTY: Auctioneer warrants authorship, period or culture of each lot sold in this catalog as set out in the BOLD faced type heading in the catalog description of the lot, with the following exclusions. This warranty does not apply to:

i. authorship of any paintings, drawings or sculpture created prior to 1870, unless the lot is determined to be a counterfeit which has a value at the date of the claim for rescission which is materially less than the purchase price paid for the lot; or

ii. any catalog description where it was specifically mentioned that there is a conflict of specialist opinion on the authorship of a lot; or

iii. authorship which on the date of sale was in accordance with the then generally accepted opinion of scholars and specialists, despite the subsequent discovery of new information, whether historical or physical, concerning the artist or craftsman, his students, school, workshop or followers; or

iv. the identification of periods or dates of execution which may be proven inaccurate by means of scientific processes not generally accepted for use until after publication of the catalog, or which were unreasonably expensive or impractical to use at the time of publication of the catalog.

The term counterfeit is defined as a modern fake or forgery, made less than fifty years ago with the intent to deceive. The authenticity of signatures, monograms, initials or other similar indications of authorship is expressly excluded as a controlling factor in determining whether a work is a counterfeit under the meaning of these Terms and Conditions of Auction.

FINE AND DECORATIVE ARTS TERM B: GLOSSARY OF TERMS

Terms used in this catalog have the following meanings. Please note that all statements in this catalog regarding authorship, attribution, origin, date, age, provenance and condition are statements of opinion and are not treated as a statement of fact.

1. THOMAS MORAN In our opinion, the work is by the artist.

2. ATTRIBUTED TO THOMAS MORAN In our opinion, the work is of the period of the artist which may be whole or in part the work of the

artist.

3. STUDIO, (CIRCLE OR WORKSHOP) OF THOMAS MORAN In our opinion, the work is of the period and closely relates to his style.

4. SCHOOL OF THOMAS MORAN In our opinion, the work is by a pupil or a follower of the artist.

5. MANNER OF THOMAS MORAN In our opinion, the work is in the style of the artist and is of a later period.

6. AFTER THOMAS MORAN In our opinion, this work is a copy of the artist.

7. ASCRIBED TO THOMAS MORAN In our opinion, this work is not by the artist, however, previous scholarship has noted this to be a work

by the artist.

8. SIGNED (OR DATED) The work has a signature (or date) which is in our opinion is genuine.

9. BEARS SIGNATURE (OR DATE) The work has a signature (or date) which in our opinion is not authentic.

FINE AND DECORATIVE ARTS TERM C: PRESENTMENT: The warranty as to authorship is provided for a period of one (1) year from the date of the auction and is only for the benefit of the original purchaser of record and is not transferable.

FINE AND DECORATIVE ARTS TERM D: The Auction is not on approval. Under extremely limited circumstances not including authenticity (e.g. gross cataloging error), a purchaser who did not bid from the floor may request Auctioneer to evaluate voiding a sale; such request must be made in writing detailing the alleged gross error, and submission of the lot to Auctioneer must be pre-approved by Auctioneer. A bidder must notify the appropriate department head (check the inside front cover of the catalog or our website for a listing of department heads) in writing of the purchaser’s request within three (3) days of the non-floor bidder’s receipt of the lot. Any lot that is to be evaluated for return must be received in our offices within 30 days after Auction. AFTER THAT 30 DAY PERIOD, NO LOT MAY BE RETURNED FOR ANY REASONS. Lots returned must be in the same condition as when sold and must include any Certificate of Authenticity. No lots purchased by floor bidders (including those bidders acting as agents for others) may be returned. Late remittance for purchases may be considered just cause to revoke all return privileges.

FINE AND DECORATIVE ARTS TERM E: The catalog descriptions are provided for identification purposes only. Bidders who intend to challenge a bold-faced provision in the description of a lot must notify Auctioneer in writing within thirty (30) days of the Auction’s conclusion. In the event Auctioneer cannot deliver the lot or subsequently it is established that the lot lacks title or the bold faced section of description is incorrect, or other transfer or condition issue is claimed, Auctioneer’s liability shall be limited to rescission of sale and refund of purchase price. In no case shall Auctioneer’s maximum liability exceed the successful bid on that lot, which bid shall be deemed for all purposes the value of the lot. After one year has elapsed from the close of the Auction, Auctioneer’s maximum liability shall be limited to any commissions and fees Auctioneer earned on that lot.

FINE AND DECORATIVE ARTS TERM F: Any claim as to authorship, provenance, authenticity, or other matter under the remedies provided in the Fine Arts Terms and Conditions or otherwise must be first transmitted to Auctioneer by credible and definitive evidence within the claim period and the opine of two qualified third party experts. The claim must be presented in accord with the remedies provided herein and is subject to the limitations and restrictions provided (including within the described time limitations). Regardless of Purchaser’s submissions there is no assurance after such presentment that Auctioneer will validate the claim. Authentication is not an exact science and contrary opinions may not be recognized by Auctioneer. Even if Auctioneer agrees with the contrary opinion of such authentication and provides a remedy within these Terms and Conditions or otherwise, our liability for reimbursement for bidder’s third party opines shall not exceed $500. The right of rescission, return, or any other remedy provided in these Terms and Conditions, or any other applicable law, does not extend to authorship of any lot which at the date of Auction was in accordance with the then generally accepted opinion of scholars and specialists, despite the subsequent discovery of new information, whether historical or physical, concerning the artist, his students, school, workshop or followers. Purchaser by placing a bid expressly waives any claim or damage based on such subsequent information as described herein. It is specifically understood that any refund agreed to by the Auctioneer would be limited to the purchase price.

FINE AND DECORATIVE ARTS TERM G: Provenance and authenticity are guaranteed by neither the consignor nor Auctioneer. While every effort is made to determine provenance and authenticity, it is the responsibility of the Bidder to arrive at their own conclusion prior to bidding.

FINE AND DECORATIVE ARTS TERM H: On the fall of Auctioneer’s hammer, Buyers of Fine Arts and Decorative Arts lots assumes full risk and responsibility for lot, including shipment by common carrier or third-party shipper, and must provide their own insurance coverage for shipments.

FINE AND DECORATIVE ARTS TERM I: Auctioneer complies with all Federal and State rules and regulations relating to the purchasing, registration and shipping of firearms. A purchaser is required to provide appropriate documents and the payment of associated fees, if any. Purchaser is responsible for providing a shipping address that is suitable for the receipt of a firearm.

WIRING INSTRUCTIONS: Bank Information: JP Morgan Chase Bank, N.A., 270 Park Avenue, New York, NY 10017 Account Name: HERITAGE NUMISMATIC AUCTIONS MASTER ACCOUNT ABA Number: 021000021 Account Number: 1884827674 Swift Code: CHASUS33

Rev. 5_02_08

CHoose Your BiddinG meTHod

Interactive Internet ™ Bidding Instructions

1. Log Onto Website Log onto HA.com and chose the portal you’re interested in (i.e.,

coins, comics, movie posters, fine arts, etc.).

2. Search for Lots Search or browse for the lot you are interested in. You can do this

from the home page, from the Auctions home page, or from the home page for the particular auction in which you wish to participate.

3. Select Lots Click on the link or the photo icon for the lot you want to bid on.

4. Enter Bid At the top of the page, next to a small picture of the item, is a box

outlining the current bid. Enter the amount of your secret maximum bid in the textbox next to “Secret Maximum Bid.” The secret maximum bid is the maximum amount you are willing to pay for the item you are bidding on (for more information about bidding and bid increments, please see the section labeled “Bidding Increments” elsewhere in this catalog). Click on the button marked “Place Absentee Bid.” A new area on the same page will open up for you to enter your username (or e-mail address) and password. Enter these, then click “Place Absentee Bid” again.

5. Confirm Absentee Bid You are taken to a page labeled, “Please Confirm Your Bid.” This page

shows you the name of the item you’re bidding on, the current bid, and the maximum bid. When you are satisfied that all the information shown is correct, click on the button labeled, “Confirm Bid.”

6. Bidding Status Notification One of two pages is now displayed.

a. If your bid is the current high bid, you will be notified and given additional information as to what might happen to affect your high bidder status over the course of the remainder of the auc-tion. You will also receive a Bid Confirmation notice via email.

b. If your bid is not the current high bid, you will be notified of that fact and given the opportunity to increase your bid.

Interactive Internet™ BiddingYou can now bid with Heritage’s exclusive

Interactive Internet™ program, available only at our web site: HA.com. It’s fun, and it’s easy!

1. Register online at: HA.com

2. View the full-color photography of every single lot in the online catalog!

3. Construct your own personal catalog for preview.

4. View the current opening bids on lots you want; review the prices realized archive.

5. Bid and receive immediate notification if you are the top bidder; later, if someone else bids higher, you will be notified automatically by e-mail.

6. The Interactive Internet™ program opens the lot on the floor at one increment over the second highest bid. As the high bidder, your secret maximum bid will compete for you during the floor auction, and it is possible that you may be outbid on the floor after Internet bidding closes. Bid early, as the earliest bird wins in the event of a tie bid.

7. After the sale, you will be notified of your success. It’s that easy!

Bid Live using HERITAGE LIVEThis auction is “HA.com/Live Enabled” and has continuous bidding from the time the auction is posted on our site through the live event. When normal Internet bidding ends, visit HA.com/Live and continue to place Live Proxy bids. When the item hits the auction block, you can continue to bid live against the floor and other live bidders.

Bid Live using

NEW!

6_27_07

CHoose Your BiddinG meTHod (ConT’d.)

1. Name, Address, City, State, Zip Your address is needed to mail your pur-

chases. We need your telephone number to communicate any problems or changes that may affect your bids.

2. References If you have not established credit with us

from previous auctions, you must send a 25% deposit, or list dealers with whom you have credit established.

3. Lot Numbers and Bids List all lots you desire to purchase. On the

reverse are additional columns; you may also use another sheet. Under “Amount” enter the maximum you would pay for that lot (whole dollar amounts only). We will purchase the lot(s) for you as much below your bids as possible.

4. Total Bid Sheet Add up all bids and list that total in the

appropriate box.

5. Sign Your Bid Sheet By signing the bid sheet, you have agreed to

abide by the Terms of Auction listed in the auction catalog.

6. Fax Your Bid Sheet

When time is short submit a Mail Bid Sheet on our exclu-sive Fax Hotline. There’s no faster method to get your bids to us instantly. Simply use the Heritage Fax Hotline number: 214-443-8425.

7. Bidding Increments

To facilitate bidding, please consult the Bidding Increments chart in the Terms & Conditions. The official prices realized list that accompanies our auction

catalogs is reserved for bidders and consignors only. We are happy to mail one to others upon receipt of $1.00. Written requests should be directed to Customer Service.

When you send us your original after

faxing, mark it “Confirmation of Fax”

(preferably in red!)

Mail Bidding Instructions

Mail Bidding at AuctionMail bidding at auction is fun and easy and

only requires a few simple steps. 1. Look through the catalog, and

determine the lots of interest. 2. Research their market value by

checking price lists and other price guidelines.

3. Fill out your bid sheet, entering your maximum bid on each lot.

4. Verify your bids! 5. Mail Early. Preference is given to the

first bids received in case of a tie. When bidding by mail, you frequently purchase items at less than your maximum bid.

Bidding is opened at the published incre-ment above the second highest mail or Inter-net bid; we act on your behalf as the highest mail bidder. If bidding proceeds, we act as your agent, bidding in increments over the previous bid. This process is continued until you are awarded the lot or you are outbid.

An example of this procedure: You submit a bid of $100, and the second highest mail bid is at $50. Bidding starts at $55 on your behalf. If no other bids are placed, you purchase the lot for $55. If other bids are placed, we bid for you in the posted increments until we reach your maximum bid of $100. If bidding passes your maximum: if you are bidding through the Internet, we will contact you by e-mail; if you bid by mail, we take no other action. Bidding continues until the final bidder wins.

Telephone Bidding To participate by telephone, please make

arrangements by 5:00 PM CT Wednesday, June 4 with Client Services, Tol l Free 866-835-3243.

We strongly recommend that you place preliminary bids by mail, fax, or Internet, even if you intend to participate by telephone. On many occasions this dual approach has helped reduce disappointments due to telephone problems, unexpected travel, late night sessions and time zone differences, etc. We will make sure that you do not bid against yourself.

9_28_07

arTisT index

AABBEY, EDWIN AUSTIN ............................ 5 ABBOT, SAMUEL N .................................. 5 ACHILLEOS, CHRIS .................................. 6 ADDAMS, CHARLES ................................. 6 ALMAZAN ............................................. 7 AMERICAN ILLUSTRATOR ........................ 7 ARMSTRONG, ROLF .............................. 18 ARNO, PETER ....................................... 20

BBAIR, MIKE .......................................... 20BARCLAY, MECLELLAND ........................ 21BARTON, HARRY .................................. 21BAUMHOFER, WALTER ......................... 21BEARD, ED, JR. ..................................... 22BECHER, ARTHUR ................................ 22BECKER, MAURICE ............................... 22BEGIN, MARYJANE ............................... 22BELARSKI, RUDOLPH ............................ 23BENTLEY, JAMES .................................. 24BISLEY, SIMON ..................................... 24BONESTELL, CHESLEY K. ....................... 25BRINKLEY, NELL ................................... 25BROM, GERALD ................................... 26BROWN, REYNOLD ............................... 27BURNS, PAUL ...................................... 30

CCALDWELL, CLYDE ................................ 30CANTY, THOMAS .................................. 30CARTLIDGE, MICHELLE ......................... 30CHERRY, SAM ...................................... 31CIARDIELLO, JOE .................................. 31COHEN, GIL ......................................... 32COLL, JOSEPH CLEMENT ........................ 32CORNWELL, DEAN ................................ 32COTTON, WILLIAM HENRY .................... 34

DD’ANCONA, EDWARD ............................ 34DART, ELEANOR ................................... 35DAVIS, JACK ......................................... 35DAY, ROBERT ....................................... 35DEBERARDINIS, OLIVIA (SEE OLIVIA) ..... 35DEDINI, ELDON .................................... 35DI FATE, VINCENT ................................. 37DIXON, MAYNARD ................................ 37DOLLENS, MORRIS SCOTT ..................... 38DORE, GUSTAVE ................................... 38DRAYTON, GRACE ................................. 38DRIBEN, PETER .................................... 39DUERRSTEIN, DICK ............................... 39DUILLO, JOHN ...................................... 40DUNCAN, WALTER JACK ........................ 40

EEASTMAN, NORM ................................. 41ELDER, WILL ........................................ 41ELMORE, LARRY ................................... 42ELVGREN, GIL ...................................... 43EMSHWILLER, ED ................................. 47ENGLE, MORT ...................................... 48ENGLISH ILLUSTRATOR ......................... 48ERICKSON, ALDEN ................................ 48

F FARAGASSO, JACK ................................ 49FERRERA, JOE ...................................... 49FIELD, KATHERINE ................................ 49FIELDS, FRED ....................................... 50FLEMING, HENRY STEWART .................. 50FREEMAN, FRED .................................. 51FRIED, PAL .......................................... 51FROST, ARTHUR BURDETT ..................... 52FULLER, ARTHUR ................................. 52

GGEISEL, THEODOR SEUSS (DR. SEUSS) .... 53GERRARD, ROY .................................... 54GLACKENS, LOUIS M. ............................ 54GOGOS, BASIL ...................................... 55GOLDBERG, RUBE ................................ 55GOODWIN, PHILIP R. ............................ 56GREENE, DARRELL ............................... 57GRIGORESCO, NICOLAS ......................... 57GROPPER, WILLIAM ............................. 57GROSS, GEORGE ................................... 57

HHARING, KEITH .................................... 61HARRISON, LOU III ............................... 61HASTINGS, HOWARD L. ........................ 62HERMAN, VIC ...................................... 62HILDEBRANDT, GREG ........................... 63HIRSCHFELD, ALBERT ........................... 63HOFF, SYD ........................................... 74HORNE, DANIEL ................................... 75HOWELL, TROY .................................... 75HULSEY, WILL ...................................... 75HUMPHREY, WALTER B. ........................ 76HURD, PETER ....................................... 76HYMAN, TRINA SCHART ........................ 76

JJACKSON, E. M. .................................... 77JOHNSTONE, JANET AND ANNE GRAHAME 77JONES, CHUCK ..................................... 77

K KASTEL, ROGER ................................... 78KELLER, ARTHUR I. ............................... 78KELLY, KEN .......................................... 78KELSEY, R. I. ........................................ 80

LLAGATTA, JOHN ................................... 81LARKIN, BOB ....................................... 82LAUNCHBURY, JANE ............................. 82LEVIN ................................................. 82LEVINE, DAVID ..................................... 83LINDSAY, NORMAN .............................. 83LINK, STANLEY ..................................... 83LOCKWOOD, TODD ............................... 83LOWELL, ORSON .................................. 84

MMABIE, L. ............................................ 85MAHERN, MATT ................................... 85MAHONEY, RON ................................... 86MARCHETTI, LOU ................................. 86MAROTO, ESTEBAN .............................. 86

MATANIA, FORTUNINO ......................... 87MATHEUSE, JIM ................................... 87MATTELSON, MARVIN .......................... 87MAX, PETER ........................................ 88MCCAY, WINSOR .................................. 89MCKELL, JAMES ................................... 89MEYEROWITZ, RICK ............................. 89MILLER, CHRIS ..................................... 90MILLSAP, DARYL .................................. 90MORAN, EARL ..................................... 91MORRILL, ROWENA (SEE ROWENA) ..... 114MORRISSEY, DEAN ............................... 93MORROW, GRAY .................................. 93MOZERT, ZOE ....................................... 94MULLIN, WILLARD ............................... 94MUNSON, KNUTE O. ............................. 95MUSK, LEN .......................................... 95MYERS ................................................ 96

NNAEGELE, CHARLES F. ........................... 96NAPPI, RUDY ....................................... 96NEIMAN, LEROY ................................... 97NOBLE, LARRY ..................................... 99NOREM, EARL ...................................... 99

OOLIVIA (OLIVIA DE BERARDINIS) ........... 99OLMSTEAD, MAYO .............................. 100OPPER, FREDERICK BURR ................... 100PARKHURST, HARRY L. ....................... 100

PPARKINSON, KEITH ............................ 101PARRISH, MAXFIELD .......................... 102PETTY, GEORGE .................................. 104PHILIPS, TOM .................................... 104PITZ, HENRY ...................................... 104POGANY, WILLY ................................. 105POLLACK, ALLAN ............................... 105PUNCHATZ, DON IVAN ........................ 105

RRAYMOND, ALEX ................................ 108REINHARDT, AD ................................. 108REUSSWIG, WILLIAM (Attributed) ....... 108RIDDELL, CHRIS ................................. 109RIESENBERG, SIDNEY H. ..................... 109ROCKWELL, NORMAN ......................... 110RODEWALD, FRED .............................. 113ROSE, CARL ....................................... 114ROSS, TONY ....................................... 114ROWENA (ROWENA MORRILL) ............ 114RUSHTON, PEGGY .............................. 114

SSAFRAN, BERNARD ............................ 115SHAMROCK, RUSSELL ......................... 115SARNOFF, ARTHUR SARON .................. 115SAUNDERS, NORMAN ......................... 116SCHAEFFER, MEAD ............................. 117SCHOONOVER, FRANK E. .................... 118SCOTT, JOHN CLUBB ........................... 119SEWELL, AMOS .................................. 120SHANKELL ......................................... 121

SIENKIEWICZ, BILL ............................. 121SINGER, ARTHUR B. ........................... 122SMITH, JOE ........................................ 122SORAYAMA, HAJIME .......................... 122STEINBERG, SAUL .............................. 123STEPHENS, ALICE BARBER .................. 124STEVENS, EDWARD DALTON ................ 124STOOPS, HERBERT M. ......................... 125STRUZAN, DREW ................................ 126SZAFRAN, GENE ................................. 126SZYK, ARTHUR ................................... 126

TTADIELLO, ED ..................................... 128TENGGREN, GUSTAF ........................... 128TEPPER, SAUL .................................... 129THURBER, JAMES ............................... 129THURSTON ........................................ 131TOBEY, BARNEY ................................. 132TOMASO, RICO ................................... 132

U UNDERWOOD, CLARENCE ................... 133

VVALLEJO, BORIS ................................. 134VAUGHAN, FRANK ............................. 135VIERGE, DANIEL ................................. 136VIETNAMESE ILLUSTRATOR ................. 136VON SCHMIDT, HAROLD ...................... 137

WWARD, BILL ....................................... 137WARD, EDMUND F. ............................. 139WEBSTER, HAROLD T. ......................... 139WILLARDSON, DAVID ......................... 140WILLIAMS, VIOLET ............................. 140WILSON, GAHAN ................................ 140WYETH, N. C. .................................... 142

YYEATES, THOMAS ............................... 144YOHN, FREDERICK C. .......................... 144

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