national museum of american illustration’s 2017 benefit sale · 2017. 8. 18. · gil elvgren...

National Museum of American Illustration’s2017 Benefit Sale

National Museum of American IllustrationVernon Court | 492 Bellevue Avenue | Newport, RI 02840

401.851.8949, www.americanillustration.org

In 1925, Brown & Bigelow, the nation’s largest calendar company, approached the Boy Scouts of America to create a partnership for a nationwide campaign featuring the artworks of Norman Rockwell. “Take the number one calendar of America, the number one artist, the number one boys’ organization and the number one sales force and you have a combination that absolutely can’t be beat.” Rockwell illustrated Boy Scouts calendars from 1926 to 1978. For his 1971 commission, Rockwell tried to show how every man is shaped by the influences he has as a boy. A scout leader is shown addressing a diverse group of young boys. The boys’ eye contact reminds the viewer that the future relies on the adult’s actions today. While Rockwell ultimately changed the composition of the artwork, this study remains a poignant reflection of his message.

National Museum of American Illustration’sBenefit Sale

1971, pencil and oil paint on board30" x 29"

Framed: 37 7/8" 36 3/4"signed and inscribed lower right

Study for Boy Scouts of America poster, 1971

Price onRequest

NORMAN ROCKWELL (1894-1978)

Boypower to Manpower - Oil Study

Boypower to ManpowerCharcoal Study

Boypower to ManpowerCharcoal Study


1942, oil on canvas28 1/8" x 23 1/8"

Framed: 35 5/8" x 29 1/4"Brown & Bigelow

calendar illustration

$32,500

GIL ELVGREN (1914–1978)

Bird's-Eye View

Known as one of the most skilled and talented illustrators of the 20th century, Elvgren is best known for his pin-up portraits of the mischievous ‘girl next door.’ His works were featured in magazines and calendars, including the Louis F. Dow Calendar Company and later the Brown & Bigelow Calendar Company. Because his work was so proficiently executed and had such aesthetic and commercial appeal, his advertising accounts included Coca-Cola, Sylvania, Orange Crush, Schlitz Beer, Horlacher Brewery, General Electric, and Napa Auto Parts. Gil Elvgren’s ability to capture the spirit and sensuality of American feminine beauty was second to none, and the classic nostalgia emulating from his works harkens back to a charming, mid-century United States.

“One can often work directly from the model, whereas a cover requires more careful planning and should be designed to fill a given space on the order of a decoration. My first step is to fill a sketch pad with a number of small, rough sketches about two by three inches, keeping them on one sheet so you can compare them at a glance. Select the one that seems to tell the story most clearly and has an interesting design. Enlarge this by squares to the size of the magazine cover adding more detail and color as needed.” – J.C. Leyendecker

J.C. Leyendecker painted 322 covers for the Saturday Evening Post from 1899 to 1943. Painted during World War I but before the United States joined the Allied Powers, Leyendecker here depicts a young boy dressed in a military uniform with rifle, stiffly marching across the cover. This cover was a poignant reminder to all Americans of where the country was headed in those increasingly hostile times.


1916, pencil and oil on canvas11 ½" x 5 ½", signed on mat

Saturday Evening Post,September 30, 1916

cover study

$12,000

J.C. LEYENDECKER (1874–1951)

Marching Boy in Uniform - Study

The younger brother of J.C. Leyendecker, Frank Xavier (F.X.) had a notable career—albeit shorter than his brother’s—in magazine and advertising illustration. F.X. apprenticed under Carl Brandt, a stained glass artisan from Vienna, before studying at the Academie Julian with his brother, where they cultivated their artistic talents. In 1897, the Leyendecker brothers moved to Chicago to open a successful studio, and in 1914 moved to New Rochelle, NY, a blossoming artist community. F.X. illustrated covers for Collier’s, Leslie’s, Vogue, and the Saturday Evening Post, as well as advertising campaigns for Palmolive Soap, Luxite Hosiery, and Remington Arms.

This study for the September 2, 1915 cover of Leslie’s Illustrated Weekly humorously highlights a young student’s despondent and grim feelings towards heading to school. With his book bundle resting over his shoulder, the student looks off the canvas, presumably at the playground where he would rather be heading.


1915, oil on board5 ½" x 5", signed lower center

Leslie’s Illustrated Weekly,September 2, 1915

cover study

$10,000

F.X. LEYENDECKER (1877–1924)

Hating School - Study


Revere F. Wistehuff was a main figure in the New Rochelle, New York artist community in the 1920’s, 30’s and 40’s along with Norman Rockwell and brothers J.C. and F.X. Leyendecker. His illustrations graced the covers of America’s most popular magazines of the time, including The Saturday Evening Post, Liberty, Collier’s, Life Magazine, Vanity Fair, and This Week, as well as advertising images for John Hancock Life Insurance, Prudential Insurance Company, Gulf Oil Company, and Beck’s Beer. Wistehuff’s most successful images captured tender, family oriented moments that were relatable to hometown Americans.

c. 1930, oil on canvas27 1/2" x 22 3/4"

Framed: 31 1/2" x 26 5/8"signed upper right

$8,500

REVERE F. WISTEHUFF (1900-1971)

Father and Son Fishing

$8,500


Revere F. Wistehuff was a main figure in the New Rochelle, New York artist community in the 1920’s, 30’s and 40’s along with Norman Rockwell and brothers J.C. and F.X. Leyendecker. His illustrations graced the covers of America’s most popular magazines of the time, including The Saturday Evening Post, Liberty, Collier’s, Life Magazine, Vanity Fair, and This Week, as well as advertising images for John Hancock Life Insurance, Prudential Insurance Company, Gulf Oil Company, and Beck’s Beer. Wistehuff’s most successful images captured tender, family oriented moments that were relatable to hometown Americans.

c. 1930, oil on canvas29" x 25"

Framed: 30 1/2" x 28 1/2"signed lower left

$8,500

REVERE F. WISTEHUFF (1900-1971)State Fair


While dogs have long been used in military action, the United States Armed Forces did not actively use them until after Pearl Harbor in World War II. Once the military realized the dogs’ usefulness, canines across the country were recruited using the “Dogs for Defense” advertising campaign. Families across the country sent their dogs to be trained at special military bases and overseas to serve their country. Wistehuff’s humorous advertisement shows a small dog staring up at an advertisement as if he wishes he too could serve his country.

c. early 1940's, oil on canvas23 1/2" x 19"

Framed: 26 3/8" x 22 1/4"signed lower rightAdvertisement for

World War IIDogs for Defense campaign

$9,500

REVERE F. WISTEHUFF (1900-1971)

Wanted - Dogs for Defense

$9,500

Stuart Kauffman received formal training as an illustrator from the Pratt Institute, and as a member of the Art Students League in New York City. Kauffman’s colorful illustrations found great popularity on the covers of action and romance novels, as well as in nationally syndicated magazines, such as The Saturday Evening Post, Good Housekeeping, Esquire, Redbook, and many others. This study for the cover of Norman A. Fox’s The Devil’s Saddle is exemplary of the exciting scenes Kauffman illustrated to attract readers. The story chronicles the adventures of “Catastrophe Kate,” a gunslinger known to outshoot any man in the Wild West of Montana.


STUART KAUFFMAN(1926–2008)

The Devil's Saddle - Study

c. 1930, oil on canvas29" x 25"


$450

Playboy magazine launched in 1953 to immediate success, despite its risqué nature. Along with seductive photos of eponymous “Playmate” models, Playboy also has a notable history of publishing both short stories and cartoons in each issue, launching the careers of numerous authors and artists including Ian Fleming, Vladimir Nabokov, P.G. Wodehouse, Haruki Murakami, Shel Silverstein, Alberto Vargas, and Claude Smith.

Smith’s September 1960 cartoon depicts a gambling man who catches the eye of a flirtacious young woman passing by. Initially making a move to pursue his new love interest, the sounds of a winning reel call him back to the slot machine, and he ultimately decides a gamble for love just isn’t quite as fulfilling as a gamble for money.


1960, ink and wash on paper17 3/4" x 13 3/4"

Each tile: 5" x 4 1/4"signed lower right

Playboy, September, 1960

$3,500

CLAUDE SMITH (1913–2003)

Playboy Cartoon, September 1960

1960, ink and wash on paper17 3/4" x 13 3/4"

Each tile: 5" x 4 1/4"signed lower right

Playboy, September, 1960


CLAUDE SMITH (1913–2003)

Playboy Cartoon, April 1966

Cartoons in Playboy have run without interruption from the magazine’s first issue in 1953. In March 2016, Playboy underwent a massive design overhaul, eliminating nude images, longer articles, smaller ads, and the sprinkling of single panel and strip comics that were previously tucked amongst the pages of each issue. In lieu of its famous comics, the magazine now features a single cartoonist or animator each month in its “Artist in Residence” section.

Smith’s April 1966 cartoon features a woman in her office waving goodbye to a departing businessmen, who very nonchalantly returns the gesture with a tip of his hat as he approaches a group of men waiting by the elevator. What have they all been up to...?

1966, ink and wash on paper13 1/2" x 10 1/2"signed lower right

Playboy, April, 1966

$3,500


Gayle Porter Hoskins began his art career as a cartoonist and muralist. In 1907 when one of his illustrations was published in Redbook Magazine, Howard Pyle invited him to join his school of illustration in Wilmington, DE. He studied under him, and then Frank E. Schoonover beginning in 1910. By 1918, Hoskins reached national popularity and success, frequently contributing to Harper’s Weekly, Good Housekeeping, Liberty, Saturday Evening Post, and many others.

GAYLE PORTER HOSKINS (1887-1962)

Hog-Tied Man

gouache on illustration board18 5/8" x 11 5/8"


$2,750

$2,750


RIC HUGO (1927-2003)

Our New Role in Asia?

Born in Berkeley, CA, Ric Hugo spent most of his career as an illustrator for the Sacramento Bee beginning in 1966. He was also a children’s books illustrators as well as a Courtroom Artist. He best known for his comic strip ‘Soliloquy’.

In this political cartoon, Hugo depicts President Richard Nixon juggling the United State's current issues: American commitments, treaties, and troop withdrawals. Nixon’s portrayal as a circus performer emphasizes his reckless nature in dealing with these matters. As the President rides over the globe in his bicycle, Hugo illustrates the confusion surrounding the U.S. and foreign policy in Asia during the post-Vietnam War Era.

pencil, ink and crayon on paper

13 3/4" x 11"Framed: 16 3/4" x 14 1/8"

signed lower left, titled lower center

$275


RIC HUGO (1927-2003)

End of Vietnam War


In this illustration, Hugo comments on the state of the Californian Economy as it faces turbulence caused by the end of the Vietnam War, National Defense Cuts, and State Budget Cuts. The Roman soldier, representing the end of the war, waters the proverbial economic shrubbery as Republican politicians undo the water’s benefits. While Governor Regan trims the growth, Nixon stands by ready to chop the plant down entirely.


13 3/4" x 11"Framed: 16 3/4" x 14 1/8"

signed lower left

$275


13 3/4" x 11"Framed: 16 3/4" x 14 1/8"

signed lower left

$275


RIC HUGO (1927-2003)

Here We Go Again


This image drawn by Hugo shows the ABM Deployment being launched from inside the U.S. Capitol building, with a dismayed Uncle Sam looking on. The cartoon refers to the discussion of uses for Anti-Ballistic Missiles during the Cold War and the Arms Race of the mid-twentieth century. With his hand to his head, Uncle Sam’s frustrations reflect a feeling shared by much of the American populace.


13 3/4" x 11"Framed: 16 3/4" x 14 1/8"

signed lower right, titled lower center

$275


RIC HUGO (1927-2003)

I'm Number One!


In this political cartoon, Hugo depicts President Richard Nixon as a boxing champion. This image is likely a commentary on the 1968 presidential election, in which Nixon’s campaign slogan was, “Nixon’s the One!” In the cartoon, Hugo depicts Nixon celebrating his victory while Democrats look on begrudgingly. Nixon’s victorious exclamation of “I’m Number One!” is an affirmation of his campaign’s slogan.

pencil, ink and crayon on paper with transparent

red acetate cover10" x 6 3/4"

Framed: 18" x 15 1/2"titled upper center

$375


red acetate cover10" x 6 3/4"

Framed: 18" x 15 1/2"titled upper center

$375


RIC HUGO (1927-2003)Vietnam


In this image, Hugo depicts President Nixon in his quest to withdraw troops from Vietnam. Beginning in 1969, Nixon slowly instituted troop withdrawals under his “Nixon Doctrine” policy. Hugo’s depiction of this removal shows Nixon leading soldiers out of the jungle on the back of a tortoise, emphasizing the delayed nature of this exodus. As the President stands determined, the soldiers behind him appear fatigued with the journey's unhurried nature.


red acetate cover10" x 8"

Framed: 18" x 15 1/2"signed lower right

$375


RIC HUGO (1927-2003)

You're Sick!


In this image, President Richard Nixon is seen alongside the ailing Uncle Sam. As Nixon comically applies his stethoscope to Uncle Sam’s head, he declares, “I knew I’d figure out what was wrong with you. You’re sick!” While the politician states the obvious, he does not diagnose the issue nor offer any solution to relieve the problems faced by Uncle Sam, a representation of the country as a whole.


13 3/4" x 11"Framed: 16 3/4" x 14 1/8"

titled upper center

$275

National Museum of American Illustration’s2017 Benefit Sale

To purchase any of the enclosed artworks, please call the National Museum of American Illustration at (401) 851 - 8949 ext. 18, or e-mail [email protected].

All artworks are currently available to view in person at the NMAI.

If you are not able to make it to the NMAI, we can provide additional images and information on any of the artworks you may be interested in. Please call or e-mail with those requests.

All proceeds from the sale of these artworks will directly benefit the NMAI's Endowment Fund

National Museum of American IllustrationVernon Court | 492 Bellevue Avenue | Newport, RI 02840

401.851.8949 | www.americanillustration.org


13 3/4" x 11"Framed: 16 3/4" x 14 1/8"

titled upper center

$275

national museum of american illustration’s 2017 benefit sale · 2017. 8. 18. · gil elvgren...

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