John Philip Falter

Illustration

Medium: Charcoal on Board Signature: Signed Upper Left Sight Size 20.00" x 28.00;" Framed 24.00" x 32.00"

Medium: Pen and Ink on Board Signature: Signed Lower Left Story Illustration- Life Magazine ca. 1915 Seated Man in dressing gown pulling on maid's apron

Medium: Ink and Wash on Paper Signature: Signed Lower Right

Approximate Date: 1915 Medium: Pen and Ink on Board Signature: Signed Lower Left Dimensions: 22.00" x 20.00" Story Illustration- Life Magazine ca. ...

Benjamin Stahl: 1910-1987. Well listed illustrator with auction records over $10,000. I bought this fabulous illustration 15 years ago and it has been hanging on my wall ever since....

Ernest Howard Shepard (British, 1879–1976) Laying Breaks on a London Street, an Illustration for Punch Magazine Inkpen and body colour Signed ‘Ernest H. Shepard’ (lower left) 8 1/8 x...

This artwork titled "Not for Sale" c.1980 is an original etching on paper by noted American artist Charles Bragg, 1931-2017. It is hand signed and inscribed Trial Proof in pencil by ...

Barbara Shermund (1899-1978). Society Satirical Cartoon, ca. 1940s. Gouache on heavy illustration paper, image measures 17 x 14 inches; 23 x 20 inches in matting. Signed lower left. Very good condition but matting panel should be replaced. Unframed. Provenance: Ethel Maud Mott Herman, artist (1883-1984), West Orange NJ. For two decades, she drew almost 600 cartoons for The New Yorker with female characters that commented on life with wit, intelligence and irony. In the mid-1920s, Harold Ross, the founder of a new magazine called The New Yorker, was looking for cartoonists who could create sardonic, highbrow illustrations accompanied by witty captions that would function as social critiques. He found that talent in Barbara Shermund. For about two decades, until the 1940s, Shermund helped Ross and his first art editor, Rea Irvin, realize their vision by contributing almost 600 cartoons and sassy captions with a fresh, feminist voice. Her cartoons commented on life with wit, intelligence and irony, using female characters who critiqued the patriarchy and celebrated speakeasies, cafes, spunky women and leisure. They spoke directly to flapper women of the era who defied convention with a new sense of political, social and economic independence. “Shermund’s women spoke their minds about sex, marriage and society; smoked cigarettes and drank; and poked fun at everything in an era when it was not common to see young women doing so,” Caitlin A. McGurk wrote in 2020 for the Art Students League. In one Shermund cartoon, published in The New Yorker in 1928, two forlorn women sit and chat on couches. “Yeah,” one says, “I guess the best thing to do is to just get married and forget about love.” “While for many, the idea of a New Yorker cartoon conjures a highbrow, dry non sequitur — often more alienating than familiar — Shermund’s cartoons are the antithesis,” wrote McGurk, who is an associate curator and assistant professor at Ohio State University’s Billy Ireland Cartoon Library & Museum. “They are about human nature, relationships, youth and age.” (McGurk is writing a book about Shermund. And yet by the 1940s and ’50s, as America’s postwar focus shifted to domestic life, Shermund’s feminist voice and cool critique of society fell out of vogue. Her last cartoon appeared in The New Yorker in 1944, and much of her life and career after that remains unclear. No major newspaper wrote about her death in 1978 — The New York Times was on strike then, along with The Daily News and The New York Post — and her ashes sat in a New Jersey funeral...