The Illustrated Gallery Figurative Paintings

Medium: Oil on Canvas Signature: Unsigned This is a study for the very large Howard Pyle mural now in the historic County Courthouse in Hudson County, New Jersey. It was commissione...

Medium: Oil on Board Signature: Signed Lower Right Subject matter features pirates watching a ship burn from a distance a small rowboat with a figure returning to the ship after set...

Medium: Oil on Board This illustration was published as the cover of The King's Mistress by Jean Plaidy, 1952. Framed under glass to an overall size of 24.2...

Medium: Oil on Paper Laid to Board Signature: Signed with the Artists Initials M.P Lower Center Coy Ludwig, Maxfield Parrish, New York, 1973, plate 35, p. 133, illustrated in color

Medium: Oil on Board Signature: Signed on Reverse 1 of a 4 part Illustration, Used as Promotional Poster Exhibited: Chadds Ford, Pennsylvania, Brandywine River Museum, Maxfield Pa...

Medium: Oil on Board Signature: Signed Lower Right 1 of a 4 part illustration used as a promotional poster Exhibited: Chadds Ford, Pennsylvania, Brandywine River Museum, Maxfield ...

Medium: Oil on Board Signature: Each Upper Panel, Signed 'Maxfield Parrish/Windsor./Vermont.' (On the Reverse); Each Lower Panel, Signed 'Maxfield Parrish' (Lower Right) Each 1 of a...

Medium: Oil on Board Signature: Signed Lower Right 19.875" x 14.00" Each Panel 1 of a 4 Part Illustration used as a promotional poster Poster for The Red Cross—Watching...

Medium: Oil on Canvas Signature: Signed Lower Right

Medium: Oil on Canvas Signature: Signed Lower Left

Medium: Oil on Canvas Signature: Signed Lower Left An oil on canvas en grisaille genre interior scene depicting a woman reading a letter with child and gentleman looking on.

Medium: Oil on Canvas Signature: Signed Lower Left

Medium: Oil on Board Signature: Unsigned "The ragged edges of Manhattan. . . the rowdy brothels, the dirty hallways, the seething streets of Yorkville -- this was where Mattie Dolan...

Medium: Gouache on Board Signature: Signed Lower Center: Al Moore The Saturday Evening Post cover, October 10, 1942

Medium: Gouache on Board Signature: Signed Lower Right Saturday Evening Post magazine cover, October 25, 1941

Medium: Acrylic on Board Signature: Signed Lower Right Cover of 'True Confessions' Written by Dunne John Gregory True Confessions, first published in 1977, is widely regarded as a classic American novel. Set in Los Angeles in 1948 and based on the notorious, never-solved Black Dahlia murder case, the story plumbs the depths of guilt and corruption — in the L.A.P.D., the Catholic Church, the construction industry, and in the relationships among them. Like the film Chinatown, which came to the screen three years before the novel, True Confessions illuminates the dark underside of Los Angeles at a time when corruption ran rampant and seemingly without shame. The book’s stature as a classic is underlined in an introduction by the brilliant novelist and screenwriter George Pelecanos, who writes of the author, “with True Confessions, he achieved what most novelists can only hope for. He left behind a work of art.” Indeed. True Confessions works on many levels: as a crime novel, as humor (the story is often laugh-out-loud funny), as an example of masterful writing style, as an emblematic tale of a great American city, and as a novel that explores the human condition with sensitivity and deep understanding. True Confessions revolves around the often testy relationship between two Irish-American brothers, Tom and Des Spellacy. Tom is a lieutenant in the L.A.P.D., a clever detective with a past history of corruption. Tom’s brother, Des, is a Catholic priest risen to the rank of Monsignor and the role of fixer and hatchet man for the aging Cardinal, whom he hopes to succeed. The two brothers come into conflict over their clashing agendas for a corrupt construction mogul who is one of the city’s richest and most powerful men. They have drastically different ideas about how to deal with the man. The author writes with compassion. For example, describing bystanders in a poor neighborhood, he writes, “They weren’t bad people. Just too-little, too-late people. Has-beens, never-weres, never-will-bes.” The novel is rife with unsympathetic characters, but none of them can be viewed as evil. The story opens and closes in the 1970s, when Tom and Des are old men, reviewing the wreckage of their careers. In between, two plots intertwine: Tom’s investigation of the shocking murder of a young woman, and Des’s attempts to strengthen the Church while scheming to position himself as the successor to the Cardinal. The late novelist and screenwriter John Gregory Dunne — he died in 2003 at the age of 71 — came naturally to writing. He was the younger brother of the writer Dominick Dunne...

Medium: Acrylic on Board Signature: Signed Lower Right Cover of 'Time and Again' by Jack Finney Time and Again is told in the first person by Simon Morley, a 28-year-old artist wor...

Medium: Acrylic on Board

Medium: Acrylic on Board Signature: Signed Lower Left Cover of 'Crazy Sundays F. Scott Fitzgerald in Hollywood' written by Aaron Latham Published by ...

Medium: Oil on Canvas Signature: Unsigned

Medium: Oil on Canvas Signature: Signed Lower Right Dimensions: Sight Size 36.00" x 31.00;" Framed 43.00" x 38.00" Cover of The Saturday Evening Post, April 7th, 1934

Story illustration for “Frantic Frontier” by Mosser Mauger for The American Magazine, published February 1956, pages 32-33. The “Frantic Frontier” story, promoted with the tagline "...

Medium: Oil on Masonite

Medium: Oil on Board Signature: Unsigned Dimensions: Sight Size 35.5" x 25.5;" Framed 39.50" x 28.75" This illustration was published as the paperback cover of Burro Alley by Edwin...

Medium: Gouache on Board Signature: Signed Lower Left Board measures 23.75 x 15.75 inches.

Medium: Oil on Canvasboard Signature: Unsigned Dimensions: Sight Size 18.00" x 24.00;" Framed 28.50" x 35.50" Cover for Fate Magazine - August 1953 The original cover painting by H.W. McCauley used for the August 1953 cover of Fate (True Stories of the Strange and Unknown), illustrating "The Gods of Voodoo" by North Hildabrand. In this offering a dancing pin...

Medium: Oil on Canvas mounted on Board Signature: Signed Lower Right Subject matter features a mottled blue ground with a male kissing a woman, the foreground with a man holding gun...

Paperback book cover illustration for Eagles Where I Walk by Stephen Longstreet, published by Popular Library, 1961. The publisher describes the story: “Anger had burst into rebellion, and rebellion had exploded into war—and across the Colonies brave men and women joined together in a passionate struggle which there was no turning back. Such a man was David Cortlandt—robust, daring, never one to avoid danger. He was a man who must have what he desired, be it freedom from a tyrant or possession of a strange and deadly beauty named Roxanne.” The cover features a soldier embracing a woman above a small illustration...

Paperback book cover illustration for A Few Painted Feathers by Stephen Longstreet, published by Popular Library, 1963. A historical novel about the American Revolution. The cover...

Medium: Tempera on Board Illustration of a baseball player's dusty crash to a field base as seen out of the corner of a television set.

Signature: Signed Lower Right Medium: Oil on Canvas This illustration was a Saturday Evening Post cover, September 13, 1913.

Medium: Oil on Canvas Signature: Signed Front and Back of Canvas Possibly original illustration for Saturday Evening Post

Signature: Signed Lower Right Medium: Oil on Canvas Cover for Life Magazine, January 1, 1914 Caption: "Which Bird?"

Medium: Oil on Canvas Signature: Signed Lower Right

Medium: Oil on Linen Signature: Signed and Dated Story illustration for "Farewell Without Regret" by Sarah-Elizabeth Rodger for Good Housekeeping, published July 1940, page 58. The...

Medium: Oil on Masonite Signature: Signed Lower Left This piece was published as an illustration in True Magazine titled "Blondin Crossing Niagara" in 1953. Born Jean-François Grave...

Medium: Oil on Canvas Signature: Signed TOM/LOVELL (lower left); also titled Attorney/at Sea (on the reverse)

Medium: Oil on Masonite Signature: Signed Upper Left Original Use: Interior Illustration for The American Magazine Excellent Condition This luminous, expressive oil on masonite wa...

Medium: Oil on Paper Signature: Signed Lower Right

Story illustration for "Illegitimate" by Nelia Gardner White for the Ladies' Home Journal, published June 1944, page 25. The full caption reads: "The children danced around her, cha...

Medium: Oil on Canvas Signature: Signed and Inscribed Lower Right Preliminary study for Interwoven Socks Advertisement

Illustration for “The First Works” by Basil King as part of the series “The Everlasting Doors” for Cosmopolitan, published July 1920, pages 38-39. In his series “The Everlasting Doors,” Basil King delves into his belief that humanity underestimates its own psychic powers. King expresses a profound desire to rediscover the “lost laws of the universe,” believing these ancient principles could lead to remarkable advancements, including “the abolishing of Death and other wonders.” Enhancing the published text was Frank Leyenecker’s dramatic illustration, which framed and decorated the pages. Leyendecker presumably later added the poetic lines, “Relax and lay your head on my shoulder. Give me your hand and I will lead you on. We cannot make mistakes because the light is too strong to allow of anyone missing the way,” to fill in the white space, transforming the painting into a more complete and visually resonant artwork. Signature: Signed Lower Right: F X Leyendecker...

Medium: Oil on Canvas Signature: Signed Lower Left Sight Size 17.00" x 15.50;" Framed 24.50" x 23.00" The Saturday Evening Post cover, June 22, 1912

Medium: Oil on Board Signature: Signed Upper Right Illustration for "Da Strit Pianna" by Wallace Irwin, Collier's Magazine April 25th, 1905

Signature: Signed Lower Right Cover Illustration: Saturday Evening Post, November 6, 1937

Signature: Unsigned

Medium: Unknown Signature: Unsigned Sight Size 30.00" x 25.00", Framed 39.00" x 34.00" Saturday Evening Post Cover, July 12, 1919

Medium: Oil on Canvas Signature: Signed Middle Right Cover of The Saturday Evening Post, November 28, 1925 Literature: The Saturday Evening Post, November 28, 1925, cover illustra...

Medium: Oil on Canvas Study for the November 22, 1930 cover illustration of The Saturday Evening Post.

Medium: Oil on Canvas Signature: Signed Lower Right

Medium: Hand Painted Fine Print Signature: Signed Lower Left

Medium: Oil on Canvas Laid on Panel Signature: Signed Lower Right The Saturday Evening Post cover, November 12, 1910

Signature: Signed Lower Left Medium: Oil on Canvas Saturday Evening Post Cover, September 18, 1920 - Leyendecker addressed the theme of American patriotism in several ways. His famous Fourth of July covers asserted the import of American independence through stock characters: George Washington, Uncle Sam, the Statue of Liberty, colonial Freedom Fighters, and modern-day soldiers. In addition, his World War I and World War II covers depicted soldiers proudly defending their country. Leyendecker also profiled U.S. presidents and historical figures - George Washington, Robert E. Lee, William Howard Taft...

Medium: Oil on Canvas March 10, 1917 Preliminary Study for The Saturday Evening Post Cover

Medium: Oil on Canvas Signature: Signed lower right: JC Leyendecker Living Mannequin sold at the U.S. War Bond at the United States Treasury-Saturday E...

Medium: Oil on Canvas Signature: Unsigned 'Goin' South' Saturday Evening Post Cover Study

Signature: Unsigned Medium: Oil and Charcoal on Canvas This piece is a preparatory study for J.C. Leyendecker’s final painting, Trimming the Pie (19...

Medium: Oil on Canvas Signature: Unsigned Study for the Saturday Evening Post Cover, December 1, 1934

Medium: Oil on Canvas Mounted to Archival Board Signature: Unsigned Sight Size 17.625” x 14.375;" Framed 23.063” x 20.125" Custom Gilt Framing: Thanhardt Burger (formerly Newcomb Mac...

Original book cover illustration for "The Wench is Dead," published by Centipede Press.