Gustave Bourgogne

Country Scene - Drawing by Gustave Bourgogne - 1940s

1940s

Dead Soldier is an original drawing in Pastel, ink, and watercolor realized in the 19th Century by Jules Cornillier (1830-1886). Fair conditions. The artwork is depicted through st...

Portrait of a Lady is a pencil, ink and watercolor drawing realized by Hermann Paul. Hand signed on the lower right corner. Passpartout included cm 40.5x30.5 Good condition. René ...

Sacred Scene is a modern artwork realized by Artist of the early 20th Century. Mixed colored ink and watercolor. Includes frame:36.5 x 28 cm

Couple is an original artwork realized by Mino Maccari in the 1960s. Mixed media colored drawing (pencil, ink and watercolor) on velin paper Hand-signed by the artist on the lower...

"Medusa Mask" is an original black China ink, pencil and watercolor drawing on paper glued on ivory-colored cardboard, signed and dated by Eugene Berman, ...

Theatrical Figure is an original monogrammed drawing in pencil, watercolor and in China ink on paper, realized by Russian scenographer Eugène Berman. Image Dimension: 35 x 25 cm Ima...

Hungarian/American artist/illustrator depicts a charming scene of sledding in the snow in Central Park. The work is abstract in its design as it's functional in its narrative - Unpublished New Yorker...

This work clearly has homosexual overtones which in the mid-'40s was as daring as showing nudity. I am not sure if this was the artist's intention but the salesgirl and the model look identical and she signs it twice Shermond. Added to this is a strobe light effect where the model's image is partly replicated giving the impression of 2 figures. She's lost in thought pondering the notion of removing the bows and seeing the consequences. Meanwhile, the sales girls ( perhaps her alta ego - perhaps an admirer ) eggs her on. Caption: "You can always remove the bows if you think they're too fussy." Cover cartoon for unknown publication - Signed "Shermund" twice in the lower right image, dated on verso, and captioned in graphite in the lower margin. Original Matte and not framed - Barbara Shermund...

"#220 – PEACE" is from Amy Williams' series "A Farewell to Arms" – wherein the artist works directly onto page 220 of a found copy of Ernest Hemingway's W...

Early in the artist's career most likely for Vogue Magazine. Signed lower left. Helen Dryden (1882–1972) was an American artist and successful industrial designer in the 1920s and 1...

Pen and sepia ink and wash on vellum, 8 7/8 x 10 1/2 inches (225 x 267 mm). In very good condition with some modern notations in pencil on the verso, minor cockling, and a 1-inch hor...

E. Simms Campbell was the first African-American illustrator/ cartoonist published in nationally distributed, slick magazines, he created Esky, the familiar pop-eyed mascot of Esquire. This early work of 1930 was done on assignment for an interior page of Life Magazine. It features two Rowing teams engaged in spirited competition with cheering onlookers. This is a highly stylized black-and-white illustration and is masterfully executed. The work is composed of two illustrations, 6 x 9 inches and 2-3/4 x 2 inches respectively. It is initialed center bottow ESC. unframed Campbell left the University of Chicago and transferred to and received his degree from the Chicago Art Institute.[3] Professional career During a job as a railroad dining-car waiter, Campbell sometimes drew caricatures of the train passengers, and one of those, impressed by Campbell's talent, gave him a job in a St. Louis art studio, Triad Studios. He spent two years at Triad Studios before moving to New York City in 1929. A month afterward, he found work with the small advertising firm, Munig Studios, and began taking classes at the National Academy of Design.During this time, he contributed to various magazines, notably Life, & Judge Following the suggestion of cartoonist Russell Patterson to focus on good girl art, Campbell created his "Harem Girls", a series of watercolor cartoons that attracted attention in the first issue of Esquire, debuting in 1933. Campbell's artwork was in almost every issue of Esquire from 1933 to 1958 and he was the creator of its continuing mascot, the cartoon character in a silk top hat. He also contributed to The Chicagoan, Cosmopolitan, Ebony, The New Yorker, Playboy, Opportunity: A Journal of Negro Life, Pictorial Review, and Redbook. His commercial artwork for advertising included illustrations for Barbasol, Springmaid, and Hart Schaffner...