Search Results: Art & Architecture from Main Street Fine Books & Manuscripts, ABAA

The huge golden Prometheus figure in the fountain in front of Rockefeller Plaza in New York (1934) is one of this sculptor's best known works. ALS "Paul M," 1p, 6" X 7", New York, NY, 1961 October 23. Addressed to Carl Haverlin, president of music licensing giant Broadcast Music Inc. Fine. Regards the stir caused by the New York Civil War Centennial Commission's effort to have a casting of Manship's 1937 equestrian statue of General Ulysses S. Grant erected in front of Grant's Tomb: "Enclosed please find the letter I have just received from Mrs. Wm. Pigott Cronan, Gen. U.S. Grant's Grandaughter...." Boldly penned in blue ballpoint. Also present is a copy of Cronan's letter of support, some newspaper clippings regarding the controversy and a few miscellaneous papers. Accompanied by a fine 10" X 8" glossy photograph showing Manship, Haverlin and Bruce Catton examining a scale model of the Grant statue. Superb little collection regarding… Read More

This Virginia artist is often remembered for his naval and battle scenes, and in 1957 designed the U.S. Post Office's "International Naval Review" three-cent stamp. ALS, 1p, 8½" X 11", Arlington, VA, 18 May 1970. Addressed to "Mr. J." Near fine. Gracious and handsomely penned note to an admirer transmitting "The blue sheet [which] is a copy of my original art which was used for P.O. dept approvals and as a guide for the stamp engraver. About 50 of these were printed, of which I have about 7 left...." Boldly written in blue ballpoint and signed at the close. The aforementioned "blue sheet" -- a proof copy -- is present, 10½" X 6½", n.p., n.y. Near fine. Printed entirely in blue on fine stock, it is an enlarged view of the "International Naval Review" stamp (Scott #1091 for you philatelists), which is an aerial view of an aircraft carrier at right and at left a small map of Hampton Roads with a circular… Read More

This German-born American artist and sculptor circulated among the elite avant garde modernist circles of Europe (with Gertrude Stein and Pablo Picasso) and America (with Alfred Stieglitz and Georgia O'Keeffe); he's best known for lithographs of New York cityscapes and, later, of Colorado and New Mexico scenes, as he moved west and briefly served as art director of the then-new Denver Art Museum. ALS, 1p, 8½" X 11", Denver, CO, n.y. Addressed to Arnold F. Gates (1914-93, noted Lincoln/Civil War scholar). Near fine. Excellent content penned in his bold, handsome script in brown ink, reading in part: "In answer to your question: 'have you ever turned out a Lincoln head or bust?' I can only say that for years I have had a bust of that grand head in my mind, -- (and, in my opinion, it is one of the most plastic faces of really great men) -- but I have not yet have had the opportunity to execute it. -- May I ask why you asked me that question?" Undated, but… Read More

This Virginia artist joined the U.S. Forest Service in the early 1930s and helped launch the "Smokey the Bear" campaign in the late '30s -- now the longest running public service campaign in history; he portrayed Smokey in literally hundreds of promotional pieces that encouraged conservation of natural resources and fire prevention. Color PS, heavy stock glossy 6" X 4", n.p., n.y. Near fine. Full color postcard reproduction of Wendelin's 1989 painting "Dear Smokey..." depicting the beloved bear leaning against a shovel alongside his mailbox reading a child's letter as two cubs clamber atop the mailbox, a wooded setting featuring lake, campers and ranger's cabin in the background. Wendelin signs boldly in black fineline in a lighter area at lower left. Accompanied by a high-quality glossy 10" X 8" photograph, a 1979 black and white image showing Wendelin and his wife standing alongside a costumed "Smokey the Bear" figure seated at a desk… Read More

Children's book and periodical illustrator about whom little is known; in April, May and June 1889 Hill provided the illustrations for Sarah Orne Jewett's serialized tale ""A Bit of Color" for "St. Nicholas" magazine, later expanded into the 1890 novel "Betty Leicester: A Story of Girls," and his work appears in many other turn-of-thye-century books and periodicals. Superb original ink-and-wash drawing, 12" X 9", n.p., n.d. Near fine. Neatly mounted, as is typical, to a heavy art board. A nighttime flood scene, it shows half-submerged buildings and flotsam, with a man in a three-piece suit uncomfortably straddling a tall post and a small boat rowed by a black woman pulling up alongside. On the verso, in an unidentified hand (probably an editor's), two possible titles are listed ("Clarissy Ann and the Flood" and "Clarissy Ann rescues her landlord") and a caption is given ("'I kin help you, if you agree to a few… Read More

This noted Montana-born children's book author and illustrator is remembered for "The Runaway Sardine" (her first book, 1929) and 35 others, most published by Knopf: "The Greedy Goat," "Drusilla," "The Topsy-Turvy Family," "Mr. Wren's House" and others. Offered here is the near-complete original ink and watercolor artwork for an early title illustrated but not authored by Brock: Louise F. Encking's translation of E.T.A. Hoffmann's classic "The Nutcracker and the Mouse=King," published by Albert Whitman & Co. of Chicago in 1930, when Brock was just starting out and hungry for work. Consists of 25 slightly translucent leaves (each two sheets either stapled or tipped together at top), approximately 13" X 17", 14 containing a large single black ink line drawings (six signed by Brock at lower margin) and the remainder mostly containing two small drawings per sheet. All 25 have an overlay sheet on top of the ink… Read More

This American artist's unorthodox WPA tempera murals ("The Fleet's In!" hints at homosexuality) in a style that came to be known as "magic realism" catapulted him to fame and controversy; male nudes were a favorite subject. Large, bold signature in blue ballpoint, heavy stock 5" X 3" card, n.p., 1976 June 1. Fine. With original envelope. A handsome example in Cadmus's superb script.

This pioneering Canadian illustrator and author appeared in "St. Nicholas Magazine" often, where his "Brownies" often appeared; they debuted in book form in "The Brownies, Their Book" in 1887, appearing in a dozen volumes with titles such as "The Brownies Abroad" and "The Brownies Around the World." Delightful ink sketch of a typical brownie pointing to Cox's bold signature and "Brownieland / 1898," heavy stock 4½" X 3½" card. Fine. This handsome sketch has been framed under a double dark grey and cream matte in a sleek modern 5/8" black metal, all archival and handsome -- overall dimensions 11" X 10"

This American sculptor -- kin to President William Howard Taft, father of Congresswomen Emily Taft Douglas and father-in-law to her husband, Senator Paul Douglas -- created such popular favorites as Chicago's "Fountain of Time" and provocative statues of Lincoln, and other historical figures. Large, bold signature in blue ink on a 5¼" X 4" sheet, n.p., dated "July 1929" in ink in another hand at lower right. Near fine. At lower right, a small (1" X 1½") magazine head-and-shoulders portrait of Taft in later years has been neatly affixed. Attractive example.

The "Father of the American Cartoon" was a German-born American cartoonist who proved the influence of editorial cartoons with his memorable attacks on William M. "Boss" Tweed and the Tammany Hall political machine along with all manner of events during the post-Civil War decades, mainly for "Harper's Weekly" but also other popular periodicals; he's credited with creating the Republican elephant, but he merely popularized the Democratic donkey and Uncle Sam; on a lighter note, he's considered the creator of our modern image of Santa Claus. Handsome, bold signature and date ("July--4--1878") in his usual brown ink, heavy stock 4½" X 2½" card, n.p.,Very good. Faint age toning and hint of paper clip imprint at upper left; mounting trace on verso. A lovely example.

This Cartoon Hall of Famer is known for clever gag cartoons, many of which were published in book form. Handsome signature, heavy stock 5" X 3" card, n.p., 1988 November 2. Fine. With original envelope.

This French master iron artisan headed the team of Frenchmen imported to the United States in 1984 to restore the aging Statue of Liberty for its 1986 rededication. Signed First Day Cover, 6½" X 3½", cancelled at Liberty Island, New York on July 4, 1986 and with "First Day of Issue" stamped. Near fine. Two 22-cent "Liberty 1886-1986" stamps at right. Second special cancellation, at lower left, accomplished in France reading: "Liberte 1886-1986 Paris" at the left, near the "sweet spot," Wiart signs boldly in blue fineline. Accompanied by Wiart's business card (LMC Corp.), listing him as vice president, 3½" X 2"; on the verso, he boldly pens, "Avec mon / bon souvenir / Jean Wiart" in blue fineline. Original transmittal envelope also present.

This American commercial artist (art director, Young & Rubicam) built a following for his acrylic artwork for romance paperback covers. Signed First Day Cover, 6½" X 3½", cancelled in York, Pennsylvania on 1977 September 30 and with "First Day of Issue" boldly stamped. Single 13-cent "Drafting the Articles of Confederation" stamp at upper right. Fine. Near the center, in black ballpoint, Blossom signs in black fineline. With small portion of original transmittal envelope. Blossom's classy stamp depicts several colonial legislators hashing out the agreement.

Versatile American artist who, along with wife Dolli, designed numerous U.S. stamps. Signed First Day Cover, 6½" X 3½", cancelled in Washington, DC on 1968 May 17 and with "First Day of Issue" boldly stamped. Single 6-cent "Law and Order" stamp at upper right. At lower left, in blue ballpoint, Brackett signs large and bold. With small portion of original transmittal envelope. Brackett's stamp design depicts a police officer walking hand in hand with a small boy.

Distinguished American artist and illustrator whose paintings grace "The Saturday Evening Post," "American Heritage" and other leading magazines and whose postage stamps include the Marshall Islands' noted "History of World War II" series. Signed First Day Cover, 6½" X 3½", cancelled in Fort Snelling, Montana on 17 October 1970 and with "First Day of Issue" boldly stamped. Single 6-cent "Great Northwest Fort Snelling 1820-1970" stamp at upper right. Fine. No decorative cachet at left; no distracting recipient's name/address. At lower left, in black ballpoint, Stone signs large and bold.

This architect, art historian and museum director is best remembered as the National Portrait Gallery's first director (1964-69); he also served as director of St. Louis's City Art Museum (1942-46, 1955-64) and the Brooklyn Museum (1946-55). Signed First Day Cover, 6½" X 3½", cancelled in Washington, DC on 4 November 1968 and with "First Day of Issue" stamped. Fine. Single 6-cent "Chief Joseph - National Portrait Gallery" stamp at upper right. No decorative cachet at left; no recipient's name/address. Near the center, in black medium marker, Nagel signs large and attractive. An uncommon signature on a relevant cover. With TLS on NPG letterhead (dated 5 January 1971) from Curator of Education noting Nagel's dates in office.

This innovative American artist, in addition to illustrating books, was instrumental in getting the U.S. Post Office to produce more colorful stamps and to utilize new lithography processes to allow that; among other stamps, he designed the 1962 "Mississippoi Riverboat" and "Boys Club of America" commemorative stamps, co-designed the 1963 Christmas commemorative stamp, the 1964 "Quilted" stamp, the 1965 "Discus Thrower" and "Portrait of Herbert Hoover" and the 1966 "Humane Treatment of Animals." Signed First Day Cover, 6½" X 3½", cancelled in New York New York on 9 April 1966 and with "First Day of Issue" boldly stamped. Single 5-cent Todhunter-designed "Humane Treatment of Animals" stamp at upper right. Near fine. Handsome Art Craft printed decorative cachet at left; no distracting recipient's name/address. At upper right, above the cancellation, Todhunter signs small and sloppy in black ink.

This Hungarian artist was also a prolific stamp designer, with more than 200 stamp designs to his credit for various countries and the U.N. done between 1949 and 1992. Signed First Day Cover, 6½" X 3½", cancelled at the United Nations in New York on 17 March 1967 and with "First Day of Issue" stamped. Four 1.5-cent "Nations Unies / United Nations" stamps at upper right. Handsome printed Art Craft "1½ cent United Nations Definitive Issue" decorative cachet at left; no distracting recipient's name/address present. Near fine. Below the large block of four stamps, Vertel signs small but bold in blue ballpoint. Rather uncommon.

This innovative American artist, in addition to illustrating books, was instrumental in getting the U.S. Post Office to produce more colorful stamps and to utilize new lithography processes to allow that; among other stamps, he designed the 1962 "Mississippoi Riverboat" and "Boys Club of America" commemorative stamps, co-designed the 1963 Christmas commemorative stamp, the 1964 "Quilted" stamp, the 1965 "Discus Thrower" and "Portrait of Herbert Hoover" and the 1966 "Humane Treatment of Animals." Signed First Day Cover, 6½" X 3½", cancelled in New London, Connecticut on 16 October 1967 and with "First Day of Issue" boldly stamped. Single $1 Todhunter-designed "Eugene O'Neill" stamp at upper right. Near fine. Blue "First Day Cover" encircling gilt Earth cachet at left; no distracting recipient's name/address. At upper right, above the cancellation, Todhunter signs small and sloppy in… Read More

This Austrian-born architectural historian and designer fled the Nazis and came to American in 1941, serving the U.S. Air Force (1943-45) before becoming the art director of the N.W. Ayer & Son Advertising Agency in Philadelphia. Signed First Day Cover, 6½" X 3½", cancelled in Washington, DC on 31 May 1960 and with "First Day of Issue" boldly stamped. Near fine. Four "SEATO Unity Peace Progress" 4-cent stamps at upper right and ornate Art Craft cachet honoring the South-East Asia Treaty Organization at left. Near the center, Maass signs boldly in black fineline, adding "Designer" below.