This is a cover painting for an as-yet unidentified Western pulp magazine by well-known cover artist Sam Cherry (1903-1975).
Condition-wise, it has overall grime. The canvas is coming apart from the stretcher towards the top right corner area. Some paint loss and minor holes. This would look fantastic with just a little conservation.
Signed at the bottom right.
- Media: Oil on canvas
- Dimensions: 22″ high x 17″ wide
Large interior pulp magazine illustration attributed to Nick Eggenhofer (1897-1985). Matted nicely. There is some foxing visible, and a small tear to the board (visible at bottom right).
- Media: Ink on board
- Matted: 21.5″ high x 30″ wide
- Image only: 15″ high x 23″ wide
Interior illustration for “Strictly Business” by Robert Ormond Case from the May 1951 issue of Blue Book magazine by Leland Gustavson (1894-1966). Matted.
- Media:Illustration is mix media on flat canvas
- Dimensions: 15″ high x 12″ wide
Interior illustration for “Swamp Angel” by Raymond S. Spears from the May 1940 issue of Blue Book magazine by Leland Gustavson (1894-1966).
- Media: Mix media on flat canvas
- Dimensions: 23″ high x 17″ wide
Original pulp painting by Walter Baumhofer (1904-1987), attributed to the pulp magazine Outlaws of the West, published by Hersey Publications. The exact issue isn’t certain, but it’s one of the rare 1930-32 issues. Oil on canvas, framed to 28″ tall x 25″ wide.
Walter Baumhofer is one of the most collected pulp artists, with one of his Doc Savage covers of the era recently selling for nearly $100k. This cover is typical of the style he used for the Harold Hersey-published pulps.
Original John Fleming Gould painting for The Saturday Evening Post (1941). Story illustration, watercolor on paper. Signed lower right. Inscribed on reverse and having old Curtis Publishing Company label for The Saturday Evening Post. Image 21″ x 27.”
Original pulp painting by Sidney Riesenberg (1885-1971) to the January 1931 issue of Complete Detective Novel Magazine. Oil on canvas, 30″ x 28″; framed to 33.5″ tall x 31.5″ wide.
Comes with a copy of the original pulp.
Quality-wise, Riesenberg’s covers are hit-or-miss. The figure on the left is the best-realized figure we’ve seen in any of Riesenberg’s surviving paintings.