Category: Artworks

Bold orange lettering spells out “Collier’s” across the top, setting a confident, early-1900s tone for the February 22, 1908 issue. The cover art centers on a powerful black horse, its tack rendered with crisp lines and a striking orange-trimmed blanket that echoes the magazine’s masthead. Against a pale background and a dense, stylized field of…

Bold lettering announces *Collier’s: The National Weekly* at the top of this January 23, 1915 cover, with the price—“5¢ a copy”—printed like a small promise of mass readership. Beneath the masthead, a striking piece of cover art frames a fur-hatted rider in a heavy winter coat standing beside a white horse, rendered in crisp lines…

A kitchen strainer becomes a slyly comic “face,” with sprigs of herbs draped like unruly hair and small vegetables arranged into eyes, nose, and a crooked smile. The scene is staged right on the stovetop, surrounded by everyday cookware, turning ordinary meal prep into a miniature piece of food art. Underneath, the caption “Mrs. Boiler…

Boris Artzybasheff’s wartime imagination turns propaganda into a surreal nightmare, where steel, smoke, and satire collide. In this anti-Nazi illustration, a looming mechanical figure—part factory, part monster—wraps its coiled body around a uniformed man rendered as a brittle, caricatured symbol of militarism. The stark black background and sharp white linework heighten the sense of menace,…

A bustle of “’Appy ’Ampstead” spills across the page in this lively plate from *Humours of London*, where a holiday crowd streams between striped booths, banners, and makeshift stages. Figures in hats and long coats jostle shoulder to shoulder, turning the fairground into a moving pattern of elbows, parasols, and quick glances. The artist’s line…

Down in the subway, the Times Square Shuttle becomes a stage for urban motion, rendered with the lively wit associated with “Tony Sarg’s New York.” Steel beams and platforms cut the scene into crisp angles, while crowds stream through the corridors in a rush of coats, hats, and swinging bags. Signboards for Grand Central and…

Quiet domestic ritual anchors *Braiding Her hair, 1888*, an artwork that turns a simple grooming moment into something tender and monumental. A seated woman in a blue dress gathers the hair of a young girl, their figures turned away from the viewer so attention falls on posture, gesture, and the patient rhythm of hands at…

In a quiet studio corner, an artist leans toward a small clay head, shaping features with careful, economical movements. Several reference photographs are propped around the work area—different angles of the sitter’s face—turning the table into a little wall of gaze and expression. The composition underlines the title’s method: working from photographs first, then building…

Pinned against a white pillow, a bare-chested man turns his head in uneasy profile, his skin stippled with dark pustules across the face, neck, and torso. The artist’s hand is unmistakable: fine crosshatching, careful outlines, and selective color that draws the eye to a deep blue headwrap and the tense set of the mouth. Along…

Twilight hangs over the scene in *Au Crepescule, 1938*, where a narrow path or enclosure is framed by dark, sloping walls and a muted brown sky. At the left stands a nude, wide‑eyed figure enclosed like a cutout within a heavy, animal-like silhouette, its clawed limb extended as if to shield—or claim—what it contains. The…