Category: Artworks

Collier’s, billed proudly as “The National Weekly,” appears here in the October 6, 1906 issue with a striking cover illustration that leans into classical imagery and modern confidence. A muscular, toga-draped figure sits in profile, poised between art and intellect, holding a drawing tool and a dark tablet-like surface that reads as a slate, board,…

Bold serif lettering across the top announces Collier’s, The National Weekly, while a full-length illustration takes center stage: a golfer paused in concentration, hands set on the club, shoulders slightly forward, eyes turned to the side as if listening for the right moment. The palette is airy and sunlit—soft pinks in the rolled-sleeve shirt, pale…

A grinning “face” assembled from pantry staples stares straight back at the viewer, equal parts playful and unsettling. Bright red slices become wide eyes, a dark vegetable forms a nose, and glossy peppers shape a mouth, all framed by the shiny rim of what looks like a pot lid or serving platter. A leafy crown—more…

Surreal menace and sharp satire collide in Boris Artzybasheff’s wartime illustration, where a grotesque, amphibian-like creature clings to a sleek missile as if it were a mechanical steed. Ribboning plumes trail behind, turning propulsion into something ghostly and theatrical, while the creature’s tense posture and hollow gaze push the scene into nightmare territory. The composition…

Surreal menace and satirical wit collide in Boris Artzybasheff’s WWII-era anti-Nazi illustration, where a spring-coiled, mechanical figure lurches across a barren landscape like a weapon given legs. The exaggerated anatomy—ribbed tubes, oversized hands, and a masklike head—turns the character into a caricature of militarized force, more machine than human. Overhead, aircraft streak across the darkness,…

Grand Central Station is rendered here in the playful, bustling spirit associated with “Tony Sarg’s New York,” turning a famous transportation hub into a miniature theater of city life. The viewpoint looks down into a vast interior hall where monumental walls and tall arched openings frame an ever-moving crowd. Instead of solemn grandeur, the scene…

“Helm a-Lee!, 1882” throws the viewer straight into rough water, where a lone sailor in oilskins braces himself in a small boat as spray lifts off the waves. The yellow slicker and matching hat glow against a cold, restless sea, while his clenched hands and set jaw signal the urgent work of keeping control. Even…

A quiet, intimate interior sets the stage for “Charles Lundh in Conversation with Christian Krohg, 1883,” where talk seems to unfold in the pauses as much as in words. One figure sits hunched in a chair, cheek resting on a hand, eyes turned outward with a weary, attentive expression. Across the lower foreground, another body…

A young figure in a green headscarf and deep blue coat leans forward as if the body itself has become too heavy to carry. One hand presses against the abdomen, the mouth hangs slightly open, and the eyes drift with a distant, pained fatigue. Rendered with fine lines and delicate colouring, the scene turns a…

Dawn arrives here as a thin, indifferent band of light, while the rest of the world remains a heavy, swallowing dark. Two nude figures drift in an uneasy embrace—one pale and slack, the other rendered in a startling red—locked together as if the moment of release has been suspended rather than completed. The title, “Suicide…