This painting illustrated a story by Ben Williams in the June 28, 1919, issue of the Saturday Evening Post.  It told the story of a Hispanic field hand suspected of sleeping with the wife of a farmer. The painting that illustrated it, exhibited here, depicts Jubilo being questioned by the sheriff and his deputies, with the farmer standing behind Jubilo and the wife on the porch.  The painting is the work of W.H.D. Koerner, a renowned master illustrator of the American West.  Koerner ranked with Remington and Russell among western painters and his work illustrated stories and covers of all the major magazines of the 1920s and 30s.

Domenichino was trained under Annibale Carracci and began his early work in Rome. Following a distinguished career there, he moved to Naples where he painted numerous scenes in the city’s cathedrals and churches.  He was friends with Giovanni Battista Agucchi with whom he collaborated on a Treatise on Painting.  During his lifetime he was considered in the league of Raphael and Rubens, but subsequently was criticized by John Ruskin as being “insincere.” However, by the late 19th century, Domenichino’s work was resurrected from the Victorian graveyard and he was reestablished as among the most important and influential painters of seventeenth-century Italy.

Francken was a versatile painter and the best-known member of a large family of artists.  He played a prominent role in the development of Flemish art in the first half of the 17th century.  He was particularly skilled at introducing new subject matter and allegorical works.  Greatly skilled at portraying the human body, Francken was responsible for helping train several generations of Flemish and northern European artists.

Joshua Reynolds, a contemporary of Gainsborough, was the dominant English portraitist of the “Age of Johnson,” and painted up to 3,000 portraits, including those of many of the most wealthy and famous figures of his day.  A painter of great energy, he was said to have worked constantly, never losing his abilities, albeit having lost some of his hearing and the sight in one of his eyes during his long career.  The subject of this painting, Henry Howard, was a British politician who served as Secretary of State for the Northern Department during the American Revolution. He secured the use of Hessian and Hanoverian mercenaries in the failed effort to suppress the rebellious colonies. Howard achieved the positions of Privy Counselor and Knight of the Garter, but died young.

At the outset of his career, Bidauld studied and painted throughout France and Italy, gaining a reputation as a “history painter.” Returning to Paris in 1790, he entered the Salon, in which he participated regularly. In 1792 he began receiving official commissions and, after 30 years of commissions and hard work, became the first landscape painter elected to the Academie des Beaux-Arts.  In 1825 he was awarded the Legion d’honneur.   Later in life, Bidauld was savaged by the press and, as a result, lost the ability to sell his work, ultimately dying a poor man. The artist and his paintings are seeing a deserved revival.

Etching, drypoint, and engraving.  Rembrandt is considered to have been one of the finest painters and printmakers in European art history.

considered the Master of the Lautenbach High Altar (German, ca. early 1500s).  This painting of three saints (with a name on their halo) is on the wooden panel that once served as the wing of an altarpiece. The style is in the German (Franconian) School. The high altar was from the Pfarr- und Wallfahrts Church in Lautenbach near Strassburg, where Grien was known to be active.

Though his ability as an artist was recognized at an early age, Gilbert was forced to work as an artisan due to financial circumstances.  He eventually gained some formal art training in
Paris. His work is characterized by everyday scenes in Paris, such as this troupe of young boys playing music while marching through a park.

Carver frames Mr. Sheldon and Carol’s brother Buddy on a charge, by Al Jensen, of receiving cattle stolen from him by Evans. Carver blames Evans for all of the Sheldon’s troubles and, what with one thing or another, it looks like Evans and his cowhands will miss the big broadcast. Written by Les Adams.  Part of a collection of early film posters and lobby cards numbering into the hundreds.