Illustration Art
in addition to Rockwell
Except otherwise stated, all results include the premium.
See also : Turner Germany II Wild West Sciences Frazetta
Chronology : 1800-1809 1830-1839 1850-1859 1926
Except otherwise stated, all results include the premium.
See also : Turner Germany II Wild West Sciences Frazetta
Chronology : 1800-1809 1830-1839 1850-1859 1926
1802-1816 Les Liliacées by Redouté
1985 SOLD for $ 5.5M by Sotheby's
Specializing in botanical watercolors, the Belgian artist Pierre-Joseph Redouté comes to Versailles in 1788 for his career after training in the Royal gardens of Kew. From 1800 he contributes by his drawings to the reissue of the Traité des Arbres et Arbustes by Duhamel du Monceau and from 1798 he is the favorite artist of the future empress Joséphine.
His direct commitment to botany takes place in two phases : 486 watercolors on vellum on Liliaceae from 1802 to 1816 followed by 168 Roses from 1817 to 1824. His scientifically accurate drawings are taken from life in the gardens of La Malmaison, Saint-Cloud, Versailles and Sèvres.
All the watercolors of the Liliacées, bound in 16 volumes 48 x 35 cm for a total weight of nearly 150 kg, were originally entrusted to Joséphine's library in La Malmaison.
The lot was sold on November 20, 1985 for $ 5.5M by Sotheby's after a sensational opening bid of $ 5M, the highest at that time in an art sale.
The buyer was a young dealer of rare books and prints named W. Graham Arader, who immediately made him known. To carry out this operation, he had created a syndicate of clients. Each share gave the right to own four watercolors, some were still available and he kept 30% of the whole. He had been the only bidder but according to his statements gathered by the New York Times he was covered up to $ 20M.
The pieces were chosen in turn by Arader's clients according to a priority determined by a draw. Arader has not disclosed the names of his shareholders. Steve Jobs was probably one of them.
On October 10, 2020 Arader Galleries sold several Liliacées watercolors. The two top lots were sold for $ 530K each, including premium : cultivated pineapple, plate 456, lot 91, and banana, plate 444, lot 90, both linked here on LiveAuctioneers bidding platform.
His direct commitment to botany takes place in two phases : 486 watercolors on vellum on Liliaceae from 1802 to 1816 followed by 168 Roses from 1817 to 1824. His scientifically accurate drawings are taken from life in the gardens of La Malmaison, Saint-Cloud, Versailles and Sèvres.
All the watercolors of the Liliacées, bound in 16 volumes 48 x 35 cm for a total weight of nearly 150 kg, were originally entrusted to Joséphine's library in La Malmaison.
The lot was sold on November 20, 1985 for $ 5.5M by Sotheby's after a sensational opening bid of $ 5M, the highest at that time in an art sale.
The buyer was a young dealer of rare books and prints named W. Graham Arader, who immediately made him known. To carry out this operation, he had created a syndicate of clients. Each share gave the right to own four watercolors, some were still available and he kept 30% of the whole. He had been the only bidder but according to his statements gathered by the New York Times he was covered up to $ 20M.
The pieces were chosen in turn by Arader's clients according to a priority determined by a draw. Arader has not disclosed the names of his shareholders. Steve Jobs was probably one of them.
On October 10, 2020 Arader Galleries sold several Liliacées watercolors. The two top lots were sold for $ 530K each, including premium : cultivated pineapple, plate 456, lot 91, and banana, plate 444, lot 90, both linked here on LiveAuctioneers bidding platform.
1835 Ehrenbreitstein by Turner
2017 SOLD for £ 18.5M by Sotheby's
Turner is an illustrator. His watercolors are used to create collections of images and conversely the engravings are an effective way to disclose his major artworks.
He is also a keen traveler. When touring all over Europe he deliberately walked in the fictional footsteps of Childe Harold, the disillusioned young man of Byron's poem who visited the sites wrought by wars to satisfy his need for freedom.
In 1835 Turner finishes his sublime view showing Rome from the Aventine, oil on canvas 93 x 126 cm. Extending to the oil the traditional technique of watercolor, the superposition of very thin layers of paint brings a transparency that simulates the sunny mist without weakening the details of the drawing. This painting was sold by Sotheby's in 2014.
The artist has reached an agreement for an image of Germany with the engraver John Pye after he had appreciated the quality of the effects of light in his prints. When he receives the promised work, Pye is frightened but it is too late to give up : Turner did not execute a watercolor but an oil on canvas of large size, 93 x 123 cm, with the same subtle hues as in the Roman view. Meeting the requirements of the patron is virtually impossible.
This painting is a view of Ehrenbreitstein, subtitled The Bright Stone of Honour and the Tomb of Marceau from Byron's Childe Harold. The ruined fortress of Ehrenbreitstein which still dominates Koblenz is a symbol of the vanity of the old wars. Marceau is that young French general killed at the age of 27 near Koblenz who had deserved such a reputation for chivalrous bravery that the two hostile armies participated together in his funeral.
Contrary to the Roman view, the view of Rhineland does not seek an overall topographical truth. It is a set of scenes where peasant girls cohabit peacefully with soldiers of both armies.
The painting was finished in 1835. Nine years later Turner became impatient with Pye who succeeded in convincing him that his work was not abandoned. The engraving was printed in 1845 under the pressure of a collector who wanted to buy the original painting to Turner.
The Ehrenbreitstein view was sold for £ 18.5M by Sotheby's on July 5, 2017, lot 21. Please watch the video shared by the auction house. It was sold for $ 12M by Christie's on November 17, 2025, lot 60A.
Grok thought :
Quote
AntiquesTradeGazette @ATG_Editorial Apr 4, 2017
This Turner masterpiece is going from private hands to open market: could it set a record for British art? @Sothebys http://atg.news/2nT2amv
Asking Grok to define the significance of this painting both in Turner's career and in the history of illustration art.
Grok thought :
Significance in Turner's Career
J.M.W. Turner's Ehrenbreitstein, or The Bright Stone of Honour and the Tomb of Marceau, from Byron's 'Childe Harold's Pilgrimage' (1835) represents a pinnacle of his late career, showcasing his revolutionary approach to landscape painting through ethereal light, atmospheric effects, and loose brushwork that anticipated Impressionism and even Abstract Expressionism. Painted in oil on canvas during a period widely regarded as his most innovative (the 1830s), it was exhibited to great acclaim at the Royal Academy in 1835, where critics praised its sublime depiction of the ruined Ehrenbreitstein fortress overlooking the Rhine near Koblenz, Germany—a site Turner sketched during travels in 1817 and revisited in later tours. This work exemplifies Turner's shift toward abstraction and emotional intensity, moving beyond topographical accuracy to evoke poetic and historical resonance, inspired by Lord Byron's Childe Harold's Pilgrimage (Canto III, stanza 58), which describes the tomb of French general François Séverin Marceau amid the fortress ruins. It was one of only a handful of major Turner oils remaining in private hands until recent sales, underscoring its rarity and desirability; acquired by collector Elhanan Bicknell directly from Turner in 1844, it passed through prominent British collections before fetching £18.5 million at Sotheby's in 2017. In Turner's oeuvre, it bridges his earlier Romantic landscapes with his final, visionary phase, influencing modern art by prioritizing color and light over form, as seen in subsequent exhibitions like Late Turner – Painting Set Free (2014–2015).
Significance in the History of Illustration Art
While primarily a fine art painting, Ehrenbreitstein holds a notable place in the history of illustration art due to its literary origins and subsequent reproduction as engravings, aligning with Turner's extensive work as an illustrator for books, travelogues, and poetry volumes in the 19th century. Turner, who produced over 800 illustrations for publications like Walter Scott's novels and Samuel Rogers's Italy, drew inspiration here from Byron's epic poem, visually interpreting its themes of heroism, ruin, and melancholy—common in Romantic illustration. The painting was engraved by John Pye in 1845 and later by J. Cousen for The Turner Gallery (1859), disseminating it through print media and contributing to the era's boom in illustrated literature, where engravings made high art accessible to broader audiences. This process exemplifies how Turner's works blurred the lines between painting and illustration, elevating topographical and narrative scenes into symbolic art; it influenced the development of illustrated travel books and poetry editions, such as those tied to the Rhine's Romantic allure, and foreshadowed the integration of fine art into mass-produced visual storytelling in Victorian Britain. Its inclusion in exhibitions like Turner and Byron (1974) highlights its role in bridging painting and literary illustration.
The painting is scheduled for sale at Christie's New York on November 17, 2025, as lot 60A in the 20th/21st Century Evening Sale, with an estimate of $12–18 million.
He is also a keen traveler. When touring all over Europe he deliberately walked in the fictional footsteps of Childe Harold, the disillusioned young man of Byron's poem who visited the sites wrought by wars to satisfy his need for freedom.
In 1835 Turner finishes his sublime view showing Rome from the Aventine, oil on canvas 93 x 126 cm. Extending to the oil the traditional technique of watercolor, the superposition of very thin layers of paint brings a transparency that simulates the sunny mist without weakening the details of the drawing. This painting was sold by Sotheby's in 2014.
The artist has reached an agreement for an image of Germany with the engraver John Pye after he had appreciated the quality of the effects of light in his prints. When he receives the promised work, Pye is frightened but it is too late to give up : Turner did not execute a watercolor but an oil on canvas of large size, 93 x 123 cm, with the same subtle hues as in the Roman view. Meeting the requirements of the patron is virtually impossible.
This painting is a view of Ehrenbreitstein, subtitled The Bright Stone of Honour and the Tomb of Marceau from Byron's Childe Harold. The ruined fortress of Ehrenbreitstein which still dominates Koblenz is a symbol of the vanity of the old wars. Marceau is that young French general killed at the age of 27 near Koblenz who had deserved such a reputation for chivalrous bravery that the two hostile armies participated together in his funeral.
Contrary to the Roman view, the view of Rhineland does not seek an overall topographical truth. It is a set of scenes where peasant girls cohabit peacefully with soldiers of both armies.
The painting was finished in 1835. Nine years later Turner became impatient with Pye who succeeded in convincing him that his work was not abandoned. The engraving was printed in 1845 under the pressure of a collector who wanted to buy the original painting to Turner.
The Ehrenbreitstein view was sold for £ 18.5M by Sotheby's on July 5, 2017, lot 21. Please watch the video shared by the auction house. It was sold for $ 12M by Christie's on November 17, 2025, lot 60A.
Grok thought :
Quote
AntiquesTradeGazette @ATG_Editorial Apr 4, 2017
This Turner masterpiece is going from private hands to open market: could it set a record for British art? @Sothebys http://atg.news/2nT2amv
- The 2017 X post by Antiques Trade Gazette promotes J.M.W. Turner's late oil "Ehrenbreitstein" (c.1840-45), a 93x123cm landscape of the Rhine fortress, entering auction after 50 years in private hands, with a £15-25m estimate at Sotheby's London.
- The artwork, one of five exhibited by Turner, fueled speculation of surpassing his £27m auction record from "Modern Rome" (2012), reflecting peak interest in British Romantic art amid a robust 2017 market for Old Masters.
- It sold for £17m to a single phone bidder, below low estimate and underwhelming per reports, yet affirming Turner's market strength—subsequent sales like "Rome, from the Vatican" (2020) reached £29.3m.
Asking Grok to define the significance of this painting both in Turner's career and in the history of illustration art.
Grok thought :
Significance in Turner's Career
J.M.W. Turner's Ehrenbreitstein, or The Bright Stone of Honour and the Tomb of Marceau, from Byron's 'Childe Harold's Pilgrimage' (1835) represents a pinnacle of his late career, showcasing his revolutionary approach to landscape painting through ethereal light, atmospheric effects, and loose brushwork that anticipated Impressionism and even Abstract Expressionism. Painted in oil on canvas during a period widely regarded as his most innovative (the 1830s), it was exhibited to great acclaim at the Royal Academy in 1835, where critics praised its sublime depiction of the ruined Ehrenbreitstein fortress overlooking the Rhine near Koblenz, Germany—a site Turner sketched during travels in 1817 and revisited in later tours. This work exemplifies Turner's shift toward abstraction and emotional intensity, moving beyond topographical accuracy to evoke poetic and historical resonance, inspired by Lord Byron's Childe Harold's Pilgrimage (Canto III, stanza 58), which describes the tomb of French general François Séverin Marceau amid the fortress ruins. It was one of only a handful of major Turner oils remaining in private hands until recent sales, underscoring its rarity and desirability; acquired by collector Elhanan Bicknell directly from Turner in 1844, it passed through prominent British collections before fetching £18.5 million at Sotheby's in 2017. In Turner's oeuvre, it bridges his earlier Romantic landscapes with his final, visionary phase, influencing modern art by prioritizing color and light over form, as seen in subsequent exhibitions like Late Turner – Painting Set Free (2014–2015).
Significance in the History of Illustration Art
While primarily a fine art painting, Ehrenbreitstein holds a notable place in the history of illustration art due to its literary origins and subsequent reproduction as engravings, aligning with Turner's extensive work as an illustrator for books, travelogues, and poetry volumes in the 19th century. Turner, who produced over 800 illustrations for publications like Walter Scott's novels and Samuel Rogers's Italy, drew inspiration here from Byron's epic poem, visually interpreting its themes of heroism, ruin, and melancholy—common in Romantic illustration. The painting was engraved by John Pye in 1845 and later by J. Cousen for The Turner Gallery (1859), disseminating it through print media and contributing to the era's boom in illustrated literature, where engravings made high art accessible to broader audiences. This process exemplifies how Turner's works blurred the lines between painting and illustration, elevating topographical and narrative scenes into symbolic art; it influenced the development of illustrated travel books and poetry editions, such as those tied to the Rhine's Romantic allure, and foreshadowed the integration of fine art into mass-produced visual storytelling in Victorian Britain. Its inclusion in exhibitions like Turner and Byron (1974) highlights its role in bridging painting and literary illustration.
The painting is scheduled for sale at Christie's New York on November 17, 2025, as lot 60A in the 20th/21st Century Evening Sale, with an estimate of $12–18 million.
This Turner masterpiece is going from private hands to open market: could it set a record for British art? @Sothebys https://t.co/BktorQc0NL pic.twitter.com/Wc4aRPGq3n
— AntiquesTradeGazette (@ATG_Editorial) April 4, 2017
1851 Washington crossing the Delaware by Leutze
2022 SOLD for $ 45M by Christie's
On Christmas night, 1776 the surprise crossing of the half frozen Delaware river by General Washington changed the course of the Revolutionary War hampered by a previous series of defeats.
That epic moment was painted in Düsseldorf by the German-born Emanuel Leutze as a symbol for freedom in the wake of the 1848 European upheavals.
The tall General is straight standing at the bow with a foot on the edge, looking ahead with a stiff determination. The US flag in its 1777 Stars and Stripes version is floating in the wind behind the hero. The boat is populated by various officers and troops including a rowing Black man, a Scot and a rowing woman, highlighting the proud Washington as the father of the US nation as a whole.
Three paintings were executed by Leutze with his assistant Eastman Johnson. Made in 1850, the original version was destroyed in a World War II bombing. The second full scale 3.80 x 6.50 m canvas is housed by the Met Museum.
Prepared in 1851 in parallel with the Met example, the third piece on a reduced scale was commissioned by the Paris art editors Goupil and Vibert for an engraving. It was on loan at the White House from 1979 to 2014. This oil on canvas 102 x 173 cm was sold for $ 45M from a lower estimate of $ 15M by Christie's on May 12, 2022, lot 30C.
A pastiche painted by Robert Colescott in 1975 replacing the general by an African American scientist and the troops by a gang of joyful Negroes was sold for $ 15.3M by Sotheby's in 2021. Another pastiche painted in 2018 by Jon McNaughton features President Trump leading his team by night with an oil lamp.
Christie's @ChristiesInc May 13, 2022
#AuctionUpdate Emmanuel Leutze’s ‘Washington Crossing the Delaware’ sets an auction record for the artist; price realized $45 million
Thought for 1m 16s
Emanuel Leutze painted three primary versions of Washington Crossing the Delaware, each depicting George Washington's iconic crossing of the Delaware River during the Revolutionary War. The version sold at Christie's in 2022 for $45 million is a smaller-scale replica from 1851. Below is a comparison with the other two: the original large version from 1850 (destroyed during World War II) and the large 1851 replica at the Metropolitan Museum of Art (the Met) in New York City. All three share nearly identical compositions, with artistic liberties like an anachronistic flag, dramatic lighting, and a diverse group of figures representing American unity. However, they differ mainly in scale, purpose, and historical fate. Minor adjustments, such as added red accents to Washington's cloak and repositioned oars for a more perilous scene, appear consistently across the surviving versions based on infrared analysis.
Original 1850 Version (Destroyed)
Large 1851 Version (at the Met)
Smaller 1851 Version (Sold at Christie's)
Year Painted
Original : 1849–1850
Large : 1850–1851
Smaller : 1851
Size
Original : Approximately 149 x 255 inches (378.5 x 647.7 cm; 12.4 x 21.25 feet), based on the scale of the Met replica it inspired
Large : 149 x 255 inches (378.5 x 647.7 cm; 12.4 x 21.25 feet)
Smaller : 40 x 68 inches (101.6 x 172.7 cm; 3.3 x 5.7 feet)
Current Status/Location
Original : Destroyed in a World War II Allied air raid on September 5, 1942, while in storage at the Kunsthalle Bremen in Germany
Large : On permanent display at the Metropolitan Museum of Art, New York City (donated in 1897); restored with a custom carved frame in 2007
Smaller : Privately owned (buyer undisclosed) following the 2022 auction; previously on long-term loan to the Minnesota Marine Art Museum (2015–2022)
Key History
Original : Created in Düsseldorf, Germany, to inspire European revolutionaries; damaged by studio fire shortly after completion, repaired, exhibited, and sold to Kunsthalle Bremen in 1851
Large : Commissioned as a full-sized replica after the original's fire damage; exhibited in New York (viewed by over 50,000 people), purchased for $10,000, changed hands multiple times, and briefly defaced in 2002 (no lasting damage)
Smaller : Commissioned by Goupil, Vibert & Company as a model for an engraving by Paul Girardet, which popularized the image; exhibited in New York, Philadelphia, and Chicago in the 1850s; owned privately with periods on loan to the White House (1979–2014) and Minnesota Marine Art Museum
Notable Differences/Similarities
Original : Served as the prototype; composition mirrored in later versions, but no surviving images allow for detailed visual comparison (black-and-white photos exist, showing overall similarity)
Large : Monumental scale for public display; includes dramatic elements like foreshortening and a bright sky highlighting Washington; assisted by artists like Worthington Whittredge for the sky
Smaller : Reduced scale for engraving purposes; almost identical in details (e.g., flag alterations, ice floes), with similar studio assistance from Eastman Johnson; lacks the grandeur but retains the romanticized heroism
That epic moment was painted in Düsseldorf by the German-born Emanuel Leutze as a symbol for freedom in the wake of the 1848 European upheavals.
The tall General is straight standing at the bow with a foot on the edge, looking ahead with a stiff determination. The US flag in its 1777 Stars and Stripes version is floating in the wind behind the hero. The boat is populated by various officers and troops including a rowing Black man, a Scot and a rowing woman, highlighting the proud Washington as the father of the US nation as a whole.
Three paintings were executed by Leutze with his assistant Eastman Johnson. Made in 1850, the original version was destroyed in a World War II bombing. The second full scale 3.80 x 6.50 m canvas is housed by the Met Museum.
Prepared in 1851 in parallel with the Met example, the third piece on a reduced scale was commissioned by the Paris art editors Goupil and Vibert for an engraving. It was on loan at the White House from 1979 to 2014. This oil on canvas 102 x 173 cm was sold for $ 45M from a lower estimate of $ 15M by Christie's on May 12, 2022, lot 30C.
A pastiche painted by Robert Colescott in 1975 replacing the general by an African American scientist and the troops by a gang of joyful Negroes was sold for $ 15.3M by Sotheby's in 2021. Another pastiche painted in 2018 by Jon McNaughton features President Trump leading his team by night with an oil lamp.
Christie's @ChristiesInc May 13, 2022
#AuctionUpdate Emmanuel Leutze’s ‘Washington Crossing the Delaware’ sets an auction record for the artist; price realized $45 million
- Christie's post announces the $45 million sale of Emmanuel Leutze's 1851 smaller version of "Washington Crossing the Delaware," shattering the artist's prior record and doubling the $15-20 million pre-sale estimate at the May 2022 auction.
- The painting, a romanticized depiction of George Washington's Revolutionary War crossing on December 25, 1776, had been on long-term loan to the Minnesota Marine Art Museum since 2000, symbolizing enduring American patriotism.
- Buyer identity remains private, but replies express excitement over the record alongside worries about cultural preservation amid reports of targeted destruction of historical artifacts.
Thought for 1m 16s
Emanuel Leutze painted three primary versions of Washington Crossing the Delaware, each depicting George Washington's iconic crossing of the Delaware River during the Revolutionary War. The version sold at Christie's in 2022 for $45 million is a smaller-scale replica from 1851. Below is a comparison with the other two: the original large version from 1850 (destroyed during World War II) and the large 1851 replica at the Metropolitan Museum of Art (the Met) in New York City. All three share nearly identical compositions, with artistic liberties like an anachronistic flag, dramatic lighting, and a diverse group of figures representing American unity. However, they differ mainly in scale, purpose, and historical fate. Minor adjustments, such as added red accents to Washington's cloak and repositioned oars for a more perilous scene, appear consistently across the surviving versions based on infrared analysis.
Original 1850 Version (Destroyed)
Large 1851 Version (at the Met)
Smaller 1851 Version (Sold at Christie's)
Year Painted
Original : 1849–1850
Large : 1850–1851
Smaller : 1851
Size
Original : Approximately 149 x 255 inches (378.5 x 647.7 cm; 12.4 x 21.25 feet), based on the scale of the Met replica it inspired
Large : 149 x 255 inches (378.5 x 647.7 cm; 12.4 x 21.25 feet)
Smaller : 40 x 68 inches (101.6 x 172.7 cm; 3.3 x 5.7 feet)
Current Status/Location
Original : Destroyed in a World War II Allied air raid on September 5, 1942, while in storage at the Kunsthalle Bremen in Germany
Large : On permanent display at the Metropolitan Museum of Art, New York City (donated in 1897); restored with a custom carved frame in 2007
Smaller : Privately owned (buyer undisclosed) following the 2022 auction; previously on long-term loan to the Minnesota Marine Art Museum (2015–2022)
Key History
Original : Created in Düsseldorf, Germany, to inspire European revolutionaries; damaged by studio fire shortly after completion, repaired, exhibited, and sold to Kunsthalle Bremen in 1851
Large : Commissioned as a full-sized replica after the original's fire damage; exhibited in New York (viewed by over 50,000 people), purchased for $10,000, changed hands multiple times, and briefly defaced in 2002 (no lasting damage)
Smaller : Commissioned by Goupil, Vibert & Company as a model for an engraving by Paul Girardet, which popularized the image; exhibited in New York, Philadelphia, and Chicago in the 1850s; owned privately with periods on loan to the White House (1979–2014) and Minnesota Marine Art Museum
Notable Differences/Similarities
Original : Served as the prototype; composition mirrored in later versions, but no surviving images allow for detailed visual comparison (black-and-white photos exist, showing overall similarity)
Large : Monumental scale for public display; includes dramatic elements like foreshortening and a bright sky highlighting Washington; assisted by artists like Worthington Whittredge for the sky
Smaller : Reduced scale for engraving purposes; almost identical in details (e.g., flag alterations, ice floes), with similar studio assistance from Eastman Johnson; lacks the grandeur but retains the romanticized heroism
#AuctionUpdate Emmanuel Leutze’s ‘Washington Crossing the Delaware’ sets an auction record for the artist; price realized $45 million pic.twitter.com/waEDUwjlaT
— Christie's (@ChristiesInc) May 13, 2022
REMINGTON
Intro
Frederic Remington's legacy in magazine illustration
Frederic Remington (1861-1909) was an American painter, illustrator, sculptor, and writer who specialized in depictions of the American West, including cowboys, Native Americans, soldiers, and frontier life. His legacy in magazine illustration is particularly significant, as he emerged as the preeminent Western illustrator during the "Golden Age" of American illustration at the turn of the 20th century, influencing how the public visualized the vanishing frontier and shaping cultural icons that persist in media today.
Remington's illustration career began in 1882 with his first commercial work appearing in Harper's Weekly, where he contributed sketches and essays on Western themes. By 1886, his cover illustration "The Apache War—Indian Scouts on Geronimo’s Trail" marked his rising prominence, and he quickly became a go-to artist for major publications like Harper's Weekly, Century Illustrated Monthly Magazine, and Collier's. Over his career, he produced more than 3,000 signed works, many in black-and-white oil (en grisaille), ink wash, and gouache, which were reproduced alongside articles on military scenes, ranch life, and Indigenous peoples. His illustrations often accompanied stories by figures like Theodore Roosevelt, whose "Ranch Life and the Hunting-Trail" serial in Century Magazine featured Remington's dynamic visuals.
A pivotal shift came in 1902 when Remington signed an exclusive contract with Collier's, allowing him to work in color and freeing his art from strict textual ties. This led to popular prints sold via mail order, bringing his images into homes across America and cementing his fame beyond magazine pages. Between 1882 and 1913, his art appeared in 17 publications, capturing action-packed scenes that romanticized the West's heroism and struggles.
Remington's magazine work not only made him financially successful—admitting "Cowboys are cash with me"—but also defined the archetype of the rugged West in popular imagination. His illustrations influenced later cultural phenomena, from the Marlboro Man cigarette ads to John Ford's Western films like "She Wore a Yellow Ribbon," which drew directly from his compositions. Through widespread circulation in magazines, Remington immortalized an era of independence and conflict, making his legacy one of visual storytelling that bridged journalism, art, and myth-making.
Examples of his magazine illustrations include dramatic scenes like "White Trapper" and "The Coup" depicting a Northern Plains Indian, both from Harper's Monthly. Later works for Collier's, such as action-packed cavalry charges, showcased his shift to vibrant color.
Frederic Remington (1861-1909) was an American painter, illustrator, sculptor, and writer who specialized in depictions of the American West, including cowboys, Native Americans, soldiers, and frontier life. His legacy in magazine illustration is particularly significant, as he emerged as the preeminent Western illustrator during the "Golden Age" of American illustration at the turn of the 20th century, influencing how the public visualized the vanishing frontier and shaping cultural icons that persist in media today.
Remington's illustration career began in 1882 with his first commercial work appearing in Harper's Weekly, where he contributed sketches and essays on Western themes. By 1886, his cover illustration "The Apache War—Indian Scouts on Geronimo’s Trail" marked his rising prominence, and he quickly became a go-to artist for major publications like Harper's Weekly, Century Illustrated Monthly Magazine, and Collier's. Over his career, he produced more than 3,000 signed works, many in black-and-white oil (en grisaille), ink wash, and gouache, which were reproduced alongside articles on military scenes, ranch life, and Indigenous peoples. His illustrations often accompanied stories by figures like Theodore Roosevelt, whose "Ranch Life and the Hunting-Trail" serial in Century Magazine featured Remington's dynamic visuals.
A pivotal shift came in 1902 when Remington signed an exclusive contract with Collier's, allowing him to work in color and freeing his art from strict textual ties. This led to popular prints sold via mail order, bringing his images into homes across America and cementing his fame beyond magazine pages. Between 1882 and 1913, his art appeared in 17 publications, capturing action-packed scenes that romanticized the West's heroism and struggles.
Remington's magazine work not only made him financially successful—admitting "Cowboys are cash with me"—but also defined the archetype of the rugged West in popular imagination. His illustrations influenced later cultural phenomena, from the Marlboro Man cigarette ads to John Ford's Western films like "She Wore a Yellow Ribbon," which drew directly from his compositions. Through widespread circulation in magazines, Remington immortalized an era of independence and conflict, making his legacy one of visual storytelling that bridged journalism, art, and myth-making.
Examples of his magazine illustrations include dramatic scenes like "White Trapper" and "The Coup" depicting a Northern Plains Indian, both from Harper's Monthly. Later works for Collier's, such as action-packed cavalry charges, showcased his shift to vibrant color.
1
1905 Coming to the Call
2026 SOLD for $ 13.3M by Christie's
Coming to the Call, oil on canvas 65 x 102 cm painted by Frederic Remington ca 1905, was sold for $ 13.3M from a lower estimate of $ 6M by Christie's on January 20, 2026, lot 11A.
Original art by Remington for Collier's Weekly : compare Coming to the Call (published in 1905, for sale by Christie's on January 20, 2026) and Cutting out pony herds (prepared in 1908, published posthumously, sold by The Coeur d'Alene Art Auction on July 27, 2013, current world auction record for a painting by the artist)
Comparison of Two Masterworks by Frederic Remington
Frederic Remington (1861–1909) is renowned for his vivid depictions of the American West, evolving from action-packed illustrations to more atmospheric nocturnal and tonalist paintings in his later years. Both Coming to the Call (ca. 1905) and Cutting Out Pony Herds (A Stampede) (1908) were created for Collier's Weekly, showcasing his mature style, but they represent contrasting facets of his oeuvre: one serene and contemplative, the other dynamic and dramatic.
Key Details
Subject Matter and Composition
Style and Technique
Original art by Remington for Collier's Weekly : compare Coming to the Call (published in 1905, for sale by Christie's on January 20, 2026) and Cutting out pony herds (prepared in 1908, published posthumously, sold by The Coeur d'Alene Art Auction on July 27, 2013, current world auction record for a painting by the artist)
Comparison of Two Masterworks by Frederic Remington
Frederic Remington (1861–1909) is renowned for his vivid depictions of the American West, evolving from action-packed illustrations to more atmospheric nocturnal and tonalist paintings in his later years. Both Coming to the Call (ca. 1905) and Cutting Out Pony Herds (A Stampede) (1908) were created for Collier's Weekly, showcasing his mature style, but they represent contrasting facets of his oeuvre: one serene and contemplative, the other dynamic and dramatic.
Key Details
- Coming to the Call (1905):
- Oil on canvas, 27 × 40 inches.
- Published in Collier's Weekly (August 19, 1905).
- Highly praised by contemporaries; critics considered it one of Remington's four finest paintings.
- Upcoming auction: Christie's "Visions of the West: The William I. Koch Collection," January 20, 2026 (estimate: $6–8 million).
- Cutting Out Pony Herds (A Stampede) (1908):
- Oil on canvas, 27 × 40 inches.
- Prepared in 1908 (one of Remington's final works); published posthumously on the cover of Collier's Weekly (February 1, 1913).
- Sold at The Coeur d’Alene Art Auction, July 27, 2013, for $5.625 million (including premium)—long held as the world auction record for a Remington painting (note: higher records exist for his sculptures).
Subject Matter and Composition
- Coming to the Call: A tranquil wilderness scene at sunset. A hunter in a canoe silently approaches a moose standing in shallow lake water, using a call to lure it. The composition features a dramatic "knife-like" protrusion of land bisecting the frame, with the vibrant sunset reflected perfectly in the still water. Silhouettes dominate, creating a sense of quiet anticipation and harmony with nature.
- Cutting Out Pony Herds: An intense military action scene on the plains. A U.S. Cavalry trooper charges forward on horseback, firing his revolver to stampede a herd of Indian ponies away from their camp— a tactic to disarm enemies by leaving them afoot. Trailing cavalrymen and a chaotic cloud of dust from the stampeding riderless horses fill the background, conveying speed, chaos, and conflict.
Style and Technique
- Both exemplify Remington's late "nocturne" phase, with masterful use of light, color, and atmosphere over strict realism.
- Coming to the Call: Tonalist influence—soft, glowing oranges, yellows, and blues in the sunset; mirrored reflections for symmetry and calm. Minimal detail in figures, focusing on mood and silhouette. Praised for its poetic beauty and departure from Remington's earlier "daylight" action style.
- Cutting Out Pony Herds: Dramatic chiaroscuro with dusty earth tones; motion blurred in the herd and dust for energy. Strong narrative drive, echoing his earlier illustrations of cavalry and Indians, but refined with impressionistic brushwork.
- Coming to the Call marked a critical breakthrough, earning rare acclaim from reviewers often critical of Remington's work. Its upcoming sale could challenge or surpass the painting record, given its provenance from the prestigious Koch Collection and estimates exceeding the 2013 benchmark.
- Cutting Out Pony Herds is celebrated as a late masterpiece capturing tactical frontier warfare. Its 2013 sale solidified its status, acquired from long-term private ownership.
2
1905 An Argument with the Town Marshall
2026 SOLD for $ 11.8M by Christie's
Coming to the Call, oil on canvas 65 x 102 cm painted by Frederic Remington ca 1905, was sold for $ 13.3M from a lower estimate of $ 6M by Christie's on January 20, 2026, lot 11A.
Original art by Remington for Collier's Weekly : compare Coming to the Call (published in 1905, for sale by Christie's on January 20, 2026) and Cutting out pony herds (prepared in 1908, published posthumously, sold by The Coeur d'Alene Art Auction on July 27, 2013, current world auction record for a painting by the artist)
Comparison of Two Masterworks by Frederic Remington
Frederic Remington (1861–1909) is renowned for his vivid depictions of the American West, evolving from action-packed illustrations to more atmospheric nocturnal and tonalist paintings in his later years. Both Coming to the Call (ca. 1905) and Cutting Out Pony Herds (A Stampede) (1908) were created for Collier's Weekly, showcasing his mature style, but they represent contrasting facets of his oeuvre: one serene and contemplative, the other dynamic and dramatic.
Key Details
Subject Matter and Composition
Style and Technique
Original art by Remington for Collier's Weekly : compare Coming to the Call (published in 1905, for sale by Christie's on January 20, 2026) and Cutting out pony herds (prepared in 1908, published posthumously, sold by The Coeur d'Alene Art Auction on July 27, 2013, current world auction record for a painting by the artist)
Comparison of Two Masterworks by Frederic Remington
Frederic Remington (1861–1909) is renowned for his vivid depictions of the American West, evolving from action-packed illustrations to more atmospheric nocturnal and tonalist paintings in his later years. Both Coming to the Call (ca. 1905) and Cutting Out Pony Herds (A Stampede) (1908) were created for Collier's Weekly, showcasing his mature style, but they represent contrasting facets of his oeuvre: one serene and contemplative, the other dynamic and dramatic.
Key Details
- Coming to the Call (1905):
- Oil on canvas, 27 × 40 inches.
- Published in Collier's Weekly (August 19, 1905).
- Highly praised by contemporaries; critics considered it one of Remington's four finest paintings.
- Upcoming auction: Christie's "Visions of the West: The William I. Koch Collection," January 20, 2026 (estimate: $6–8 million).
- Cutting Out Pony Herds (A Stampede) (1908):
- Oil on canvas, 27 × 40 inches.
- Prepared in 1908 (one of Remington's final works); published posthumously on the cover of Collier's Weekly (February 1, 1913).
- Sold at The Coeur d’Alene Art Auction, July 27, 2013, for $5.625 million (including premium)—long held as the world auction record for a Remington painting (note: higher records exist for his sculptures).
Subject Matter and Composition
- Coming to the Call: A tranquil wilderness scene at sunset. A hunter in a canoe silently approaches a moose standing in shallow lake water, using a call to lure it. The composition features a dramatic "knife-like" protrusion of land bisecting the frame, with the vibrant sunset reflected perfectly in the still water. Silhouettes dominate, creating a sense of quiet anticipation and harmony with nature.
- Cutting Out Pony Herds: An intense military action scene on the plains. A U.S. Cavalry trooper charges forward on horseback, firing his revolver to stampede a herd of Indian ponies away from their camp— a tactic to disarm enemies by leaving them afoot. Trailing cavalrymen and a chaotic cloud of dust from the stampeding riderless horses fill the background, conveying speed, chaos, and conflict.
Style and Technique
- Both exemplify Remington's late "nocturne" phase, with masterful use of light, color, and atmosphere over strict realism.
- Coming to the Call: Tonalist influence—soft, glowing oranges, yellows, and blues in the sunset; mirrored reflections for symmetry and calm. Minimal detail in figures, focusing on mood and silhouette. Praised for its poetic beauty and departure from Remington's earlier "daylight" action style.
- Cutting Out Pony Herds: Dramatic chiaroscuro with dusty earth tones; motion blurred in the herd and dust for energy. Strong narrative drive, echoing his earlier illustrations of cavalry and Indians, but refined with impressionistic brushwork.
- Coming to the Call marked a critical breakthrough, earning rare acclaim from reviewers often critical of Remington's work. Its upcoming sale could challenge or surpass the painting record, given its provenance from the prestigious Koch Collection and estimates exceeding the 2013 benchmark.
- Cutting Out Pony Herds is celebrated as a late masterpiece capturing tactical frontier warfare. Its 2013 sale solidified its status, acquired from long-term private ownership.
3
1908 Cutting out Pony Herds
2013 SOLD for $ 5.6M by The Coeur d'Alene Art Auction
Frederic Remington was a man of the East, at a time of an intense curiosity about the Wild West. He became an artist and his works were published in magazines such as The Century Magazine, Harper's Weekly and Collier's Weekly. He was a contemporary of Theodore Roosevelt and illustrated a book by him in 1887.
From his studio in New Rochelle in the suburbs of New York, he illustrates for the magazines the joys and torments of the frontiersmen. He wants to revive by his realism the atmosphere of the Wild West.
Frederic Remington had used to make frequent trips to the West to soak up the atmosphere. The men of the cavalry were gallant heroes against the fierce Indians, and they were also clients who could ensure his glory.
In 1900 he returns disappointed : civilization had distorted the life in the West which supported his business. He decides never to go West again and will keep his word. He still has his imagination and his artistic production is not slowed down.
Remington provides the images expected by the readers. He has no ethnological curiosity. The Indian is an enemy warrior with whom communication is impossible.
The Buffalo Signal, oil on canvas 102 x 69 cm painted in 1900, is a rare example in which Remington expresses his nostalgia. To make a signal, an Indian scout rears his horse and brandishes a buffalo hide high over his head. A buffalo skull is placed in front of him on the sand. The arid desert and the cloudless sky complete this typical atmosphere that anticipates the western movies.
Two years later Remington uses this image as the frontispiece in a book, with the title If Skulls Could Speak, a direct allusion to the bygone cultures of the American West, symbolized by the extinction of the bison herds.
The painting was sold by Christie's for $ 4.4M on November 29, 2007, lot 103, and for $ 2.9M on October 28, 2020, lot 16.
From 1901 his work for Collier's became steady. When Remington died in 1909, the magazine still had sixteen of his paintings ready to be published.
Painted in 1908, 'Cutting out pony herds' shows the US cavalry guiding a herd of Indian horses away from their camp. This oil on canvas 60 x 100 cm was published by Collier's in 1913. It was sold for $ 5.6M on July 27, 2013 by The Coeur d'Alene Art Auction.
From his studio in New Rochelle in the suburbs of New York, he illustrates for the magazines the joys and torments of the frontiersmen. He wants to revive by his realism the atmosphere of the Wild West.
Frederic Remington had used to make frequent trips to the West to soak up the atmosphere. The men of the cavalry were gallant heroes against the fierce Indians, and they were also clients who could ensure his glory.
In 1900 he returns disappointed : civilization had distorted the life in the West which supported his business. He decides never to go West again and will keep his word. He still has his imagination and his artistic production is not slowed down.
Remington provides the images expected by the readers. He has no ethnological curiosity. The Indian is an enemy warrior with whom communication is impossible.
The Buffalo Signal, oil on canvas 102 x 69 cm painted in 1900, is a rare example in which Remington expresses his nostalgia. To make a signal, an Indian scout rears his horse and brandishes a buffalo hide high over his head. A buffalo skull is placed in front of him on the sand. The arid desert and the cloudless sky complete this typical atmosphere that anticipates the western movies.
Two years later Remington uses this image as the frontispiece in a book, with the title If Skulls Could Speak, a direct allusion to the bygone cultures of the American West, symbolized by the extinction of the bison herds.
The painting was sold by Christie's for $ 4.4M on November 29, 2007, lot 103, and for $ 2.9M on October 28, 2020, lot 16.
From 1901 his work for Collier's became steady. When Remington died in 1909, the magazine still had sixteen of his paintings ready to be published.
Painted in 1908, 'Cutting out pony herds' shows the US cavalry guiding a herd of Indian horses away from their camp. This oil on canvas 60 x 100 cm was published by Collier's in 1913. It was sold for $ 5.6M on July 27, 2013 by The Coeur d'Alene Art Auction.
PARRISH
1
1922 Daybreak
2006 SOLD for $ 7.6M by Christie's
Away from the artistic trends, Maxfield Parrish is now recognized as the pioneer of fantastic art. Professional illustrator of children's books, prolific author of posters and calendars, he uses a sharp line and bright colors to evoke fairy themes.
Daybreak, executed in 1922, is his biggest hit, a favorite image of Americans to whom it provides an idea of paradise.
The artwork is carefully composed according to the Golden ratio. In the background, the light of dawn bathes a landscape of mountains. In the foreground, between two big endless columns, two maidens wake up. One of them, recumbent, is dressed in a light coat like the antique Greeks. The other is standing, and leans over her friend. She is nude. The mountain is a view over the upper Connecticut river near the artist's home.
The original picture was prepared with a glazing technique that provided a luminous surface. The paint had been applied from the tube in multiple layers over a white ground.
This oil on board 67 x 114 cm was sold for $ 7.6M by Christie's on May 25, 2006. Coming back in the same auction house on May 20, 2010 on occasion (as gossiped) of the marital problems of a filmmaker, it was sold for $ 5.2M. The image is shared by Wikimedia.
Daybreak, executed in 1922, is his biggest hit, a favorite image of Americans to whom it provides an idea of paradise.
The artwork is carefully composed according to the Golden ratio. In the background, the light of dawn bathes a landscape of mountains. In the foreground, between two big endless columns, two maidens wake up. One of them, recumbent, is dressed in a light coat like the antique Greeks. The other is standing, and leans over her friend. She is nude. The mountain is a view over the upper Connecticut river near the artist's home.
The original picture was prepared with a glazing technique that provided a luminous surface. The paint had been applied from the tube in multiple layers over a white ground.
This oil on board 67 x 114 cm was sold for $ 7.6M by Christie's on May 25, 2006. Coming back in the same auction house on May 20, 2010 on occasion (as gossiped) of the marital problems of a filmmaker, it was sold for $ 5.2M. The image is shared by Wikimedia.
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2
1926 Hilltop
2022 SOLD for $ 6.7M by Christie's
Maxfield Parrish desired to reiterate the unprecedented success of his delightful Daybreak of 1922. Hilltop, conceived in 1926 in a similar technique and theme, is another staging of two young women in a quiet intimacy in a paradisiac landscape.
In the golden light of a late afternoon, the innocent girls take a rest in a contemplation of nature in the variegated shadows of a big oak. The models were the daughters of a friend. In the opposite of the Sapphic daybreak, there is no nudity. A special care was brought to the harmonic balance of the composition.
This oil on panel 91 x 56 cm painted and copyrighted in 1926 was sold for $ 6.7M from a lower estimate of $ 2M by Christie's on November 9, 2022, lot 47.
Hilltop was edited as an image in three sizes.
In the golden light of a late afternoon, the innocent girls take a rest in a contemplation of nature in the variegated shadows of a big oak. The models were the daughters of a friend. In the opposite of the Sapphic daybreak, there is no nudity. A special care was brought to the harmonic balance of the composition.
This oil on panel 91 x 56 cm painted and copyrighted in 1926 was sold for $ 6.7M from a lower estimate of $ 2M by Christie's on November 9, 2022, lot 47.
Hilltop was edited as an image in three sizes.
ROCKWELL :
see dedicated page
FRAZETTA
1
1966-1967 Conan (Man Ape)
2025 SOLD for $ 13.5M by Heritage
Jim Warren is looking for a formula to take his piece of the pie in editing stories for teens and young adults. He mainly finds his inspiration with the horror movie monsters, and creates a mixture of comic books and pulp magazines. The first issue of Creepy appears in 1964. The success brings other titles in the same style : Eerie in 1966, Vampirella in 1969.
Frank Frazetta is a comic book artist. He also has fun with horror films. In Creepy No. 1, he illustrates in stripes a story titled Werewolf. His talents are undeniable. Warren now entrusts him with the illustration of most of the covers, including in a short-lived magazine of war stories. This initiative frees the artist's overflowing imagination from the constraint of respecting scenarios and stories. This is the great turning point in his career.
Barely dressed in a loincloth aside with some jewelry for the women, Frazetta's characters are extremely muscular, confident in their strength to face the unclean beasts that mark their daily lives.
The art of Frazetta is a collection of parallel universes populated by muscular women and terrifying creatures. Working primarily for book and magazine covers, he must capture the attention of bookstore customers by offering intense action moments.
In 1967 Frazetta's cover for a reprint of Conan pulp fiction of the 1930s features the hyper muscular Cimmerian monster in a frightening wrestling with another creature, a Man Ape named Thak wrapped in a blood red cape. Armed with a long sword, Conan attacks with clenched teeth and a murdering gaze while his four handed partner is screaming with a wide open mouth.
The original art is a board wrapped 40 x 50 cm oil on canvas. Kept in excellent condition until now in the family of the artist, it was sold for $ 13.5M by Heritage on September 12, 2025, lot 1.
Response by Grok :
Quote
Heritage Auctions @HeritageAuction Sep 12 0:16
It’s official: the most valuable Frank Frazetta painting of all time Frank Frazetta’s cover painting for the 1967 Lancer/Ace Conan paperback, a landmark of modern fantasy art commonly known as Man Ape (1966), sold for a record-shattering $13.5 million, including the buyer’s
Subject & Composition
Conan in a low, coiled stance, muscles taut, gripping a massive club; faces off against a hulking, furred man-ape in a foggy, ancient forest. Focuses on imminent clash, tension, and raw survival instinct.
Artistic Style & Themes
Cool, shadowy palette of greens, grays, and earth tones; complex layering builds suspense. Themes of primal confrontation and dominance, with exaggerated musculature evoking prehistoric menace.
Cultural Impact
Arguably the defining Conan image; shaped fantasy illustration and pop culture (e.g., referenced in films, games). Called a "touchstone" that "redefined Conan," with family-held provenance adding mythic status.
Auction History
Sold September 12, 2025, at Heritage (single-lot auction, lot 1) for record-shattering $13.5 million (hammer ~$11.25M + premium; pre-sale bids hit $6M). Highest for any Frazetta or fantasy art; from Frazetta family collection since creation.
Market Significance
Set global benchmarks for comic/fantasy originals; underscores Frazetta's escalating market (prior record: Egyptian Queen at $5.4M in 2019). Highlights family legacy sales driving premiums.
Frank Frazetta is a comic book artist. He also has fun with horror films. In Creepy No. 1, he illustrates in stripes a story titled Werewolf. His talents are undeniable. Warren now entrusts him with the illustration of most of the covers, including in a short-lived magazine of war stories. This initiative frees the artist's overflowing imagination from the constraint of respecting scenarios and stories. This is the great turning point in his career.
Barely dressed in a loincloth aside with some jewelry for the women, Frazetta's characters are extremely muscular, confident in their strength to face the unclean beasts that mark their daily lives.
The art of Frazetta is a collection of parallel universes populated by muscular women and terrifying creatures. Working primarily for book and magazine covers, he must capture the attention of bookstore customers by offering intense action moments.
In 1967 Frazetta's cover for a reprint of Conan pulp fiction of the 1930s features the hyper muscular Cimmerian monster in a frightening wrestling with another creature, a Man Ape named Thak wrapped in a blood red cape. Armed with a long sword, Conan attacks with clenched teeth and a murdering gaze while his four handed partner is screaming with a wide open mouth.
The original art is a board wrapped 40 x 50 cm oil on canvas. Kept in excellent condition until now in the family of the artist, it was sold for $ 13.5M by Heritage on September 12, 2025, lot 1.
Response by Grok :
Quote
Heritage Auctions @HeritageAuction Sep 12 0:16
It’s official: the most valuable Frank Frazetta painting of all time Frank Frazetta’s cover painting for the 1967 Lancer/Ace Conan paperback, a landmark of modern fantasy art commonly known as Man Ape (1966), sold for a record-shattering $13.5 million, including the buyer’s
- The X post announces the sale of Frank Frazetta's "Man Ape" painting, the cover art for the 1967 Lancer/Ace Conan paperback, for a record-breaking $13.5 million at Heritage Auctions, highlighting its significance as the most valuable Frazetta painting ever sold and its impact on modern fantasy art.
- Frazetta's work, particularly his interpretations of Robert E. Howard's Conan, revolutionized the visual representation of sword and sorcery, influencing countless artists and defining the genre's aesthetic, despite often not aligning with the stories' narratives.
- The high sale price reflects a broader trend in the art market where collectibles, especially those with cultural and historical significance like Frazetta's works, continue to fetch extraordinary sums, as evidenced by Heritage Auctions' nearly $1.9 billion in sales in 2024, driven by passionate collectors and the preservation of cultural artifacts
Subject & Composition
Conan in a low, coiled stance, muscles taut, gripping a massive club; faces off against a hulking, furred man-ape in a foggy, ancient forest. Focuses on imminent clash, tension, and raw survival instinct.
Artistic Style & Themes
Cool, shadowy palette of greens, grays, and earth tones; complex layering builds suspense. Themes of primal confrontation and dominance, with exaggerated musculature evoking prehistoric menace.
Cultural Impact
Arguably the defining Conan image; shaped fantasy illustration and pop culture (e.g., referenced in films, games). Called a "touchstone" that "redefined Conan," with family-held provenance adding mythic status.
Auction History
Sold September 12, 2025, at Heritage (single-lot auction, lot 1) for record-shattering $13.5 million (hammer ~$11.25M + premium; pre-sale bids hit $6M). Highest for any Frazetta or fantasy art; from Frazetta family collection since creation.
Market Significance
Set global benchmarks for comic/fantasy originals; underscores Frazetta's escalating market (prior record: Egyptian Queen at $5.4M in 2019). Highlights family legacy sales driving premiums.
2
1976 Dark Kingdom
2023 SOLD for $ 6M by Heritage
Kane is the hero of the novelist Karl Edward Wagner. This over-powerful amoral killer is based of his homophonic Cain of the Genesis, an immortal cursed to eternal wandering after the murder of his brother Abel.
Of course Kane is perfectly suited to inspire Frank Frazetta. In 1976 Wagner's Dark Crusade is illustrated by Frazetta in the cover page. The terrible warrior with the winged helmet and the blood-dripping ax is resolutely advancing over a field of skeletons.
Titled Dark Kingdom by the artist, this sword and sorcery image was used in 1979 as the cover of a rock album and reproduced in various formats by the Frazetta Art Museum where it was one of the most favored attractions.
The original art, an oil on pressboard 45 x 60 cm, was sold for $ 6M by Heritage on June 22, 2023, lot 91009 in a direct provenance from the Frazetta family.
Of course Kane is perfectly suited to inspire Frank Frazetta. In 1976 Wagner's Dark Crusade is illustrated by Frazetta in the cover page. The terrible warrior with the winged helmet and the blood-dripping ax is resolutely advancing over a field of skeletons.
Titled Dark Kingdom by the artist, this sword and sorcery image was used in 1979 as the cover of a rock album and reproduced in various formats by the Frazetta Art Museum where it was one of the most favored attractions.
The original art, an oil on pressboard 45 x 60 cm, was sold for $ 6M by Heritage on June 22, 2023, lot 91009 in a direct provenance from the Frazetta family.
