Null Bigley/Milgrom/X-men. Orignal drawing illustrating a retro version of Cyclo…

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Bigley/Milgrom/X-men. Orignal drawing illustrating a retro version of Cyclops. Beautiful, dynamic staging. India ink signed and dated 2003. TBE+. 30 X 42 cm Al Milgrom started out as Murphy Anderson's assistant inker. In the early 1970s, he worked for Charlton Comics and Warren Publishing, before moving to Marvel Comics, where he became the illustrator of Captain America. The Avengers from 1983 to 1985, Secret Wars from 1985 to 1986. He then went on to write Spider-Man and Incredible Hulk in 1986-87. Although his career is essentially linked to Marvel, he also worked for DC Comics in the 1970s, where he created the character of Firestorm with scriptwriter Gerry Conway in 1978. In 2017, he received a special Inkwell Award for lifetime achievement. Al Bigley (1965) is an award-winning American cartoonist who has worked as a freelance artist since 1990, collaborating with, among others: Golden Books, DC Comics, CTW, Disney, Marvel Comics, Saban, Film Roman, Scholastique, McDonald's, Kenner Toys, and many others. His work has been published in conjunction with toys, concept art, design, packaging, books, magazines, comics, posters, storyboards, clothing, style guides, and much more!

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Bigley/Milgrom/X-men. Orignal drawing illustrating a retro version of Cyclops. Beautiful, dynamic staging. India ink signed and dated 2003. TBE+. 30 X 42 cm Al Milgrom started out as Murphy Anderson's assistant inker. In the early 1970s, he worked for Charlton Comics and Warren Publishing, before moving to Marvel Comics, where he became the illustrator of Captain America. The Avengers from 1983 to 1985, Secret Wars from 1985 to 1986. He then went on to write Spider-Man and Incredible Hulk in 1986-87. Although his career is essentially linked to Marvel, he also worked for DC Comics in the 1970s, where he created the character of Firestorm with scriptwriter Gerry Conway in 1978. In 2017, he received a special Inkwell Award for lifetime achievement. Al Bigley (1965) is an award-winning American cartoonist who has worked as a freelance artist since 1990, collaborating with, among others: Golden Books, DC Comics, CTW, Disney, Marvel Comics, Saban, Film Roman, Scholastique, McDonald's, Kenner Toys, and many others. His work has been published in conjunction with toys, concept art, design, packaging, books, magazines, comics, posters, storyboards, clothing, style guides, and much more!

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Estim. 40 000 - 60 000 EUR

Jean Baptiste PATER (Valenciennes 1695 - Paris 1736) Artist's presumed self-portrait Canvas 82 x 65 cm (old restorations and scratches) Old sales label on reverse of stretcher Bibliography: another version by Florence Ingersoll-Smouse, Pater, Paris, 1928, p.81, no. 551, repr. p.195, ill. 172. This painting revives the question of the portraits occasionally painted by painters renowned for their gallant scenes. gallant scenes. Their place in the work of Antoine Watteau, Pater's master, is wide open and still debated. debated. The Portrait d'un gentilhomme, said to be by Jean de Jullienne (Musée du Louvre), is generally considered to be as autograph, unlike the Portrait dit d'Antoine Pater, sculptor and father of the painter, which has been refused (Valenciennes, Musée des Beaux-Arts). Florence Ingersoll-Smouse, in her 1928 monograph on Pater, lists a dozen portraits reported in early sales, or that of his sister Marie-Marguerite Pater (Valenciennes, Musée des Beaux-Arts), documented in the model's will in 1769. For our composition, the Portrait presumed to be by the painter in his thirtieth year, is catalogued as "attributed to Pater", the version in the Alvin-Beaumont collection in Paris, and lists as a copy the one then held at the Société d'agriculture, de sciences et des arts de Valenciennes, now in the museum. It is on this canvas that the traditional traditional identification of the model. We propose to consider our canvas as the original. The artist is dressed in black, perhaps be interpreted as mourning the death of his master in 1721. He presents himself as a history painter holding a drawing board and a red-tipped stylus for the sanguine, under the aegis of Minerva, goddess of reason reason and the Arts, depicted in the painting on the easel. The influence of the portrait painters of his time Nicolas de Largillierre, Hyacinthe Rigaud and François de Troy, but it is above all Watteau's Watteau's influence shines through in the pictorial material and elegance. The face is close to the various figures of Pierrot (le Gilles, Musée du Louvre). We would like to thank Martin Eidelberg for his help in describing this lot.

Estim. 35 000 - 50 000 EUR

Samuel L. Clemens Handwritten Notes for a Tom Sawyer Stage Adaptation Unsigned handwritten manuscript notes by Samuel Clemens for a never-performed stage version of 'Tom Sawyer,' three pages, 5.5 x 9, no date but circa 1884, offering a treatment for the dramatic scene in which Tom, Huck, and Becky encounter Injun Joe in the cave. The notes read, in part: "Enter Tom & Huck. Find bag. 'No use now—got to starve.' Tom says 'No.' Examine—money all there. Discover girls asleep. Wake them. Talk. We'll save you. Gives them his crust & some bats...Devilish face of Joe peeks out—will hive those boys—steals behind boys. Girls see him & scream. Boys jump up & stand paralyzed. Then they jump for the rock & the dodging begins for life & death, the girls looking over. (Maybe Tom trips him.) 'Now, Huck.' They fly—Joe pursues, the girls scream." In fine condition. Housed in a handsome custom-made full morocco presentation portfolio, with gilt-stamped spine and title. As early as 1875, Clemens had asked his friend William Dean Howells to dramatize the then still-unpublished Adventures of Tom Sawyer. Howells refused, but Clemens pressed ahead, composed a synopsis of his own to secure copyright and subsequently wrote at least some of the play. While these plans ultimately fell through, in 1883 the author once more attempted to translate his book into a stage success. This time, he managed to complete a dramatic version, and the play was duly copyrighted on February 1, 1884. Although Clemens 'was so pleased with this piece of work that even before he had finished it he was pondering on the cast which might properly perform it and trying to dictate terms,' the great theatre manager Augustin Daly did not take long to reject the chance to stage 'Tom Sawyer,'' and after this 'one hears no more about the author's attempting to dramatize his novel' (cf. Mark Twain's Hannibal, Huck, and Tom, ed. Walter Blair, pp. 250-252). These are three out of a total of 26 pages of working notes for the play, constituting the last three of a ten-page group termed 'C' by their editor, Walter Blair. At the time of Blair's editorial work, the notes were dispersed among several libraries: all but one of this ten-page group (C1-3 and C5-10) were then among the Mark Twain Papers at Bancroft Library, UCA, Berkeley (while C4 rests in Yale University Library). The three pages at hand form a sub-unit that provides a later plan for Act IV, in which Tom and Becky, lost in the cave, encounter Injun Joe.

Estim. 60 - 80 EUR

BOSSE (Abraham). Traité des pratiques géométrales et perspectives enseignées dans l'académie royale de la peinture et sculpture, très utiles pour ceux qui désirent exceler en ces arts et autres où il faut employer la règle et le compas. Paris, chez l'auteur, 1665. Small in-4 (18 x 12 cm), brown calf, ornate ribbed spine (period binding). Heads, spines and corners worn. Interior faded, hole with loss of text pp. 28-29. 66 double-sided engraved plates (ch. 2-65, plate 1 is missing and plates 6 and 7 are double-sided). Also included: LIBERT (Lambert), Traité élémentaire et pratique du dessin et de la peinture à l'usage des jeunes artistes, fifth edition. Paris, Delarue, Lille, Castiax, 1825. In-12, green half-sheepskin, smooth spine decorated (period binding). Spine faded, covers worn. Enhanced fold-out frontispiece (palette illustrating how to mix colors).

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