Frederic Rodrigo Gruger (American, 1871-1953). Untitled seascape, watercolor, n.d. Signed at lower left. A picturesque seascape by Frederic R. Gruger, an illustrator of the Golden Age who contributed to the Saturday Evening Post as well as the stories of more than 400 authors. In this painting, Gruger captures the undeniable beauty as well as the sublime dangerous quality of the sea. Waves crest and fall, dramatically crashing against the rocks, and the vastness of the waters simultaneously inspires and terrifies us, beneath billowing clouds in the azure sky. All is rendered with Gruger's loose brushwork and tasteful color palette. Size of painting: 8.5" W x 9.75" H (21.6 cm x 24.8 cm); Size: 13.25" W x 15" H (33.7 cm x 38.1 cm) About the Artist: "F.R. Gruger combined those rare qualities of an innovative technique, a keen sense of design and attention to details, which caused him to be referred to as an artists artist. Arthur William Brown would say: 'What I learned about illustration from him was pure gold.' According to Garrett Price: 'We all thought a great deal of Gruger. In art school most of us imitated him or tried to.' John Falter confessed, 'We were greatly influenced by him because we tried to work in his style.' And Norman Rockwell, reducing praise to its simplest terms, stated plainly: 'I admired him very much.' Frederic Rodrigo Gruger was born in Philadelphia on August 2, 1871. He attended the Pennsylvania Academy where he studied drawing with Thomas Anshutz and composition under Henry Thouron. Like many of his contemporaries, Gruger became enamored with the pen-and-ink drawings of Edwin Austin Abbey, Charles Reinhart and Charles Keene, and it was with this medium that he began his career as a newspaper artist. During the decade of the '90s, his on-the-spot sketches of fires, a presidential inaugural and the America's Cup Race brought immediacy and excitement to the pages of the Philadelphia Public Ledger. When George Horace Lorimer reorganized the faltering Saturday Evening Post in 1898, he sought out the talents of such Philadelphia illustrators as F.R. Gruger. During the next forty-five years Gruger produced over 2,700 illustrations for the Post alone. Between 1914 and 1920 he created more than six hundred Post drawings, an average of two works per issue, per week over the entire six-year span. By the early 1920s, at the peak of his production, Gruger was simultaneously illustrating serialized stories for the Post, Cosmopolitan, Harper's, Harper's Bazaar, McCall's, Hearsts International and Redbook. F.R. Gruger provided visual impact for the literary outpourings of more than four hundred authors, a veritable Who's Who, which included Theodore Dreiser, Booth Tarkington, Bret Hart, Edith Wharton, Agatha Christie, William Faulkner, Ring Lardner, Sinclair Lewis, Irving S. Cobb, W. Somerset Maugham, Mary Roberts Rinehart, F. Scott Fitzgerald, Aldous Huxley and Irving Stone. He illustrated Edna Ferber's Show Boat, Stephen Vincent Benet's The Devil and Daniel Webster and the Mr. Moto series by J.P. Marquand. Perhaps his best-known drawings were those for Owen Johnson's Stover at Yale, which appeared in McClure's Magazine over an eight-month period during 1911 and '12. Gruger's illustrations received a continuous chorus of applause from the public, art editors and authors alike. Fannie Hurst wrote him, 'You have said in your drawings what I tried to say in 100,000 words. I am your debtor!' and C.E. Scoggins acknowledged that Gruger's illustrations for The House of Darkness 'interpreted almost what I saw in my own mind.' But the ultimate compliment for any illustrator came to him from Walter D. Edmonds, who indicated that the persons in Gruger's artwork 'are all so exactly as I tried to describe them, even the house, that I now begin to find myself looking at the drawings and taking my own descriptions from them.' A portion of Gruger's uniqueness was the fact that he never worked from the posed model or from photographs, but always creatively. He also took considerable pride in the fact that not once did he ever petition an art editor for work. Although his earliest illustrations had been produced in pen-and-ink, the medium most closely associated with his name was the Wolff carbon pencil. Gruger would sketch a composition, then employ watercolor washes with lamp black in order to indicate the broad masses of grays and blacks. Finally he built up the forms and details with a Wolff pencil, rubbing a ruby eraser like a stump to blend the rich, velvety values. The illustration board he employed was an inexpensive cardboard used by newspapers for mounting silverprints. Known originally as railroad blank, it soon was manufactured under his name, and Gruger Board became the mainstay of illustrators for several decades. At the Art Students League, Thomas Fogarty would 'hold Gruger up as one of the deans of beautiful illustration and storytelling,' while Harold Anderson's teacher at Boston's Fenway School of Illustration 'frequently called Gruger to our attention, praising him as the finest of them all.' At the Art Institute of Chicago, Garrett Price's instructor 'got a whole carload of that [Gruger] board shipped into Chicago.' And John Falter, studying illustration at the Kansas City Art Institute, had a teacher who 'held up F.R. Gruger along with Wyeth and Pyle as a giant to be aware of and study.' But by the mid-1930s, Gruger's influence was on the wane. He had never bothered to make the transition from black-and-white illustrations to color but, of even greater importance, his type of pictorial approach, with its attention to detail - to facial qualities, pose, appropriateness of architectural components, furnishings and dress - was no longer in vogue. Magazine art, in imitation of the movies' favorite device, began emphasizing the big close-up; such 'He and She' art featured oversized faces and little else. Nonetheless, when TIME magazine included an article entitled 'U.S. Illustrators' in its May 1, 1939 issue, Gruger was not forgotten: 'As worthy as Gibson to be called the dean of U.S. illustrators, in the opinion of many artists, is a stolid, 68-year-old Philadelphian... Frederic Rodrigo Gruger.' And a dozen years later, when the Society of Illustrators celebrated its 50th Anniversary with an exhibition of the 'Big Four,' Gruger was there along with Harvey Dunn, Wallace Morgan and Norman Price. F.R. Gruger passed away just seventeen months after that show, on March 21, 1953. Now, exactly three decades following the Society exhibit, he finally joins the others of the 'Big Four' by being inducted into the Hall of Fame. As with all artists, Gruger's work stands as his monument. His goals were once summarized when he sought to explain his refusal to draw 'those chromium-plated women': One may perceive the charm of smart clothes and exquisite equipment, of beautiful women and well-dressed men, of trimmed hedges and smooth lawns and weedless paths I could never do anything with it so I left it to others and contented myself with admiration of what they did. For me the weathered street, the lived-in houses, the old trees used belongings, comfortably worn and pushed about into homely order long before the incident in the story occurred. To remain, bearing the scars of use, long after it has passed. Perhaps that is the poetry of character. And that is also the poetry of F.R. Grugers art." (source: Society of Illustrators website) Provenance: private Santa Fe, New Mexico USA collection All items legal to buy/sell under U.S. Statute covering cultural patrimony Code 2600, CHAPTER 14, and are guaranteed to be as described or your money back. A Certificate of Authenticity will accompany all winning bids. We ship worldwide and handle all shipping in-house for your convenience. SHIPPING EXCEPTIONS: Due to customs clearance issues, we are unable to ship to Germany, Switzerland and Australia. If you live in Germany, Switzerland or Australia, you will need to provide an alternate shipping destination, or we will not be able to complete your purchase. In addition, please note that we are unable to ship ancient items back to the original country of origin (Egyptian to Egypt, Greek to Greece, etc.) PAYMENT EXCEPTION: Unless a known customer of Artemis, payment for all gold / precious metal / gem lots must be made via Bank Wire Transfer or Certified Bank Check/Money Order, no exceptions. #191297
Frederic Rodrigo Gruger (American, 1871-1953). Untitled seascape, watercolor, n.d. Signed at lower left. A picturesque seascape by Frederic R. Gruger, an illustrator of the Golden Age who contributed to the Saturday Evening Post as well as the stories of more than 400 authors. In this painting, Gruger captures the undeniable beauty as well as the sublime dangerous quality of the sea. Waves crest and fall, dramatically crashing against the rocks, and the vastness of the waters simultaneously inspires and terrifies us, beneath billowing clouds in the azure sky. All is rendered with Gruger's loose brushwork and tasteful color palette. Size (sight view): 6.7" L x 8.625" W (17 cm x 21.9 cm) Size (frame): 15.25" L x 17" W (38.7 cm x 43.2 cm) About the Artist: "F.R. Gruger combined those rare qualities of an innovative technique, a keen sense of design and attention to details, which caused him to be referred to as an artists artist. Arthur William Brown would say: 'What I learned about illustration from him was pure gold.' According to Garrett Price: 'We all thought a great deal of Gruger. In art school most of us imitated him or tried to.' John Falter confessed, 'We were greatly influenced by him because we tried to work in his style.' And Norman Rockwell, reducing praise to its simplest terms, stated plainly: 'I admired him very much.' Frederic Rodrigo Gruger was born in Philadelphia on August 2, 1871. He attended the Pennsylvania Academy where he studied drawing with Thomas Anshutz and composition under Henry Thouron. Like many of his contemporaries, Gruger became enamored with the pen-and-ink drawings of Edwin Austin Abbey, Charles Reinhart and Charles Keene, and it was with this medium that he began his career as a newspaper artist. During the decade of the '90s, his on-the-spot sketches of fires, a presidential inaugural and the America's Cup Race brought immediacy and excitement to the pages of the Philadelphia Public Ledger. When George Horace Lorimer reorganized the faltering Saturday Evening Post in 1898, he sought out the talents of such Philadelphia illustrators as F.R. Gruger. During the next forty-five years Gruger produced over 2,700 illustrations for the Post alone. Between 1914 and 1920 he created more than six hundred Post drawings, an average of two works per issue, per week over the entire six-year span. By the early 1920s, at the peak of his production, Gruger was simultaneously illustrating serialized stories for the Post, Cosmopolitan, Harper's, Harper's Bazaar, McCall's, Hearsts International and Redbook. F.R. Gruger provided visual impact for the literary outpourings of more than four hundred authors, a veritable Who's Who, which included Theodore Dreiser, Booth Tarkington, Bret Hart, Edith Wharton, Agatha Christie, William Faulkner, Ring Lardner, Sinclair Lewis, Irving S. Cobb, W. Somerset Maugham, Mary Roberts Rinehart, F. Scott Fitzgerald, Aldous Huxley and Irving Stone. He illustrated Edna Ferber's Show Boat, Stephen Vincent Benet's The Devil and Daniel Webster and the Mr. Moto series by J.P. Marquand. Perhaps his best-known drawings were those for Owen Johnsons Stover at Yale, which appeared in McClures Magazine over an eight-month period during 1911 and '12. Gruger's illustrations received a continuous chorus of applause from the public, art editors and authors alike. Fannie Hurst wrote him, 'You have said in your drawings what I tried to say in 100,000 words. I am your debtor!' and C.E. Scoggins acknowledged that Gruger's illustrations for The House of Darkness interpreted almost what I saw in my own mind.' But the ultimate compliment for any illustrator came to him from Walter D. Edmonds, who indicated that the persons in Gruger's artwork 'are all so exactly as I tried to describe them, even the house, that I now begin to find myself looking at the drawings and taking my own descriptions from them.' A portion of Grugers uniqueness was the fact that he never worked from the posed model or from photographs, but always creatively. He also took considerable pride in the fact that not once did he ever petition an art editor for work. Although his earliest illustrations had been produced in pen-and-ink, the medium most closely associated with his name was the Wolff carbon pencil. Gruger would sketch a composition, then employ watercolor washes with lamp black in order to indicate the broad masses of grays and blacks. Finally he built up the forms and details with a Wolff pencil, rubbing a ruby eraser like a stump to blend the rich, velvety values. The illustration board he employed was an inexpensive cardboard used by newspapers for mounting silverprints. Known originally as railroad blank, it soon was manufactured under his name, and Gruger Board became the mainstay of illustrators for several decades. At the Art Students League, Thomas Fogarty would 'hold Gruger up as one of the deans of beautiful illustration and storytelling,' while Harold Anderson's teacher at Boston's Fenway School of Illustration 'frequently called Gruger to our attention, praising him as the finest of them all.' At the Art Institute of Chicago, Garrett Price's instructor 'got a whole carload of that [Gruger] board shipped into Chicago.' And John Falter, studying illustration at the Kansas City Art Institute, had a teacher who 'held up F.R. Gruger along with Wyeth and Pyle as a giant to be aware of and study.' But by the mid-1930s, Gruger's influence was on the wane. He had never bothered to make the transition from black-and-white illustrations to color but, of even greater importance, his type of pictorial approach, with its attention to detailto facial qualities, pose, appropriateness of architectural components, furnishings and dresswas no longer in vogue. Magazine art, in imitation of the movies' favorite device, began emphasizing the big close-up; such 'He and She' art featured oversized faces and little else. Nonetheless, when TIME magazine included an article entitled 'U.S. Illustrators' in its May 1, 1939 issue, Gruger was not forgotten: 'As worthy as Gibson to be called the dean of U.S. illustrators, in the opinion of many artists, is a stolid, 68-year-old Philadelphian , Frederic Rodrigo Gruger.' And a dozen years later, when the Society of Illustrators celebrated its 50th Anniversary with an exhibition of the 'Big Four,' Gruger was there along with Harvey Dunn, Wallace Morgan and Norman Price. F.R. Gruger passed away just seventeen months after that show, on March 21, 1953. Now, exactly three decades following the Society exhibit, he finally joins the others of the 'Big Four' by being inducted into the Hall of Fame. As with all artists, Gruger's work stands as his monument. His goals were once summarized when he sought to explain his refusal to draw 'those chromium-plated women': One may perceive the charm of smart clothes and exquisite equipment, of beautiful women and well-dressed men, of trimmed hedges and smooth lawns and weedless paths I could never do anything with it so I left it to others and contented myself with admiration of what they did. For me the weathered street, the lived-in houses, the old trees used belongings, comfortably worn and pushed about into homely order long before the incident in the story occurred. To remain, bearing the scars of use, long after it has passed. Perhaps that is the poetry of character. And that is also the poetry of F.R. Grugers art." (source: Society of Illustrators website) Provenance: private Santa Fe, New Mexico USA collection All items legal to buy/sell under U.S. Statute covering cultural patrimony Code 2600, CHAPTER 14, and are guaranteed to be as described or your money back. A Certificate of Authenticity will accompany all winning bids. We ship worldwide and handle all shipping in-house for your convenience. SHIPPING EXCEPTIONS: Due to customs clearance issues, we are unable to ship to Germany, Switzerland and Australia. If you live in Germany, Switzerland or Australia, you will need to provide an alternate shipping destination, or we will not be able to complete your purchase. In addition, please note that we are unable to ship ancient items back to the original country of origin (Egyptian to Egypt, Greek to Greece, etc.) PAYMENT EXCEPTION: Unless a known customer of Artemis, payment for all gold / precious metal / gem lots must be made via Bank Wire Transfer or Certified Bank Check/Money Order, no exceptions. #191301
Frederic Rodrigo Gruger (American, 1871-1953). Saloon scene. Pencil on paper, n.d. Signed at lower left. A wonderful drawing by American illustrator Federic Rodrigo Gruger depicting a scene from the Old West of two men in a heated discussion in a saloon. The man on the left is dressed as a cowboy with a brimmed hat and leather boots as he extends both arms straight outward, placing his hands on the shoulders of the man on the right as to command his full attention. Alternatively, the bespectacled man on the right finds little amusement in his intoxicated partner, he stands straight up, holding open a book and gazes unapprovingly at the cowboy. Surrounding them is a bar, a bar stool, a scale , a spittoon, and a variety of glass bottles. Though presented out of context, the narrative nature of this dramatic scene is undeniable, suggesting it was likely used as study for one of Gruger's illustrations. Size of drawing: 6.75" W x 9" H (17.1 cm x 22.9 cm) of frame: 13.25" W x 17.25" H (33.7 cm x 43.8 cm) About the Artist: "F.R. Gruger combined those rare qualities of an innovative technique, a keen sense of design and attention to details, which caused him to be referred to as an artists artist. Arthur William Brown would say: 'What I learned about illustration from him was pure gold.' According to Garrett Price: 'We all thought a great deal of Gruger. In art school most of us imitated him or tried to.' John Falter confessed, 'We were greatly influenced by him because we tried to work in his style.' And Norman Rockwell, reducing praise to its simplest terms, stated plainly: 'I admired him very much.' Frederic Rodrigo Gruger was born in Philadelphia on August 2, 1871. He attended the Pennsylvania Academy where he studied drawing with Thomas Anshutz and composition under Henry Thouron. Like many of his contemporaries, Gruger became enamored with the pen-and-ink drawings of Edwin Austin Abbey, Charles Reinhart and Charles Keene, and it was with this medium that he began his career as a newspaper artist. During the decade of the '90s, his on-the-spot sketches of fires, a presidential inaugural and the America's Cup Race brought immediacy and excitement to the pages of the Philadelphia Public Ledger. When George Horace Lorimer reorganized the faltering Saturday Evening Post in 1898, he sought out the talents of such Philadelphia illustrators as F.R. Gruger. During the next forty-five years Gruger produced over 2,700 illustrations for the Post alone. Between 1914 and 1920 he created more than six hundred Post drawings, an average of two works per issue, per week over the entire six-year span. By the early 1920s, at the peak of his production, Gruger was simultaneously illustrating serialized stories for the Post, Cosmopolitan, Harper's, Harper's Bazaar, McCall's, Hearsts International and Redbook. F.R. Gruger provided visual impact for the literary outpourings of more than four hundred authors, a veritable Who's Who, which included Theodore Dreiser, Booth Tarkington, Bret Hart, Edith Wharton, Agatha Christie, William Faulkner, Ring Lardner, Sinclair Lewis, Irving S. Cobb, W. Somerset Maugham, Mary Roberts Rinehart, F. Scott Fitzgerald, Aldous Huxley and Irving Stone. He illustrated Edna Ferber's Show Boat, Stephen Vincent Benet's The Devil and Daniel Webster and the Mr. Moto series by J.P. Marquand. Perhaps his best-known drawings were those for Owen Johnson's Stover at Yale, which appeared in McClure's Magazine over an eight-month period during 1911 and '12. Gruger's illustrations received a continuous chorus of applause from the public, art editors and authors alike. Fannie Hurst wrote him, 'You have said in your drawings what I tried to say in 100,000 words. I am your debtor!' and C.E. Scoggins acknowledged that Gruger's illustrations for The House of Darkness 'interpreted almost what I saw in my own mind.' But the ultimate compliment for any illustrator came to him from Walter D. Edmonds, who indicated that the persons in Gruger's artwork 'are all so exactly as I tried to describe them, even the house, that I now begin to find myself looking at the drawings and taking my own descriptions from them.' A portion of Gruger's uniqueness was the fact that he never worked from the posed model or from photographs, but always creatively. He also took considerable pride in the fact that not once did he ever petition an art editor for work. Although his earliest illustrations had been produced in pen-and-ink, the medium most closely associated with his name was the Wolff carbon pencil. Gruger would sketch a composition, then employ watercolor washes with lamp black in order to indicate the broad masses of grays and blacks. Finally he built up the forms and details with a Wolff pencil, rubbing a ruby eraser like a stump to blend the rich, velvety values. The illustration board he employed was an inexpensive cardboard used by newspapers for mounting silverprints. Known originally as railroad blank, it soon was manufactured under his name, and Gruger Board became the mainstay of illustrators for several decades. At the Art Students League, Thomas Fogarty would 'hold Gruger up as one of the deans of beautiful illustration and storytelling,' while Harold Anderson's teacher at Boston's Fenway School of Illustration 'frequently called Gruger to our attention, praising him as the finest of them all.' At the Art Institute of Chicago, Garrett Price's instructor 'got a whole carload of that [Gruger] board shipped into Chicago.' And John Falter, studying illustration at the Kansas City Art Institute, had a teacher who 'held up F.R. Gruger along with Wyeth and Pyle as a giant to be aware of and study.' But by the mid-1930s, Gruger's influence was on the wane. He had never bothered to make the transition from black-and-white illustrations to color but, of even greater importance, his type of pictorial approach, with its attention to detail - to facial qualities, pose, appropriateness of architectural components, furnishings and dress - was no longer in vogue. Magazine art, in imitation of the movies' favorite device, began emphasizing the big close-up; such 'He and She' art featured oversized faces and little else. Nonetheless, when TIME magazine included an article entitled 'U.S. Illustrators' in its May 1, 1939 issue, Gruger was not forgotten: 'As worthy as Gibson to be called the dean of U.S. illustrators, in the opinion of many artists, is a stolid, 68-year-old Philadelphian... Frederic Rodrigo Gruger.' And a dozen years later, when the Society of Illustrators celebrated its 50th Anniversary with an exhibition of the 'Big Four,' Gruger was there along with Harvey Dunn, Wallace Morgan and Norman Price. F.R. Gruger passed away just seventeen months after that show, on March 21, 1953. Now, exactly three decades following the Society exhibit, he finally joins the others of the 'Big Four' by being inducted into the Hall of Fame. As with all artists, Gruger's work stands as his monument. His goals were once summarized when he sought to explain his refusal to draw 'those chromium-plated women': One may perceive the charm of smart clothes and exquisite equipment, of beautiful women and well-dressed men, of trimmed hedges and smooth lawns and weedless paths I could never do anything with it so I left it to others and contented myself with admiration of what they did. For me the weathered street, the lived-in houses, the old trees used belongings, comfortably worn and pushed about into homely order long before the incident in the story occurred. To remain, bearing the scars of use, long after it has passed. Perhaps that is the poetry of character. And that is also the poetry of F.R. Grugers art." (source: Society of Illustrators website) Provenance: private Santa Fe, New Mexico USA collection All items legal to buy/sell under U.S. Statute covering cultural patrimony Code 2600, CHAPTER 14, and are guaranteed to be as described or your money back. A Certificate of Authenticity will accompany all winning bids. We ship worldwide and handle all shipping in-house for your convenience. SHIPPING EXCEPTIONS: Due to customs clearance issues, we are unable to ship to Germany, Switzerland and Australia. If you live in Germany, Switzerland or Australia, you will need to provide an alternate shipping destination, or we will not be able to complete your purchase. In addition, please note that we are unable to ship ancient items back to the original country of origin (Egyptian to Egypt, Greek to Greece, etc.) PAYMENT EXCEPTION: Unless a known customer of Artemis, payment for all gold / precious metal / gem lots must be made via Bank Wire Transfer or Certified Bank Check/Money Order, no exceptions. #191303
Frederic Rodrigo Gruger (American, 1871-1953). Untitled seascape, watercolor, n.d. Signed at lower left. A picturesque seascape by Frederic R. Gruger, an illustrator of the Golden Age who contributed to the Saturday Evening Post as well as the stories of more than 400 authors. In this painting, Gruger captures the undeniable beauty as well as the sublime dangerous quality of the sea. Waves crest and fall, dramatically crashing against the rocks, and the vastness of the waters simultaneously inspires and terrifies us, beneath billowing clouds in the azure sky. All is rendered with Gruger's loose brushwork and tasteful color palette. Size of painting: 8.5" W x 9.75" H (21.6 cm x 24.8 cm); Size: 13.25" W x 15" H (33.7 cm x 38.1 cm) About the Artist: "F.R. Gruger combined those rare qualities of an innovative technique, a keen sense of design and attention to details, which caused him to be referred to as an artists artist. Arthur William Brown would say: 'What I learned about illustration from him was pure gold.' According to Garrett Price: 'We all thought a great deal of Gruger. In art school most of us imitated him or tried to.' John Falter confessed, 'We were greatly influenced by him because we tried to work in his style.' And Norman Rockwell, reducing praise to its simplest terms, stated plainly: 'I admired him very much.' Frederic Rodrigo Gruger was born in Philadelphia on August 2, 1871. He attended the Pennsylvania Academy where he studied drawing with Thomas Anshutz and composition under Henry Thouron. Like many of his contemporaries, Gruger became enamored with the pen-and-ink drawings of Edwin Austin Abbey, Charles Reinhart and Charles Keene, and it was with this medium that he began his career as a newspaper artist. During the decade of the '90s, his on-the-spot sketches of fires, a presidential inaugural and the America's Cup Race brought immediacy and excitement to the pages of the Philadelphia Public Ledger. When George Horace Lorimer reorganized the faltering Saturday Evening Post in 1898, he sought out the talents of such Philadelphia illustrators as F.R. Gruger. During the next forty-five years Gruger produced over 2,700 illustrations for the Post alone. Between 1914 and 1920 he created more than six hundred Post drawings, an average of two works per issue, per week over the entire six-year span. By the early 1920s, at the peak of his production, Gruger was simultaneously illustrating serialized stories for the Post, Cosmopolitan, Harper's, Harper's Bazaar, McCall's, Hearsts International and Redbook. F.R. Gruger provided visual impact for the literary outpourings of more than four hundred authors, a veritable Who's Who, which included Theodore Dreiser, Booth Tarkington, Bret Hart, Edith Wharton, Agatha Christie, William Faulkner, Ring Lardner, Sinclair Lewis, Irving S. Cobb, W. Somerset Maugham, Mary Roberts Rinehart, F. Scott Fitzgerald, Aldous Huxley and Irving Stone. He illustrated Edna Ferber's Show Boat, Stephen Vincent Benet's The Devil and Daniel Webster and the Mr. Moto series by J.P. Marquand. Perhaps his best-known drawings were those for Owen Johnson's Stover at Yale, which appeared in McClure's Magazine over an eight-month period during 1911 and '12. Gruger's illustrations received a continuous chorus of applause from the public, art editors and authors alike. Fannie Hurst wrote him, 'You have said in your drawings what I tried to say in 100,000 words. I am your debtor!' and C.E. Scoggins acknowledged that Gruger's illustrations for The House of Darkness 'interpreted almost what I saw in my own mind.' But the ultimate compliment for any illustrator came to him from Walter D. Edmonds, who indicated that the persons in Gruger's artwork 'are all so exactly as I tried to describe them, even the house, that I now begin to find myself looking at the drawings and taking my own descriptions from them.' A portion of Gruger's uniqueness was the fact that he never worked from the posed model or from photographs, but always creatively. He also took considerable pride in the fact that not once did he ever petition an art editor for work. Although his earliest illustrations had been produced in pen-and-ink, the medium most closely associated with his name was the Wolff carbon pencil. Gruger would sketch a composition, then employ watercolor washes with lamp black in order to indicate the broad masses of grays and blacks. Finally he built up the forms and details with a Wolff pencil, rubbing a ruby eraser like a stump to blend the rich, velvety values. The illustration board he employed was an inexpensive cardboard used by newspapers for mounting silverprints. Known originally as railroad blank, it soon was manufactured under his name, and Gruger Board became the mainstay of illustrators for several decades. At the Art Students League, Thomas Fogarty would 'hold Gruger up as one of the deans of beautiful illustration and storytelling,' while Harold Anderson's teacher at Boston's Fenway School of Illustration 'frequently called Gruger to our attention, praising him as the finest of them all.' At the Art Institute of Chicago, Garrett Price's instructor 'got a whole carload of that [Gruger] board shipped into Chicago.' And John Falter, studying illustration at the Kansas City Art Institute, had a teacher who 'held up F.R. Gruger along with Wyeth and Pyle as a giant to be aware of and study.' But by the mid-1930s, Gruger's influence was on the wane. He had never bothered to make the transition from black-and-white illustrations to color but, of even greater importance, his type of pictorial approach, with its attention to detail - to facial qualities, pose, appropriateness of architectural components, furnishings and dress - was no longer in vogue. Magazine art, in imitation of the movies' favorite device, began emphasizing the big close-up; such 'He and She' art featured oversized faces and little else. Nonetheless, when TIME magazine included an article entitled 'U.S. Illustrators' in its May 1, 1939 issue, Gruger was not forgotten: 'As worthy as Gibson to be called the dean of U.S. illustrators, in the opinion of many artists, is a stolid, 68-year-old Philadelphian... Frederic Rodrigo Gruger.' And a dozen years later, when the Society of Illustrators celebrated its 50th Anniversary with an exhibition of the 'Big Four,' Gruger was there along with Harvey Dunn, Wallace Morgan and Norman Price. F.R. Gruger passed away just seventeen months after that show, on March 21, 1953. Now, exactly three decades following the Society exhibit, he finally joins the others of the 'Big Four' by being inducted into the Hall of Fame. As with all artists, Gruger's work stands as his monument. His goals were once summarized when he sought to explain his refusal to draw 'those chromium-plated women': One may perceive the charm of smart clothes and exquisite equipment, of beautiful women and well-dressed men, of trimmed hedges and smooth lawns and weedless paths I could never do anything with it so I left it to others and contented myself with admiration of what they did. For me the weathered street, the lived-in houses, the old trees used belongings, comfortably worn and pushed about into homely order long before the incident in the story occurred. To remain, bearing the scars of use, long after it has passed. Perhaps that is the poetry of character. And that is also the poetry of F.R. Grugers art." (source: Society of Illustrators website) Provenance: private Santa Fe, New Mexico USA collection All items legal to buy/sell under U.S. Statute covering cultural patrimony Code 2600, CHAPTER 14, and are guaranteed to be as described or your money back. A Certificate of Authenticity will accompany all winning bids. We ship worldwide and handle all shipping in-house for your convenience. SHIPPING EXCEPTIONS: Due to customs clearance issues, we are unable to ship to Germany, Switzerland and Australia. If you live in Germany, Switzerland or Australia, you will need to provide an alternate shipping destination, or we will not be able to complete your purchase. In addition, please note that we are unable to ship ancient items back to the original country of origin (Egyptian to Egypt, Greek to Greece, etc.) PAYMENT EXCEPTION: Unless a known customer of Artemis, payment for all gold / precious metal / gem lots must be made via Bank Wire Transfer or Certified Bank Check/Money Order, no exceptions. #191297
Frederic Rodrigo Gruger (American, 1871-1953). Untitled seascape, watercolor, n.d. Signed at lower left. A picturesque seascape by Frederic R. Gruger, an illustrator of the Golden Age who contributed to the Saturday Evening Post as well as the stories of more than 400 authors. In this painting, Gruger captures the undeniable beauty as well as the sublime dangerous quality of the sea. Waves crest and fall, dramatically crashing against the rocks, and the vastness of the waters simultaneously inspires and terrifies us, beneath billowing clouds in the azure sky. All is rendered with Gruger's loose brushwork and tasteful color palette. Size (sight view): 6.7" L x 8.625" W (17 cm x 21.9 cm) Size (frame): 15.25" L x 17" W (38.7 cm x 43.2 cm) About the Artist: "F.R. Gruger combined those rare qualities of an innovative technique, a keen sense of design and attention to details, which caused him to be referred to as an artists artist. Arthur William Brown would say: 'What I learned about illustration from him was pure gold.' According to Garrett Price: 'We all thought a great deal of Gruger. In art school most of us imitated him or tried to.' John Falter confessed, 'We were greatly influenced by him because we tried to work in his style.' And Norman Rockwell, reducing praise to its simplest terms, stated plainly: 'I admired him very much.' Frederic Rodrigo Gruger was born in Philadelphia on August 2, 1871. He attended the Pennsylvania Academy where he studied drawing with Thomas Anshutz and composition under Henry Thouron. Like many of his contemporaries, Gruger became enamored with the pen-and-ink drawings of Edwin Austin Abbey, Charles Reinhart and Charles Keene, and it was with this medium that he began his career as a newspaper artist. During the decade of the '90s, his on-the-spot sketches of fires, a presidential inaugural and the America's Cup Race brought immediacy and excitement to the pages of the Philadelphia Public Ledger. When George Horace Lorimer reorganized the faltering Saturday Evening Post in 1898, he sought out the talents of such Philadelphia illustrators as F.R. Gruger. During the next forty-five years Gruger produced over 2,700 illustrations for the Post alone. Between 1914 and 1920 he created more than six hundred Post drawings, an average of two works per issue, per week over the entire six-year span. By the early 1920s, at the peak of his production, Gruger was simultaneously illustrating serialized stories for the Post, Cosmopolitan, Harper's, Harper's Bazaar, McCall's, Hearsts International and Redbook. F.R. Gruger provided visual impact for the literary outpourings of more than four hundred authors, a veritable Who's Who, which included Theodore Dreiser, Booth Tarkington, Bret Hart, Edith Wharton, Agatha Christie, William Faulkner, Ring Lardner, Sinclair Lewis, Irving S. Cobb, W. Somerset Maugham, Mary Roberts Rinehart, F. Scott Fitzgerald, Aldous Huxley and Irving Stone. He illustrated Edna Ferber's Show Boat, Stephen Vincent Benet's The Devil and Daniel Webster and the Mr. Moto series by J.P. Marquand. Perhaps his best-known drawings were those for Owen Johnsons Stover at Yale, which appeared in McClures Magazine over an eight-month period during 1911 and '12. Gruger's illustrations received a continuous chorus of applause from the public, art editors and authors alike. Fannie Hurst wrote him, 'You have said in your drawings what I tried to say in 100,000 words. I am your debtor!' and C.E. Scoggins acknowledged that Gruger's illustrations for The House of Darkness interpreted almost what I saw in my own mind.' But the ultimate compliment for any illustrator came to him from Walter D. Edmonds, who indicated that the persons in Gruger's artwork 'are all so exactly as I tried to describe them, even the house, that I now begin to find myself looking at the drawings and taking my own descriptions from them.' A portion of Grugers uniqueness was the fact that he never worked from the posed model or from photographs, but always creatively. He also took considerable pride in the fact that not once did he ever petition an art editor for work. Although his earliest illustrations had been produced in pen-and-ink, the medium most closely associated with his name was the Wolff carbon pencil. Gruger would sketch a composition, then employ watercolor washes with lamp black in order to indicate the broad masses of grays and blacks. Finally he built up the forms and details with a Wolff pencil, rubbing a ruby eraser like a stump to blend the rich, velvety values. The illustration board he employed was an inexpensive cardboard used by newspapers for mounting silverprints. Known originally as railroad blank, it soon was manufactured under his name, and Gruger Board became the mainstay of illustrators for several decades. At the Art Students League, Thomas Fogarty would 'hold Gruger up as one of the deans of beautiful illustration and storytelling,' while Harold Anderson's teacher at Boston's Fenway School of Illustration 'frequently called Gruger to our attention, praising him as the finest of them all.' At the Art Institute of Chicago, Garrett Price's instructor 'got a whole carload of that [Gruger] board shipped into Chicago.' And John Falter, studying illustration at the Kansas City Art Institute, had a teacher who 'held up F.R. Gruger along with Wyeth and Pyle as a giant to be aware of and study.' But by the mid-1930s, Gruger's influence was on the wane. He had never bothered to make the transition from black-and-white illustrations to color but, of even greater importance, his type of pictorial approach, with its attention to detailto facial qualities, pose, appropriateness of architectural components, furnishings and dresswas no longer in vogue. Magazine art, in imitation of the movies' favorite device, began emphasizing the big close-up; such 'He and She' art featured oversized faces and little else. Nonetheless, when TIME magazine included an article entitled 'U.S. Illustrators' in its May 1, 1939 issue, Gruger was not forgotten: 'As worthy as Gibson to be called the dean of U.S. illustrators, in the opinion of many artists, is a stolid, 68-year-old Philadelphian , Frederic Rodrigo Gruger.' And a dozen years later, when the Society of Illustrators celebrated its 50th Anniversary with an exhibition of the 'Big Four,' Gruger was there along with Harvey Dunn, Wallace Morgan and Norman Price. F.R. Gruger passed away just seventeen months after that show, on March 21, 1953. Now, exactly three decades following the Society exhibit, he finally joins the others of the 'Big Four' by being inducted into the Hall of Fame. As with all artists, Gruger's work stands as his monument. His goals were once summarized when he sought to explain his refusal to draw 'those chromium-plated women': One may perceive the charm of smart clothes and exquisite equipment, of beautiful women and well-dressed men, of trimmed hedges and smooth lawns and weedless paths I could never do anything with it so I left it to others and contented myself with admiration of what they did. For me the weathered street, the lived-in houses, the old trees used belongings, comfortably worn and pushed about into homely order long before the incident in the story occurred. To remain, bearing the scars of use, long after it has passed. Perhaps that is the poetry of character. And that is also the poetry of F.R. Grugers art." (source: Society of Illustrators website) Provenance: private Santa Fe, New Mexico USA collection All items legal to buy/sell under U.S. Statute covering cultural patrimony Code 2600, CHAPTER 14, and are guaranteed to be as described or your money back. A Certificate of Authenticity will accompany all winning bids. We ship worldwide and handle all shipping in-house for your convenience. SHIPPING EXCEPTIONS: Due to customs clearance issues, we are unable to ship to Germany, Switzerland and Australia. If you live in Germany, Switzerland or Australia, you will need to provide an alternate shipping destination, or we will not be able to complete your purchase. In addition, please note that we are unable to ship ancient items back to the original country of origin (Egyptian to Egypt, Greek to Greece, etc.) PAYMENT EXCEPTION: Unless a known customer of Artemis, payment for all gold / precious metal / gem lots must be made via Bank Wire Transfer or Certified Bank Check/Money Order, no exceptions. #191301
Frederic Rodrigo Gruger (1871-1953) original Illustration 'The First Race of Blue Dandy' , graphite pencil & wash on artboard, depicting an Afro-American emerging from the bushes, signed lower left, the image margins defined with a straight line beyond which are the printer's notes, 'cut whites/eng. lights' , highlight - halftone' , 'Bassini'. etc, also a possible date, 6/27 Printed to complement the story "The First Race of Blue Dandy" , centered on the Kentucky Derby and commenting on the situation where Afro-Americans could not attend the race. Saturday Evening Post, September 1934
Description: A group of five illustrations by Frederic Rodrigo Gruger for the Saturday Evening Post depicting various subjects. Type: Illustration, drawing Materials: Ink, charcoal, graphite, paperboard Markings & Inscriptions: Four are signed or initialed Date: Early 20th century Maker: Frederic Rodrigo Gruger (American, 1871-1953) Dimensions: Largest: 13.25" x 17". Smallest: 8" x 9.5". Provenance: From a Lansdale, Pennsylvania collection.
Description: A group of five illustrations by Frederic Rodrigo Gruger for the Saturday Evening Post depicting various subjects. Type: Illustration, drawing Materials: Ink, graphite, paperboard Markings & Inscriptions: Four are signed or initialed, one labeled verso Date: Early 20th century Maker: Frederic Rodrigo Gruger (American, 1871-1953) Dimensions: Largest: 22" x 14.25". Smallest: 10.75" x 10.5". Provenance: From a Lansdale, Pennsylvania collection.
FREDERIC RODRIGO GRUGER (1871-1953) "The House of Darkness." Story illustration published in The Saturday Evening Post, December 27, 1930. Pencil on paper. 11 3/4 x 17 inches. Signed in lower right image.
FREDERIC RODRIGO GRUGER (1871-1953) Romance on the veranda. Likely illustration for The Saturday Evening Post, circa 1930. Graphite and wash on artist board. Oval image measuring 300x405 mm; 11 3/4x16 inches, on 12 1/4x17 1/2-inch sheet. Inscribed and signed "To Bruce from F. R. Gruger" in lower right. Handsomely framed in gold wood oval matted and frame measuring 23x25 inches.
FREDERIC RODRIGO GRUGER (1871-1953) Women in conversation. Magazine story illustration for The Saturday Evening Post, with their label adhered to verso. Graphite on thin board. 315x315 mm; 12 1/2x12 1/2 inches, on slightly larger board. Signed "F. Gruger" in lower right image.
FREDERIC GRUGER (1871-1953) "'I shall count to five before I fire.' said Davison. 'One!'" Illustration for "House of Darkness" by C. E. Scoggins, published in The Saturday Evening Post, December 20, 1930, page 19. Graphite on thin board. 292x408 mm; 11 1/2x16 inches. Signed "F. R. Gruger" in upper right image. Attached to matte with archival tape; framed.
FREDERIC GRUGER (1871-1953) Man and Woman Talking with Oxen in Background. Probable magazine story illustration for the The Saturday Evening Post, with their label adhered to verso of frame. Graphite on thin board. 280x410 mm; 11x16 inches. Inscribed and signed in upper right image, "To Miss Grace [illegible] / F. R. Gruger." Not dated. Attached to matte with archival tape; framed.
Original Frederic Rodrigo Gruger (1871-1953) Illustration / Drawing on Board for the Saturday Evening Post. A well dressed man and woman aboard a ocean liner. Stamp on back states "This drawing must not be reproduced for any purpose. It is copyrighted by the Curtis Publishing Company. The Saturday Evening Post, Philadelphia". Measure 9 1/4"x14". Weight 3 oz. PROVENANCE: The Estate of Jacob Bates Abbott, Artist and Illustrator, by descent. Gruger was one of the most highly regarded and prolific illustrators of the day. In 1939, Time proclaimed him the dean of U.S. magazine illustrators. Norman Rockwell looked up to him as one of our greatest illustrators. His work appeared everywhere, he created an astonishing 6,000 illustrations between 1898 and 1943, but his true home was with the Post, for which he did thousands of illustrations. The same Time article stated, After 1899 when George Horace Lorimer became editor of The Saturday Evening Post, Gruger became the mainstay of that magazine. The Posts romantic and period fiction, got half its atmosphere from Grugers old fashioned, deep-browed men and frail but credulous women. Gruger had a long, successful career working for the top magazines and companies, including The Saturday Evening Post, Cosmopolitan, Redbook, Harpers, Century, Colliers, Scribners, McClures, and Good Housekeeping.
Frederic Gruger (American 1871-1953)- ''The Flying Fish, Pt. 2''- pencil and ink wash, signed F. R. Gruger lower left in ink, light struck. 10 1/4 x 12 1/2''
(2 items - painting and book). Frederic Rodrigo Gruger (Pennsylvania, 1871-1953) ink, watercolor and gouache on paper grisaille painting of man and woman standing on the deck of a ship; signed lower right "F.R. Gruger". This painting was an original illustration for Stephen Whitman's "Children of Hope," published in The Century Magazine, November, 1915, page 16. Label en verso with caption for this illustration: "She felt sure this careless speech masked a sentimentalism intensely congenial to her own". Matted and framed under glass in a stained oak frame. Sight - 11" H x 7 1/2" W. Framed - 21 3/4" H x 17 3/4" W. Also included with this lot is the book "The Golden Age of American Illustration: F. R. Gruger and His Circle" by Bennard B. Perlman, published by North Light Publishers, Westport, Connecticut, 1978. This painting is featured on page 98. Provenance: Private Nashville, TN collection. Biography: Frederic Gruger was one of America's most pre-eminent illustrators of The Golden Era of Illustration (1910-1920). He got his start with the Century magazine and went on to work for other publishers and advertisers including The Saturday Evening Post, with which he became most closely associated. He taught at the Art Students League and was posthumously elected to the Society of Illustrators Hall of Fame in 1981. (Additional high-resolution photos are available at www.caseantiques.com.)
FREDERIC RODRIGO GRUGER. Elevated Train. A sweet illustration depicting a conversation between an African-American man and a young girl, for an unidentified publication. Watercolor and white gouache on thick card stock. 356x260 mm; 14x10 1/2 inches. Signed in lower left. Taped to matted at top and bottom of verso. Provenance: From the Collection of the Society of Illustrators.
Frederic Rodrigo Gruger (American, 1871-1953) The Bracelet, Cosmopolitan magazine interior illustration, July 1930 Pencil and ink wash on board 10-1/2 x 18-1/2 inches (26.7 x 47.0 cm) (sight) Signed lower left: F.R. Gruger PROVENANCE: Illustration House, New York, October 6, 1993; Acquired by the present owner from the above. HID04901242017
FREDERIC RODRIGO GRUGER. "Money, Money, Money." Pencil and wash on illustration board. Illustration for Harry Leon Wilson published in The Saturday Evening Post, February 10, 1923, page 7. 290x455mm; 11 1/2 x18 inches. Signed "F. R. Gruger" in pencil lower left. Matted.
FREDERIC RODRIGO GRUGER. "Crusade." Pencil on illustration board. Illustration for Donn Byrne story published in The Saturday Evening Post, September 24, 1927. 290x167 mm; 11 1/2 x 6 1/2 inches. Matted.
Frederic Rodrigo Gruger American, 1871-1953 Compositional Sketch Graphite on paper 10 x 7 1/2 inches Provenance: Robert C. Graham, Sr. Edith Graham By descent C Estate of Robert C. Graham, Sr.
"One day the old woman warned us there was a gang of bushwhackers operratin' down the road a piece," illustration for Irvin S. Cobb, "Ex-Fighting Billy," Pictorial Review, June 1917, p 9. Signed. Mixed media. 27.5 x 37.3cm (10 13/16 x 14 11/16in). Matted and framed.
"Alderman MacDougal introduced an ordinance providing that the price of gas should not thereafter exceed seventy-five cents a thousand feet," illustration for Will Payne's "The Gas War," The Saturday Evening Post, January 16, 1915. Signed. Pencil and wash. 30 x 23cm (11 13/16 x 9 1/16in).
"French toast and dropped eggs; and--Oh, Uncle!--we're going to see Jimmy to-day," illustration for George Weston's "The Old Dominie," The Saturday Evening Post, March 25, 1916. Signed. Pencil and wash. 21.5 x 30cm (8 7/16 x 11 13/16in).
"'I'll fill that ole burglar so full of holes that his hide will look like a sieve!'" Illustration for L. B. Yates's "Major Miles and the Grim Reaper," Saturday Evening Post, July 18, 1914. Signed bottom right. Mixed media. 28.2 x 16.3cm (11 1/8 x 6 7/16in).
Studies for unidentified magazine illustrations, comprising: 1. A woman standing before a seated man in front of a fireplace. Pencil and wash. 2. An old man by a kerosene lamp, being comforted by three figures in early nineteenth century dress. Charcoal and wash. Various sizes.
Frederic R. Gruger (1871-1953) Story illustration: "Balisand", author: Joseph Hergesheimer, Saturday Evening Post, August 9, 1924, p. 23; Five colonial men prepare to go to arms.
Frederic Rodrigo Gruger (American, 1871-1953) "And All Things Else" 1925 pencil illustration for The Saturday Evening Post signed lower right For And All Things Else by Thomas McMorrow, 1/3/25 10 1/2" x 15 3/8"
Frederic Rodrigo Gruger (American, 1871-1953) "Money, Money, Money" 1923 graphite illustration for The Saturday Evening Post signed lower left For Money, Money, Money by Harry Leon Wilson, 2/10/23 11 1/2" x 17 7/8"
Frederic Rodrigo Gruger (American, 1871-1953) "Crusade" 1927 pencil illustration for The Saturday Evening Post unsigned For Crusade by Donn Byrne, 9/24/27 11 1/2" x 6 1/2"
Frederic Gruger illustration (Frederic Rodrigo Gruger, Pennsylvania, 1871-1953), titled verso "Something New", run down barn, illustrated in J. Hergesheimer, The Foolscap Rose Unfolded, The Banker, published in The Saturday Evening Post, May 19, 1934, signed lower right "F. R. Gruger", graphite and wash on card, pencil inscriptions in margins, large "S.E.P." with inventory number and copyright label verso for The Saturday Evening Post, unframed, 13-3/8 x 18-7/8 in. Toning, handling grime, pencil inscriptions in margin. Graham Gallery, New York (label verso); The Estate of the Late Margaret D. Gruger, Anderson, South Carolina
Two Frederic Gruger illustrations (Frederic Rodrigo Gruger, Pennsylvania, 1871-1953): "That's Fur Me to Know and for You to Find Out" for Irvin S. Cobb, "The Smart Aleck", published in The Saturday Evening Post, July 18, 1914, page 5, signed lower left "F.R. Gruger", graphite and wash on card, 12-7/8 x 9-3/4 in., modern frame, toning, taped at all edges; "'Don't cry! It's not your fault you're ugly'" Susie wailed the louder", from Galsworthy, Jane's First Lame Duck, published in the Delineator, April, 1929, illustrated page 11, graphite on paper laid on card, publication notes verso, 13 x 11 in., wood frame, grime, toning. Both frames with abrasions. The Estate of the Late Margaret D. Gruger, Anderson, South Carolina
Two Frederic Gruger illustrations (Frederic Rodrigo Gruger, Pennsylvania, 1871-1953): "From time to time Gervase smiled a little, quietly, when he thought no one was looking", illustration for Porter Emerson Brown, Somewhere In, McClures Magazine, July, 1916, illustrated page 29, signed lower right "F.R.G.", 14-1/2 x 10-3/4 in., pencil inscriptions in margins, label upper right "Please return this drawing", handling grime, toning, wood frame; group of three elderly people conversing and seated in an interior, signed lower left "F.R. Gruger", inscribed verso "12/6/Unidentified", 11-5/8 x 15-5/8 in., hinged at top, light toning, gilt wood frame, each graphite on card Both frames with abrasions. The Estate of the Late Margaret D. Gruger, Anderson, South Carolina
Two Frederic Gruger watercolors (Frederic Rodrigo Gruger, Pennsylvania, 1871-1953): "The Little Red Schoolhouse - Bermuda", circa 1912, signed lower left "F.R. Gruger/Bermuda"; garden and house with open shutters, signed lower right "F.R. Gruger/Bda", each watercolor on card, 10-5/8 x 13-3/8 in.; matching modern gilt wood frames with French mats. Both taped in, light toning. The Estate of the Late Margaret D. Gruger, Anderson, South Carolina
Frederic Gruger illustration (Frederic Rodrigo Gruger, Pennsylvania, 1871-1953), woman hiding in brush, illustrated in W.D. Edwards, "Indians at McClennan's", The Saturday Evening Post, May 9, 1936, signed lower left "FRG", graphite and wash on card, 14-1/8 x 11-1/2 in.; modern wood frame, both frames with abrasions. Inscriptions in margins, light toning, taped at edges; frame with abrasions. The Estate of the Late Margaret D. Gruger, Anderson, South Carolina
Two Frederic Gruger drawings (Frederic Rodrigo Gruger, Pennsylvania, 1871-1953): "He had blundered upon the watchman in the cabin" from Norman Duncan's, The Cutting Out of the Heavenly Home, "Ainslee's Magazine", July, 1902, signed upper left in pencil "F.R. Gruger", graphite and wash on card, partial inscription verso "...blundered...the watchman...", 7-3/8 x 8-1/8 in., wood frame, trimmed with canted corners, taped at four points verso; two of the artist's father (John Gruger), pencil on paper, 8-1/4 x 4-3/4 in. (page), original black-painted frame, toning, hinged at top, light foxing. All frames with abrasions. The Estate of the Late Margaret D. Gruger, Anderson, South Carolina
Frederic Gruger illustration, (Frederic Rodrigo Gruger, Pennsylvania, 1871-1953), "She felt sure this careless speech masked a sentimentalism intensely congenial to her own", from Stephen Whitman, Children of Hope, published in The Century Magazine, November, 1915, illustrated page 16, signed lower right "F.R. Gruger", gouache on card, 11-3/8 x 7-3/4 in.; wood frame. Taped in at edges verso; frame with abrasions. The Estate of the Late Margaret D. Gruger, Anderson, South Carolina
Two Frederic Gruger drawings (Frederic Rodrigo Gruger, Pennsylvania, 1871-1953): study of a woman for an illustration titled "I don't live anywhere, she said at last", from O'Higgins, From the Life, published by Harper & Brothers, 1919, graphite and wash in grisaille, 5-7/8 x 3-7/8 in., black-painted frame with New Jersey framer's stamp verso, not removed from original frame, with note from artist's wife "I know this framed figure was part of a drawing FRG was not pleased with and which he destroyed. However, this figure was considered worth saving..."; studies of women, signed lower right "F.R. Gruger", pencil on card, 10-3/4 x 12-3/4 in., with glass but lacking frame; label present for The Fellowship of the Pennsylvania Academy of the Fine Arts, Fifth Annual Exhibition, 1904, toning, light foxing. The Estate of the Late Margaret D. Gruger, Anderson, South Carolina
FREDERIC RODRIGO GRUGER American, 1871-1953 "The Sectional House". Signed lower left "F.R. Gruger". Original drawing for The Century, June 1904. Ink on paper, 11" x 14". Framed.
FREDERIC R. GRUGER (American 1871 - 1953 ) The Devil and Daniel Webster, 1939 Graphite on paper 11-1/4 x 22in. Signed upper left RThe Devil and Daniel Webster by Stephen Vincent Benet, The Saturday Evening Post, October 24, 1936, original magazine story illustration Caption: For his voice could search the heart, and that was his gift and his strength PROVENANCE: From the collection of John McLaughlin
FREDERIC RODRIGO GRUGER (1871-1953) Original Illustration, c.1920 Pencil on paper 10.25in. x 16.5in. (sight size) Signed lower right: F.R. Gruger Provenance: Morris Weiss collection
![FREDERIC GRUGER (1871-1953) "'I shall count to five before I fire.' said Davison. 'One!'" [SATURDAY EVENING POST]](https://image.invaluable.com/housePhotos/Swann/23/710223/H0132-L274231389.jpg)
![FREDERIC GRUGER (1871-1953) Man and Woman Talking with Oxen in Background. [SATURDAY EVENING POST]](https://image.invaluable.com/housePhotos/Swann/23/710223/H0132-L274231327.jpg)
