Joseph Christian Leyendecker Portrait Paintings

The three wise men present their gifts of gold, frankincense and myrrh to the newborn baby Jesus in this elegant, well-finished study by J.C. Leyendecker. Created in preparation for the Christmas cover of the December 1900 Success magazine, the piece is exemplary of Leyendecker’s distinct, hatched illustration style that conveys strength and sophistication with ease. The figure’s richly colored robes and reverent poses capture the character of the Bible story, while his unmistakable modern aesthetic lends a fresh perspective to these icons. Leyendecker was the preeminent illustrator of his era, and he is remembered today for his numerous magazine covers, where the artist was commissioned to illustrate the most high-profile editions of the publication and, most notably, the holiday issues. This particular piece, because it is a preliminary study, provides an intriguing look into his artistic process for these important covers. Leyendecker would experiment with color, pattern and positioning in his studies, evidenced here by the detail sketches of chain mail texture and praying hands on the perimeter of the composition. A favorite among collectors, such studies are exceptionally rare and truly delightful glimpses into Leyendecker’s work. Born in Germany in 1874, Leyendecker emerged as a major talent near the turn of the 20th century, becoming the most well-liked and sought-after American illustrator of his day. In 1898, Leyendecker produced the first of 48 covers for Collier’s magazine. The next year, he painted his first cover for Saturday Evening Post magazine, which was the beginning of a 44-year association with that esteemed publication. Over the course of his career, he would also paint covers for Life magazine, illustrations for a library of books, and transform advertising for such companies as B. Kuppenheimer & Co. and Interwoven Socks...

Executed for the October 26, 1912 cover of the Saturday Evening Post, Boy Holding a Pumpkin Carving of Teddy Roosevelt encapsulates J.C. Leyendecker's signature style. Bold and cheerful, the cover depicts a child proudly holding a Jack-o'-lantern he has carved in the visage of the former president. Renowned for his ability to capture the character of his models and convey a story through a single scene, Leyendecker's works are as engaging today as they were over a century ago. As the most popular and in-vogue cover artist for the Saturday Evening Post of his age, Leyendecker was commissioned to illustrate the most important editions of the publication and, most notably, the holiday issues. His Easter, New Years', Christmas and Halloween covers would become annual events for the Post’s millions of readers. This is a particularly charming example of these highly popular — and highly coveted — cover creations. Born in Germany in 1874, Leyendecker emerged as a major talent near the turn of the 20th century, becoming the most well-liked and sought-after American Illustrator of his day. In 1898, Leyendecker produced the first of 48 covers for Collier’s magazine. The next year, he painted his first cover for Saturday Evening Post magazine, which was the beginning of a 44-year association with that esteemed publication. Over the course of his career, he would also paint covers for Life magazine, illustrations for a library of books, and transform advertising for such companies as B. Kuppenheimer & Co. and Interwoven Socks...

Signed "JCLeyendecker" (lower right) Oil on canvas A robust golfer feels the strain of his next shot in this oil on canvas by the great American illustrator J.C. Leyendecker. Painted for the September 23, 1916, cover of Collier’s Magazine, The Reluctant Golfer encapsulates J.C. Leyendecker's signature style. The artist is renowned for his ability to capture the character of his models and convey a story through a single scene. His works such as this are as engaging today as they were over a century ago. The great American illustrators of the 20th century — Norman Rockwell, J.C. Leyendecker, John Philip Falter and others — often portrayed golf-themed covers for the most renowned publications of the day. The game of golf, which was introduced in the United States in the 1890s, had just begun to gain traction among middle-class Americans at the time of this painting's creation. This is not the only work on the theme that Leyendecker created; just four years later, he composed a charming scene of a caddy for the March 13, 1920, cover of the Saturday Evening Post. Even his iconic, debonair Arrow Collar Man got in on the fun, sporting golf clubs in a number of ads throughout the early 20th century. With his deliberate brushstrokes and distinctive cross-hatching technique, Leyendecker seldom overpainted his canvases, and subsequently, his works captivate the viewer as much with their omissions as the elements included. Here, Leyendecker's apprehensive golfer is accompanied only by his club and handkerchief, but these elements are all that the artist needs to set up his scene. With his uncanny talent for conveying narrative, Leyendecker successfully gives the viewer a humorous story in his distinctively uncluttered style. J. C. Leyendecker is credited for creating some of the most beloved and endearing images of his era that set the style and tone for entire generations of Americans. In 1898, Leyendecker produced the first of 48 covers for Collier’s magazine. The next year, he painted his first cover for Saturday Evening Post magazine, which was the beginning of a 44-year association with that esteemed publication. Over the course of his career, he would also paint covers for Life magazine, illustrations for a library of books and transform advertising for such companies as B. Kuppenheimer & Co. and Interwoven Socks...

These rare portraits were painted by the American master of illustration, J. C. Leyendecker, as studies for Kuppenheimer advertisements. Bold and energetic, they perfectly encapsulate Leyendecker’s signature style. Depicting a young aviator of the First World War at the left, and a vivacious young woman at right, possibly Leyendecker favorite Phyllis Frederic, these oils on canvas clearly illustrate a step in Leyendecker’s creative process. After creating rough sketches of his models in charcoal or pencil, he would select the most interesting ones, then use a grid to copy them onto a bigger board, enlarging them and experimenting with colors and position. These sketch sheets and canvases usually resembled puzzle pieces, and Leyendecker would then put the pieces together to create the final painting. A favorite with collectors, such sketches are exceptionally rare and truly delightful glimpses into Leyendecker’s work. A very similar aviator, possibly the finished work, graces the cover of the House of Kuppenheimer Fashion Catalog or "Style Book" of 1917. Joseph Christian Leyendecker was the most important American illustrator of the early 20th century. Revered by artists such as Norman Rockwell, who counted him as a personal mentor and friend, Leyendecker created the aesthetic of modern illustration, as well as two of the most iconic figures in advertising, the prize-winning Arrow Shirt Man and the News Year’s Baby. A contemporary of such illustrators as Charles Dana Gibson, N. C. Wyeth and Howard Pyle as colleagues and members of the Salmagundi Club, Leyendecker revolutionized the way products were bought and sold, and created icons that the country could identify with and rally around, especially during times of hardship and war. His style is unmistakable, combining wide, Impressionistic brushstrokes, Beaux Arts techniques, and an Asian chopmark-style signature, which alludes to his Art Nouveau influences. Born in Germany in 1874, Leyendecker immigrated to the United States with his family in 1882. His eldest brother, Adolph, became a prominent stained glass artist, and Joe, as he was called, had an early artistic calling. After studying at the Chicago Art Institute under John H. Vanderpoel, Leyendecker enrolled at the Académie Julien in 1896, where he studied for a year with his younger brother Frank in the Beaux Arts tradition. During his time here, he was exposed to and influenced by the works of Art Nouveau painters and printmakers Toulouse-Lautrec, Jules Chéret and Alphonse Mucha, with whom he formed a strong friendship. The next year, he staged his first one-man exhibition at the Salon du Champs de Mars, and made the auspicious acquaintance of Paul Gauguin. In 1898, Leyendecker produced the first of 48 covers for Collier’s magazine. The next year, he painted his first cover for Saturday Evening Post magazine, which was the beginning of a 44-year association with that esteemed publication. Over the course of his career, he would also paint covers for Life magazine, illustrations for a library of books, and transform advertising for such companies as B. Kuppenheimer & Co. and Interwoven Socks...

Date: Nov 29, 1924 Medium: Oil on Canvas Dimensions: 20.00" x 14.00" Signature: Unsigned Made for the Saturday Evening Post cover - Thanksgiving edition (Nov. 29, 1924). It is...

Medium: Oil on Canvas Signature: Unsigned Size: 27.5" x 14.75" A study for the double page Kuppenheimer ad on pages 96,97 in the book J.C. Leyendecker by Laurence S. Cutler and ...

Approximate Date: 1916 Medium: Oil on Canvas Signature: Signed Middle Left Size: 13.75" x 11.75" Thanhardt-Burger gilt frame. Painting is fully conserved. Client / Us...

Medium: Oil on Canvas Signature: Signed Lower Left Joseph Christian Leyendecker was born in Montabaur, Germany, and came to America at the age of eight. Showing an early interest in painting, he got his first job at 16 in a Chicago engraving house on the strength of some larger pictures...

Young boy with his hands in the air looking up. Joseph Christian Leyendecker was born in Montabaur, Germany, and came to America at the age of eight. Showing an early interest ...