Original artwork in pencil, ink, tempera and silver pen on paper, being the original design for the popular Broadway poster issued in 1974 in a variety of colors. Signed lower right "Hilary / Knight/ 1974." In fine condition with a few areas of ink slightly showing through from verso. Nicely matted and framed with Triton gallery, NY label to verso. 11.8 x 17.7 inches (30 x 45 cm) framed to an overall size of 18.9 x 25 inches (48 x 64 cm). Together with an original invitation to the Triton Gallery "Original Sketches and Posters for the Theatre" Knight show opening, with the pink poster version of this design printed to recto; and the Triton Gallery show price list, listing the present work as "P-5 'Pink Broadway' Sketch." Provenance: Triton Gallery; Collection of Paul McMahon, critic, photographer and artist who worked for more than 13 years touring with Marlene Dietrich as the icon’s stage manager, announcer, dresser, secretary and escort, and later spent 25 years as an arts and entertainment reviewer and photographer.
A fine example from the American writer and artist, illustrator of more than 50 books and author of nine, best known as the illustrator and co-creator of Kay Thompson's Eloise (1955) and others in the Eloise series.
Knight’s illustration career on Broadway began in 1965 when he was hired by producer Harry Rigby to create the poster artwork for the musical Half A Sixpence. Subsequent Broadway work included posters and/or playbills for No, No, Nanette (1971), Good News (1974), Gypsy (1974), I Love My Wife (1977), Ain’t Misbehavin’ (1978), Whoopee! (1979), Mame (1983), Meet Me in St. Louis (1989), and Busker Alley (1995), among other productions.
The vivid colors, kinetic figures, and dynamic composition in Knight’s imaginative illustrations were perfect for capturing the excitement and showmanship of Broadway musicals. Upon attending the 1974 exhibition of Knight’s Broadway artwork on display at the Triton Gallery in New York’s Theatre District at which the present work was originally sold, fashion publicist Eleanor Lambert wrote, “The [private opening] of the show was such a crush of theatre biggies, from Ethel Merman to Jane Powell to Debbie Reynolds, Alice Faye, and Leslie Uggams, that we gave up trying to pry our way to the door.”
In Vanity Fair’s April and May 2011 issues, Knight provided sketches for a feature titled “Hilary Knight’s Broadway.” In 2017, The New York Public Library for the Performing Arts at Lincoln Center celebrated Knight’s contributions to Broadway in the exhibition, Hilary Knight’s Stage-Struck World.
Original artwork in pencil, ink, tempera and silver pen on paper, being the original design for the popular Broadway poster issued in 1974 in a variety of colors. Signed lower right "Hilary / Knight/ 1974." In fine condition with a few areas of ink slightly showing through from verso. Nicely matted and framed with Triton gallery, NY label to verso. 11.8 x 17.7 inches (30 x 45 cm) framed to an overall size of 18.9 x 25 inches (48 x 64 cm). Together with an original invitation to the Triton Gallery "Original Sketches and Posters for the Theatre" Knight show opening, with the pink poster version of this design printed to recto; and the Triton Gallery show price list, listing the present work as "P-5 'Pink Broadway' Sketch." Provenance: Triton Gallery; Collection of Paul McMahon, critic, photographer and artist who worked for more than 13 years touring with Marlene Dietrich as the icon’s stage manager, announcer, dresser, secretary and escort, and later spent 25 years as an arts and entertainment reviewer and photographer.
A fine example from the American writer and artist, illustrator of more than 50 books and author of nine, best known as the illustrator and co-creator of Kay Thompson's Eloise (1955) and others in the Eloise series.
Knight’s illustration career on Broadway began in 1965 when he was hired by producer Harry Rigby to create the poster artwork for the musical Half A Sixpence. Subsequent Broadway work included posters and/or playbills for No, No, Nanette (1971), Good News (1974), Gypsy (1974), I Love My Wife (1977), Ain’t Misbehavin’ (1978), Whoopee! (1979), Mame (1983), Meet Me in St. Louis (1989), and Busker Alley (1995), among other productions.
The vivid colors, kinetic figures, and dynamic composition in Knight’s imaginative illustrations were perfect for capturing the excitement and showmanship of Broadway musicals. Upon attending the 1974 exhibition of Knight’s Broadway artwork on display at the Triton Gallery in New York’s Theatre District at which the present work was originally sold, fashion publicist Eleanor Lambert wrote, “The [private opening] of the show was such a crush of theatre biggies, from Ethel Merman to Jane Powell to Debbie Reynolds, Alice Faye, and Leslie Uggams, that we gave up trying to pry our way to the door.”
In Vanity Fair’s April and May 2011 issues, Knight provided sketches for a feature titled “Hilary Knight’s Broadway.” In 2017, The New York Public Library for the Performing Arts at Lincoln Center celebrated Knight’s contributions to Broadway in the exhibition, Hilary Knight’s Stage-Struck World.