Ten Al Hirschfeld drawings are amongst the works featured in Heritage Auctions’ Illustration Art Signature® Auction on Tuesday, April 25. The sale includes more than 400 lots, including works by iconic artists, including 13 works by Gil Elvgren, who made his name creating highly recognizable pin-ups from the 1930s to the 1970s; three works by Charles Addams, creator of The Addams Family; and three intimate studies by Joseph Christian Leyendecker, one of the most celebrated illustrators of the 20th century. These lot and the others included in this event can be found at HA.com/8114.

Highlights from this auction will preview at Heritage’s Dallas headquarters from 10AM to 5PM on both Friday, April 21, and Monday, April 24. For more information, please click here.

Among the All Hirschfeld works featured in the auction:

•          Musical Comedy or Musical Serious? - In 1957, Hirschfeld captured in one pithy and elegant composition a phenomenon that was making its way onto the Broadway stage: the serious musical. The illustration was for a New York Times Magazine article written by Pulitzer Prize-winning playwright, director, and producer George S. Kaufman that was subtitled "Musicals used to be boy and girl, song and dance, humor and happy ending. But now you can't see the chorus boys through your tears. Where will it all end?" Published six weeks after West Side Story’s Broadway debut, Kaufman poked fun at the rise of musicals that left out the comedy. This work by Hirschfeld is especially memorable in its role as the harbinger of a trend. The illustration depicts the industry schism taking place on Broadway stages by splitting the picture’s background and foreground into very different narratives: The stage in the back of the image hosts an exuberant Ziegfeld Follies-type song-and-dance number, while players in the foreground lead a chained victim to a guillotine and strangle a medical patient with a knotted rope. A lone, corked bottle of cocaine sits just out of reach. Business in the front; party in the back. The overall style is trademark Hirschfeld, with his elegant linework, lyrical treatment of the human form, and insider witticisms sprinkled throughout.