This is a great vintage magazine that features information about several artists and a lot of vintage advertising for art supplies. This is a must have if you collect the works of Peter Ellinshaw, Maxfield Parrish, Gabrial Ladderman, Hank Virginia, or Jack Flynn. The section on Parrish in particular has some very nice full color prints like the full page print of "The Mill Pond" And of course the front cover is a print of "The Good Mixer" by Maxfield Parrish as well.
Today Mother Goose is exploring two marriages in her world of nursery rhyme characters. We will compare and contrast the life and loves of two very famous couples, Mr and Mrs Jack Sprat and Mr and …
Maxfield Parrish (1870-1966) American painter and illustrator. Oil on board 34.3x39.4 cms American Illustrators Gallery, NYC
This illustration by Maxfield Parrish recently sold for $7.6 million, making somebody very wealthy. Parrish could've used some of that money toward the end of his career, when he fell out of favor with the public. After Parrish died, two rival art dealers entered into a bitter tug of war over his artwork. The battle raged in angry lawsuits from coast to coast. (cf Cutler v. Gilbert) Each dealer claimed to be protecting the Parrish legacy as charges of fraud, counterfeiting, slander, libel and profiteering flew back and forth. Among the accusations traded in the Boston Globe: One of the dealers was a "convicted swindler" who pleaded guilty to a felony. One of the dealers was selling fake Parrishes to unsuspecting buyers One of the dealers was reproducing Parrish's art without permission One of the dealers defrauded a store owner by charging $10,000 for the right to call her store the "Parrish Connection" and use the artist's signature as its logo. One of the dealers was trying to create a monopoly to control Parrish reproductions out of pure greed. One of the dealers burned down Maxfield Parrish's house Sometimes being a shrewd art dealer pays better than being a talented artist. One of these fine ladies lives in a mansion modeled partially after the palace at Versailles. The other ran several corporations (sometimes going under the pseudonym "La Contessa De La Gala"). Both were moved by the beauty of Parrish's art to fight over his copyrights like two scorpions in a bottle. Meanwhile Parrish slumbered peacefully beneath the soil. It's hardly news that illustrators are commercially exploited. Art that never found its way back to the artist from the printer today sells for hundreds of thousands of dollars. A Rockwell just sold for $15.4 million. An N.C. Wyeth sold for $2 million. Meanwhile, young illustrators face new kinds of adversity, as they struggle with clients who demand work "for spec," or find themselves competing with ready made stockhouse images. It's a difficult career. As Dan Pelavin wrote: Illustration as a career is most successfully pursued by those to whom no other option is acceptable. It takes that kind of motivation to overcome the inevitable and constant stream of obstacles. Some frankness about the nature of the illustration market and the people an illustrator will have to work for would go a long way in discouraging all but the most foolhardy and desperate from pursuing this glamorous and enviable career. So what's in it for the artist? What consolation can he or she take from this historically unfair process? I'm not sure, but I suspect the deal is that artists get to look out of their eyes onto a world like this: Perceiving the world the way an artist does may not help much when it comes to buying a house that looks like Versailles or even feeding your family, but it is not totally without its rewards. As Erica Jong wrote: In a society in which everything is for sale, in which deals and auctions make the biggest news, doing it for love is the only remaining liberty. Do it for love and you cannot be censored. Do it for love and you cannot be stopped. Do it for love and the rich will envy no one more than you. In a world of tuxedos, the naked man is king. In a world of bookkeepers with spreadsheets, the one who gives it away without counting the cost is God.
Unable to determine color tone, found both in cool and warm tones. Possibly prints issued in both. Maxfield Parrish [American painter and Golden Age Illustrator, 1870-1966] Oil on panel American Illustrators Gallery, NYC Parrish was a turn of the century artist grounded in the times of the Golden Age of illustration even though painting until he was 91 years old in 1960.
HU 118601. Private John Stewart 186707. Unit: 1st Canadian Mounted Rifles Battalion Canadian Expeditionary Force. Death: 1 October 1916 missing believed in an attack on Regina Trench Somme Western Front
Self-Portrait 1896 working on the cartoon of the poster 'Imprimerie Cassan Fils' © Mucha Trust Alphonse (Alfons) Mucha (1860 – 1939) was a Czech painter and decorative artist born in 1860 born in the town of Ivančice, Moravia. He is best known for his luxurious poster and product designs, which encapsulate the Art Nouveau style. Contemporary interest in his work was revived in 1980 after an exhibition at the Grand Palais in Paris. This part looks solely at Mucha's lithographs for "Ilsée, Princess of Tripoli." He had only three months to prepare 134 coloured lithographs before the edition was due to go to print. It was given an enthusiastic reception by the critics, Czech and German editions were later published in 1901 in Prague. For biographical notes on Mucha, and for earlier works, see part 1 also. This is part 2 of a 12-part series on the works of Alphonse Mucha. 1897 Ilsée, Princesse de Tripoli: Front Cover © Alphonse Mucha Estate-Artists Rights Society (ARS), New York-ADAGP, Paris Edition Number © Alphonse Mucha Estate-Artists Rights Society (ARS), New York-ADAGP, Paris Title page © Alphonse Mucha Estate-Artists Rights Society (ARS), New York-ADAGP, Paris © Alphonse Mucha Estate-Artists Rights Society (ARS), New York-ADAGP, Paris Part I © Alphonse Mucha Estate-Artists Rights Society (ARS), New York-ADAGP, Paris Backplate © Alphonse Mucha Estate-Artists Rights Society (ARS), New York-ADAGP, Paris Backplate © Alphonse Mucha Estate-Artists Rights Society (ARS), New York-ADAGP, Paris Backplate © Alphonse Mucha Estate-Artists Rights Society (ARS), New York-ADAGP, Paris Page 15 © Alphonse Mucha Estate-Artists Rights Society (ARS), New York-ADAGP, Paris Page 19 © Alphonse Mucha Estate-Artists Rights Society (ARS), New York-ADAGP, Paris Page 21 © Alphonse Mucha Estate-Artists Rights Society (ARS), New York-ADAGP, Paris Page 24 © Alphonse Mucha Estate-Artists Rights Society (ARS), New York-ADAGP, Paris Page 25 © Alphonse Mucha Estate-Artists Rights Society (ARS), New York-ADAGP, Paris Page 27 © Alphonse Mucha Estate-Artists Rights Society (ARS), New York-ADAGP, Paris Page 30 © Alphonse Mucha Estate-Artists Rights Society (ARS), New York-ADAGP, Paris Page 31 © Alphonse Mucha Estate-Artists Rights Society (ARS), New York-ADAGP, Paris Page 32 © Alphonse Mucha Estate-Artists Rights Society (ARS), New York-ADAGP, Paris Page 33 © Alphonse Mucha Estate-Artists Rights Society (ARS), New York-ADAGP, Paris Page 34 © Alphonse Mucha Estate-Artists Rights Society (ARS), New York-ADAGP, Paris Page 35 © Alphonse Mucha Estate-Artists Rights Society (ARS), New York-ADAGP, Paris Page 38 © Alphonse Mucha Estate-Artists Rights Society (ARS), New York-ADAGP, Paris Page 45 © Alphonse Mucha Estate-Artists Rights Society (ARS), New York-ADAGP, Paris Page 46 © Alphonse Mucha Estate-Artists Rights Society (ARS), New York-ADAGP, Paris Page 49 © Alphonse Mucha Estate-Artists Rights Society (ARS), New York-ADAGP, Paris Page 51 © Alphonse Mucha Estate-Artists Rights Society (ARS), New York-ADAGP, Paris Page 52 © Alphonse Mucha Estate-Artists Rights Society (ARS), New York-ADAGP, Paris Page 53 Part II Chapter I heading © Alphonse Mucha Estate-Artists Rights Society (ARS), New York-ADAGP, Paris Page 54 © Alphonse Mucha Estate-Artists Rights Society (ARS), New York-ADAGP, Paris Page 55 © Alphonse Mucha Estate-Artists Rights Society (ARS), New York-ADAGP, Paris Page 57 © Alphonse Mucha Estate-Artists Rights Society (ARS), New York-ADAGP, Paris Page 58 © Alphonse Mucha Estate-Artists Rights Society (ARS), New York-ADAGP, Paris Page 60 © Alphonse Mucha Estate-Artists Rights Society (ARS), New York-ADAGP, Paris Page 62 © Alphonse Mucha Estate-Artists Rights Society (ARS), New York-ADAGP, Paris Page 63 © Alphonse Mucha Estate-Artists Rights Society (ARS), New York-ADAGP, Paris Page 64 © Alphonse Mucha Estate-Artists Rights Society (ARS), New York-ADAGP, Paris Page 66 © Alphonse Mucha Estate-Artists Rights Society (ARS), New York-ADAGP, Paris Page 71 © Alphonse Mucha Estate-Artists Rights Society (ARS), New York-ADAGP, Paris Page 72 © Alphonse Mucha Estate-Artists Rights Society (ARS), New York-ADAGP, Paris Page 73 © Alphonse Mucha Estate-Artists Rights Society (ARS), New York-ADAGP, Paris Page 79 © Alphonse Mucha Estate-Artists Rights Society (ARS), New York-ADAGP, Paris Page 81 Part II Chapter III heading © Alphonse Mucha Estate-Artists Rights Society (ARS), New York-ADAGP, Paris Page 85 © Alphonse Mucha Estate-Artists Rights Society (ARS), New York-ADAGP, Paris Page 89 © Alphonse Mucha Estate-Artists Rights Society (ARS), New York-ADAGP, Paris Page 90 © Alphonse Mucha Estate-Artists Rights Society (ARS), New York-ADAGP, Paris Page 92 © Alphonse Mucha Estate-Artists Rights Society (ARS), New York-ADAGP, Paris Page 95 © Alphonse Mucha Estate-Artists Rights Society (ARS), New York-ADAGP, Paris Page 98 © Alphonse Mucha Estate-Artists Rights Society (ARS), New York-ADAGP, Paris Page 101 © Alphonse Mucha Estate-Artists Rights Society (ARS), New York-ADAGP, Paris Page 107 © Alphonse Mucha Estate-Artists Rights Society (ARS), New York-ADAGP, Paris Page 109 © Alphonse Mucha Estate-Artists Rights Society (ARS), New York-ADAGP, Paris Page 119 © Alphonse Mucha Estate-Artists Rights Society (ARS), New York-ADAGP, Paris Page 121 © Alphonse Mucha Estate-Artists Rights Society (ARS), New York-ADAGP, Paris Page 123 © Alphonse Mucha Estate-Artists Rights Society (ARS), New York-ADAGP, Paris Page 125 © Alphonse Mucha Estate-Artists Rights Society (ARS), New York-ADAGP, Paris Page 127 © Alphonse Mucha Estate-Artists Rights Society (ARS), New York-ADAGP, Paris
English holder of the water speed record Donald Campbell with his fiancee Tonia Bern.
HU 127948. Lieutenant C W Wright. Unit: Saskatchewan Regiment Canadian Expeditionary Force.
In January 2013, Peter Maxfield, the Sherwood Community Action Officer commissioned me to create a mosaic on behalf of the Sherwood Ward Councillors for Nottingham in Bloom. http://www.nottinghaminbloom.co.uk/ The original idea was sparked from Karen Taylor who owns The Textile Workshop in Sherwood, she wanted something to brighten up the front of her newly opened Cookery School on Mansfield Road. http://www.thetextileworkshop.co.uk/ "Edible Britain" is the Nottingham in Bloom theme for 2013 so what could be a more appropriate location for the mosaic than on the pillars at the entrance of The Cookery School. As I work for Karen teaching Mosaic for Central College in the building itself above The Cookery School, she allowed me to work on the mosaic in the workshop when it was available. http://www.centralnottingham.ac.uk/ The mosaic itself took six months to create, working one or two days a week, until the last three weeks when I was flat out working on the street installing the mosaic, some evenings until 9 pm. I have photographed the progress of this last stage. 18/6/13 Precariously balanced, cleaning and sanding the pillars. Mosaic sections had been created by gluing the materials onto flexible mesh allowing it to wrap around the pillars. Here I am laying the mosaic sections on top of the original drawing just to make sure it all fits together!! All the pieces on top, phew, it does fit! The first section, the pot of strawberries firmly attached using frost proof adhesive. Plastering the adhesive on the wall ready for the artichokes. 25/6/13 All stuck on and left to dry overnight I began grouting using dark grey frost proof grout. This is after I have washed several times, they are so sore! 3/7/13 After two and a half weeks of sticking, grouting and cleaning I can finally put the finishing touch of sky blue paint on the background. Nottingham in Bloom judges are coming tomorrow! Close up's of the pillars, finally completed on the morning of the 4th.
Peter Wileman
Private Ernest Edward Williams 108630. Unit: Grenade Section, A Squadron, 1st Canadian Mounted Rifles Battalion. Death: 03 June 1916 Missing CWGC DOD 6 Jun 1916
Image size: 1600 x 1081 pixel. 639 KB Date: Saturday, 29 July 1944 Place: Le Gast, Basse-Normandie, France Photographer: Frank Scherschel American troops stand guard behind young German Heer (Army) soldiers captured near the town of Le Gast during the Normandy invasion, June 1944. Although the branch color seems to not match up (happened often), it's a high chance that these guys are from Panzergrenadier-Regiment 156, part of the 116. Panzer Division "Der Windhund". It is the fifth day of the Operation Cobra which, since the day before, seriously made progress the American troops which infiltrated with more than thirteen kilometers inside the German lines. On July 29, three principal axes of attack are distinguished: to the West, the 3rd Armoured division progresses in direction of the South of the town of Coutances, attacked the day before and liberated this day. In the center and the East of the opening, the 2nd Armoured division progresses towards Saint-Denis-le-Gest and Villebaudon. The Germans try to gather on the line more connecting the villages of Brehal and Cerences to the West and Percy in the East. This line is called the "Weisse Linie" (White Line). However, many soldiers belonging to the 84th Corps are encircled in the surroundings of Roncey by the 2nd and the 3rd American armoured divisions. Columns of vehicles try to escape from the surrounding and move towards Coutances but it is too late. Three American divisions attack the pocket and reduce it by violent bombardments. Nearly 1,500 German soldiers are put out of fight and 4,000 others are prisoners. The American forces wish to continue to attack the German troops and to destroy them. They also want to attack the "White Line" installed by the infantry and Panzer SS divisions. At the evening of July 29, the American forces reaches in the South the villages of Cerences, Cambry, Lengronne, Saint-Denis-le-Gast. The 2nd Armoured division attacks in direction of Percy.From D-Day until Christmas 1944, German prisoners of war were shipped off to American detention facilities at a rate of 30,000 per month! It’s no mystery why images of unremitting violence spring to mind when one hears the deceptively simple term, “D-Day.” We’ve all seen — in photos, movies, old news reels — what happened on the beaches of Normandy (codenamed Omaha, Utah, Juno, Gold and Sword) as the Allies unleashed an historic assault against German defenses on June 6, 1944. But in color photos taken before and after the invasion, LIFE magazine’s Frank Scherschel captured countless other, lesser-known scenes from the run-up to the onslaught and the heady weeks after: American troops training in small English towns; the French countryside, implausibly lush after the spectral landscape of the beachheads; the reception GIs enjoyed en route to the capital; the jubilant liberation of Paris itself. As presented here, in masterfully restored color, Scherschel’s picture feel at-once profoundly familiar and somehow utterly, vividly new. A note on the photographer: Frank Scherschel (1907-1981) was an award-winning staff photographer for LIFE well into the 1950s. His younger brother Joe was a LIFE photographer, as well. In addition to the Normandy invasion, Frank Scherschel photographed the war in the Pacific, the 1947 wedding of Princess Elizabeth, the 1956 Democratic National Convention, collective farming in Czechoslovakia, Sir Winston Churchill (many times), art collector Peggy Guggenheim, road racing at Le Mans, baseball, football, boxing, a beard-growing contest in Michigan and countless other people and events, both epic and forgotten. Source: LIFE magazine http://life.time.com/history/d-day-rare-color-photos/attachment/1268272/
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LIFE.com presents masterfully restored color photos from England and France in 1944 that feel at-once familiar and utterly new.
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In January 2013, Peter Maxfield, the Sherwood Community Action Officer commissioned me to create a mosaic on behalf of the Sherwood Ward Councillors for Nottingham in Bloom. http://www.nottinghaminbloom.co.uk/ The original idea was sparked from Karen Taylor who owns The Textile Workshop in Sherwood, she wanted something to brighten up the front of her newly opened Cookery School on Mansfield Road. http://www.thetextileworkshop.co.uk/ "Edible Britain" is the Nottingham in Bloom theme for 2013 so what could be a more appropriate location for the mosaic than on the pillars at the entrance of The Cookery School. As I work for Karen teaching Mosaic for Central College in the building itself above The Cookery School, she allowed me to work on the mosaic in the workshop when it was available. http://www.centralnottingham.ac.uk/ The mosaic itself took six months to create, working one or two days a week, until the last three weeks when I was flat out working on the street installing the mosaic, some evenings until 9 pm. I have photographed the progress of this last stage. 18/6/13 Precariously balanced, cleaning and sanding the pillars. Mosaic sections had been created by gluing the materials onto flexible mesh allowing it to wrap around the pillars. Here I am laying the mosaic sections on top of the original drawing just to make sure it all fits together!! All the pieces on top, phew, it does fit! The first section, the pot of strawberries firmly attached using frost proof adhesive. Plastering the adhesive on the wall ready for the artichokes. 25/6/13 All stuck on and left to dry overnight I began grouting using dark grey frost proof grout. This is after I have washed several times, they are so sore! 3/7/13 After two and a half weeks of sticking, grouting and cleaning I can finally put the finishing touch of sky blue paint on the background. Nottingham in Bloom judges are coming tomorrow! Close up's of the pillars, finally completed on the morning of the 4th.
In January 2013, Peter Maxfield, the Sherwood Community Action Officer commissioned me to create a mosaic on behalf of the Sherwood Ward Councillors for Nottingham in Bloom. http://www.nottinghaminbloom.co.uk/ The original idea was sparked from Karen Taylor who owns The Textile Workshop in Sherwood, she wanted something to brighten up the front of her newly opened Cookery School on Mansfield Road. http://www.thetextileworkshop.co.uk/ "Edible Britain" is the Nottingham in Bloom theme for 2013 so what could be a more appropriate location for the mosaic than on the pillars at the entrance of The Cookery School. As I work for Karen teaching Mosaic for Central College in the building itself above The Cookery School, she allowed me to work on the mosaic in the workshop when it was available. http://www.centralnottingham.ac.uk/ The mosaic itself took six months to create, working one or two days a week, until the last three weeks when I was flat out working on the street installing the mosaic, some evenings until 9 pm. I have photographed the progress of this last stage. 18/6/13 Precariously balanced, cleaning and sanding the pillars. Mosaic sections had been created by gluing the materials onto flexible mesh allowing it to wrap around the pillars. Here I am laying the mosaic sections on top of the original drawing just to make sure it all fits together!! All the pieces on top, phew, it does fit! The first section, the pot of strawberries firmly attached using frost proof adhesive. Plastering the adhesive on the wall ready for the artichokes. 25/6/13 All stuck on and left to dry overnight I began grouting using dark grey frost proof grout. This is after I have washed several times, they are so sore! 3/7/13 After two and a half weeks of sticking, grouting and cleaning I can finally put the finishing touch of sky blue paint on the background. Nottingham in Bloom judges are coming tomorrow! Close up's of the pillars, finally completed on the morning of the 4th.
