AD rounds up must-see art exhibitions that are ending soon

4th Annual San Marino Motor Classic

The Art Deco movement influenced design and marketing in many different industries in the 1930s, and the motor industry was no exception. During the

The Dutch have been producing quite high quality advertising posters from about the 1870s to the present day. I've managed to source so many that I will post these in two series: Posters from 1875 to 1935, and at a later date a series of posters from 1875 to 1987. Individual artists biographical notes given where found. This is part 4 of 7 parts on Dutch Posters 1875-1935: 1900-25 Verzekert uw Rijwiel Gedurende het Transport per Spoor 1900-25 Vesta 1900-25 Vlinderdag!! 1900-25 Vondel's Adam in Ballingschap. Artist: Josef Verneye 1900-25 Vraagt Palermo's Citroen-Huishoudjam 1900-25 W. Hoogenstraaten & Co 1900-25 Wascholine Zeeppoeder 1900-25 Zacherlin wordt slechts afgeleverd in flesschen met den naam "Zacherl" 1900-25 Zeep en Zeeppoeder 1900-25 Zòò Smaakt Thee der Firma J. & A.C. van Rossem Artist: H.A. Ravenswaay 1901-02 Dienstregeling Fop Smit & Co. Watertochtjes 1902 Tentoonstelling Hobbe Smith Pulchri Studio Den Haag 1905-06 Ibata 1905-15 Victoria-Bron Oberlahnstein bij Ems Artist: Nathaniel Sichel Nathaniel Sichel (1843-1907) Sichel's artistic career began at the Royal Academy of Art in Munich, where he was trained in the academic tradition by Julius Schrader. He continued his studies in Paris at the École des Beaux Arts, where he won the prestigious Prix de Rome in 1864 with a painting entitled “Joseph explains the dreams of the Pharaoh.” This work solidified his reputation as a painter of Orientalist and historical subjects. Among these, he is mostly known for his depictions of Oriental beauties, dressed in opulent soctumes and adorned with gold coins and jewellery. 1905-20 Nieuwe Goedkope Uitgave Flammarion Het Weer en de Dampkring 1906 Bondsfeesten Dordrecht 1906 Exposition Internationale des Beaux-Arts à Maestricht 1906 Tentoonstelling van Automobielen 1907-08 Dept. Arnhem. Maatschappij van Nijverheid Artist: Daniël Hoeksema Daniël Hoeksema was a pioneer of Dutch comics. Born and raised in Groningen, he relocated to Amsterdam in 1901. From 1908 on, he was an illustrator of children’s books. He is considered one of the first Dutch comic artists, mainly due to his many strips for magazines and his “How-to-Draw” booklets. 1908 Internationale Reclame Tentoonstelling 1909 Oud-Hollandsch marktplein Artist: A. Kristians Antonius Johannes Kristians was an Amsterdam etcher, painter, graphic artist and designer of book covers. He attended the State Academy of Fine Arts in Amsterdam. Kristians lived in the famous Parisian district Montmartre for almost a decade, where he met and befriended great painters such as Maurice Utrillo and Odilon Redon. After, he moved to The Hague and Amsterdam, where he would spend most of his life. He created political drawings for satirical magazines, portraits, landscapes and designs for book covers. He was one of the founding members of artist association 'De Onafhankelijken'. According to critics, his first works remind of The Fauves and the synthetic cubism of George Braque. 1909 Tentoonstelling van Huisindustrie in het Gebouw Velox te Amsterdam Artist D.H. Meck 1909-10 Hall Caine's Artist: Lawson Wood Lawson Wood (1878-1975) was an accomplished cartoonist, illustrator and poster designer. He gained great popularity with his humorous illustrations of animals, including dinosaurs and monkeys. The ginger ape, Gran’pop, proved a particular favourite on both sides of the Atlantic. Wood received lessons in art from his father before studying intermittently in London at the Slade School of Art, under Fred Brown and Henry Tonks, and then at Heatherley’s School of Fine Art. Working in a freelance capacity from 1902, Wood became an accomplished poster designer and drew cartoons for a number of periodicals, including The Bystander, Fry’s Magazine, The Graphic, Nash’s Magazine, Punch and The Strand Magazine. 1910 Alber's Mélange Artist: Kees Roovers Kees Roovers (1890 - 1978) was a Dutch painter. His work was part of the painting event in the art competition at the 1932 Summer Olympics. 1910 Verkade Waxine Nachtlicht Artist: D.H. Kramer 1910-20 Dobbelmann’s Goldhair Cigaretten 1910-20 Molenaar’s Kindermeel 1911 Paljas Artist: Ton van Tast Ton van Tast (1884 - 1975) was a Dutch artist who was born in 1884 as Anton van Der Valk. He started using the pseudonym Ton van Tast from 1919. From 1923 to 1948, Van Tast weekly reflected on current events in newspaper Haagsche Post through a full-page comical cartoon. 1913 2e tentoonstelling Artist: Piet dan der Hem 1913 De Hollandsche Revue Artist: Willy Sluiter 1913 Groote Provinciale Tuinbouw tentoonstelling 1913 Nationale en Internationale Tentoonstelling Sport en Toerisme 1913 Tegen de Tariefwet Artist: Leendert Jordaan 1913 Tentoonstelling van Kleine Automobielen & Motorrijwielen Artist: Winter 1913 Tentoonstelling Zeeuwsche kleederdrachten Artist: F.P. D'Huy 1914 Gelukkig 1914 Artist: Arnold van Roessel 1914 Gooische Markt Artist: Pol Dom 1914 Internationale Bakkerij Tentoonstelling Amsterdam 1914 Internationale Reclame Tentoonstelling 1914 Koloniale Tentoonstelling Semarang 1914 Artist: Albert Hahn Albert Hahn Jr. (1894 Amsterdam -) was one of the main cartoonists for the Dutch satirical weekly De Notenkraker in the 1920s and 1930s. He also produced propaganda artwork for the Dutch social-democractic party SDAP. 1916 St. Nicolaas, Kerstfeest 1916 Gadurol Artist: Willy Sluiter 1916 De Fluitende Pelikaan Artist: Jacob Doeser 1916 Amor aan't Werk Artist: Arnold van Roessel 1915-30 Pope met Getrokken Draad 1915-25 Ontwapening. Vrouwen, Strijdt Mee - Steun de S.D.A.P. 1915 Vereeniging tot Bevordering van Beeldende Kunsten Artist: Willy Sluiter 1915 Poppen tentoonstelling 1915 Landbouwers ! Levert Koren Spoedig en Veel aan de Regeering Artist"Willy Sluiter 1915 Cabaret Maxim Jacob Doeser (1884 Utrecht - ) Illustrator, painter and lithographer. Jacobus Johannus Doeser lived and worked in Laren, Utrecht, Zandvoort, Noorwijk, Paris, and Leipzig. In 1940 he settled in Bennekom. It is quite clear that Vincent van Gogh, whose work only became more widely known at the beginning of the 20th century, was an inspiring example for Jacobus Doeser. 1914 Vrede van Munster 1914 Spyker Automobiles Artist: Piet van der Hem 1914 Spyker Automobiles Artist: Piet van der Hem

What a cracking advert for the 'modern' force of electricity. The West Midlands Joint Electricity Authority was one of the very few post-WW1 'joint boards' set up and merged the generating capacity various borough electrical departments, including Shrewsbury, Cannock, Walsall, West Bromwich and Wolverhampton, with the privately owned Midlands Electricity Corporation to rationalise and improve generation and supply - the WMJEA built the 'super station' known as Ironbridge A adjacent to the Severn-side Ironbridge B station that still generates. The vignettes are very 'period' and remind me of the illustrations commissioned by the Southern Railway at the time for their electrification programme.

Photos, history and profile of the ex-Ecurie France 1935 Delahaye 135 S that raced at Le Mans in 1937, 1938, and 1939.

An awesome collection of epic supercar pictures and galleries. Enjoy the beauty, aggression and outright strinking nature of the best cars on the planet.

The Story of a Salmon Flydresser Megan Boyd is considered to have been one of the world's finest salmon flytyers and she is the subject of the film 'Kiss the Water'. She was born in 1915, and was brought up in the Highlands of Scotland where her father was a bailiff on the River Brora. She began taking flytying lessons at the age of twelve and soon gained a reputation for tying beautiful feather-wing flies which were extra-ordinarily durable and lasted many seasons. In 1935, at the age of twenty, Megan left home and moved into a small cottage near Brora where she lived without electricity or running water until the 1980s. Visiting anglers from all over the world who came to fish the Highland rivers for salmon would stop by her cottage to watch her tie flies and place orders. Availability: Illustrations: 14 Black & white photographs, 34 Colour photographs Pages: 128 Published: Sep 01, 2016 ISBN: 9781910723241 About the Author: Derek Mills was involved in fisheries research and teaching for over 60 years. Following eight years running a salmon research scheme on the river Conon basin, he was awarded a Ph.D. by London University and in 1965 was appointed to the staff of Edinburgh University. He was the former Chairman of the scientific research committee of the Atlantic Salmon Trust, chairman of the Scottish Branch of the Institute of Fisheries Management, a trustee of the Tweed Foundation and a Tweed Commissioner. For his extensive salmon research, he was awarded a D.Sc. by the University of Edinburgh. He died in January 2018 at his home in Melrose in the Scottish Borders. Jimmy Younger started as an apprentice flydresser in Kelso in 1955, later working for other companies until he helped set up a flydressing company ‘Sutherland Fly’ in Helmsdale and became the manager/tutor. In 1969 he won The Professional Class of the Fly Dressers Guild competition and set up a flydressing enterprise in Hong Kong where he and his wife stayed for six years before returning to Sutherland. Here he started up his own company, Anglercraft, and met Megan Boyd as they were both flydressers. Shortly before Megan died she passed over all her flytying material, papers and documents to Jimmy. Jimmy died in April 2017.

See also: Ginza at Night, c. 1935. Night view of Shibuya Station, c. 1960. View of Shinjuku at Night, c. 1960. "The Tokyo street scene is best at night, like a fashionable beauty. Electric light is cheap and competition is keen, and the Ginza at night is more like foreign fireworks than a busy shopping

July 1936 issue (from my collection). It is well-documented in books by and about Julius Shulman that he met architect Richard Neutra on March 5, 1936. On that fateful day they discussed Shulman's Kun House photos taken a week or so earlier on a site visit with his sister's tenant who happened to be a Neutra draftsman. Neutra was impressed enough by Shulman's photos to offer him work on some initial assignments and introduce him to other architects in his circle including R. M. Schindler and Raphael Soriano. What is not well-known is the actual date of the first publication of a Shulman architectural photograph after what Shulman describes as the official beginning of his career in architectural photography. My exhaustive research on both Shulman and Neutra's careers leads me to believe that the July, 1936 issue of Architectural Forum (see above and below) is the publication having the honor with the article "Plywood House, Richard J. Neutra, Architect." Shulman understandably could not recall so inscribed my copy "Early Publication." (click on image below right to highlight). Architectural Forum, July, 1936. (from my collecction). Neutra designed his now famous Plywood Demonstration House for the above 1936 California House and Garden Exhibition at 5900 Wilshire Blvd. in the Miracle Mile district where now sits the Mutual Benefit Plaza complex designed by William L. Pereira & Associates. It was located directly across the street from where now resides the Los Angeles County Museum of Art. Described as the Moderne House in the voluminous ads and literature surrounding the exhibition (see typical ad below), it was on display with two houses by Paul Williams (French House and Steel House), and one each by John Byers and Edla Muir (New Orleans House) and Winchton Risley (California Cottage). Neutra, the consummate self-promoter and realizing the importance of this project to his career, hedged his bets and commissioned both Arthur Luckhaus and Shulman to photograph the house. Architectural Digest also hired Mott Studios to photograph for an 11-page spread in Architectural Digest. (See below). View of the California House & Garden Exhibition from the deck of Neutra's Plywood Demonstration House, Architectural Digest, ,Vol. IX, No. 3, 1936, p. 19). One of many 1936 ads marketing the exhibition with the Luckhaus exterior photo. The house was designed to be easily moved because all of the exhibition houses were raffled off at the end of the show. It's storied history began when John Entenza's father's law partner, Stella Gramer, was the lucky winner of the Neutra house. At the time she had just commissioned Harwell Hamilton Harris to design her a house, likely on Entenza's recommendation. She scuttled those plans and instead hired Harris to design the foundation and oversee movement and placement of the house on her lot located at 427 Beloit Avenue in Brentwood Glen where it still exists. (For much more on this see my California Arts & Architecture: A Steppingstone to Fame: Harwell Hamilton Harris and John Entenza: Two Case Studies). Plywood Demonstration House model by Stanton B. Coffin, 1939 for Museum of Modern Art exhibition "Art in Our Time." Richard Neutra Architect, 1936. ("Modern-Style Home," Los Angeles Times, May 21, 1939, p. V-4). The house made a splash in the Big Apple in 1939 due to to the Museum of Modern Art's inclusion of a model (see above) in it's important "Art in Our Time" exhibition (see below) celebrating the Museum's 10-year anniversary and the move into it's new building at 11 W. 53rd Street. (Art in Our Time, Museum of Modern Art, 1939, p. 303). The house was later purchased in 1943 by noted modernist architect Maynard Lyndon where he lived until he moved into a house he designed for himself in Malibu in 1949. The house was next purchased by noted abstract artist William Brice, son of actress Fanny Brice and gangster Nicky Arnstein who brought Neutra back to design him a separate studio. (Seidenbaum, A., "How can you call a smooth slab 'Love in Italian'?" Los Angeles Times, May 28, 1967, p. I30). Marquee for Museum of Modern Art Exhibition, 1939. (Art in Our Time by Glenn Lowry, Museum of Modern Art, 2004). Neutra marketed the Plywood House with zeal globally. My 8,000 item Julius Shulman Bibliography lists the house no less than 26 times (see below) and my 5,000 item Richard Neutra Bibliography has 52 listings mainly because of the joint use of Shulman and Luckhaus to document the project. Like many of Neutra's projects, this single house has become a subject of study due to the amount of publicity generated by his promotional efforts. Another worthy field of study is Neutra's progression of principal photographers from Willard D. Morgan to Arthur Luckhaus to Julius Shulman and why he used both Luckhaus and Shulman on numerous projects from the late 1930s to the early 1940s. I would greatly appreciate any feedback if anyone can provide an earlier Shulman publication or any other comments on this post. Publications of Richard Neutra’s Plywood Demonstration House With Julius Shulman Photos (1936). "Exhibition House Group, Los Angeles, California, Plywood House, Richard J. Neutra, Architect." Architectural Forum 65(1, Jul): 38-39. (1936). "Plywood Model House, Los Angeles, California, Richard J. Neutra, Architect." American Architect and Architecture 149(Sep): 24-5. (1936). "Super-Plywood Model House, Los Angeles, Cal., Arch. Richard J. Neutra." Kokusai Kenchiku XII(10, Oct): 270-4. (1937). 42. "Plywood House, Richard J. Neutra, Architect. The 1938 Book of Small Houses. E. o. T. A. Forum. New York, Simon & Schuster: 60-1. (1937). "Details: Windows." House & Garden(Mar): 123. (1937). "A House of Plywood Designed by Richard Neutra." Building(Apr): 166-168. (1937). "Modernistic Type of Dwelling on Display." Los Angeles Times(Mar 7): E-1. (1937). "A plywood house." Architect & Building News 9(Jul). (1938). "Comparative Details 41: Modern Fireplaces." Pencil Points XIX(10, Oct): 665. (1939). Art in Our Time. New York, Museum of Modern Art. (1939). Art in Our Time: An Exhibition To Celebrate The Tenth Anniversary Of The Museum Of Modern Art And The Opening Of Its New Building Held During The New York World's Fair [exhibition catalog]. New York, Museum of Modern Art. (1939). "Show Architect's Work: Designs by Richard Neutra Are on Exhibition at Pedac [Exhibition]." New York Times(Jul 2): RE4. (1939). "Modern-Style House." Los Angeles Times(May 21): V-4. (1940). "Styled Doors in the Richard Neutra House [American Plywood Corp. ad]." California Arts & Architecture(Dec): 5. (1945). "Numero dedicado a la obra de Richard J. Neutra." Revista de Arquitectura 30(299): 420-454. (1946). "Richard J. Neutra [Special Neutra Issue]." L'Architecture d'Aujourd'hui 16(6, Jun). Forum, E. o. T. A. (1937). The 1938 Book of Small Houses. New York, Simon & Schuster. Harrison, H. R. (1937). "Richard J. Neutra: A Center of Architectural Stimulation." Pencil Points XVIII(7, Jul): 407-438. Hines, T. S. (1984). "Neutra's all-plywood house: a design for an affordable home by one of the international style's most influential architects." Fine homebuilding(19, Feb-Mar): 28-33. Hines, T. S. (1989). Case Study Trouve: Sources and Precedents: Southern California, 1920-1942. Blueprints for Modern Living: History and Legacy of the Case Study Houses. E. A. T. Smith. Cambridge, MA, MIT Press: 82-105. Leatherbarrow, D. (2004). Topographical Stories: Studies in Landscape and Architecture, University of Pennsylvania Press. Lyndon, D. (2007). The Maynard Lyndon House Malibu. West Coast Residential: The Modern and the Contemporary. Vancouver, BlueImprint. McCoy, E. (1968). "Neutra." Los Angeles Times Home Magazine(Feb 11): Cover, A8, A14 (18 pages). Neutra, R. (1940). "Research on design of dwelling units with regard to regional differentiation." South African Architectural Record 25(2, Feb): Cover, 33-56. Neutra, R. (1959). "A Vista Beyond the Present Stage of Asbestos-Cement Application." International Asbestos-Cement Review(15): 4-7. Neutra, R. J. (1938). "How America builds 1937-38: influences on the trend of building design." Architectural Record 83(1, Jan): 60-63. Neutra, R. J. (1946). "Circunstancias que impiden el nuevo diseno constructivo." Revista de Arquitectura 31(Feb): 52-57.

André Delatte A very rare French art deco lamp made around 1925-1930 by André Delatte. This tiny lamp is done in hand blown colored glass in a wrought iron frame. In this manner Delatte made a series of small vases. These vases are a hard find. I never encountered a version as miniature lamp before. Like most of the vases this lamp is unsigned. It is only 11,8 cm (4,65 inches) high and some 6,8cm wide (2,7 inches). the lamp is in excellent condition. It is rewired with cloth covered twisted cord. I placed an American candelabra base socket and US 2-prong plug. An electrical bulb is not included. You will have to place a very small 110 volt one. André Delatte was the banker of Muller frères. He became enthusiastic about glassware in the Muller plant and picked up a study in chemistry. After which he opened in 1921 his own glass manufactory Verreries de l'Est in Jarville near the city of Nancy producing mainly vases and lamp shades in colored mottled glass. In 1926 he moved to a larger factory in Nancy. Due to the crisis and the tough competition with Daum the company closed in 1933. Then Delatte together with the industrialist Georges Despordes opened a new glass workshop in the village Rive-de-Gier near Lyon. The new company was named "Art et Verrerie". Pieces produced at this plant were signed "Arvers". It was not a commercial success. Times had changed and war was in the air. And the company soon went bankrupt. From 1935 till 1937 he worked at the artistic department of the SEVBA glass factories. Delatte moved to the south of France and after the second world war went to work in insurances. FREE SHIPPING OFFERED. Priority airmail with full insurance. As professional restorer of French Art Deco lighting with 20 years of experience as online seller I guarantee safe packaging with the glass shades well protected. My parcels are shipped with PostNL (Dutch post) and are distributed in the US by USPS. They deliver in about ten days but sometimes there is a serious delay due to US customs in between. less