Description: ITEM SIZE CAN BE FOUND BY USING RULERS ALONG EDGE IN PHOTO - IN INCHESTHESE ARE VERY EARLY ORIGINAL LIFE MAGAZINE COVERS (SIDE 1) WITH AN ADVERTISEMENT ON REVERSE (SIDE 2) - SO LOOK CAREFULLY AT BOTH PHOTOS! CONDITION IS VERY GOOD. IN SOME, YOU MAY NOTICE A FOLD DOWN THE CENTER FROM MAILING. PLEASE LOOK OVER THESE ITEMS CAREFULLY, BOTH PAGES. SEE BELOW FOR DESCRIPTIONS OF BOTH THE COVER AND OPPOSITE (BACKSIDE) ADVERTISEMENT.DETAILS OF COVER:ARTIST / ILLUSTRATOR: Norman Percevel Rockwell (February 3, 1894 – November 8, 1978) was an American painter and illustrator. His works have a broad popular appeal in the United States for their reflection of the country's culture. Rockwell is most famous for the cover illustrations of everyday life he created for The Saturday Evening Post magazine over nearly five decades.[1] Among the best-known of Rockwell's works are the Willie Gillis series, Rosie the Riveter, The Problem We All Live With, Saying Grace, and the Four Freedoms series. He is also noted for his 64-year relationship with the Boy Scouts of America (BSA), during which he produced covers for their publication Boys' Life, calendars, and other illustrations. These works include popular images that reflect the Scout Oath and Scout Law such as The Scoutmaster, A Scout Is Reverent[2] and A Guiding Hand,[3] among many others. Rockwell was a prolific artist, producing more than 4,000 original works in his lifetime. Most of his surviving works are in public collections. Rockwell was also commissioned to illustrate more than 40 books, including Tom Sawyer and Huckleberry Finn as well as painting the portraits for Presidents Eisenhower, Kennedy, Johnson, and Nixon, as well as those of foreign figures, including Gamal Abdel Nasser and Jawaharlal Nehru. His portrait subjects included Judy Garland. One of his last portraits was of Colonel Sanders in 1973. His annual contributions for the Boy Scouts calendars between 1925 and 1976 (Rockwell was a 1939 recipient of the Silver Buffalo Award, the highest adult award given by the Boy Scouts of America[4]), were only slightly overshadowed by his most popular of calendar works: the "Four Seasons" illustrations for Brown & Bigelow that were published for 17 years beginning in 1947 and reproduced in various styles and sizes since 1964. He created artwork for advertisements for Coca-Cola, Jell-O, General Motors, Scott Tissue, and other companies.[5] Illustrations for booklets, catalogs, posters (particularly movie promotions), sheet music, stamps, playing cards, and murals (including "Yankee Doodle Dandy"[6] and "God Bless the Hills", which was completed in 1936 for the Nassau Inn in Princeton, New Jersey) rounded out Rockwell's oeuvre as an illustrator. Rockwell's work was dismissed by serious art critics in his lifetime.[7] Many of his works appear overly sweet in the opinion of modern critics,[8] especially the Saturday Evening Post covers, which tend toward idealistic or sentimentalized portrayals of American life. This has led to the often deprecatory adjective "Rockwellesque". Consequently, Rockwell is not considered a "serious painter" by some contemporary artists, who regard his work as bourgeois and kitsch. Writer Vladimir Nabokov stated that Rockwell's brilliant technique was put to "banal" use, and wrote in his novel Pnin: "That Dalí is really Norman Rockwell's twin brother kidnaped by gypsies in babyhood."[9] He is called an "illustrator" instead of an artist by some critics, a designation he did not mind, as that was what he called himself.[10] In his later years, however, Rockwell began receiving more attention as a painter when he chose more serious subjects such as the series on racism for Look magazine.[11] One example of this more serious work is The Problem We All Live With, which dealt with the issue of school racial integration. The painting depicts Ruby Bridges, flanked by white federal marshals, walking to school past a wall defaced by racist graffiti.[12] This 1964 painting was displayed in the White House when Bridges met with President Barack Obama in 2011.[13] Life[edit] Early years[edit] Norman Rockwell was born on February 3, 1894, in New York City, to Jarvis Waring Rockwell and Anne Mary "Nancy" Rockwell, born Hill.[14][15][16] His father was a Presbyterian and his mother was an Episcopalian;[17] two years after their engagement, he converted to the Episcopal faith.[18] His earliest American ancestor was John Rockwell (1588–1662), from Somerset, England, who immigrated to colonial North America, probably in 1635, aboard the ship Hopewell and became one of the first settlers of Windsor, Connecticut. He had one brother, Jarvis Waring Rockwell Jr., older by a year and a half.[19][20] Jarvis Waring Sr. was the manager of the New York office of a Philadelphia textile firm, George Wood, Sons & Company, where he spent his entire career.[19][21][22] Rockwell transferred from high school to the Chase Art School at the age of 14. He then went on to the National Academy of Design and finally to the Art Students League.[23] There, he was taught by Thomas Fogarty, George Bridgman, and Frank Vincent DuMond;[24] his early works were produced for St. Nicholas Magazine, the Boy Scouts of America (BSA) magazine Boys' Life,[25] and other youth publications. As a student, Rockwell had some small jobs, including one as a supernumerary at the Metropolitan Opera.[26] His first major artistic job came at age 18, illustrating Carl H. Claudy's book Tell Me Why: Stories about Mother Nature.[27] After that, Rockwell was hired as a staff artist for Boys' Life. In this role, he received 50 dollars' compensation each month for one completed cover and a set of story illustrations. It is said to have been his first paying job as an artist.[28] At 19, he became the art editor for Boys' Life, published by the Boy Scouts of America. He held the job for three years,[29] during which he painted several covers, beginning with his first published magazine cover, Scout at Ship's Wheel, which appeared on the Boys' Life September 1913 edition. Association with The Saturday Evening Post[edit] Rockwell's family moved to New Rochelle, New York, when Norman was 21 years old. They shared a studio with the cartoonist Clyde Forsythe, who worked for The Saturday Evening Post. With Forsythe's help, Rockwell submitted his first successful cover painting to the Post in 1916,[30] Mother's Day Off (published on May 20). He followed that success with Circus Barker and Strongman (published on June 3), Gramps at the Plate (August 5), Redhead Loves Hatty Perkins (September 16), People in a Theatre Balcony (October 14), and Man Playing Santa (December 9). Rockwell was published eight times on the Post cover within the first year. Ultimately, Rockwell published 323 original covers for The Saturday Evening Post over 47 years. His Sharp Harmony appeared on the cover of the issue dated September 26, 1936; it depicts a barber and three clients, enjoying an a cappella song. The image was adopted by SPEBSQSA in its promotion of the art. Rockwell's success on the cover of the Post led to covers for other magazines of the day, most notably the Literary Digest, the Country Gentleman, Leslie's Weekly, Judge, Peoples Popular Monthly and Life magazine.[31] When Rockwell's tenure began with The Saturday Evening Post in 1916, he left his salaried position at Boys' Life, but continued to include scouts in Post cover images and the monthly magazine of the American Red Cross. He resumed work with the Boy Scouts of America in 1926 with production of his first of fifty-one original illustrations for the official Boy Scouts of America annual calendar, which still may be seen in the Norman Rockwell Art Gallery at the National Scouting Museum[32] in Cimarron, New Mexico. During World War I, he tried to enlist into the U.S. Navy but was refused entry because, at 140 pounds (64 kg), he was eight pounds underweight for someone 6 feet (1.8 m) tall. To compensate, he spent one night gorging himself on bananas, liquids and doughnuts, and weighed enough to enlist the next day. He was given the role of a military artist, however, and did not see any action during his tour of duty.[33] World War II[edit] In 1943, during World War II, Rockwell painted the Four Freedoms series, which was completed in seven months and resulted in him losing fifteen pounds. The series was inspired by a speech by Franklin D. Roosevelt, wherein Roosevelt described and articulated Four Freedoms for universal rights. Rockwell then painted Freedom from Want, Freedom of Speech, Freedom of Worship[34] and Freedom from Fear.[35] The paintings were published in 1943 by The Saturday Evening Post. Rockwell used the Pennell shipbuilding family from Brunswick, Maine as models for two of the paintings, Freedom from Want and A Thankful Mother, and would combine models from photographs and his own vision to create his idealistic paintings. The United States Department of the Treasury later promoted war bonds by exhibiting the originals in sixteen cities. Rockwell considered Freedom of Speech to be the best of the four.[36] That same year, a fire in his studio destroyed numerous original paintings, costumes, and props.[37] Because the period costumes and props were irreplaceable, the fire split his career into two phases, the second phase depicting modern characters and situations. Rockwell was contacted by writer Elliott Caplin, brother of cartoonist Al Capp, with the suggestion that the three of them should make a daily comic strip together, with Caplin and his brother writing and Rockwell drawing. King Features Syndicate is reported to have promised a $1,000 per week deal, knowing that a Capp–Rockwell collaboration would gain strong public interest. The project was ultimately aborted, however, as it turned out that Rockwell, known for his perfectionism as an artist, could not deliver material so quickly as would be required of him for a daily comic strip.[37] DETAILS OF ADVERTISEMENT ON BACKSIDE: OMAR TURKISH CIGARETTE SMOKE TOBACCO AMERICAN TOBACCO COMPANY The American Tobacco Company was a tobacco company founded in 1890 by J. B. Duke through a merger between a number of U.S. tobacco manufacturers including Allen and Ginter and Goodwin & Company. The company was one of the original 12 members of the Dow Jones Industrial Average in 1896. The American Tobacco Company dominated the industry by acquiring the Lucky Strike Company and over 200 other rival firms. Antitrust action begun in 1907 broke the company into several major companies in 1911.[1] The American Tobacco Company restructured itself in 1969, forming a holding company called American Brands, Inc., which operated American Tobacco as a subsidiary. American Brands acquired a variety of non-tobacco businesses during the 1970s and 1980s and sold its tobacco operations to Brown & Williamson in 1994. American Brands subsequently renamed itself "Fortune Brands". History[edit] Origins[edit] James Buchanan Duke's entrance into the cigarette industry came about in 1879 when he elected to enter a new business rather than face competition in the shredded pouched smoking tobacco business against the Bull Durham brand, also from Durham, North Carolina.[2] In 1881, two years after W. Duke, Sons & Company entered into the cigarette business, James Bonsack invented a cigarette-rolling machine. It produced over 200 cigarettes per minute, the equivalent of what a skilled hand roller could produce in one hour, and reduced the cost of rolling cigarettes by 50%.[3] It cut each cigarette with precision, creating uniformity in the cigarettes it rolled. Public stigma was attached to this machine-rolled uniformity, and Allen & Ginter rejected the machine almost immediately.[4] Duke set a deal with the Bonsack Machine Company in 1884. Duke agreed to produce all cigarettes with his two rented Bonsack machines and in return, Bonsack reduced Duke’s royalties from $0.30 per thousand to $0.20 per thousand. Duke also hired one of Bonsack’s mechanics, resulting in fewer breakdowns of his machines than his competitors’.[5] This secret contract resulted in a competitive advantage over Duke's competitors; he was able to lower his prices further than others could. In the 1880s, while Duke was beginning to machine-roll all his cigarettes, he saw that growth rates in the cigarette industry were declining. His solution was to combine companies and found “one of the first great holding companies in American history.”[6] Duke spent $800,000 on advertising in 1889 and lowered his prices, accepting net profits of less than $400,000, forcing his major competitors to lower their prices and, in 1890, join his consortium by the name of the American Tobacco Company.[7][8] The five constituent companies of American Tobacco: W. Duke & Sons, Allen & Ginter, W.S. Kimball & Company, Kinney Tobacco, and Goodwin & Company – produced 90% of the cigarettes made in 1890, the first year the American Tobacco Company was listed on the NYSE. Within two decades of its founding, the American Tobacco company absorbed about 250 companies and produced 80% of the cigarettes, plug tobacco, smoking tobacco, and snuff produced in the United States.[6][9] With Duke's market control, American Tobacco grew its equity from $25,000,000 to $316,000,000. The "Tobacco Trust"[edit] American Tobacco Company quickly became known as the “Tobacco Trust” upon its founding. Duke controlled the cigarette market, and his trust caught the attention of legislators in the United States, a country with historical aversion to monopolies.[10] American Tobacco Company focused solely on making and selling cigarettes, leaving growing of tobacco and retail distribution to independent entrepreneurs.[11] Nonetheless, Duke aimed to eliminate inefficiencies and middlemen through vertical consolidation.[12] The American Tobacco Company began to expand to Great Britain, China, and Japan. The company also maintained an interest in producing other tobacco products in case fads shifted; Duke wanted to be sure that he would be prepared with a multitude of tobacco styles. The Tobacco Trust's international expansion in conjunction with its consolidation of all types of tobacco “ultimately made the Trust so vulnerable to regulation and judicial dissolution”.[13] The Sherman Antitrust Act was passed in 1890, and in 1907, the American Tobacco Company was indicted in violation of it.[14] In 1908, when the Department of Justice filed suit against the company, 65 companies and 29 individuals were named in the suit. The Supreme Court ordered the company to dissolve in 1911 on the same day that it ordered the Standard Oil Trust to dissolve.[14] The ruling in United States v. American Tobacco Co. stated that the combination of the tobacco companies “in and of itself, as well as each and all of the elements composing it whether corporate or individual, whether considered collectively or separately [was] in restraint of trade and an attempt to monopolize, and a monopolization within the first and second sections of the Anti-Trust Act.”[15] Dissolution[edit] Dissolution proved complicated. The American Tobacco Company had combined many prior companies and processes. One department would manage a certain process for the entire organization, producing brands previously owned by other companies. “Plants had been assigned specific products without regard for previous ownership.”[16] Over the course of eight months, a plan for the dissolution, meant to assure competition among the new companies, was negotiated.[16] The trust needed to dissolve in such a way that no manufacturer had a monopoly on any type of tobacco product. Investors, holding millions of dollars of securities, also needed to be considered. A large question was how to distribute trademarks and brands between the resulting companies.[17] The American Tobacco Company's assets were split off into: American Tobacco Company, the existing R. J. Reynolds, Liggett & Myers, and Lorillard. The monopoly became an oligopoly.[18] The main result of the dissolution of American Tobacco Trust and the creation of these companies was an increase in advertising and promotion in the industry as a form of competition.[19] ARTIST / ILLUSTRATOR: THEME:EXTRA INFO (TEXT &IMAGE): BLACK AND WHITE INSERT PHOTOGRAPHY CAN EVOKE MANY MOODS / EMOTIONS.... WHEN FRAMED FOR DECOR USE. THESE INSERT PHOTO'S COME FROM VINTAGE PERIODICALS AND MOST OFTEN ARE THE *ONLY* GIVEN SOURCE OF THAT PHOTO. HAVING NEVER BEEN AVAILABLE FOR PURCHASE IN OTHER FORMATS THESE INSERT PHOTO'S ARE UNIQUE IN THIS FORM. THEY MAT AND FRAME UP WONDERFULLY WELL FOR THE WALL DECOR OF ANY HOME OR OFFICE. BLACK AND WHITE PHOTOGRAPHY HAS THAT DISTINCTIVE TOUCH OF ROMANTICISM AND NOSTALGIA THAT, THEREFORE, MAKES THEM BASICALLY TIMELESS IN STYLE. CONDITION: CLEAN, PERFECT FOR FRAMING AND DISPLAYING. INSERT PHOTO'S ARE CAREFULLY REMOVED FROM VINTAGE PERIODICALS AND MAY BE TRIMMED IN PREPARATION FOR DISPLAYING. MARGINS ARE INCLUDED IN ADVERT SIZE.**NOTE**: PAGES MAY SHOW AGE WEAR AND IMPERFECTIONS TO MARGINS, WITH CLOSED NICKS AND CUTS, WHICH DO NOT AFFECT AD IMAGE OR TEXT WHEN MATTED AND FRAMED.THE ADVERT OR ARTICLE YOU RECEIVE WILL BE CRISP AND LEGIBLE, WE HAVE PURPOSEFULLY BLURRED THE IMAGE A LITTLE.At ADVERTISINGSHOP(DIVISION OF BRANCHWATERBOOKS) we look for rare &unusual ADVERTISING, COVERS + PRINTS of commercial graphics from throughout the world. ALL items we sell are ORIGINALand 100% guaranteed --- (we code all our items to insure authenticity) ---- we stand behind this. As graphic collectors ourselves, we take great pride in doing the best job we can to preserve and extend to you wonderful historic graphics of the past.PLEASE LOOK AT OUR PHOTO'S CLOSELY AS THEY ARE IMAGES OF THE PRODUCT BEING SOLD..... NOT STOCK PHOTO'S**We pride ourselves on quality products, great service, accurate gradations and fast shipping.**GREAT DECOR / ART FOR: HOME OFFICE BUSINESS SHOP STORE CASINO LOFT STUDIO GARAGE BEDROOM COLLECTION MOST ITEMS ARE VERY GOOD AND BETTER... THE ACTUAL CONDITION CAN BE SEE BY HOVERING OVER THE PHOTO FOR A CLOSEUP.**For multiple purchases please wait for our combined invoice. Shipping discount are ONLY available with this method. Thank You. We ship via United States Postal Service. We have a 3 day handling time not including weekends or holidays.A Note to our international buyers (Including Canada). Please read before placing a bid or buying an item: **Import taxes, duties and charges are not included in the item price or shipping charges. These charges are the buyer's responsibility. Please check with your country's customs office to determine what these additional costs will be prior to bidding/buying on items. We ask that payments be made within 3 days or notify us via email otherwise. We send out a reminder payment email once and then proceed with unpaid item report on the 7 th day. ****** WE PRIDE OURSELVES ON ACCURATE DESCRIPTION..... GREAT SERVICE ..... AND FAST...SAFE...SHIPPING ******* YOUR AD WILL BE SHIPPED ROLLED IN A PROTECTIVE PLASTIC BAG IN AN 80mm (TWICE USPS RECOMMENDED) THICK, 2 INCHES IN DIAMETER (SO AS NOT TO STRESS THE PAPER) SHIPPING TUBE WITH PRESS TIGHT PLASTIC END CAPS. FDA382 Powered by SixBit's eCommerce Solution
Price: 34.95 USD
Location: Branch, Michigan
End Time: 2025-01-29T00:09:32.000Z
Shipping Cost: 8.95 USD
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