1928 Equestrian Circus Fair Horse Show English Hurdle Jumping Deco Poster 318786

$29.83 Buy It Now, $29.83 Shipping, eBay Money Back Guarantee
Seller: posterprintartshop ✉️ (1,650) 0%, Location: Branch, Michigan, US, Ships to: US & many other countries, Item: 335320674756 1928 EQUESTRIAN CIRCUS FAIR HORSE SHOW ENGLISH HURDLE JUMPING DECO POSTER 318786.

ORIGINALLY A MAGAZINE FRONT COVER, THIS GRAPHIC ART BY HAUPT HAS COLOR, STYLE, ACTION AND FUN ALL MIXED IN TOGETHER.  SUPER FOR THE HORSE SHOW EQUESTRIAN ENTHUSIAST AND THE GRAPHIC ART COLLECTOR.  HAUPT WAS AS WELL RESPECTED GERMAN POSTER ARTIST OF THE DAY. EQUESTRIAN ART DECO HORSE SHOW COMPETITION.

PLEASE SEE PHOTO FOR DETAILS AND CONDITION OF THIS NEW POSTER

SIZE OF POSTER PRINT - 12 X 18 INCHES

DATE OF ORIGINAL PRINT, POSTER OR ADVERT - 1928

At PosterPrint Shop we look for rare & unusual ITEMS OF commercial graphics from throughout the world.

The PosterPrints are printed on high quality 48 # acid free PREMIUM GLOSSY PHOTO PAPER (to insure high depth ink holding and wrinkle free product)

Most of the PosterPrints have APPROX 1/4" border MARGINS for framing, to use in framing without matting.

MOST POSTERPRINTS HAVE IMAGE SIZE OF 11.5 X 17.5.

As decorative art these PosterPrints give you - the buyer - an opportunity to purchase and enjoy fine graphics (which in most cases are rare in original form) in a size and price range to fit most all.

As graphic collectors ourselves, we take great pride in doing the best job we can to preserve and extend the wonderful historic graphics of the past.

Should you have any questions please feel free to email us and we will do our best to clarify.

We use USPS.

WE ship items DAILY.

We ship in custom made extra thick ROUND TUBES..... WE SHIP POSTERPRINTS ROLLED + PROTECTED BY PLASTIC BAG

For multiple purchases please wait for our invoice... THANKS.

We pride ourselves on quality product, service and shipping. 

POSTERPRINTARTSHOP



DESCRIPTION OF ITEM: additional information:
The New Yorker   is an American weekly magazine featuring  journalism, commentary, criticism, essays, fiction,  satire, cartoons, and poetry. Founded as a weekly in 1925, the magazine is published 47 times annually, with five of these issues covering two-week spans. Although its reviews and events listings often focus on the  cultural life of New York City,  The New Yorker   has a wide audience outside New York and is read internationally. It is well known for its illustrated and often topical covers,   its commentaries on  popular culture  and eccentric  American culture, its attention to modern  fiction  by the inclusion of  short stories  and literary  reviews, its rigorous  fact checking  and  copy editing,   its  journalism  on politics and  social issues, and its single-panel  cartoons  sprinkled throughout each issue.

Art Deco , short for the French  Arts Décoratifs , and sometimes just called  Deco , is a style of visual arts,  architecture, and  product design, that first appeared in France in the 1910s (just before  World War I),  and flourished in the United States and Europe during the 1920s and 1930s. Through styling and design of the exterior and interior of anything from large structures to small objects, including how people look (clothing, fashion and jewelry), Art Deco has influenced bridges, buildings (from skyscrapers to cinemas), ships,  ocean liners, trains, cars, trucks, buses, furniture, and everyday objects like radios and vacuum cleaners.

It got its name after the 1925  Exposition internationale des arts décoratifs et industriels modernes  (International Exhibition of Modern Decorative and Industrial Arts) held in Paris.

Art Deco combined modern styles with fine craftsmanship and rich materials. During its heyday, it represented luxury, glamour, exuberance, and faith in social and technological progress.

From its outset, Art Deco was influenced by the bold geometric forms of  Cubism  and the  Vienna Secession; the bright colours of  Fauvism  and of the  Ballets Russes; the updated craftsmanship of the furniture of the eras of  Louis Philippe I  and  Louis XVI; and the exoticized styles of  China,  Japan,  India,  Persia,  ancient Egypt  and  Maya art. It featured rare and expensive materials, such as ebony and ivory, and exquisite craftsmanship. The  Empire State Building,  Chrysler Building, and  other skyscrapers of New York City built during the 1920s and 1930s  are monuments to the style.

In the 1930s, during the  Great Depression, Art Deco became more subdued. New materials arrived, including  chrome plating,  stainless steel  and plastic. A sleeker form of the style, called  Streamline Moderne, appeared in the 1930s, featuring curving forms and smooth, polished surfaces.  Art Deco is one of the first truly international styles, but its dominance ended with the beginning of  World War II  and the rise of the strictly functional and unadorned styles of  modern architecture  and the  International Style  of architecture that followed.

Art Deco took its name, short for  arts décoratifs , from the  Exposition Internationale des Arts Décoratifs et Industriels Modernes  held in Paris in 1925,  though the diverse styles that characterised it had already appeared in Paris and  Brussels  before  World War I.

Arts décoratifs   was first used in France in 1858 in the  Bulletin de la Société française de photographie .  In 1868, the  Le Figaro   newspaper used the term  objets d'art décoratifs   for objects for stage scenery created for the  Théâtre de l'Opéra.  In 1875, furniture designers, textile, jewellers, glass-workers, and other craftsmen were officially given the status of artists by the French government. In response, the  École royale gratuite de dessin   (Royal Free School of Design), founded in 1766 under King  Louis XVI  to train artists and artisans in crafts relating to the fine arts, was renamed the  École nationale des arts décoratifs  ( National School of Decorative Arts). It took its present name, ENSAD (École nationale supérieure des arts décoratifs ), in 1927.

At the 1925 Exposition, architect  Le Corbusier  wrote a series of articles about the exhibition for his magazine  L'Esprit Nouveau , under the title "1925 EXPO. ARTS. DÉCO.", which were combined into a book,  L'art décoratif d'aujourd'hui   (Decorative Art Today). The book was a spirited attack on the excesses of the colourful, lavish objects at the Exposition, and on the idea that practical objects such as furniture should not have any decoration at all; his conclusion was that "Modern decoration has no decoration".

The actual term  art déco   did not appear in print until 1966, in the title of the first modern exhibition on the subject, held by the Museum of Decorative Arts in Paris,  Les Années 25 : Art déco, Bauhaus, Stijl, Esprit nouveau , which covered the variety of major styles in the 1920s and 1930s.  The term was then used in a 1966 newspaper article by Hillary Gelson in  The Times   (London, 12 November), describing the different styles at the exhibit.

Art Deco gained currency as a broadly applied stylistic label in 1968 when historian  Bevis Hillier  published the first major academic book on it,  Art Deco of the 20s and 30s .  He noted that the term was already being used by art dealers, and cites  The Times   (2 November 1966) and an essay named  Les Arts Déco   in  Elle   magazine (November 1967) as examples. In 1971, he organized an exhibition at the  Minneapolis Institute of Arts, which he details in his book  The World of Art Deco .

Society of Decorative Artists (1901–1945)

The emergence of Art Deco was closely connected with the rise in status of decorative artists, who until late in the 19th century were considered simply as artisans. The term  arts décoratifs   had been invented in 1875, giving the designers of furniture, textiles, and other decoration official status. The  Société des artistes décorateurs   (Society of Decorative Artists), or SAD, was founded in 1901, and decorative artists were given the same rights of authorship as painters and sculptors. A similar movement developed in Italy. The first international exhibition devoted entirely to the decorative arts, the  Esposizione Internazionale d'Arte Decorativa Moderna , was held in  Turin  in 1902. Several new magazines devoted to decorative arts were founded in Paris, including  Arts et décoration   and  L'Art décoratif moderne . Decorative arts sections were introduced into the annual salons of the  Sociéte des artistes français , and later in the  Salon d'Automne . French nationalism also played a part in the resurgence of decorative arts, as French designers felt challenged by the increasing exports of less expensive German furnishings. In 1911, SAD proposed a major new international exposition of decorative arts in 1912. No copies of old styles would be permitted, only modern works. The exhibit was postponed until 1914; and then, because of the war, until 1925, when it gave its name to the whole family of styles known as "Déco".

Art Deco was not a single style, but a collection of different and sometimes contradictory styles. In architecture, Art Deco was the successor to and reaction against Art Nouveau, a style which flourished in Europe between 1895 and 1900, and also gradually replaced the  Beaux-Arts  and  neoclassical  that were predominant in European and American architecture. In 1905  Eugène Grasset  wrote and published  Méthode de Composition Ornementale, Éléments Rectilignes,   in which he systematically explored the decorative (ornamental) aspects of geometric elements, forms, motifs and their variations, in contrast with (and as a departure from) the undulating Art Nouveau style of  Hector Guimard, so popular in Paris a few years earlier. Grasset stressed the principle that various simple geometric shapes like triangles and squares are the basis of all compositional arrangements. The reinforced-concrete buildings of Auguste Perret and Henri Sauvage, and particularly the  Théâtre des Champs-Élysées, offered a new form of construction and decoration which was copied worldwide.

In decoration, many different styles were borrowed and used by Art Deco. They included pre-modern art from around the world and observable at the  Musée du Louvre,  Musée de l'Homme  and the  Musée national des Arts d'Afrique et d'Océanie. There was also popular interest in archaeology due to excavations at  Pompeii,  Troy, and the tomb of the 18th dynasty Pharaoh  Tutankhamun. Artists and designers integrated motifs from  ancient Egypt,  Africa,  Mesopotamia,  Greece,  Rome, Asia,  Mesoamerica  and Oceania with  Machine Age  elements.

Other styles borrowed included Russian  Constructivism  and Italian  Futurism, as well as Orphism,  Functionalism, and  Modernism  in general.  Art Deco also used the clashing colours and designs of Fauvism, notably in the work of Henri Matisse and  André Derain, inspired the designs of art deco textiles, wallpaper, and painted ceramics.  It took ideas from the high fashion vocabulary of the period, which featured geometric designs, chevrons, zigzags, and stylized bouquets of flowers. It was influenced by discoveries in  Egyptology, and growing interest in the Orient and in African art. From 1925 onwards, it was often inspired by a passion for new machines, such as airships, automobiles and ocean liners, and by 1930 this influence resulted in the style called  Streamline Moderne.

Art Deco was associated with both luxury and modernity; it combined very expensive materials and exquisite craftsmanship put into modernistic forms. Nothing was cheap about Art Deco: pieces of furniture included ivory and silver inlays, and pieces of Art Deco jewellery combined diamonds with platinum, jade, coral and other precious materials. The style was used to decorate the first-class salons of ocean liners, deluxe trains, and skyscrapers. It was used around the world to decorate the great movie palaces of the late 1920s and 1930s. Later, after the  Great Depression, the style changed and became more sober.

A good example of the luxury style of Art Deco is the boudoir of the fashion designer  Jeanne Lanvin, designed by  Armand-Albert Rateau  (1882–1938) made between 1922 and 1925. It was located in her house at 16 rue Barbet de Jouy, in Paris, which was demolished in 1965. The room was reconstructed in the Museum of Decorative Arts in Paris. The walls are covered with moulded  lambris   below sculpted bas-reliefs in stucco. The alcove is framed with columns of marble on bases and a plinth of sculpted wood. The floor is of white and black marble, and in the cabinets decorative objects are displayed against a background of blue silk. Her bathroom had a tub and washstand made of sienna marble, with a wall of carved stucco and bronze fittings.

By 1928 the style had become more comfortable, with deep leather club chairs. The study designed by the Paris firm of Alavoine for an American businessman in 1928–30, is now in the  Brooklyn Museum.

By the 1930s, the style had been somewhat simplified, but it was still extravagant. In 1932 the decorator Paul Ruaud made the Glass Salon for Suzanne Talbot. It featured a serpentine armchair and two tubular armchairs by Eileen Gray, a floor of mat silvered glass slabs, a panel of abstract patterns in silver and black lacquer, and an assortment of animal skins. 

ARTIST: 

Theodore Gilbert Haupt   (1902–1990), was an American  Modernist  painter, sculptor and muralist who melded  Cubist  with  Surrealist  elements. As a graphic designer, he achieved recognition for his  New Yorker   magazine covers.

Theodore Haupt was the second youngest of five children born to an Episcopalian Minister, Reverend Charles Edgar Haupt and Alexandria Dougon, in  St. Paul Minnesota  on October 11, 1902. Reverend Haupt's father was General  Herman Haupt  who supervised the railroads, built bridges for the Union Army during the Civil War and became an outspoken voice in President Lincoln's White House during that troubled time.

Haupt's early gifts for drawing and painting were noted but not encouraged by his family. Nonetheless, he persevered and was further inspired when, at age twenty-one, his paintings received highly favorable reviews in a large exhibition mounted by The  Beard Gallery  in  Minneapolis. Haupt attended the  Minneapolis School of Art, studying with  Anthony Angarola, recipient of a Guggenheim Fellowship and an acclaimed Chicago modernist.  A critical turning point came for Haupt in 1923, when he won a scholarship to the  Académie Julian  in Paris. Haupt remained in Europe for two years, studying with the sculptor and painter,  André L’Hote  in Paris, Vienna and Gratz.

In 1927 Haupt moved to  New York, renting an apartment on East 10th Street in Manhattan. For five years Haupt supported his studio art with graphic design assignments for  The New Yorker ,  Charm   and  Vanity Fair   magazines; his debut cover for  The New Yorker   being produced almost immediately in September of that first year. Between 1927 and 1933, Haupt turned out a staggering forty-five covers for  The New Yorker   presenting a gamut of subjects from;

  • New York City at night
  • a view of Park Avenue (October 26, 1929 issue), now in the collection of the Museum of the City of New York.
  • art deco-style interpretations of annual events and social commentaries

Haupt's modernist paintings were being exhibited in New York art galleries and at museums around the country. Two of his paintings were selected for The  Art Institute of Chicago's 45th Annual Exhibition (October 24-December 8, 1935), Sea Beach (#91) and Shadow Lane (#92).Haupt's works were shown at a number of museums, among them The  Pennsylvania Academy of Fine Art; The  Minneapolis Institute of Art; and The  Whitney Museum of American Art, New York.

Haupt continued turning out paintings and executing art for public spaces including work for the Whitney Museum and a mural for the  Central Park Zoo, which was destroyed in a restoration of the zoo. Along with many other artists during the depression, Haupt was active in the period's government sponsored  WPA Art Programs, an experience that encouraged an open-minded and experimental attitude in his art practice for the remainder of his life. Haupt recalled the sculptor  Louise Nevelson's lively “rent parties” which he attended with other WPA artists including  Ivan Albright  and  Moses Soyer.

In 1942, Haupt married a school teacher, Miriam Diehl. Her steady employment sustained the couple financially. Haupt and his wife purchased a house in  Peekskill, New York  in 1941 and in 1948 moved to  San Miguel de Allende, an artist's community in Mexico. Haupt became increasingly engrossed in that country's cultural contrasts, an interest that expressed itself in paintings and sculptures of this period. While in Mexico the couple built a house and adopted two children, Gloria and Maricella. After Miriam's unfortunate early death, her pension continued to sustain the artist as the demand for illustration lessened.

Now in a financial position to walk away from the machinations of the art market, Haupt embarked upon an extended period of renewed investigation and experimentation, working his way through abstract, color-drenched, non-representational painting styles and developing a series of  Surrealist-inspired canvases. Haupt later investigated chromatic vibrations and dynamic optical effects in a series of compelling  Op Art  canvases. His career began as a realistic portrait painter and he often returned to that subject matter, reinterpreting the process each time in light of his stylistic investigations.

When his wife died in the 1960s, the artist moved to Hawaii with his children, later resettling in New York in the  Westbeth Artist's Community  in Greenwich Village. Returning briefly to Hawaii in 1968, he connected with a lifelong supporter, Dan Wall, at the University of Hawaii. Theodore Haupt died at the age of 87, in Indianapolis, June 13, 1990.

Powered by SixBit's eCommerce Solution
  • Condition: New
  • Country/Region of Manufacture: United States

PicClick Insights - 1928 Equestrian Circus Fair Horse Show English Hurdle Jumping Deco Poster 318786 PicClick Exclusive

  •  Popularity - 2 watchers, 1.0 new watchers per day, 2 days for sale on eBay. Good amount watching. 0 sold, 1 available.
  •  Best Price -
  •  Seller - 1,650+ items sold. 0% negative feedback. Good seller with good positive feedback and good amount of ratings.

People Also Loved PicClick Exclusive