RIGHT OUT OF THE ROARING 20'S THIS BEAUTIFUL FLAPPER GAL HAS THOSE "IT" GIRL EYES AND THE GLAMOUR STYLE OF HOLLYWOOD.....  THIS POSTERPRINT COMES FROM AN EARLY MOVIE INDUSTRY COMMERCIAL ART COVER AND IS SIMPLY PUT.... STRIKING..... TO SAY THE LEAST....  THE PEACOCK LADY HAS A MOTIVE ALL HER OWN AND SHE WILL GRAB YOUR HEART..... 

One of the best pieces of art you'll ever see of Evelyn Brent on the cover. It was painted by Charles Sheldon.

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)

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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.

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DESCRIPTION OF ITEM: additional information:

EVELYN BRENT : 

Evelyn Brent (born Mary Elizabeth Riggs; October 20, 1895 – June 4, 1975) was an American film and stage actress.

Early life

Brent was born in Tampa, Florida, and known as Betty. When she was age 10, her mother Eleanor (née. Warner) died, leaving her father Arthur to raise her alone.

She moved to New York City as a teenager, and her good looks brought modeling jobs that led to an opportunity to become involved in movies.

She originally studied to be a teacher. While attending a normal school in New York, she visited the World Film Studio in Fort Lee, New Jersey. Two days later, she was working there as an extra, earning $3 per day.

Career

She began her film career working under her own name at a New Jersey film studio, then made her major debut in the 1915 silent film production of the Robert W. Service poem The Shooting of Dan McGrew.

As Evelyn Brent, she continued to work in film, developing into a young woman with sultry looks. After World War I, she went to London for a vacation and met American playwright Oliver Cromwell, who urged her to accept an important role in The Ruined Lady. The production was presented on the London stage. She remained in England for four years, performing on stage and in films produced by British companies, then she moved to Hollywood in 1922.

Her career received a major boost the following year when she was chosen as one of the WAMPAS Baby Stars. Douglas Fairbanks Sr. signed her but failed to find a story for her; she left his company to join Associated Authors.

Brent made more than two dozen silent films, including three for director Josef von Sternberg. One of these was The Last Command (1928), an epic war drama featuring William Powell for which Emil Jannings won the first Academy Award for Best Actor. Brent played the film's leading lady.

Later that year, she starred opposite William Powell in her first sound movie. Brent played major roles in several features, most notably The Silver Horde and the Paramount Pictures all-star revue Paramount on Parade (both 1930).

By the early part of the 1930s, she was working in secondary roles in a variety of films as well as touring with vaudeville shows. In 1936, she played William Boyd's love interest/femme fatale in Hopalong Cassidy Returns. However, by 1941, she was no longer in demand by major studios, and she found work at smaller, low-budget studios.

She photographed attractively opposite leading men who were also at advanced ages and later stages in their careers: Neil Hamilton in Producers Releasing Corporation's production Dangerous Lady, Lee Tracy in the same studio's The Payoff, and Jack Holt in the serial Holt of the Secret Service. In the early 1940s, she worked in action features for Paramount releases. Veteran director William Beaudine cast her in many productions as well, including Emergency Landing (1941), Bowery Champs (1944), The Golden Eye (1948), and Again Pioneers (1950). After performing in more than 120 films, she retired from acting in 1950 and worked for a number of years as an actor's agent.

She returned to acting in television's Wagon Train for one episode in 1960, "The Lita Foladaire Story", starring Ward Bond and Diane Brewster. Brent played a housekeeper and her appearance had changed radically by that juncture.

Personal life and death

Evelyn Brent was marrieD three times: to movie executive Bernard P. Fineman, to producer Harry D. Edwards, and finally to the vaudeville actor Harry Fox. They were married until he died in 1959.

Brent died of a heart attack in 1975 at age 79 in her Los Angeles home. She is interred in the San Fernando Mission Cemetery in Mission Hills, California.^]

Legacy

In 1960, Brent was inducted into the Hollywood Walk of Fame with a motion pictures star for her contributions to the film industry. Her star is located at 6548 Hollywood Boulevard.

ARTIST:  Charles Mills Sheldon (24 June 1866 – 14 March 1928) was a war correspondent, artist, and book illustrator, born in the United States, who moved to Europe in 1890.

Early life

Sheldon was born in Lawrenceburg, Indiana on 24 June 1866 to George Wilbur Sheldon (11 November 1843 – 3 January 1922) and Jeanette Mills (c. 1847 – 2 February 1929). He was educated at public schools in Lawrenceburg and Des Moines The 1880 census found him living at home with his parents at age 14, in Des Moines, Iowa. While Hogson states that his father was a publisher, the census return for both 1880 and 1910 gives his father's trade as a Tinner, in a Tin shop.

Work

After initially travelling the Southern United States to illustrated articles for the Associated Press in 1889, Sheldon had move to Paris where he studied at the Académie Julian under Jean-Joseph Benjamin-Constant and Jules Joseph Lefebvre. From Paris he provided illustrations of happenings there for the Pall Mall Budget. Among the different magazines he illustrated for were:

• Pall Mall Budget
• The Ludgate Monthly (which was renamed a number of times)
• The Strand Magazine
• Black and White
• Frank Leslie's Illustrated Newspaper
• The Royal Magazine

Work as war correspondent

He was a war correspondent for Black and White, and later for Leslie's for a number of conflicts including:

• The Jameson Raid (1895 – 1896), for which he famously packed and left within 17 minutes of getting notice. The Raid was long over even before Sheldon set out, and his dispatches home included things like a large picture of a gold mine in the Transvaal.
• Kitchener's campaign in the Anglo-Egyptian conquest of Sudan in 1886. This time he got 3 hours notice to pack as a cablegram had got lost in the Post Office in Johannesburg for seven days. This campaign was also notable for the libel case between two war correspondents Knight and Attridge. In a letter home, Knight had accused Attridge of cowardice, and of abandoning the man he was sharing a hut with to death by cholera. Attridge sued and won damages of £1,000, an enormous sum at the time. Sheldon gave evidence at the trial.
• In Cuba for the Spanish–American War in 1898.
• In South Africa for the Second Boer War from 1899 on
• In India for the 1903 Delhi Durbar. His son Eugene later presented 156 photographs that Sheldon had taken at the time to the India Office Library.

Samples of illustrations from the Sudan campaign

The following illustrations were drawn by Sheldon as War Correspondent for Black and White for Kitchener's campaign for the Anglo-Egyptian conquest of Sudan. The days of the illustrator war correspondent were already numbered. Hodson notes that photography was becoming the dominant art and that this, and the redrawing of war correspondent's sketches to be more dramatic and photography-like was already leading to a falling-off in the quality of illustrations. Black and White was already redrawing some of Sheldon's sketches in this way. By the time of the campaign in Cuba, Sheldon was providing photographs for publication as well as sketches.

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.