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<p>19 THEATER ACTRESS CHRISTMAS HOLLY STAGE STAGE FINE LITHO COVER ART PRINT TCA244<p>
DESCRIPTION OF ITEM - AN ORIGINAL ILLUSTRATED COVER (cover only) FROM VINTAGE PERIODICAL... COVER IS BEING SOLD AS IS WITH ALL FAULTS AS SEEN IN PHOTO(S).
DATE OF ORIGINAL COVER - SEE TITLE
THE COLLECTING OF MAGAZINE COVER ART IS INTRIGUING IN THE SENSE OF "THE FIND" AND ALSO "THE BRAG"... BEING IN EVERY SENSE OF THE WORD - EPHEMERAL, MOST MAGAZINES WHERE NOT INTENDED FOR LONG TERM SURVIVAL. STARTING WITH THE FIRST MAG (ie: The Gentleman's Magazine, first published in1731, in London,considered to have been the first general-interest magazine) MOST WERE READ, + REREAD AS THEY WERE PASSED ALONG BUT EVENTUALLY MOST WOULD END UP IN THE TRASH OR THE SCRAP PAPER BUYERS CART... AND SO THE ENJOYMENT OF COLLECTION MAGAZINES AND THEIR SUPERLATIVE COVER ART BEGAN.
WARS, HATE MONGERS, BOOK BINDERS, SCRAP DRIVES, RODENTS, MOLD AND FIRE HAVE TAKEN THEIR TOLL UPON SURVIVAL... ALONG WITH FLOODS, TORNADOES AND OTHER NATURAL DISASTERS WHICH CONTINUALLY REDUCE THE AVAILABLE NUMBER OF COLLECTIBLE COVERS TO ENJOY, PURCHASE AND SHOW OFF..
AS WITH ALL EPHEMERA - CONDITION SCARCITY, CONDITION, DESIRABILITY, CONDITION, AND.... DID I MENTION ... CONDITION... ARE THE PRIME FACTORS INVOLVED IN PRICE..
PERFECT COVER ARE IS RARE --- AND PRICED ACCORDINGLY !
MOST COVERS PRIOR TO 1880 WERE PRINTED ON ACID FREE PAPER... AFTER THAT PAPER QUALITY CONTINUES TO DECLINE..
IT IS ALWAYS BEST TO USED ACID - FREE STORAGE + MOUNTING PRACTICES IN COLLECTING MAG COVERS..
Cover art it is either an artwork as illustration or photograph on the outside of a published product such as a book (often on a dust jacket), magazine, comic book, video game (box art), DVD, CD, videotape, or music album (album art). The art has a primarily commercial function, i.e. to promote the product it is displayed on, but can also have an aesthetic function, and may be artistically connected to the product, such as with art by the creator of the product.
Lithography (from Ancient Greek ?????, lithos, meaning 'stone', and ???fe??, graphein, meaning 'to write') is a method of printing originally based on the immiscibility of oil and water.[1] The printing is from a stone (lithographic limestone) or a metal plate with a smooth surface. It was invented in 1796 by German author and actor Alois Senefelder as a cheap method of publishing theatrical works.[2][3] Lithography can be used to print text or artwork onto paper or other suitable material.[4]
Lithography originally used an image drawn with oil, fat, or wax onto the surface of a smooth, level lithographic limestone plate. The stone was treated with a mixture of acid and gum arabic, etching the portions of the stone that were not protected by the grease-based image. When the stone was subsequently moistened, these etched areas retained water; an oil-based ink could then be applied and would be repelled by the water, sticking only to the original drawing. The ink would finally be transferred to a blank paper sheet, producing a printed page. This traditional technique is still used in some THEATER art printmaking applications.
Lithography uses simple chemical processes to create an image. For instance, the positive part of an image is a water-repelling ("hydrophobic") substance, while the negative image would be water-retaining ("hydrophilic"). Thus, when the plate is introduced to a compatible printing ink and water mixture, the ink will adhere to the positive image and the water will clean the negative image. This allows a flat print plate to be used, enabling much longer and more detailed print runs than the older physical methods of printing (e.g., intaglio printing, letterpress printing).
Lithography was invented by Alois Senefelder in the Kingdom of Bavaria in 1796. In the early days of lithography, a smooth piece of limestone was used (hence the name "lithography": "lithos" (?????) is the ancient Greek word for stone). After the oil-based image was put on the surface, a solution of gum arabic in water was applied, the gum sticking only to the non-oily surface. During printing, water adhered to the gum arabic surfaces and was repelled by the oily parts, while the oily ink used for printing did the opposite.
In modern lithography, the image is made of a polymer coating applied to a flexible aluminum plate. The image can be printed directly from the plate (the orientation of the image is reversed), or it can be offset, by transferring the image onto a flexible sheet (rubber) for printing and publication.
As a printing technology, lithography is different from intaglio printing (gravure), wherein a plate is either engraved, etched, or stippled to score cavities to contain the printing ink; and woodblock printing or letterpress printing, wherein ink is applied to the raised surfaces of letters or images. Today, most types of high-volume books and magazines, especially when illustrated in colour, are printed with offset lithography, which has become the most common form of printing technology since the 1960s.
The related term "photolithography" refers to when photographic images are used in lithographic printing, whether these images are printed directly from a stone or from a metal plate, as in offset printing. In fact, "photolithography" is used synonymously with "offset printing". The technique as well as the term were introduced in Europe in the 1850s. Beginning in the 1960s, photolithography has played an important role in the fabrication and mass production of integrated circuits in the microelectronics industry.[5][6]
During the first years of the 19th century, lithography had only a limited effect on printmaking, mainly because technical difficulties remained to be overcome. Germany was the main center of production in this period. Godefroy Engelmann, who moved his press from Mulhouse to Paris in 1816, largely succeeded in resolving the technical problems, and during the 1820s lithography was adopted by artists such as Delacroix and Géricault. London also became a center, and some of Géricault's prints were in fact produced there. Goya in Bordeaux produced his last series of prints by lithography—The Bulls of Bordeaux of 1828. By the mid-century the initial enthusiasm had somewhat diminished in both countries, although the use of lithography was increasingly favored for commercial applications, which included the prints of Daumier, published in newspapers. Rodolphe Bresdin and Jean-François Millet also continued to practice the medium in France, and Adolf Menzel in Germany. In 1862 the publisher Cadart tried to initiate a portfolio of lithographs by various artists, which was not successful but included several prints by Manet. The revival began during the 1870s, especially in France with artists such as Odilon Redon, Henri Fantin-Latour and Degas producing much of their work in this manner. The need for strictly limited editions to maintain the price had now been realized, and the medium became more accepted.
In the 1890s, color lithography gained success in part by the emergence of Jules Chéret, known as the father of the modern poster, whose work went on to inspire a new generation of poster designers and painters, most notably Toulouse-Lautrec, and former student of Chéret, Georges de Feure. By 1900 the medium in both color and monotone was an accepted part of printmaking.
During the 20th century, a group of artists, including Braque, Calder, Chagall, Dufy, Léger, Matisse, Miró, and Picasso, rediscovered the largely undeveloped artform of lithography thanks to the Mourlot Studios, also known as Atelier Mourlot, a Parisian printshop founded in 1852 by the Mourlot family. The Atelier Mourlot originally specialized in the printing of wallpaper; but it was transformed when the founder's grandson, Fernand Mourlot, invited a number of 20th-century artists to explore the complexities of THEATER art printing. Mourlot encouraged the painters to work directly on lithographic stones in order to create original artworks that could then be executed under the direction of master printers in small editions. The combination of modern artist and master printer resulted in lithographs that were used as posters to promote the artists' work.[13][14]
Grant Wood, George Bellows, Alphonse Mucha, Max Kahn, Pablo Picasso, Eleanor Coen, Jasper Johns, David Hockney, Susan Dorothea White and Robert Rauschenberg are a few of the artists who have produced most of their prints in the medium. M. C. Escher is considered a master of lithography, and many of his prints were created using this process. More than other printmaking techniques, printmakers in lithography still largely depend on access to good printers, and the development of the medium has been greatly influenced by when and where these have been established.
Theatre served as the most popular form of entertainment during the early 1900s. The American Theatre was still in development during this time. From the 1880s to the early 1900s, Americans would experiment with multiple styles and forms of theatre. One magazine to capture this delicate process was Theatre, later renamed Theatre Magazine. Frank Mott in A History of American Magazines calls Theatre Magazine “quite the most ambitious attempt in American theatrical history to present adequate representation of the stage in a periodical.” History Our Players’ Gallery, first published in 1900, was renamed Theatre in 1901 in New York. In August of 1917, it was renamed again as Theatre Magazine. This change may have been to set the magazine apart from a new theatre magazine that started about the same time called Theatre Arts Magazine. The last issue of Theatre Magazine was published on April 1931. By 1925, this monthly magazine sold for 35¢ an issue and for $4 for a yearly subscription. Lois and Paul Meyer founded the magazine, with Arthur Hornblow serving as editor from 1901. The magazine had two other editors by its end: Perriton Maxwell and Stewart Reach. In the first issue of the magazine as Theatre, the editors described the purpose of the magazine as being to win “favor among the great general public” in hopes that the public will become “always interested in the doings at the theatre and its people.” They also promised to only support that which would “elevate the tone of the stage and add to the dignity of the profession of the artiste”(V.1, n.3, pg 1). On April 26, 1925, a celebration was held in honor of Theatre Magazine’s 25th anniversary. This celebration, held at the Hotel Waldorf-Astoria, had over 1,000 guests including actors, actresses, playwrights, and critics. The magazine itself included an article in the June 1925 issue that covered this celebration. This celebration is proof of its acceptance by the theatre community as a whole and as the accomplishment of the magazine’s goal.(1) Contents Theatre Magazine does indeed cover all aspects of the theatre: interviews on actors and actresses of the stage, playwrights’ and critics’ commentaries, highlights of plays, and even the fashions presented on the stage. One particular reason why the magazine was respected in its time is due to the contributions of prominent critics and actors. As the namesake magazine for the theatre, magazine obviously concerned itself mostly with the plays themselves. The editor Arthur Hornblow had his own section titled “Mr. Hornblow Goes to the Plays” in which he would give his personal critique of the current plays, a brief summation, and a decision whether the play is worth a person’s time and money or not. The magazine offered highlights of current plays, providing summaries and photographs, interviews with respectable actors or actresses, and often scripts, partial or complete, of a play. As movie and radio technologies developed, Theatre Magazine included them in the magazine itself. “Screenland,” a section devoted to film, usually centered around a common element such as Romance, and it discussed this element throughout the film industry and current films. The magazine analyzed the films much as they would critique a play. The section titled “Radio” devoted its page to the developing technology for which it is named, recommending and reviewing available stations. Theatre Magazine did embrace the radio as a new form of entertainment and a new way to experience familiar settings altogether (such as listening to an orchestral concert while watching the sunset on the front porch of your house). The magazine strategically accepted film and radio as compliments to the art of entertainment rather than competitors. Finally, the magazine featured a section called the “Play Guide,” devoted to the visitors of New York, which suggested places to visit as well as an overview of possible entertainment venues, mainly recommendations of current plays. By doing so, the magazine attempted to spread its community to a larger audience. Advertising The advertising in Theatre logically centers on the theatre experience, focusing on the enjoyment of a night out to the theatre. These ads range from Lincoln automobiles to cigarettes. Towards the end of the magazine, a large portion of the ads refer to beauty products, appropriate for a night out at the theatre, as well as popular restaurants and beauty parlors within the city. And since everybody connected to theatre read this magazine, including play managers, ads included items for the theatre itself such as theatre seats. The majority of advertisements were placed towards the back of the magazine amongst the continuations of the articles. Final Curtain Theatre Magazine last published in April 1931. The exact reason as to why is still up for speculation. Some possible reasons include the fall of the economy after the stock market crash in October 1929. Many theatres converted to film, many others closed because they could not compete. There were nearly 1,500 theatres outside of New York in the 1920s; this number fell to 500 by the 1930s.(2) In 1927, the silent movies were no longer silent and this development secured the “triumph of the moving picture as the medium for popular entertainment.”
INFO from: https://uwf.edu/dearle/enewsstand/enewsstand_files/Page903.htm
As decorative art these COVERS give you - the buyer - an opportunity to purchase and enjoy THEATER graphics
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.
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