DATE OF THIS ** ORIGINAL ** COVER: 1934 Romain de Tirtoff (23 November 1892 – 21 April 1990) was a Russian-born French artist and designer known by the pseudonym Erté, from the French pronunciation of his initials (pronounced [??.te], AIR TAY). He was a 20th-century artist and designer in an array of fields, including fashion, jewellery, graphic arts, costume and set design for film, theatre, and opera, and interior decor. Tirtoff was born Roman Petrovich Tyrtov (????? ???????? ??????) in Saint Petersburg, to a distinguished family with roots tracing back to 1548, to a Tatar khan named Tyrtov.[1] His father, Pyotr Ivanovich Tyrtov, served as an admiral in the Russian Fleet. In 1907, he lived one year in Paris. He said about this time "I did not discover Beardsley until when I had already been in Paris for a year". Demoiselle à la balancelle is one of Erté's first sculptures, if not the first. Made in 1907, at the age of 15 years, during a stay in Paris. This work is less precise than his other sculptures, but still Art Nouveau. Erté considered this so minor and uninteresting that it does not appear in his official biography, but the cartouche on the back indicates 'ERTE PARIS 1907', in a triangle. In 1910–12, Romain moved to Paris to pursue a career as a designer. In Paris he lived with Prince Nicolas Ouroussoff (December 17, 1879 – April 8, 1933) up until the prince's death in 1933.[2] The decision to move to Paris was made despite strong objections from his father, who wanted Romain to continue the family tradition and become a naval officer. Romain assumed his pseudonym to avoid disgracing the family. He worked for Paul Poiret from 1913 to 1914. In 1915, he secured his first substantial contract with Harper's Bazaar magazine, and thus launched an illustrious career that included designing costumes and stage sets. During this time, Erte designed costumes for the Mata Hari.[3]Between 1915 and 1937, Erté designed over 200 covers for Harper's Bazaar, and his illustrations would also appear in such publications as Illustrated London News, Cosmopolitan, Ladies' Home Journal, and Vogue.[4] Erté is perhaps most famous for his elegant fashion designs which capture the art deco period in which he worked. One of his earliest successes was designing apparel for the French dancer Gaby Deslys who died in 1920. His delicate figures and sophisticated, glamorous designs are instantly recognisable, and his ideas and art still influence fashion into the 21st century. His costumes, programme designs, and sets were featured in the Ziegfeld Follies of 1923, many productions of the Folies Bergère, Bal Tabarin, Théâtre Fémina, Le Lido[5] and George White's Scandals.[6] On Broadway, the celebrated French chanteuse Irène Bordoni wore Erté's designs. In 1925, Louis B. Mayer brought him to Hollywood to design sets and costumes for the silent film Paris. There were many script problems, so Erté was given other assignments to keep him busy. Hence, he designed for such films as Ben-Hur, The Mystic, Time, The Comedian, and Dance Madness. In 1920 he designed the set and costumes for the film The Restless Sex starring Marion Davies and financed by William Randolph Hearst. By far, his best-known image is Symphony in Black, depicting a somewhat stylized, tall, slender woman draped in black holding a thin black dog on a leash. The influential image has been reproduced and copied countless times.[7] Erté continued working throughout his life, designing revues, ballets, and operas. He had a major rejuvenation and much lauded interest in his career during the 1960s with the Art Deco revival. He branched out into the realm of limited edition prints, bronzes, and wearable art.[8] Two years before his death, Erté created seven limited edition bottle designs for Courvoisier to show the different stages of the cognac-making process, from distillation to maturation.[9] In 2008, the eighth and final of the remaining Erte-designed Courvoisier bottles, containing Grande Champagne cognac dating back to 1892, was released and sold for $10,000 apiece.
Item Condition: SEE PHOTO CAREFULLY...MANY OF THESE COVERS HAVE HEAVIER AGE WEAR FROM COLLECTOR USE (INCLUDING EDGE CUTS + REPAIRED TEARS) THE WEAR SHOULD BE EASY TO CLEAN OR REPAIR FOR FRAMING ....All original ads have some sign of age use.. these are period ads and we take quality photo's to show any flaws. If you have questions about condition please ask... We do not reveal the periodical from which the ad is removed ... except to the buyer ! Please don't ask us email this info... or higher res. photo's.... For those folks who wish to copy and print our photo's be aware they are photo copyrighted. and we will report misuse ! We DO try and note and MAJOR flaws....otherwise please use the photo as part of the description...
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
SPECIAL CHARACTERISTICS/DESCRIPTIVE WORDS:
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IMAGE SIZE: SEE PHOTO FOR DIMENSIONS ( ALL DIMENSIONS IN INCHES)
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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 WERE NOT INTENDED FOR LONG-TERM SURVIVAL. STARTING WITH THE FIRST MAGAZINE (IE: THE GENTLEMAN'S MAGAZINE, FIRST PUBLISHED IN 1731, IN LONDON, CONSIDERED TO HAVE BEEN THE FIRST GENERAL INTEREST MAGAZINE). MOST WERE READ, AND RE-READ AS THEY WERE PASSED ALONG BUT EVENTUALLY MOST WOULD END UP IN THE TRASH OR THE SCRAP PAPER-BUYER'S CART...AND SO THE ENJOYMENT OF COLLECTING 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, TORNADOS, 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 ART 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 USE ACID-FREE STORAGE IN MOUNTING PRACTICES IN COLLECTING MAGAZINE COVERS
AS DECORATIVE ART, THESE COVERS GIVE YOU, THE BUYER, AN OPPORTUNITY TO PURCHASE AND ENJOY FINE 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.
PLEASE LOOK AT OUR PHOTO CLOSELY AS IT IS (ALBEIT LOWER RESOLUTION) THE PRODUCT BEING SOLD.....NOT STOCK IMAGES
**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.
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