BOLD AND BRIGHT THIS POSTERPRINT FROM A SHADOWLAND MAGAZINE COVER WE CALL - MERMAID FISHING -. ANOTHER HOPFMULLER ART COVER THIS FINE ART DECO STYLE POSTERPRINT WOULD BE GREAT ON ANY WALL.....
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 - 1921
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.
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DESCRIPTION OF ITEM: additional information:
The Hopfmuller family owned Hotel Reichsadler in Bayreuth, and guests such as Richard Wagner and Franz Liszt passed through their doors. Johann and Sophia Hopfmuller baptized and raised their children in the Lutheran faith.
As Ruth tells it, Adolph’s birth was “surprise” to his parents. He was significantly younger than his siblings, some of whom were married and had their own families by the time his parents died. Father Johann Hopfmuller passed away in 1880 when Adolph was only 5 years old, and two years later his mother Sophia also died.
An orphaned Adolph was sent to a Catholic boarding school at the age of 7 by an older brother. He hated the school, and ran away to sea when he was around 15 years old.
For the next ten years or so, A.M. Hopfmuller sailed around the world as a crewman on square-rigged ships. Ruth recalls many colorful stories that “Grandpa” told about his life at sea:“He sailed…to Africa, Australia, and South America…among his adventures were rounding the Cape of Good Hope and Cape Horn, during which time he was no stranger to climbing to the top of the masts in ice storms and other nasty weather.”
During the 1890s, Germany was in a race with Britain to build up their navy.
“After jumping ship in Argentina, fearing his ship as unseaworthy (it later sank!), he made his way back to Germany to fulfill his obligatory military service in the navy.” – Ruth Hamann
Post naval service, Adolph M. Hopfmuller worked as a sailor on passenger ships. On one of these voyages he met Mary Klassert, who was sailing from Germany to New York. He eventually made his own way to New York City, where by now some of his 3 brothers and 3 sisters were living. He stayed with family members while he worked at different jobs.
Some of those early jobs in New York took advantage of his sea-going experience climbing masts, and he found himself working high above the streets hanging flags, banners, etc. for public events.
An American ArtistA.M. Hopfmuller married Mary Klassert, and their first child Florence (m. Braunstein) was born in 1903 Their second daughter Agnes (m. Meyer) came along in 1908; and their youngest daughter Elsie (m. Hamann) was born in 1910. By this time, Adolph was a naturalized U.S. citizen himself, having taken the Oath of Allegiance in 1906, according to Fold3 by Ancestry.
At some point Adolph’s interest in art surfaced, and while working and supporting his family he also took art classes at The Art Students League school
(Art Students League School Building, 215 West 57th St., New York 2011 Photo: Beyond My Ken)
The school had been founded in 1876, the year Adolph was born.
By 1892, a French Renaissance Revival style building had been completed at 215 West 57th St., New York, to house the American Fine Arts Society. The Fine Arts Society consisted of 3 entities that joined together to raise building funds for their new home – The Art Students League, the New York Architectural League, and the Society of American Artists. The building is still standing, however as of 2011 only the Art Students League was still using it.
Students / teachers at The Art Students League whom A.M. Hopfmuller could well have crossed paths with while he was there, include such noteworthy artists and instructors as Frank Vincent DuMond, Georgia O’Keeffe, and Norman Rockwell.
Hopfmuller also painted scenery and made posters for the Triangle Theater (long gone now) in Brooklyn in the early 1900s.
Brewster Movie Fan Magazines Artist
By 1917, Hopfmuller had begun working for pioneering movie fan magazine publisher Eugene V. Brewster. Brewster and Vitagraph studios film magnate J. Stuart Blackton had co-founded M.P. Publishing in Brooklyn in 1910; in 1911 The Motion Picture Story Magazine was the very first movie fan magazine to be published. The name was abbreviated to Motion Picture Magazine in March 1914.
In the very early days of the film industry, the names of the actors were usually not listed. Mirroring this, quite often names of the creative staff – writers and artists whose works were published in the early Brewster fan magazines – were either omitted completely, listed as a fictitious alter-ego (with different staff members contributing under the same fake name), or only identified by an abbreviated signature/icon, i.e. “W”.
Brewster launched an additional fan magazine called Motion Picture Classic in September 1915. As with Motion Picture Magazine, only executive, editorial, and sales staff were listed, and they were the same for both magazines.
No staff artists were listed for either magazine, although the elaborate picture frame borders, interior column banners, and other illustrations scattered throughout, clearly would have required artistic talent. Only the full colour cover portraits of film celebrities, were (usually but not always) signed or credited to the artist.
For these reasons, much of A.M. Hopfmuller’s early work for the Brewster publications may never be known. Ruth believes he began working for Brewster in 1917, and addition to art works, Hopfmuller contributed by writing articles, primarily features about artists – including his friend, Alexander Couard. Some of his articles may have appeared under the pseudonym “The Painter”. Adolph also worked as a judge at some of the many events that the entrepreneurial and expansive Eugene V. Brewster hosted, such as fashion shows and contests.
It wasn’t until the September 1918 edition of Motion Picture Magazine that Staff Artists Leo Sielke Jr. (who painted many movie star portrait covers for both Classic and Motion Picture Magazine) and A.M. Hopfmuller, first appear.No staff artists were listed for Motion Picture Classic until a few years later, possibly because the staff were identical for both magazines and thus it was considered there was no need to credit them twice.
Meanwhile, Hopfmuller’s stature as an artist apart from Brewster Publications, was growing. He’s listed in a group of ‘Long Island Painters‘ whose work was showcased by Brooklyn’s Ardsley Studios in it’s final season (1919-1920), according to Hamilton Easter Field and the Rise of Modern Art in America (1973) author Doreen A. Bolger.
When Eugene V. Brewster launched his third magazine SHADOWLAND in 1919, it was obvious this was something quite different. Billed as the “Handsomest Magazine in the World”, SHADOWLAND was most definitely an ARTS magazine, not just a movie fan magazine. Literary, theatrical, visual and fine arts, interior and set design, and yes, movies, and much more from the world of art, were all showcased inside SHADOWLAND.
Gracing the cover of every SHADOWLAND edition – from the first edition in September 1919 through to the last in 1923 – is a full colour, art deco painting by A.M. Hopfuller.
Although he may have retired from Brewster Publications, A.M. Hopfmuller never retired from painting. He went on to work for another publishing mogul, William Randolph Hearst, on magazines such as Smart Set and McClures, and was named the Art Editor of Harper’s Bazaar in 1927.
He was a founding member of The Brooklyn Society of Modern Artists, according to The Brooklyn Daily Eagle, and his paintings were exhibited in local art shows. A.M. Hopfmuller is listed amongst the artists whose work was included in an Exhibition of Water Color Paintings Pastels and Drawings by American and European Artists at the Brooklyn Museum from January 28-February 28, 1927.
A.M. Hopfmuller belonged to these other art associations as well:
- Independent Society of Artists – The Society of Independent Artists was formed in 1917.
- Brooklyn Water Color Club – Founded in 1920.
- Brooklyn Society of Artists – The Sun noted that among the members of the newly founded Society that would be contributing framed paintings for a Red Cross fund raiser in 1917, were Hamilton Easter Field, Leo Sielke, Jr., J. Stuart Blackton, and Eugene V. Brewster – all of whom were associated with SHADOWLAND & Motion Picture Magazine wile Hopfmuller worked there..
During the 1930s, A.M. Hopfmuller designed dust jackets for books, and other magazine covers.
Leisure and Family LifeAdolph had moved his family out to the countryside of Valley Stream on Long Island in the 1910s, and his daughters attended high school there.
Although his wife Mary Hopfmuller died in 1935, Adolph wasn’t alone. The family remained close even after his daughters grew up and got married, living within blocks of him/each other in Valley Stream.
His creative interests and abilities weren’t limited to painting. Hopfmuller worked with wood, hand-carving picture frames, building rustic garden furniture, and carved bookcases.
“He enjoyed building models of sailing ships for his grandchildren to sail/race in a local park (we still have one). And he designed and maintained a beautiful garden on his property adjoining his house.” – Ruth Hamann
A.M. Hopfmuller died in 1971 at the age of 95.
The Art Deco style, which originated in France just before World War I, had an important impact on architecture and design in the United States in the 1920s and 1930s. The most famous examples are the skyscrapers of New York City including the Empire State Building, Chrysler Building, and Rockefeller Center. It combined modern aesthetics, fine craftsmanship and expensive materials, and became the symbol of luxury and modernity. While rarely used in residences, it was frequently used for office buildings, government buildings, train stations, movie theaters, diners and department stores. It also was frequently used in furniture, and in the design of automobiles, ocean liners, and everyday objects such as toasters and radio sets. In the late 1930s, during the Great Depression, it featured prominently in the architecture of the immense public works projects sponsored by the Works Progress Administration and the Public Works Administration, such as the Golden Gate Bridge and Hoover Dam. The style competed throughout the period with the modernist architecture, and came to an abrupt end in 1939 with the beginning of World War II. The style was rediscovered in the 1960s, and many of the original buildings have been restored and are now historical landmarks.The Art Deco style had been born in Paris, but no buildings were permitted in that city which were higher than Notre Dame Cathedral (with the sole exception of the Eiffel Tower). As a result, the United States soon took the lead in building tall buildings. The first skyscrapers had been built in Chicago in the 1880s in the Beaux-Arts or neoclassical style. In the 1920s, New York architects used the new Art Deco style to build the Chrysler Building and the Empire State Building. The Empire State building was the tallest building in the world for forty years.
The decoration of the interior and exterior of the skyscrapers was classic Art Deco, with geometric shapes and zigzag patterns. The Chrysler Building, by William Van Alen (1928–30), updated the traditional gargoyles on Gothic cathedrals with sculptures on the building corners in the shape of Chrysler radiator ornaments.
Another major landmark of the style was the RCA Victor Building (now the General Electric Building), by John Walter Cross. It was covered from top to bottom with zig-zags and geometric patterns, and had a highly ornamental crown with geometric spires and lightning bolts of stone. The exterior featured bas-relief sculptures by Leo Friedlander and Lee Lawrie, and a mosaic by Barry Faulkner that required more than a million pieces of enamel and glass.
While the skyscraper Art Deco style was mostly used for corporate office buildings, it also became popular for government buildings, since all city offices could be contained in one building on a minimal amount of land. The city halls of Los Angeles, California and Buffalo, New York were built in the style, as well as the new capital building of the State of Louisiana.
There was no specific Art Deco style of painting in the United States, though paintings were often used as decoration, especially in government buildings and office buildings. In the 1932 the Public Works of Art Project was created to give work to artists unemployed because the Great Depression. In a year, it commissioned more than fifteen thousand works of art. It was succeeded in 1935 by the Federal Arts Project of the Works Progress Administration, or WPA. prominent American artists were commissioned by the Federal Art Project to paint murals in government buildings, hospitals, airports, schools and universities. Some the America's most famous artists, including Grant Wood, Reginald Marsh, Georgia O'Keeffe and Maxine Albro took part in the program. The celebrated Mexican painter Diego Rivera also took part in the program, painting a mural. The paintings were in a variety of styles, including regionalism, social realism, and American scenic painting.
A few murals were also commissioned for Art Deco skyscrapers, notably Rockefeller Center in New York. Two murals were commissioned for the lobby, one by John Steuart Curry and another by Diego Rivera. The owners of the building, the Rockefeller family, discovered that Rivera, a Communist, had slipped an image of Lenin into a crowd in the painting, and had it destroyed. The mural was replaced with another by the Spanish artist José Maria Sert.
The Art Deco style appeared early in the graphic arts, in the years just before World War I. It appeared in Paris in the posters and the costume designs of Léon Bakst for the Ballets Russes, and in the catalogs of the fashion designers Paul Poiret. The illustrations of Georges Barbier, and Georges Lepape and the images in the fashion magazine La Gazette du bon ton perfectly captured the elegance and sensuality of the style. In the 1920s, the look changed; the fashions stressed were more casual, sportive and daring, with the woman models usually smoking cigarettes. American fashion magazines such as Vogue, Vanity Fair and Harper's Bazaar quickly picked up the new style and popularized it in the United States. It also influenced the work of American book illustrators such as Rockwell Kent.
In the 1930s a new genre of posters appeared in the United States during the Great Depression. The Federal Art Project hired American artists to create posters to promote tourism and cultural events.
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