SIZE OF POSTER PRINT - 12 X 18 INCHES

DATE OF ORIGINAL PRINT, POSTER OR ADVERT - 1924

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:

ARTIST:  Frederick Little Packer (January 4, 1886 – December 8, 1956) was an American illustrator and political cartoonist. Born in Los Angeles, he was educated at the Los Angeles School of Art and Design and the Chicago Art Institute. He worked for the Los Angeles Examiner, San Francisco Call, and from 1919 to 1931 worked as a commercial artist in New York. He returned to newspaper work on the New York Journal in 1932, and in 1933 joined the Daily Mirror. He received the Pulitzer Prize for Editorial Cartooning in 1952.

V. Vivaudou Inc., was an American perfume manufacturer that operated in New York City. V. Vivaudou Inc., was taken over by the United Drug Company in February 1916, for a price of $1,500,000. Among its perfume and cosmetics line, Mavis Talcum Vivaudou red tin was quite often part of the women's toiletries checklist. In August 1919 the United Drug Company sold V. Vivaudou Inc., to a syndicate of New York City men for $2,500,000. In 1920, it was considered one of the world's largest manufacturers of toiletries.

The business signed to carry out the sale and distribution of Alcorub on the Pacific Coast, in September 1922. In January 1926 the firm approved a contract to acquire the Alfred H. Smith Company. In May 1930 V. Vivaudou Inc., was ordered by the Federal Trade Commission to divest itself of capital stock in Parfumerie Melba, Inc., and the Alfred H. Smith Company. The FTC ruled that the companies were formerly competitors of V. Vivaudou Inc, and its acquisition of their stock constituted a monopoly.The order to divest was reversed by a United States Court of Appeals in November 1931. The court decided that the three companies' control of 6% of the United States cosmetics market did not constitute a monopoly.

Victor Vivaudou, the owner, was born in Cannes, France, on January 2, 1881. He travelled to the US with his mistress Rosa on the Lusitania on September 12, 1914, setting up V. Vivaudou Inc. in the Times building in 1915. He and three other investors also founded Meridian Motors, a Manhattan autos and appurtenances company, which was chartered in January 1917.

A new company was incorporated with V. Vivaudou as its president in September 1919. An underwriting syndicate was formed headed by J. S. Bache & Co. and S. M. Schatzkin. The underwriting syndicate was dissolved in mid-September 1919.

The corporation had an initial capital outlay of $12,000, and maintained its headquarters at the New York Times Building.

V. Vivaudou Inc. was listed on the New York Stock Exchange beginning on May 5, 1920. It issued 300,000 shares of capital stock. Company stockholders approved an increase of common stock from 340,000 to 500,000 shares on January 5, 1926. The shares were changed from $10 to no par value. They agreed to an issuance of 25,000 shares of 7 per cent preferred stock with $100 par value. In November 1920 V. Vivaudou, Inc., reduced its dividend from .50 to .25 per share to conserve cash, in order to meet expansion in the United States and Europe. It reported earnings of $288,430 for the quarter ending on October 31, 1920. The sum translated to $4 per share prior to accounting for taxes.

Victor Vivaudou pleaded guilty to smuggling before a United States federal judge in New York City, on November 1, 1920. Vivaudou and Rosa failed to declare a $10,000 necklace and a $500 diamond ring, which they purchased in France, in March 1920. Vivaudou was fined $5,000.

In November 1921 the corporation reported a decline in earnings. Its gross profit of $1,153,185 was below that of the previous year's $2,031,861. Gross sales amounted to $4,100,124. V. Vivaudou, Inc., announced a 60% increase in sales in the first quarter of 1922. In August 1922 the firm stated that it had paid off the last of its bank loans and was debt free. Net profit for 1922 was $592,947, and approximately $770,000 for the first ten months of 1923. By mid 1924 V. Vivadou Inc., reported a sharp decline in profits, largely due to losses incurred by its French subsidiaries. Victor Vivaudou was ousted as president of V. Vivaudou Inc., by Jules Bache and David Schulte following disputes over conspiracy and fraudulent misrepresentation.

By 1943 V. Vivaudou of Canada and California was a subsidiary of Vadsco Sales Corporation. Vadsco expanded during World War II through the growth of Kny-Scheerer, a subsidiary which manufactured surgical instruments. Vadsco subsidiaries also produced perfumes, talcum and other products.

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.