DOCSLIB.ORG

Helen Dryden”

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Helen Dryden” “IT’S STYLED BY HELEN DRYDEN” THE FINE ART OF GOOD TASTE _______________________________________________________ A Dissertation presented to the Faculty of the Graduate School at the University of Missouri – Columbia _______________________________________________________ In Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy (Art History) _______________________________________________________ by SARAH MARIE HORNE Dr. Kristin Schwain, Dissertation Supervisor December 2018 ©Copyright by Sarah Marie Horne 2018 All Rights Reserved The undersigned, appointed by the dean of the Graduate School, have examined the dissertation entitled “IT’S STYLED BY HELEN DRYDEN” THE FINE ART OF GOOD TASTE presented by Sarah Marie Horne, a candidate for the degree of doctor of philosophy, and hereby certify that, in their opinion, it is worthy of acceptance. _________________________________ Dr. Kristin Schwain, Adviser _________________________________ Dr. James A. van Dyke _________________________________ Dr. Michael Yonan _________________________________ Dr. Elisa Glick For Vince, Eli, and Pippa, with love. ACKNOWLEDGEMENTS This dissertation would not have been possible without the support and encouragement of a great many people. I would like to express my deepest appreciation to my dissertation advisor, Kristin Schwain, who has always acted as an advocate for me and my work. As my advisor she helped me to build the confidence I needed to undertake this project and was indispensable as an editor and sounding board. I also owe a profound debt of gratitude to my committee members James van Dyke, Michael Yonan, and Elisa Glick whose guidance was critical in the formation of this dissertation. My respect for them as experts and as individuals cannot be understated. I would especially like to thank Michael Yonan for encouraging me to continue to pursue my academic interests, even as they led me astray from traditional art historical subjects. My appreciation extends to the entire department of Art History and Archaeology for helping to fund my research by awarding me the Osmund Overby Fellowship. I am also grateful for the department’s support staff, June Davis, Linda Garrison, and Nancy Alexander, whose prompt and faithful assistance helped to ensure my academic success. This dissertation was challenging to research as there is no central archive to consult regarding Helen Dryden and there are no surviving family members to help illuminate her history. As such, I am sincerely grateful to all of the individuals who took time to converse with me and to offer whatever knowledge they may have to aid in my quest. In particular, I would like to thank Amelia Peck, Marcia F. Vilcek Curator of ii American Decorative Arts at the Metropolitan Museum of Art, for sharing her thoughtful insights into the Americana Prints produced by Stehli Silks; Russell Flinchum, Associate Professor at North Carolina State College of Design, for taking the time to reflect on my project and share his deep knowledge of the history of American industrial design; New York Times journalist Cathy Horyn, Ed Heys of Hemmings Motor News, and Charles T. Walters, Associate Professor at Bloomsburg University, who graciously shared their own research on Helen Dryden; Jeffrey Meikle, Stiles Professor in American Studies at the University of Texas – Austin, and Carma Gorman, Associate Professor at the University of Texas – Austin, for taking the time to respond to my emails, providing me with knowledge and guidance; Erika Doss for encouraging me and aiding in my research trip to the Studebaker National Museum; and Richard Quinn for allowing me access to his extensive collection of Studebaker publications. Finally, I would like to acknowledge the institutions who took time to assist me in my research by answering questions and sharing their archives, including the Studebaker National Museum, the New York Public Library, the Brooklyn Museum, the Metropolitan Museum of Art, the Smithsonian Institution Archives, the Sophia Smith Collection at Smith College, the GM Heritage Center, the Toledo Museum of Art, the Hagley Museum and Library, the Society of Illustrators, the Ohio History Connection, and the Special Collections Research Center at Syracuse University Library. iii TABLE OF CONTENTS ACKNOWLEDGEMENTS ........................................................................................................ ii LIST OF ILLUSTRATIONS....................................................................................................... vi ABSTRACT .......................................................................................................................... xiii INTRODUCTION ................................................................................................................................ 1 Understanding Commercial Art BIOGRAPHY: 1882 - 1914 ............................................................................................................... 22 CHAPTER 1: ART ILLUSTRATOR ...................................................................................................... 31 Mass Magazines and the Golden Age of Illustration Women in Illustration Fashion Illustration Vogue Magazine Dryden in Vogue BIOGRAPHY: 1914 – 1928 .............................................................................................................. 63 CHAPTER 2: COMMERICAL ARTIST ................................................................................................. 72 Fashion Design – From Concept to Reality All the World’s a Stage – Costume Design and Women’s Fashion Modern American Textiles – The Americana Prints BIOGRAPHY: 1928 – 1938 ............................................................................................................ 102 CHAPTER 3: INDUSTRIAL ARTIST .................................................................................................. 106 Forgotten Femmes – Women in Industrial Design Helen Dryden – Industrial Artist “It’s Styled by Helen Dryden” iv BIOGRAPHY: 1938 – 1972 ........................................................................................................... 135 CONCLUSION ................................................................................................................................ 138 ILLUSTRATIONS ............................................................................................................................ 145 BIBLIOGRAPHY ............................................................................................................................. 200 VITA .............................................................................................................................................. 219 v LIST OF ILLUSTRATIONS Figure Page 1. Studebaker President advertisement, 1936. 2 2. Advertisement, Arizona Republic, October 15, 1929, p. 12. 3 3. Anne Rittenhouse, “The Well-Dressed Woman: Costumes for 25 Bridesmaids,” The Inter Ocean, September 15, 1907, illustrated by Helen Dryden. 4. Illustration depicting Helen Dryden looking out the window of her 25 third story apartment. Illustration by D. and H. Ferriss, pictured in “Vie de Bohême in Washington Square,” Vanity Fair, August 1915. 5. Helen Dryden at her work table, ca. 1929. 27 6. Illustration depicting a salon style gathering at the studio of Helen 27 Dryden. Dryden is reading from a book by Indian poet, Rabindranath Tagore. She is accompanied by a man playing music by the French composer Claude Debussy. Illustrated by Anthony Euwer. Pictured in “This is life - In Washington Square,” Vanity Fair, April 1915. 7. Helen Dryden, cover illustration, Vogue, November 15, 1920. 29 8. Arnold Genthe, Portrait of Helen Dryden, photograph, 1921. 29 9. Helen Dryden, Untitled, Oil on Canvas, n.d. 31 10. Charles Dana Gibson, “The Eternal Question,” ca. 1900s. 34 11. Harrison Fisher, “A Girl’s Number,” The Ladies Home Journal, May 35 1909. 12. John Held Jr., “Teaching Old Dogs New Tricks,” Life, Feb. 18, 1928. 35 13. Cantilever Shoes advertisement, Los Angeles Times, Feb. 3, 1929, B2. 37 14. Jessie Wilcox Smith, cover illustration, Ladies Home Journal, April 41 1905. 15. Jessie Wilcox Smith, cover illustration, Good Housekeeping, April 41 1929. vi 16. Helen Dryden, cover illustration, Vogue, August 15, 1917. 41 17. Carl Kleinschmidt, fashion illustrations, The Delineator, March 1912. 44 18. Helen Dryden, gowns by Jenny and Worth, fashion illustration, 44 Vogue, March 15, 1922. 19. Helen Dryden, wrap by Bendel, fashion illustration, Vogue, 46 November 15, 1921. 20. Wrap by Bakst, photograph, Vogue, May 15, 1921. 46 21. Paul Iribe, fashion illustration, Les Robes de Paul Poiret, 1908. 47 22. Helen Dryden, advertisements for Lux, Gebrauchsgraphik, 56, 71 September 1, 1928. 23. LeJaren à Hiller, advertisement for Lux, Ladies Home Journal, 56 September 1927. 24. Helen Dryden, cover illustration, Vogue, May 1, 1916. 57 25. Helen Dryden, cover illustration, Vogue, December 1, 1917. 57 26. Helen Dryden, cover illustration, Vogue, June 1, 1920. 57 27. Helen Dryden, cover illustration, Vogue, November 1, 1921. 57 28. Helen Dryden, cover illustration, Vogue, October 1, 1914. 58 29. Helen Dryden, cover illustration, Vogue, August 1, 1910. 58 30. Helen Dryden, cover illustration, Vogue, September 1, 1922. 59 31. Jean Auguste Dominique Ingres, Grande Odalisque, oil on canvas, 59 1814, Louvre. 32. Helen Dryden, cover illustration, The Delineator, July 1929. 60, 71 33. Helen Dryden, cover illustration, The Delineator, October
Load more

Recommended publications
  • Art, Fine Art & Art Instruction
    DOVER PUBLICATIONS ART, FINE ART & ART INSTRUCTION BACKLIST CATALOG 2015-16 To Order Contact Your Local Dover Rep or Tel 800-223-3130 Fax 516-742-5049 www.doverdirect.com DOVER PUBLICATIONS 100 Calligraphic 100 Drawings The 100 Greatest Alphabets Advertisements 1852­ Gustav Klimt 1958: Who Wrote Them Dan X. Solo 9780486224466 and What They Did 9780486297989 Julian Watkins 9780486205403 Pub Date: 6/1/72 Pub Date: 7/10/97 $14.95 $12.95 99 pages 112 pages Trade Paperback Pub Date: 2/15/12 Trade Paperback 9.4 in W | 12.3 in H | 0.7 lb $19.95 8.4 in W | 11 in H | 0.7 lb Wt 256 pages Wt Trade Paperback 7.9 in W | 10.8 in H | 1.4 lb Wt 100 Ornamental 101 Great Samurai 150 Masterpieces of Alphabets Prints Drawing Dan X. Solo Utagawa Kuniyoshi, John Anthony Toney Grafton 9780486286969 9780486210322 9780486465234 Pub Date: 11/17/11 Pub Date: 6/1/63 $19.95 Pub Date: 9/19/08 $22.95 108 pages $14.95 150 pages Trade Paperback 112 pages Trade Paperback 8.4 in W | 11 in H | 0.7 lb Trade Paperback 8.4 in W | 11.3 in H | 1.1 lb Wt 8.4 in W | 11 in H | 1 lb Wt Wt 2,100 Victorian 50 Secrets of Magic 500 Years of Monograms Craftsmanship Illustration: From Albrecht Dürer to Karl Klimsch Salvador Dali Rockwell Kent 9780486283012 9780486271323 Howard Simon 9780486484655 Pub Date: 12/1/94 Pub Date: 6/4/92 $10.95 $16.95 80 pages 192 pages Pub Date: 12/14/11 Trade Paperback Trade Paperback $34.95 9 in W | 12 in H | 0.4 lb Wt 9.3 in W | 12.1 in H | 1.2 lb 512 pages Wt Trade Paperback 8.4 in W | 11 in H | 3.4 lb Wt Abstract Design and The Adventures of Albinus on
    [Show full text]
  • Volume 2, Issue 3, Autumn 2018
    The Journal of Dress History Volume 2, Issue 3, Autumn 2018 Front Cover Image: Textile Detail of an Evening Dress, circa 1950s, Maker Unknown, Middlesex University Fashion Collection, London, England, F2021AB. The Middlesex University Fashion Collection comprises approximately 450 garments for women and men, textiles, accessories including hats, shoes, gloves, and more, plus hundreds of haberdashery items including buttons and trimmings, from the nineteenth century to the present day. Browse the Middlesex University Fashion Collection at https://tinyurl.com/middlesex-fashion. The Journal of Dress History Volume 2, Issue 3, Autumn 2018 Editor–in–Chief Jennifer Daley Editor Scott Hughes Myerly Proofreader Georgina Chappell Published by The Association of Dress Historians [email protected] www.dresshistorians.org The Journal of Dress History Volume 2, Issue 3, Autumn 2018 [email protected] www.dresshistorians.org Copyright © 2018 The Association of Dress Historians ISSN 2515–0995 Online Computer Library Centre (OCLC) accession #988749854 The Journal of Dress History is the academic publication of The Association of Dress Historians through which scholars can articulate original research in a constructive, interdisciplinary, and peer reviewed environment. The Association of Dress Historians supports and promotes the advancement of public knowledge and education in the history of dress and textiles. The Association of Dress Historians (ADH) is Registered Charity #1014876 of The Charity Commission for England and Wales. The Journal of Dress History is copyrighted by the publisher, The Association of Dress Historians, while each published author within the journal holds the copyright to their individual article. The Journal of Dress History is circulated solely for educational purposes, completely free of charge, and not for sale or profit.
    [Show full text]
  • 2017-2018 Updated Fashion Design
    Fashion Design The Hoot Addendum #4 This addendum replaces the Fashion Design section (pages 231 – 238) of the 2017-18 The Hoot. Revised December 1, 2017 BACK TO CONTENTS | 231 FASHION DESIGN Innovation in fashion design results from a rigorous process of developing and editing ideas that address specific design challenges. Students in our program work alongside expert, professional faculty and guest mentors, who are current and visible designers, to become educated and practiced in all aspects of the design process. Throughout their experience, students produce original designs and develop collections for their portfolio. In their Junior and Senior year, students have the opportunity to work in teams to create unique designs under the guidance of mentors, emulating professional designers and following the industry's seasonal schedule. Recent mentors for the Junior and Senior class have included Anthropologie, Urban Outfitters, Nike, Roxy, Armani Exchange, BCBG, Trina Turk, Ruben & Isabel Toledo, and Bob Mackie. Junior and Senior designs are featured at the annual Scholarship Benefit and Fashion Show at the Beverly Hilton. FASHION DESIGN WITH AN EMPHASIS IN COSTUME DESIGN Students may choose to pursue an emphasis in Costume Design. With a focus on new directions in character development for film, television, live performance, concept art, and video, students emerge from the Costume Design Emphasis track as relevant, creative professionals prepared for the future direction of this exciting field. Under the guidance of critically-acclaimed costume design professionals and leading costume houses, students will produce original designs and dynamic illustrations, combining traditional and digital methods, for their portfolios. Costume Design mentors have included: Disney, Cirque du Soleil, Theadora Van Runkle, Betsy Heimann, Western Costume, Bill Travilla, and Bob Mackie.
    [Show full text]
  • New Exhibition the American Muse Debuts at the Nmai
    FOR IMMEDIATE RELEASE May 2, 2013 Contact: Eric Brocklehurst Tel: (401) 851-8949 ext. 18 Email: [email protected] Website: www.americanillustration.org NEW EXHIBITION ‘THE AMERICAN MUSE’ DEBUTS AT THE NMAI NEWPORT, RI- Friday, May 24, the NMAI officially debuts its new exhibition, The American Muse. The exhibition is in homage to American women of the late 19th and early 20th centuries, and the illustrators who accurately portrayed the quintessential yet distinctly American feminine beauty that these women embodied. The American illustrators highlighted include Charles Dana Gibson, Harrison Fisher, and others of the greatest illustrators of the period, such as: Philip Boileau, MacClelland Barclay, Howard Chandler Christy, James Montgomery Flagg, Henry Hutt, Walter Granville Smith, Paul Stahr, and Albert Beck Wenzell. Each of these illustrators created their own prototypical image of ‘The American Woman.’ The public gave these illustrators’ artworks generic names as part of their respective oeuvre; The Gibson Girl and The Fisher Girl stand out as the most popular of all. These renditions of the illustrators’ ideal woman captured the increasingly independent spirit of American women. The illustrations both shaped and reflected American society and its notions of female beauty. Compared to women of previous eras, these women relished more freedoms, enjoyed greater opportunities in sports and education, and were at the vanguard of a time when women effected change through social and political movements on an unprecedented scale in Western culture. Also showing at the NMAI are Maxfield Parrish: The Retrospective, which has been extended due to popular demand through Fall 2013, and Howard Pyle & His Brandywine Students, showcasing the works of Howard Pyle, N.C.
    [Show full text]
  • Issue: Fashion Industry Fashion Industry
    Issue: Fashion Industry Fashion Industry By: Vickie Elmer Pub. Date: January 16, 2017 Access Date: October 1, 2021 DOI: 10.1177/237455680302.n1 Source URL: http://businessresearcher.sagepub.com/sbr-1863-101702-2766972/20170116/fashion-industry ©2021 SAGE Publishing, Inc. All Rights Reserved. ©2021 SAGE Publishing, Inc. All Rights Reserved. Can it adapt to changing times? Executive Summary The global fashion business is going through a period of intense change and competition, with disruption coming in many colors: global online marketplaces, slower growth, more startups and consumers who now seem bored by what once excited them. Many U.S. shoppers have grown tired of buying Prada and Chanel suits and prefer to spend their money on experiences rather than clothes. Questions about fashion companies’ labor and environmental practices are leading to new policies, although some critics remain unconvinced. Fashion still relies on creativity, innovation and consumer attention, some of which comes from technology and some from celebrities. Here are some key takeaways: High-fashion brands must now compete with “fast fashion,” apparel sold on eBay and vintage sites. Risk factors for fashion companies include China’s growth slowdown, reduced global trade, Brexit, terrorist attacks and erratic commodity prices. Plus-size women are a growing segment of the market, yet critics say designers are ignoring them. Overview José Neves launched Farfetch during the global economic crisis of 2008, drawing more on his background in IT and software than a love of fashion. His idea: Allow small designers and fashion shops to sell their wares worldwide on a single online marketplace. The site will “fetch” fashion from far-off places.
    [Show full text]
  • Violet Oakley: Pennsylvania’S Premiere Muralist
    1 VIOLET OAKLEY: PENNSYLVANIA’S PREMIERE MURALIST Susan Hamburger Paper and slide presentation Pennsylvania Historical Association October 14, 1995 [SLIDE 1] Violet Oakley--a versatile portraitist, illustrator, stained glass artisan, and muralist--earned a reputation as the first American woman artist to succeed in the predominantly-male architectural field of mural decoration. Her strong commitment to her religion and world peace influenced her art as well as her life. [SLIDE 2] Oakley was born in Bergen Heights, New Jersey, to the artistic family of Arthur Edmund Oakley and Cornelia Swain Oakley. Both of her grandfathers, George Oakley and William Swain, belonged to the National Academy of Design and two of her aunts studied painting in Munich with Frank Duveneck. She believed that her compulsion to draw was “hereditary and chronic.” She once commented that she must have been “a monk in some earlier state of existence....The abbesses and sisters were too busy nursing the sick and doing fine needleworks. I never heard of them illuminating manuscripts. I am quite sure I was a monk.” 1 The youngest of three children, Violet followed her sisters Cornelia and Hester in learning the acceptable feminine skills of poetry writing, piano playing, 2 and sketching. While Hester attended Vassar College, Violet’s asthma prevented her from obtaining a college education which her parents thought too rigorous for her physical condition. She never let the asthma impede her artistic education or career. In 1892, at the age of eighteen, Oakley commuted to New York City to study at the Art Students’ League with Irving R.
    [Show full text]
  • The Law, Culture, and Economics of Fashion
    THE LAW, CULTURE, AND ECONOMICS OF FASHION C. Scott Hemphill* & Jeannie Suk** INTRODUCTION....................................................................................................... 102! I. WHAT IS FASHION? ............................................................................................. 109! A. Status ........................................................................................................... 109! B. Zeitgeist ....................................................................................................... 111! C. Copies Versus Trends .................................................................................. 113! D. Why Promote Innovation in Fashion? ........................................................ 115! II. A MODEL OF TREND ADOPTION AND PRODUCTION ........................................... 117! A. Differentiation and Flocking ....................................................................... 118! B. Trend Adoption ............................................................................................ 120! C. Trend Production ........................................................................................ 122! III. HOW UNREGULATED COPYING THREATENS INNOVATION ............................... 124! A. Fast Fashion Copyists ................................................................................. 124! B. The Threat to Innovation ............................................................................. 128! 1. Harmful copying ..................................................................................
    [Show full text]
  • MF-Romanticism .Pdf
    Europe and America, 1800 to 1870 1 Napoleonic Europe 1800-1815 2 3 Goals • Discuss Romanticism as an artistic style. Name some of its frequently occurring subject matter as well as its stylistic qualities. • Compare and contrast Neoclassicism and Romanticism. • Examine reasons for the broad range of subject matter, from portraits and landscape to mythology and history. • Discuss initial reaction by artists and the public to the new art medium known as photography 4 30.1 From Neoclassicism to Romanticism • Understand the philosophical and stylistic differences between Neoclassicism and Romanticism. • Examine the growing interest in the exotic, the erotic, the landscape, and fictional narrative as subject matter. • Understand the mixture of classical form and Romantic themes, and the debates about the nature of art in the 19th century. • Identify artists and architects of the period and their works. 5 Neoclassicism in Napoleonic France • Understand reasons why Neoclassicism remained the preferred style during the Napoleonic period • Recall Neoclassical artists of the Napoleonic period and how they served the Empire 6 Figure 30-2 JACQUES-LOUIS DAVID, Coronation of Napoleon, 1805–1808. Oil on canvas, 20’ 4 1/2” x 32’ 1 3/4”. Louvre, Paris. 7 Figure 29-23 JACQUES-LOUIS DAVID, Oath of the Horatii, 1784. Oil on canvas, approx. 10’ 10” x 13’ 11”. Louvre, Paris. 8 Figure 30-3 PIERRE VIGNON, La Madeleine, Paris, France, 1807–1842. 9 Figure 30-4 ANTONIO CANOVA, Pauline Borghese as Venus, 1808. Marble, 6’ 7” long. Galleria Borghese, Rome. 10 Foreshadowing Romanticism • Notice how David’s students retained Neoclassical features in their paintings • Realize that some of David’s students began to include subject matter and stylistic features that foreshadowed Romanticism 11 Figure 30-5 ANTOINE-JEAN GROS, Napoleon at the Pesthouse at Jaffa, 1804.
    [Show full text]
  • 2001 Great Plains Prairie
    2001 Great Plains Prairie Pronghorns Burrowing Owls Black-tailed Prairie Dog American Buffalo Painted Lady Butterfly 2001 Great Plains Prairie Western Meadowlark Badger Plains Spadefoot Eastern Short-horned Lizard Two-striped Grasshopper 2001 perf. 11¼x11 die cut 11 die cut 8½ vert. American Buffalo American Buffalo American Buffalo die cut 11¼ die cut 10½x11¼ American Buffalo American Buffalo Eagle Eagle United We Stand die cut 11¼ die cut 10½x10¾ die cut 9¾ vert., sq. corner die cut 9¾ vert., rd. corner United We Stand United We Stand United We Stand United We Stand 2001-03 George Washington die cut 11¼x11 die cut 10½x11 die cut 11¼x11¾, “2001” George Washington George Washington George Washington die cut 8½ vert., “2001” perf. 11¼, “2002” die cut 8½ vert., “2002” George Washington George Washington George Washington die cut 11¼x11, “2002” die cut 10½x11, “2002” die cut 11, “2003” George Washington George Washington George Washington Atlas die cut 8½ vert., “2001” die cut 11 vert., “2003” Atlas Atlas 2001 We Give Thanks Diamond in the Square Lone Star Diabetes Roy Wilkins The Nobel Prize Peanuts Honoring Veterans Frida Kahlo Sunshine & Shadow James Madison Double Ninepatch Variation 2001 Venus Flytrap Yellow Trumpet Cobra Lily English Sundew Leonard Bernstein Lucille Ball Pan-American Exposition perf. 12, unwmk., dated “2001” perf. 12, unwmk., dated “2001” perf. 12, unwmk., dated “2001” Fast Lake Navigation Fast Express Automobile 2001 Woody Wagon Enrico Fermi Love Love Love die cut 11½x10¾ Love die cut 11¼ Love Love 2001-09 Eid die cut 11¼, dated “2001” die cut 11, dated “2002” Eid Eid Eid Eid Eid Eid 2001-03 Washington Landmarks U.S.
    [Show full text]
  • Howard Pyle: Imagining an American School of Art. by JILL P. MAY and ROBERT E. MAY. (Champaign: University of Illinois Press, 20
    2012 BOOK REVIEWS 317 Howard Pyle: Imagining an American School of Art. By JILL P. M AY and ROBERT E. MAY. (Champaign: University of Illinois Press, 2011. 288 pp. Illustrations, notes, index. $45.) Once upon a time, the latest book illustrated by Howard Pyle (1853–1910) was on every American child’s wish list. In the meantime, youngsters could enjoy his vivid portrayals of history and legend in the pages of St. Nicholas, Everybody’s, Collier’s, Century, Scribner’s, and Harper’s magazines. Though not a household name today, Pyle was the preeminent illustrator of the Gilded Age, and his visual interpretations of the American Revolution, Robin Hood and his Merry Men, the Knights of the Round Table, and a motley crew of pirates were indelibly printed on the imaginations of several generations. Now a new book published in conjunction with the centenary of Howard Pyle’s death has redis- covered this forgotten icon of the popular culture. The subject is custom-made for authors Jill P. May, professor of literacy and language, and Robert E. May, professor of history (both at Purdue University), who bring to this work their expertise in fields beyond the history of art. This is not a coffee-table book but the first extensively documented biography of Howard Pyle. The authors combed through numerous archives and museum collections and wove their findings into a fluent narrative that documents Pyle’s personal life and his career as an illus- trator, author, and teacher. The frequent use of quotations from letters re-creates the intimate conversations between Pyle and his wide circle of colleagues and students, revealing the artist’s exuberant personality and manic energy.
    [Show full text]
  • (OR LESS!) Food & Cooking English One-Off (Inside) Interior Design
    Publication Magazine Genre Frequency Language $10 DINNERS (OR LESS!) Food & Cooking English One-Off (inside) interior design review Art & Photo English Bimonthly .
    [Show full text]
  • 1987 Mercedes-Benz 300SDL $6400
    APPRAISAL REPORT 1986 Mercedes-Benz 300SDL Turbo 4-Dr Sedan PREPARED FOR: Gareal Franklin A PROFESSIONAL VALUATION SERVICE FOR ALL TYPES OF COLLECTOR VEHICLES ©2006 Auto Appraisal Network, Inc. All rights reserved. 19 Spectrum Pointe Dr. Ste. 605 Lake Forest, CA 92630 (949) 387-7774 or fax (949) 387-7775, [email protected] A professional valuation service for all types of collector vehicles 10/5/2010 Gareal Franklin 535 Coastview Drive Santa Cruz, CA 95062 APPRAISAL REPORT: 1986 Mercedes-Benz 300SDL Turbo 4-Dr Sedan Classic Vehicle Claim# 05B355-933 Date of Loss: 09/11/2010 To Whom It May Concern: In compliance with the recent request, we have appraised the above referenced vehicle. We have enclosed the limited appraisal report that constitutes our analysis and conclusion of the research completed on this vehicle. The Fair Market Value of this vehicle, prior to the noted loss date was; $8,700.00 Thank you very much for your business, and if you should have any further questions, please do not hesitate to call. Very truly yours, 9SJ102731556 Page 2 PURPOSE AND SCOPE OF REPORT: PURPOSE The purpose of this document is to report to the customer the appraiser’s opinion of the overall condition of the subject vehicle. DIMINISHED VALUE The Diminished Value of the vehicle is described as the estimated total amount of money that an automobile is estimated to have depreciated in value, due to a particular accident, mishap, event or circumstance and may be based on the standard sliding scale established by the International Society of Automotive Appraisers or a fair market offer to purchase after the date of loss.
    [Show full text]