Mastro Americana Lot #59 - Huh ??
Basilone
Posts: 2,492 ✭✭
I don't get it....
1940s and 1950s Pin-Up Girl Calendar Advertising Displays (24 Items)
Something does not seem right with this picture. They do describe the child's photo at the bottom of the auction description. I have no idea why they would include that particular phoo as a sample of the offering as 99% or so of the lot revolves around women. The casual reader is going to flip through the pages, look at the lot, and ask WTF? Not to mention that it could be considered somewhat offensive. You have do dig pretty deep in the auction description to see if the photo is even included in the lot.
Auction description:
This large collection of 48 different advertising related pin-up works reveals the most effective weapon in the ad-man's arsenal—the allure of sex. Since they were created during a time where the male was the principal (often sole) breadwinner in the household, the ads of the day concentrated on striking displays of feminine beauty. While a picture of a pretty girl with a dog was socially acceptable in almost any public venue of the day, the more risqué pin-ups were generally found in male-only haunts. Barbershops, bars, auto repair shops and parts stores, tobacconists, hardware distributors and the like were home to the calendar girl. This choice assortment of pin-up items appear to be completely made up of file copies or salesman's samples of either never-mounted calendar images or the sample calendars themselves, from a variety of makers. All are from the 1940s and 1950s, the Golden Age for glamor/pin-up art in advertising. The majority range in grade from EX to NM/MT, with only a few that are lesser, averaging EX/MT.
Includes:
Unusual novelty formats (10 different): 1-3) bound "Artist's Sketch Pad" or multi-page calendar volumes (3 different--a 7-1/2" x 9-1/2", Louis F. Dow metal bar bound 12-page calendar with images by Gil Elvgren from 1946—EX/MT; a 9-1/2" x 12-1/2", 12-page "Artist's Sketch Pad" calendar by Earl McPherson from 1950, with mailer—EX; and an 8-5/8" x 14", 12-page "Artist's Sketch Pad" by Ted Withers of Hollywood from 1953, with mailer—EX/MT), 4-7) small-format Earl Moran die-cut standees (four different, all of which never had a calendar sheet attached and have never had their perforations separated—ranging from EX/MT to NM, averaging EX/MT), 8-9) greeting card format folded posters (two different, one from 1944 by K. O. Munson that measures 25" x 16-1/2" when fully unfolded—GD, due to soiling and some separations at fold lines, and one undated Earl MacPherson "Nursery Rhyme" example from Shaw-Barton that measures 15-3/4" x 22" when fully unfolded—EX/MT), and 10) salesman's bound sample book of C. Moss' Superior Line roll type calendars for 1950 (25 prints, including color images of kids at play, a black child eating watermelon, pretty girls, country scenes, wild life, etc.—all of the large format prints are NM/MT, held within heavy 15-1/2" x 23" cover sheets that grade VG/EX).
Other formats with an imprinted or attached calendar (6 different): 11) huge Art Frahm "Hold Everything" (has a January 1956 calendar section but carries a copyright date of 1954 for C. Moss' Superior Gift Calendars—16" x 33-3/8" with horizontal factory fold line that runs across the girl's hips and another that runs about 1" above the top of the lower edge of the calendar section—VG, due to some kink lines in the upper area), 12-14) three hanging calendar examples with Bill Layne images (all three of these images were also used for Exhibit's Slick Chick Twins set—two measure 10-1/8" x 17", grading NM/MT and still possessing their full calendar pads—1950's "Barrelly Covered" and 1951' s "Model Artist"; the third and smallest measures 5-1/4" x 10-1/2", grades NM/MT and still possesses its pad—1947's "Breaking Ties" with a Sunoco imprint), 15) 1949 hanging calendar with Gil Elvgren's "In for a Tanning" (first printed in 1944, this classic image of a nude beauty and her naughty C---cker Spaniel was later repainted and retitled "Dumb Pluck," appearing as that second version as part of the Exhibit sets—9-1/2" x 15-1/2", with full calendar pad—GD/VG, mostly due to light creasing and some staining that is all at the top-left corner and just touches the edge of the image), and 16) hanging calendar with Irene Patten's "Comrades" (copyrighted 1938 by C. Moss and measuring 9" x 13-3/4", this sample has only a small "Season's Greetings" pasted notice where the year's calendar pad should have been mounted—EX, due to a tiny corner flake).
Unmounted image prints (8 different): 17) Art Deco image by unknown artist (12" x 17" image pictures a nude harem girl in her posh seraglio environs; there are water stains along the left edge that are pronounced on the reverse but hardly detectable on the front—GD), 18-20) three different 12" x 16-1/2" images, each by a different artist (Jules Erbit's "With a Rose in Her Hair"—VG/EX, Art Frahm's "A Grand Slam"—copyright 1943 by C. Moss—EX/MT, and Mabel Rollins Harris's decoesque image entitled "Twilight Nymph"—light back staining that does not show through—presents as EX/MT), and 21-24) four different prints by three different artists, all in differing sizes (from smallest to largest they are...Billy DeVorss' 7-3/4" x 10-1/2" "Such a Little Lamb" for TDM—NM/MT, Earl Moran's 10" x 12" "Never Too Young to Yearn"—NM/MT, Earl MacPherson's 9" x 13-1/4" "We're Proud of Our 'E'quipment, Too" for Brown & Bigelow—EX, and Earl Moran's 11" x 23" "Sweet and Lovely"—NM/MT—the top 13-3/8" of this beauty is the image, while the folded-back lower section was designed to carry a business's imprint and a pre-printed calendar for a single month).
1940s and 1950s Pin-Up Girl Calendar Advertising Displays (24 Items)
Something does not seem right with this picture. They do describe the child's photo at the bottom of the auction description. I have no idea why they would include that particular phoo as a sample of the offering as 99% or so of the lot revolves around women. The casual reader is going to flip through the pages, look at the lot, and ask WTF? Not to mention that it could be considered somewhat offensive. You have do dig pretty deep in the auction description to see if the photo is even included in the lot.
Auction description:
This large collection of 48 different advertising related pin-up works reveals the most effective weapon in the ad-man's arsenal—the allure of sex. Since they were created during a time where the male was the principal (often sole) breadwinner in the household, the ads of the day concentrated on striking displays of feminine beauty. While a picture of a pretty girl with a dog was socially acceptable in almost any public venue of the day, the more risqué pin-ups were generally found in male-only haunts. Barbershops, bars, auto repair shops and parts stores, tobacconists, hardware distributors and the like were home to the calendar girl. This choice assortment of pin-up items appear to be completely made up of file copies or salesman's samples of either never-mounted calendar images or the sample calendars themselves, from a variety of makers. All are from the 1940s and 1950s, the Golden Age for glamor/pin-up art in advertising. The majority range in grade from EX to NM/MT, with only a few that are lesser, averaging EX/MT.
Includes:
Unusual novelty formats (10 different): 1-3) bound "Artist's Sketch Pad" or multi-page calendar volumes (3 different--a 7-1/2" x 9-1/2", Louis F. Dow metal bar bound 12-page calendar with images by Gil Elvgren from 1946—EX/MT; a 9-1/2" x 12-1/2", 12-page "Artist's Sketch Pad" calendar by Earl McPherson from 1950, with mailer—EX; and an 8-5/8" x 14", 12-page "Artist's Sketch Pad" by Ted Withers of Hollywood from 1953, with mailer—EX/MT), 4-7) small-format Earl Moran die-cut standees (four different, all of which never had a calendar sheet attached and have never had their perforations separated—ranging from EX/MT to NM, averaging EX/MT), 8-9) greeting card format folded posters (two different, one from 1944 by K. O. Munson that measures 25" x 16-1/2" when fully unfolded—GD, due to soiling and some separations at fold lines, and one undated Earl MacPherson "Nursery Rhyme" example from Shaw-Barton that measures 15-3/4" x 22" when fully unfolded—EX/MT), and 10) salesman's bound sample book of C. Moss' Superior Line roll type calendars for 1950 (25 prints, including color images of kids at play, a black child eating watermelon, pretty girls, country scenes, wild life, etc.—all of the large format prints are NM/MT, held within heavy 15-1/2" x 23" cover sheets that grade VG/EX).
Other formats with an imprinted or attached calendar (6 different): 11) huge Art Frahm "Hold Everything" (has a January 1956 calendar section but carries a copyright date of 1954 for C. Moss' Superior Gift Calendars—16" x 33-3/8" with horizontal factory fold line that runs across the girl's hips and another that runs about 1" above the top of the lower edge of the calendar section—VG, due to some kink lines in the upper area), 12-14) three hanging calendar examples with Bill Layne images (all three of these images were also used for Exhibit's Slick Chick Twins set—two measure 10-1/8" x 17", grading NM/MT and still possessing their full calendar pads—1950's "Barrelly Covered" and 1951' s "Model Artist"; the third and smallest measures 5-1/4" x 10-1/2", grades NM/MT and still possesses its pad—1947's "Breaking Ties" with a Sunoco imprint), 15) 1949 hanging calendar with Gil Elvgren's "In for a Tanning" (first printed in 1944, this classic image of a nude beauty and her naughty C---cker Spaniel was later repainted and retitled "Dumb Pluck," appearing as that second version as part of the Exhibit sets—9-1/2" x 15-1/2", with full calendar pad—GD/VG, mostly due to light creasing and some staining that is all at the top-left corner and just touches the edge of the image), and 16) hanging calendar with Irene Patten's "Comrades" (copyrighted 1938 by C. Moss and measuring 9" x 13-3/4", this sample has only a small "Season's Greetings" pasted notice where the year's calendar pad should have been mounted—EX, due to a tiny corner flake).
Unmounted image prints (8 different): 17) Art Deco image by unknown artist (12" x 17" image pictures a nude harem girl in her posh seraglio environs; there are water stains along the left edge that are pronounced on the reverse but hardly detectable on the front—GD), 18-20) three different 12" x 16-1/2" images, each by a different artist (Jules Erbit's "With a Rose in Her Hair"—VG/EX, Art Frahm's "A Grand Slam"—copyright 1943 by C. Moss—EX/MT, and Mabel Rollins Harris's decoesque image entitled "Twilight Nymph"—light back staining that does not show through—presents as EX/MT), and 21-24) four different prints by three different artists, all in differing sizes (from smallest to largest they are...Billy DeVorss' 7-3/4" x 10-1/2" "Such a Little Lamb" for TDM—NM/MT, Earl Moran's 10" x 12" "Never Too Young to Yearn"—NM/MT, Earl MacPherson's 9" x 13-1/4" "We're Proud of Our 'E'quipment, Too" for Brown & Bigelow—EX, and Earl Moran's 11" x 23" "Sweet and Lovely"—NM/MT—the top 13-3/8" of this beauty is the image, while the folded-back lower section was designed to carry a business's imprint and a pre-printed calendar for a single month).
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