Monday, September 30, 2019

Lettering: Tom Carnase


A few examples of Tom Carnase’s lettering.

The One Show 1974
Dust jacket detail

The Great White Whale

Grumbacher Brushes

The Cooper Union

Hands

Tommy

Penthouse, June 1979
Mommy Bitch

Penthouse, August 1979
The Last Wave

Penthouse, January 1980
Sato Masochism

Esquire, March 1980
Ed Benquiat, May 1954
Milton Glaser, March 1, 1978
Tom Carnase, March 1980


Penthouse, August 1980
Weeds

Ligature

Art Product News
January-February 1987

XXIV
Type Directors Club, 1987


Graphic Design Archive Online



(Next post on Monday:
Burton Rice Illustrations, 1917–1920)

Monday, September 23, 2019

Lettering: The Movie Star Sphinx

Moving Picture World
November 3, 1917
Theda Bara as “Cleopatra the Siren of the Nile”




 





























Moving Picture World
June 28, 1919
Dorothy Phillips in “Destiny”

































Postcard viewed at Pinterest. The story of the 1931 photo-collage is at Garbo Forever

































Garbo and the Night Watchmen
Designer: Milton Glaser
Art Director: Harris Lewine
Artist: Milton Glaser
Photograph: from The Bettmann Archive
Publisher: McGraw-Hill Book Company, 1971

































(Next post on Monday: Tom Carnase)

Monday, September 16, 2019

Street Scene: Jimi Hendrix Tribute House

N E W   Y O R K
54 Englewood Avenue, Buffalo



Jimi Hendrix passed away September 18, 1970



(Next post on Monday: The Movie Star Sphinx)

Monday, September 9, 2019

Typography: Fortune Cookie Day

Fortune Cookie Day is September 13. Years ago fortune cookie fortunes were printed by letterpress.






 






















(Next post on Monday: Jimi Hendrix Tribute House)

Monday, September 2, 2019

Lettering: Bluebird Photo-Plays Advertisements, Part 2

Bluebird Photo-Plays Advertisements, Part 1 is here.

Burton Rice moved to Paris and mailed his artwork to Bluebird Photo-Plays in New York City. In 1917 Rice produced fewer works for Bluebird Photo-Plays. Ethel Rundquist was hired to fill-in for Rice and eventually replaced him. She signed her art with her initials or as “E Rundquist”. Rundquist’s last Bluebird Photo-Plays advertisement appeared in Moving Picture World, July 28, 1917.
























ABOUT THE ARTIST: ETHEL RUNDQUIST

Ethel Caroline Rundquist was born on June 24, 1892, in Minneapolis, Minnesota. Her birth information was viewed in the Minnesota Birth Index at Ancestry.com.

In the 1900 U.S. Federal Census Runfquist was the second of three children born to August, a shoemaker, and Lenia, both Swedish emigrants. The family resided at 2539 Central Avenue NE in Minneapolis. The same address was recorded in the 1910 census.

Seventh-grader Rundquist contributed to the Minneapolis Journal children’s section, Journal Junior, on November 12, 1905, and January 21, 1906.

In Biographical Sketches of Cartoonists & Illustrators in the Swann Collection of the Library of Congress, Sara Duke said “Rundquist … studied at the Art Institute of Chicago from 1911 to 1914.”

The 1916 Minneapolis city directory listed Rundquist as an artist at 2539 Central Avenue.

Rundquist drew two covers for Vanity Fair: January 1916 and January 1919. For Bluebird Photo-Plays, Rundquist illustrated at least 19 advertisements in 1917.

According to the 1917 New York City directory, Rundquist was a resident in Manhattan at 142 East 27th Street.

Rundquist worked for the YMCA which sent her and others to Europe. On April 25, 1919, Rundquist departed Hoboken, New Jersey. Rundquist returned August 23, 1919, arriving in New York City from Brest, France.

In the 1920 census self-employed artist Rundquist lived with her widow mother and older brother in Minneapolis at 2539 Central Avenue.

The New York, New York, Marriage License Index, at Ancestry.com, said Rundquist and Emin Cobham obtained a license on August 28, 1920 in Manhattan. The newlyweds applied for a passport on September 23, 1920. The application said Emin was a silk merchant who resided at 134 West 4th Street. The couple were going to Jamaica. 


They returned to New York on November 18, 1920.

Entertaining the American Army: The American Stage and Lyceum in the World War was published in 1921 and featured illustrations by Neysa McMein, Anita Parkhurst and Rundquist.

A Carter’s Ink Company advertisement, in Printers’ Ink Monthly, October 1922, had Rundquist’s endorsement for its VelVet products.



Rundquist was a member of the Guild of Free Lance Artists as listed in Printers’ Ink Monthly, April 1923.



At some point Rundquist moved to Calfornia. She and her husband were listed in San Francisco city directories, for 1927 and 1928, at 43 Upper Terrace. Their daughter, Claire, was born in Los Angeles and son, Alan, in San Francisco.

Rundquist has not been found in the 1930 census.

An article about five women artists appeared in the Brooklyn Eagle Magazine, March 13, 1932, and said:
Mrs. Ethel Rundquist Cobham was discovered at her drawing board in a sunny room that looked across the red tin housetops of the upper west side of Manhattan except where the towering factory-like apartment houses broke the low skyline. She wore a comfortable blue smock and looked out on her world just as comfortably.

“There’s no more pleasant way to earn a living,” she said pleasantly. “I’ve had to forego some of the frivolity of life, give up matinees and afternoon bridge and things like that. That’s because i want to be home when my children return from school for the few hours I can give them.”

Mrs. Cobham gave up making humorous pictures for the high-class magazines when those children were very small. But as soon as they could dress themselves she returned to her art for their sakes. Now they are four and seven years of age, and their mother finds several advantages that accrue to them because of her return to her work.

“She has to give up some of the time that would otherwise belong to her children” Mrs. Cobham enlarged upon her thought. “But there are compensations. The money she earns makes up for the loss of companionship. I know that in my case and that of a number of my women artist friends we are sending our children to high-price, progressive schools we couldn’t otherwise afford.

“And I make contacts that make me more interesting to my family. But it’s a big question if a woman’s family is going to suffer because she has her art.”
A passenger list said Rundquist returned to New York from Bermuda on May 12, 1932. Her address was 116 West 72nd Street in Manhattan.

Rundquist had an entry in Who’s Who in American Art, Volume 1 (1935).
Cobham, Ethel Rundquist, 777 Kappock St., Spuyten Duyvil, New York, N. Y.
I. — Born Minneapolis, Minn. Covers for Vogue, Vanity Fair Colliers, Sunset; illustrations, Womans Home Companion, Pictorial Review, Vanity Fair, Sunset, Holland Magazine, Better Homes and Gardens, etc.
The 1940 census counted Rundquist, her husband, daughter and son in Palm Beach, Florida. In 1935 they resided in the Bronx, New York. Rundquist had no occupation while her husband was a hotel manager.
 
New York newspaper PM featured Rundquist in its February 22, 1943 edition.



From 1948 to 1952 Rundquist made at least five trips to Europe and one to Puerto Rico.

Rundquist’s husband passed away February 12, 1973. Rundquist passed away November 7, 1977 according to her New York, Will and Probate Record at Ancestry.com. Her residence was Croton-on-Hudson, New York


Here are most of the 1917 Bluebird Photo-Plays advertisements that appeared after Rundquist. 












(Next post on Monday: Fortune Cookie Day)