Alfons Himmelreich

Metal Workers

1940

Gelatin silver print Signed, titled and dated, verso of mount This photograph is offered by ClampArt, located in New York City. Over the course of more than two decades, Bruce Crats...

Gelatin silver print 10 x 8 inches, sheet 9.25 x 6 inches, image This photograph is offered by ClampArt, located in New York City.

Bruce of Los Angeles (Bruce Bellas) black and whiter male physique photograph of Kirk Bond #3267-2 nude in a cowboy hat holding a whip. Stamped and numbered in black ink, verso V...

c. 1940s Estate stamp in black ink, verso; Also titled in pencil, verso Vintage gelatin silver print 5 x 4 inches

AFL-CIO Films - American Vintage Photograph is an original black and white photograph realized in the U.S in the mid-20th Century in a series of American life in the 20th Century. W...

ANONYMOUS. (American). Homestead Works of US Steel Munhall, Pennsylvania, Gelatin Silver print. Pouring white-hot steel for the new Carnegie Institute of Te...

John Hermansader (American, 1915 - 2005) Signed: J. Hermansader (Lower, Right) Steelworkers, c. 1940s Oil on Canvas 30" x 24" Housed in a 3" Frame Overall Size: 35 1/2" x 29 1/4" Craquelure throughout. In otherwise good condition. Biography: John Hermansader (1915–2005) was an American painter, graphic designer, and jazz fan. He is remembered for his iconic designs of Blue Note record covers. John Bancroft Hermansader was born on November 1, 1915 near Reading, Pennsylvania. In the 1930s, he studied at the Memphis Academy of Art in Tennessee and the New Bauhaus in Chicago, Illinois. In New York City he studied with Robert Motherwell at the New School of Social Research. In 1939, he and his wife Rosemary were founders of the Hot Club of Newark, New Jersey, a significant group of jazz enthusiasts. John became the first president. In 1951, when Blue Note Records began issuing 10 inch records, Hermansader was one of their first designers, along with Paul Bacon and Gil Melle. Looking back at this era, Michael Cuscuna of Mosaic Records said, “ What John Hermansader and Paul Bacon really did was evoke the feeling of the music. They used everything from Bauhaus designs to things that were really otherworldly.” Angelynn Grant adds, “When people think of Blue Note covers they think of Frank Wolff”s photography and Reid Miles design. But John Hermansader laid the groundwork that got them going along that path.” Richard Cook, who wrote Blue Note Records: The Biography states, “Hermansader in particular balanced the twin issues of photography and type in a way that would mirror the concerns of the Blue Note of the years ahead.” “John Hermansader was passionate about oil painting, “beautiful lyrical abstractions, full of color and movement.” He was an abstract expressionist painter who drew inspiration for his work from listening to jazz.” - (Obituary, Pilot, Redding Conn., July 14, 2005, p. 32A) His exhibitions included and the Gallery of Contemporary Art at Sunken Meadow, Long Island, 1951–58, Panoras Gallery 1956...

A fine early Century oil interior scene showing a blacksmith's workshop, with three men working at their stations with large, arched windows flooding the space with natural light and...