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Art Deco Fortune Magazine Cover, September 1930
$259
$34524% Off
£198.02
£263.7724% Off
€228.08
€303.8124% Off
CA$362.94
CA$483.4524% Off
A$405.19
A$539.7324% Off
CHF 212.31
CHF 282.8124% Off
MX$4,959.88
MX$6,606.7924% Off
NOK 2,696.36
NOK 3,591.6824% Off
SEK 2,542.33
SEK 3,386.5024% Off
DKK 1,702.17
DKK 2,267.3724% Off
About the Item
Presenting a fabulous original Art Deco fortune magazine cover, September 1930.
The cover of Fortune Magazine for September 1930, framed and matted.
This is an original cover, not a re-print or copy. It is the cover of an actual 1930 Fortune Magazine and we can 100% certify its authenticity. We have attached a COA on the back of the frame.
The frame is modern. It is a faux distressed wood gray poster frame with acid free orange beveled matting. Perspex front. The frame and matting are perfect for the style of the era.
The cover print is an Art Deco depiction of an industrial scene of a railroad construction digger with steam train in the background in Classic Art Deco style!
The cover is in near mint condition as can be seen from the photos.
This is one of the more iconic covers of fortune!
Pained by ‘Helck 30’ as noted and signed on the bottom right.
Peter Helck was born in New York City in 1893. He studied art at the Art Students League in Manhattan and later studied in England with muralist Frank Brangwyn. From the 1920s through the 1940s Helck was very successful as a magazine illustrator and advertising artist. His commissions frequently were of Industrial scenes, or featured cars, trucks and locomotives. During that period, he also painted pictures of famous automobile races, having been an avid fan of the sport since childhood. In 1944 he did a series of paintings for Esquire magazine in which he recreated the excitement of automobile races from the first decades of the 20th century. To his great satisfaction, these pictures proved very popular, and in the following decades he developed a large market for paintings of old cars. It is for this genre that he is mostly remembered today. But there was another side to his artistic creativity. Over the years he had produced a number of works that he referred to as his “Fine art” works. They were often city-escapes or landscapes. The compositions were very dynamic, dominated by bold diagonals, but the colors tended to be muted, even somber at times. The human figure, when present, was usually subordinate to the overall composition (even though they were usually painted with considerable grace and individuality). The uncompromising realism of his art was of course out of step with the artistic movements of the mid-1900s, so these works, which he considered his best, have remained largely unknown to this day.
- Dimensions:Height: 23.75 in (60.33 cm)Width: 19.75 in (50.17 cm)Depth: 0.75 in (1.91 cm)
- Style:Art Deco (Of the Period)
- Materials and Techniques:Paper,Engraved
- Place of Origin:
- Period:
- Date of Manufacture:1930
- Condition:Wear consistent with age and use. Near Mint.
- Seller Location:Dallas, TX
- Reference Number:1stDibs: LU3978120303422
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Art Deco Fortune Magazine Cover - October 1938
Located in Dallas, TX
PRESENTING a FABULOUS Original Art Deco Fortune Cover – October 1938.
The cover of ‘Fortune Magazine’ for October 1938, framed and matted.
This is an ORIGINAL COVER, not a re-print or copy. It is the cover of an actual 1938 Fortune Magazine and we can 100% certify it’s authenticity. We have attached a COA on the back of the frame.
The frame is modern. It is a silver, industrial style frame with black and white beveled matting. The frame and matting are perfect for the style of the era.
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The cover is in near mint condition as can be seen from the photos.
This is one of the more iconic covers of Fortune.
Pained by ‘Covarrubias’ as noted and signed on the bottom left.
Miguel Covarrubias also known as José Miguel Covarrubias Duclaud (22 November 1904 — 4 February 1957) was a Mexican painter, caricaturist, illustrator, ethnologist and art historian.
Miguel’s artwork and celebrity caricatures have been featured in The New Yorker and Vanity Fair magazines. The linear nature of his drawing style was highly influential to other caricaturists such as Al Hirschfeld. Miguel’s first book of caricatures The Prince of Wales and Other Famous Americans was a hit, though not all his subjects were thrilled that his sharp, pointed wit was aimed at them. He immediately fell in love with the Harlem jazz scene, which he frequented with Rosa and friends including Eugene O’Neill and Nickolas Muray. He counted many notables among his friends including Zora Neale Hurston, Langston Hughes and W.C. Handy for whom he also illustrated books. Miguel’s caricatures of the jazz clubs were the first of their kind printed in Vanity Fair. He managed to capture the spirit of the Harlem Renaissance in much of his work as well as in his book, Negro Drawings. He did not consider these caricatures, but serious drawings of people, music and a culture he loved. Covarrubias also did illustrations for George Macy, the publisher of The Limited Editions Club, including Uncle Tom’s Cabin, Green...
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