Description: 1918 POLICEMAN BOY PEDAL CAR OFFICER BILLY-CLUB TONY SARG LIFE ART COVER FC2912 DATE OF THIS ** ORIGINAL ** ITEM: 1918THIS IS AN ORIGINAL LIFE MAGAZINE COVER. PLEASE LOOK OVER CAREFULLY FOR SIZE AND CONDITION! COVER ILLUSTRATOR/ARTIST: Anthony Frederick Sarg (April 21, 1880 – March 7, 1942) was a German American puppeteer and illustrator. He was described as "America's Puppet Master", and in his biography as the father of modern puppetry in North America. Tony Sarg was born in Cobán, Guatemala, to Francis Charles Sarg and his wife, Mary Elizabeth Parker. The elder Sarg, son of Mary Ellen Best, was a consul representing Germany; Parker was English. The family returned to the German Empire in 1887 [but note conflict that father Franz Sarg remained Consul until 1894]; Sarg entered a military academy at age 14 and received a commission as lieutenant at 17; in 1905 (in his mid-20s) he resigned his commission and took up residence in the United Kingdom. There, he pursued a relationship with Bertha Eleanor McGowan, an American he had met when she was a tourist in Germany. They were married in her hometown of Cincinnati, Ohio, January 20, 1909, and returned to England, where their daughter Mary was born two years later. In 1914, with the start of World War I, he sent Bertha and the children to Cincinnati, followed them soon after, and settled the family in New York City in 1915. In 1920, he became a naturalized citizen of the United States. He had been raised around puppets, inherited his grandmother's collection of them, developed them as a hobby that enhanced the impression he made on other artists, and finally in 1917, turned them into a profession. In 1921, Sarg animated the film The First Circus, an inventive cartoon for producer Herbert M. Dawley, who was credited as co-animator. Sarg went on to produce a series of cartoons known as Tony Sarg's Almanac, from 1921 to 1923. In 1928, he designed, and his protégé Bil Baird built tethered helium-filled balloons up to 125 feet (40 m) long, resembling animals, for the New York institution of Macy's department store. This work involved a number of puppetry-related principles. These creations were featured in the store's Thanksgiving Day parade. In 1935, he undertook the puppet-related work of designing Macy's elaborate animated window display, which was shown between Thanksgiving and Christmas. The pinnacle of Sarg's visibility occurred at the 1933 Chicago World's Fair, where his cumulative audience was 3 million; Baird was involved in this production, as were Rufus Rose and Margo Rose. Sarg stepped back from competing with other puppet studios, and pursued illustrating magazine covers, guide books, and original children's picture books, games, and toys. He designed salons and sophisticated interiors for high-end department stores and restaurants, including the supper club at New York's Waldorf Astoria. He designed extensively for the New York World's Fair, in 1939, creating the fair's official pictorial map, and numerous colorful and modernistic fabrics with World's Fair themes for lady's scarves, handkerchiefs, dresses, table linens, and upholstery, which were sold through Lord & Taylor Department Store. His protégé, Bil Baird, went on to design the puppets featured in the film The Sound of Music. On February 17, 1942, Sarg had surgery for a ruptured appendix, and died on March 7, 1942, of complications arising from it. He is buried at Spring Grove Cemetery in Cincinnati, Ohio. The Academy Film Archive has preserved several of Tony Sarg's films, including The Original Movie, When the Whale Was Jonahed, Why They Love Cavemen, The First Earful, and Why Adam Walked the Floor. SPECIAL CHARACTERISTICS/DESCRIPTIVE WORDS: POLICE CRACKDOWN - Little boy in a pedal car has been stopped by policemen, “Where’s Your number?,” art by Tony Sarg. Life is an American magazine that publishes interviews, essays, cartoons, and photographs. Since 1972, Life has ceased publication twice, only to be brought back to readers in different incarnations. Today, Life is distributed as a free supplement in major U.S. newspapers. The first incarnation of Life was as a humor magazine in the 1880s. It later took the form of a photojournalism magazine under Henry Luce, and then as a monthly magazine, before reaching its current weekly supplement format. At one point it sold more than 13.5 million copies a week. In the years following World War II, Life was so popular that President Harry S. Truman, Sir Winston Churchill, and General Douglas MacArthur all serialized their memoirs in its pages. Although no longer fulfilling such an influential role, Life impacted society in unforgettable ways, bringing events and personalities in the world home to all through its images and "photo essays," allowing people to come closer together and thus advancing humankind as one family. Life was founded January 4, 1883, in a New York City artist’s studio at 1155 Broadway. The founding publisher was John Ames Mitchell, a 37-year old illustrator, who used a $10,000 inheritance to launch the weekly magazine. Mitchell created the first Life nameplate with cupids as mascots; he later drew its masthead of a knight leveling his lance at a fleeing devil. Mitchell took advantage of a revolutionary new printing process using zinc-coated plates, which improved the reproduction of his illustrations and artwork. This helped because Life faced stiff competition from the bestselling humor magazines The Judge and Puck, which were already established and successful. Edward Sandford Martin, a Harvard graduate and a founder of the Harvard Lampoon, was brought on as Life’s first literary editor. The motto of the first issue of Life was “While there’s Life, there’s hope.” The new magazine set forth its principles and policies to its readers: We wish to have some fun in this paper... We shall try to domesticate as much as possible of the casual cheerfulness that is drifting about in an unfriendly world... We shall have something to say about religion, about politics, fashion, society, literature, the stage, the stock exchange, and the police station, and we will speak out what is in our mind as fairly, as truthfully, and as decently as we know how The magazine was a success and soon attracted the industry’s leading contributors. Among the most important was Charles Dana Gibson. Three years after the magazine was founded, the Massachusetts native sold Life his first contribution for $4: a dog outside his kennel howling at the moon. Encouraged by a publisher who was also an artist, Gibson was joined in Life’s early days by such well-known illustrators as Palmer Cox, A. B. Frost, Oliver Herford, and E. W. Kemble. Life attracted an impressive literary roster too: John Kendrick Bangs, James Whitcomb Riley, and Brander Matthews all wrote for the magazine at the beginning of the twentieth century. However, Life also had its dark side. Mitchell was sometimes accused of outright anti-Semitism. When the magazine blamed the theatrical team of Klaw and Erlanger for Chicago’s grisly Iroquois Theater Fire in 1903, a national uproar ensued. Life became a place that discovered new talent; this was particularly true among illustrators. In 1908 Robert LeRoy Ripley published his first cartoon in Life, 20 years before his Believe It or Not! fame. Norman Rockwell’s first cover for Life, "Tain’t You," was published May 10, 1917. Rockwell’s paintings were featured on Life’s cover 28 times between 1917 and 1924. Rea Irvin, the first art director of The New Yorker and creator of Eustace Tilley, got his start drawing covers for Life. Just as pictures would later become Life’s most compelling feature, Charles Dana Gibson dreamed up its most celebrated figure. His creation, the "Gibson Girl," was a tall, regal beauty. After her early Life appearances in the 1890s, the Gibson Girl became the nation’s feminine ideal. The Gibson Girl was a publishing sensation and earned a place in fashion history. This version of Life took sides in politics and international affairs, and published fiery pro-American editorials. Mitchell and Gibson were incensed when Germany attacked Belgium; in 1914 they undertook a campaign to push America into the war. Mitchell’s seven years spent at Paris art schools made him partial to the French. Gibson drew the Kaiser as a bloody madman, insulting Uncle Sam, sneering at crippled soldiers, and even shooting Red Cross nurses. Mitchell lived just long enough to see Life’s crusade result in the U. S. declaration of war in 1917. Following Mitchell’s death in 1918, Gibson bought the magazine for $1 million. But the world was a different place for Gibson’s publication. It was not the "Gay Nineties" where family-style humor prevailed and the chaste Gibson Girls wore floor-length dresses. World War I had spurred changing tastes among the magazine-reading public. Life’s brand of fun, clean, cultivated, humor began to pale before the new variety: crude, sexy, and cynical. Life struggled to compete on newsstands with such risqué rivals. In 1920, Gibson tapped former Vanity Fair staffer Robert E. Sherwood to be editor. A World War I veteran and member of the Algonquin Round Table, Sherwood tried to inject sophisticated humor onto the pages. Life published Ivy League jokes, cartoons, Flapper sayings, and all-burlesque issues. Beginning in 1920 Life undertook a crusade against Prohibition. It also tapped the humorous writings of Frank Sullivan, Robert Benchley, Dorothy Parker, Franklin P. Adams, and Corey Ford. Among the illustrators and cartoonists were Ralph Barton, Percy Crosby, Don Herold, Ellison Hoover, H. T. Webster, Art Young, and John Held Jr.. Despite such all-star talents on staff, Life had passed its prime, and was sliding toward financial ruin. The New Yorker, debuting in February 1925, copied many of the features and styles of Life; it even raided its editorial and art departments. Another blow to Life’s circulation came from raunchy humor periodicals such as Ballyhoo and Hooey, which ran what can be termed outhouse gags. Esquire joined Life’s competitors in 1933. A little more than three years after purchasing Life, Gibson quit and turned the decaying property over to publisher Clair Maxwell and treasurer Henry Richter. Gibson retired to Maine to paint and lost active interest in the magazine, which he left deeply in the red. Life had 250,000 readers in 1920. But as the Jazz Age rolled into the Great Depression, the magazine lost money and subscribers. By the time Maxwell and editor George Eggleston took over, Life had switched from publishing weekly to monthly. The two men went to work revamping its editorial style to meet the times, and in the process it did win new readers. Life struggled to make a profit in the 1930s when Henry Luce pursued purchasing it. Announcing the death of Life, Maxwell declared: “We cannot claim, like Mr. Gene Tunney, that we resigned our championship undefeated in our prime. But at least we hope to retire gracefully from a world still friendly.” For Life’s final issue in its original format, 80-year-old Edward Sandford Martin was recalled from editorial retirement to compose its obituary: That Life should be passing into the hands of new owners and directors is of the liveliest interest to the sole survivor of the little group that saw it born in January 1883. ... As for me, I wish it all good fortune; grace, mercy and peace and usefulness to a distracted world that does not know which way to turn nor what will happen to it next. A wonderful time for a new voice to make a noise that needs to be heard! The photojournalism magazine (1936 - 1960) In 1936 publisher Henry Luce paid $92,000 to the owners of Life magazine because he sought the name for Time, Inc. Wanting only the old Life’s name in the sale, Time Inc. sold Life’s subscription list, features, and goodwill to The Judge. Convinced that pictures could tell a story instead of just illustrating text, Luce launched his version of Life on November 23, 1936. The third magazine published by Luce, after Time in 1923 and Fortune in 1930, Life gave birth to the photo magazine in the U.S., giving as much space and importance to pictures as to words. The first issue of Life, which sold for 10 cents, featured five pages of Alfred Eisenstaedt’s pictures. When the first issue of Life magazine appeared on the newsstands, the U.S. was in the midst of the Great Depression and the world was headed toward war. Adolf Hitler was firmly in power in Germany. In Spain, General Francisco Franco’s rebel army was at the gates of Madrid; German Luftwaffe pilots and bomber crews, calling themselves the Condor Legion, were honing their skills as Franco’s air arm. Italy’s Benito Mussolini annexed Ethiopia. Luce ignored tense world affairs when the new Life was unveiled: the first issue depicted the Fort Peck Dam in Montana photographed by Margaret Bourke-White. The format of Life in 1936 was an instant classic: the text was condensed into captions for fifty pages of pictures. The magazine was printed on heavily coated paper that cost readers only a dime. The magazine’s circulation skyrocketed beyond the company’s predictions, going from 380,000 copies of the first issue to more than one million a week four months later It spawned many imitators, such as Look, which folded in 1971. Luce pulled Time's Edward K. Thompson, to become assistant picture editor in 1937. From 1949 to 1961 he was the managing editor, and served as editor-in-chief until his retirement in 1970. His influence was significant during the magazine’s heyday—roughly from 1936 until the mid-1960s. Thompson was known for the free reign he gave his editors, particularly a “trio of formidable and colorful women: Sally Kirkland, fashion editor; Mary Letherbee, movie editor; and Mary Hamman, modern living editor. Life moved its headquarters to 9 Rockefeller Plaza in 1937, from its original building, a Beaux-Arts architecture jewel built in 1894 and considered of "outstanding significance" by the New York Landmarks Preservation Commission at 19 West 31st Street. The magazine became archly conservative, and attacked organized labor and trade unions. In August 1942, writing of labor unrest, Life concluded: “The morale situation is perhaps the worst in the U.S. It is time for the rest of the country to sit up and take notice. For Detroit can either blow up Hitler or it can blow up the U.S.” Detroit’s Mayor Edward J. Jeffries was outraged: “I’ll match Detroit’s patriotism against any other city’s in the country. The whole story in Life is scurrilous. I’d just call it a yellow magazine and let it go at that.”[4] Martin R. Bradley, a U.S. Collector of Customs, was ordered to tear out of the August 17 issue five pages containing an article captioned “Detroit is Dynamite” before permitting copies of the magazine to cross the international border to Canada. When the U.S. entered the war in 1941, so did Life. By 1944 not all of Time and Life’s 40 war correspondents were men; six were newswomen: Mary Welsh, Margaret Bourke-White, Lael Tucker, Peggy Durdin, Shelley Smith Mydans, and Annalee Jacoby reported on the war for the company. Life was pro-American and backed the war effort each week. In July 1942, Life launched its first art contest for soldiers and drew more than 1,500 entries, submitted by all ranks. Judges sorted out the best and awarded $1,000 in prizes. Life picked sixteen for reproduction in the magazine. Washington’s National Gallery agreed to put 117 on exhibition that summer. The magazine employed the distinguished war photographer Robert Capa. A veteran of Colliers magazine, Capa was the sole photographer among the first wave of the D-Day invasion in Normandy, France, on June 6, 1944. A notorious controversy at the Life photography darkroom ensued after a mishap ruined dozens of Capa’s photos that were taken during the beach landing; the magazine claimed in its captions that the photos were fuzzy because Capa’s hands were shaking. He denied it; he later poked fun at Life by titling his memoir Slightly out of Focus. In 1954, Capa was killed while working for the magazine while covering the First Indochina War after stepping on a landmine. Each week during World War II the magazine brought the war home to Americans; it had photographers in all theaters of war, from the Pacific to Europe. In May 1950 the council of ministers in Cairo banned Life from Egypt forever. All issues on sale were confiscated. No reason was given, but Egyptian officials expressed indignation over the April 10, 1950, story about King Farouk of Egypt, entitled the “Problem King of Egypt.” The government considered it insulting to the country. Life in the 1950s earned a measure of respect by commissioning work from top authors. After Life’s publication in 1952 of Ernest Hemingway’s The Old Man and the Sea, the magazine contracted with the author for a four thousand-word piece on bullfighting. Hemingway sent the editors a ten thousand-word article, following his last visit to Spain in 1959 to cover a series of contests between two top matadors. The article was republished in 1985 as the novella The Dangerous Summer In February 1953, just a few weeks after leaving office, President Harry S. Truman announced that Life magazine would handle all rights to his memoirs. Truman said it was his belief that by 1954 he would be able to speak more fully on subjects pertaining to the role his administration played in world affairs. Truman observed that Life editors had presented other memoirs with great dignity; he added that Life also made the best offer. Life’s motto became, "To see Life; see the world." In the post-war years it published some of the most memorable images of events in the United States and the world. It also produced many popular science serials such as The World We Live In and The Epic of Man in the early 1950s. The magazine was losing readers as the 1950s drew to a close. In May 1959 it announced plans to reduce its regular newsstand price to 19 cents a copy from 25 cents. With the increase in television sales and viewership, interest in news magazines was waning. Life would need to reinvent itself. ADVERT SIZE: SEE RULER SIDES IN PHOTO FOR DIMENSIONS ( ALL DIMENSIONS IN INCHES) **For multiple purchases please ASK FOR + wait for our combined invoice. Shipping discount are ONLY available with this method. Thank You. At BRANCHWATER BOOKS we look for rare & unusual ADVERTISING, COVERS + PRINTS of commercial graphics from throughout the world. 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