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HILLIKER ART COVER FOR SCIENCE + INVENTION SCIENCE SERIES. THERE WERE 4 COVERS IN THE SERIES. WE HAVE ALL FOUR UP AT AUCTION. PURE ART DECO AT IT’S FINEST. VERY BRIGHT GRAPHICS AND COLORS. THIS COVER TITLED — THE SPIRIT OF ASTRONOMY PLEASE SEE PHOTO FOR DETAILS AND CONDITION OF THIS NEW POSTER SIZE OF POSTER PRINT – 12 X 18 INCHES DATE OF ORIGINAL PRINT, POSTER OR ADVERT – 1929 At PosterPrint Shop we look for rare & unusual ITEMS OF commercial graphics from throughout the world. The PosterPrints are printed on high quality 48 # acid free PREMIUM GLOSSY PHOTO PAPER (to insure high depth ink holding and wrinkle free product) Most of the PosterPrints have APPROX 1/4″ border MARGINS for framing, to use in framing without matting. MOST POSTERPRINTS HAVE IMAGE SIZE OF 11.5 X 17.5. As decorative art these PosterPrints give you – the buyer – an opportunity to purchase and enjoy fine graphics (which in most cases are rare in original form) in a size and price range to fit most all. As graphic collectors ourselves, we take great pride in doing the best job we can to preserve and extend the wonderful historic graphics of the past. Should you have any questions please feel free to email us and we will do our best to clarify. We use USPS. WE ship items DAILY. We ship in custom made extra thick ROUND TUBES….. WE SHIP POSTERPRINTS ROLLED + PROTECTED BY PLASTIC BAG For multiple purchases please wait for our invoice… THANKS. We pride ourselves on quality product, service and shipping. POSTERPRINTARTSHOP DESCRIPTION OF ITEM: additional information: ARTIST: DOUGLAS HILLIKER (1891-1986) Douglas Hagar Hilliker was born May 25, 1891 in San Francisco, California. His father, Nelson Henry Hilliker, was born 1867 in Williamston, Michigan. His mother, Daisy Deane Douglas, was born in 1868 in Woodland, California. His parents married on January 1, 1890 and had two children. He was the first born and his younger brother Nelson S. Hilliker, was born in 1893. They lived 220 O’Farrell Street in San Francisco, CA, where the father worked as a manager of the Washington Hotel of Oakland. On May 17, 1894 his father died of Tuberculosis at the age of twenty-six. At that time the illness was generally referred to as “consumption.” After this tragic loss the widowed mother returned to live with her elderly widowed father, James Achilles Douglas, in Woodland, CA, where the two sons were raised and educated. The artist’s maternal grandfather, James Achilles Douglas (1827-1915), was the owner of significant real estate in Woodland and was a legendary local figure, who had served as Sheriff and had been an appointed officer of various civic groups. In 1902 when Douglas Hilliker was eleven the family moved back to San Francisco to live at 1201 Bush Street. He began to attend weekend art classes on Nob Hill at the Mary Sherwood Hopkins Art Institute. On December 3, 1904 thirteen year-old Douglas Hilliker won the $5 first prize in the Hale’s Department Store Art Contest. His drawing was published in The San Francisco Call newspaper. On April 18, 1906 San Francisco was struck by a catastrophic earthquake that killed three thousand people. The art school survived the earthquake, but was subsequently destroyed along with eighty-percent of the city in a fire that resulted from the disaster and burned out of control for three days. On December 19, 1909 he graduated from Lowell High School in San Francisco. He designed the cover of his high school year book and contributed several interior illustrations. By 1910 he worked as a newspaper artist on The San Francisco Chronicle. He lived at 562 Sutter Street in San Francisco, along with with his brother, Nelson Hilliker, who worked as an accountant. In 1910 he attended the San Francisco Art Institute, which had been built on the same property as his old art school in the Mary Sherwood Hopkins Mansion on Nob Hill. On January 6, 1912 he married Katherine Clarke Prosser. She was born in Seattle, WA, in 1885, so she was twenty-seven years old, while the groom was only twenty. She was a writer for newspapers and magazines. In 1914 and 1915 he designed and illustrated the Blue & Gold yearbook for the University of California at Berkeley. In 1915 he and his wife moved to New York City and lived at 52 Irving Place in Manhattan. He opened an art studio at 2 East 23rd Street. He drew illustrations for The New York Sun and Collier’s Magazine. On June 5, 1917 during the Great War he enlisted in Army and served in France with the 369th Infantry, which fought in Champagne, Marne and Aisne-Marne. He was honorably discharged at the rank of First Lieutenant on September 4, 1919. He participated in the historic seven-mile triumphant march of the Hell Fighters up Fifth Avenue to Harlem, while millions of spectators cheered and wept. He resumed his art career in New York City, while his first marriage ended in divorce. He drew pen & ink story illustrations for pulp magazines such as The Munsey and All-Story Magazine. In 1922 he married his second wife, Mary Dickey. She was born in 1892 in Kentucky. In 1923 he began to illustrate advertising and publicity for the Paramount Motion Picture Co. In 1924 his daughter Mary Deane Hilliker was born. His illustrations appeared in The Saturday Evening Post and Collier’s Magazine. In 1930 he and his wife and daughter lived at 129 East 23rd Street as lodgers in the home of widow Jessie Ford, whose two daughters, Esther Ford and Daisy Bacon were editors at the Street & Smith pulp magazine Love Story. During the 1930s he returned to illustrating pulp magazines. He drew interior story illustrations as well as painted covers. His work appeared in All-Story Love and Railroad Magazine. In 1940 his wife Mary Dickey Hilliker died at the age of forty-eight. They lived at 200 East 16th Street in Manhattan, In 1941 he began to work for Terrytoons, where he painted backgrounds for animated cartoons for twenty years. In 1942 during WWII he registered with the draft as required by law, although he was fifty-one years old. He was recorded at the time to be five-nine, 130 pounds, with brown eyes and gray and black hair. He also had a scar on his right middle finger. On May 8, 1948 his daughter married Lt. Harry Handly Caldwell, USN. In 1960 he left Terrytoons and retired from illustration at the age of seventy. He left NYC and moved to Beaver River, NY, where he lived in a backwoods cabin decorated with hunting rifles and rustic handmade furniture. Each spent most winters in California with his elderly mother, who lived to be one hundred years old. In 1984 he entered the New London Convalescent Home, where he was near to his daughter in Niantic, East Lyme, CT. Douglas Hilliker died in Lawrence Memorial Hospital in New London Connecticut at the age of ninety-four on April 4, 1986. Art Deco, short for the French Arts Décoratifs, and sometimes just called Deco, is a style of visual arts, architecture, and product design, that first appeared in France in the 1910s (just before World War I), and flourished in the United States and Europe during the 1920s and 1930s. Through styling and design of the exterior and interior of anything from large structures to small objects, including how people look (clothing, fashion and jewelry), Art Deco has influenced bridges, buildings (from skyscrapers to cinemas), ships, ocean liners, trains, cars, trucks, buses, furniture, and everyday objects like radios and vacuum cleaners. It got its name after the 1925 Exposition internationale des arts décoratifs et industriels modernes (International Exhibition of Modern Decorative and Industrial Arts) held in Paris. Art Deco combined modern styles with fine craftsmanship and rich materials. During its heyday, it represented luxury, glamour, exuberance, and faith in social and technological progress. From its outset, Art Deco was influenced by the bold geometric forms of Cubism and the Vienna Secession; the bright colours of Fauvism and of the Ballets Russes; the updated craftsmanship of the furniture of the eras of Louis Philippe I and Louis XVI; and the exoticized styles of China, Japan, India, Persia, ancient Egypt and Maya art. It featured rare and expensive materials, such as ebony and ivory, and exquisite craftsmanship. The Empire State Building, Chrysler Building, and other skyscrapers of New York City built during the 1920s and 1930s are monuments to the style. In the 1930s, during the Great Depression, Art Deco became more subdued. New materials arrived, including chrome plating, stainless steel and plastic. A sleeker form of the style, called Streamline Moderne, appeared in the 1930s, featuring curving forms and smooth, polished surfaces. Art Deco is one of the first truly international styles, but its dominance ended with the beginning of World War II and the rise of the strictly functional and unadorned styles of modern architecture and the International Style of architecture that followed. Art Deco took its name, short for arts décoratifs, from the Exposition Internationale des Arts Décoratifs et Industriels Modernes held in Paris in 1925, though the diverse styles that characterised it had already appeared in Paris and Brussels before World War I. Arts décoratifs was first used in France in 1858 in the Bulletin de la Société française de photographie. In 1868, the Le Figaro newspaper used the term objets d’art décoratifs for objects for stage scenery created for the Théâtre de l’Opéra. In 1875, furniture designers, textile, jewellers, glass-workers, and other craftsmen were officially given the status of artists by the French government. In response, the École royale gratuite de dessin (Royal Free School of Design), founded in 1766 under King Louis XVI to train artists and artisans in crafts relating to the fine arts, was renamed the École nationale des arts décoratifs (National School of Decorative Arts). It took its present name, ENSAD (École nationale supérieure des arts décoratifs), in 1927. At the 1925 Exposition, architect Le Corbusier wrote a series of articles about the exhibition for his magazine L’Esprit Nouveau, under the title “1925 EXPO. ARTS. DÉCO.”, which were combined into a book, L’art décoratif d’aujourd’hui (Decorative Art Today). The book was a spirited attack on the excesses of the colourful, lavish objects at the Exposition, and on the idea that practical objects such as furniture should not have any decoration at all; his conclusion was that “Modern decoration has no decoration”. The actual term art déco did not appear in print until 1966, in the title of the first modern exhibition on the subject, held by the Museum of Decorative Arts in Paris, Les Années 25 : Art déco, Bauhaus, Stijl, Esprit nouveau, which covered the variety of major styles in the 1920s and 1930s. The term was then used in a 1966 newspaper article by Hillary Gelson in The Times (London, 12 November), describing the different styles at the exhibit. Art Deco gained currency as a broadly applied stylistic label in 1968 when historian Bevis Hillier published the first major academic book on it, Art Deco of the 20s and 30s. He noted that the term was already being used by art dealers, and cites The Times (2 November 1966) and an essay named Les Arts Déco in Elle magazine (November 1967) as examples. In 1971, he organized an exhibition at the Minneapolis Institute of Arts, which he details in his book The World of Art Deco. The emergence of Art Deco was closely connected with the rise in status of decorative artists, who until late in the 19th century were considered simply as artisans. The term arts décoratifs had been invented in 1875, giving the designers of furniture, textiles, and other decoration official status. The Société des artistes décorateurs (Society of Decorative Artists), or SAD, was founded in 1901, and decorative artists were given the same rights of authorship as painters and sculptors. A similar movement developed in Italy. The first international exhibition devoted entirely to the decorative arts, the Esposizione Internazionale d’Arte Decorativa Moderna, was held in Turin in 1902. Several new magazines devoted to decorative arts were founded in Paris, including Arts et décoration and L’Art décoratif moderne. Decorative arts sections were introduced into the annual salons of the Sociéte des artistes français, and later in the Salon d’Automne. French nationalism also played a part in the resurgence of decorative arts, as French designers felt challenged by the increasing exports of less expensive German furnishings. In 1911, SAD proposed a major new international exposition of decorative arts in 1912. No copies of old styles would be permitted, only modern works. The exhibit was postponed until 1914; and then, because of the war, until 1925, when it gave its name to the whole family of styles known as “Déco”. Art Deco was not a single style, but a collection of different and sometimes contradictory styles. In architecture, Art Deco was the successor to and reaction against Art Nouveau, a style which flourished in Europe between 1895 and 1900, and also gradually replaced the Beaux-Arts and neoclassical that were predominant in European and American architecture. In 1905 Eugène Grasset wrote and published Méthode de Composition Ornementale, Éléments Rectilignes, in which he systematically explored the decorative (ornamental) aspects of geometric elements, forms, motifs and their variations, in contrast with (and as a departure from) the undulating Art Nouveau style of Hector Guimard, so popular in Paris a few years earlier. Grasset stressed the principle that various simple geometric shapes like triangles and squares are the basis of all compositional arrangements. The reinforced-concrete buildings of Auguste Perret and Henri Sauvage, and particularly the Théâtre des Champs-Élysées, offered a new form of construction and decoration which was copied worldwide. In decoration, many different styles were borrowed and used by Art Deco. They included pre-modern art from around the world and observable at the Musée du Louvre, Musée de l’Homme and the Musée national des Arts d’Afrique et d’Océanie. There was also popular interest in archaeology due to excavations at Pompeii, Troy, and the tomb of the 18th dynasty Pharaoh Tutankhamun. Artists and designers integrated motifs from ancient Egypt, Africa, Mesopotamia, Greece, Rome, Asia, Mesoamerica and Oceania with Machine Age elements. Other styles borrowed included Russian Constructivism and Italian Futurism, as well as Orphism, Functionalism, and Modernism in general. Art Deco also used the clashing colours and designs of Fauvism, notably in the work of Henri Matisse and André Derain, inspired the designs of art deco textiles, wallpaper, and painted ceramics. It took ideas from the high fashion vocabulary of the period, which featured geometric designs, chevrons, zigzags, and stylized bouquets of flowers. It was influenced by discoveries in Egyptology, and growing interest in the Orient and in African art. From 1925 onwards, it was often inspired by a passion for new machines, such as airships, automobiles and ocean liners, and by 1930 this influence resulted in the style called Streamline Moderne. Art Deco was associated with both luxury and modernity; it combined very expensive materials and exquisite craftsmanship put into modernistic forms. Nothing was cheap about Art Deco: pieces of furniture included ivory and silver inlays, and pieces of Art Deco jewellery combined diamonds with platinum, jade, coral and other precious materials. The style was used to decorate the first-class salons of ocean liners, deluxe trains, and skyscrapers. It was used around the world to decorate the great movie palaces of the late 1920s and 1930s. Later, after the Great Depression, the style changed and became more sober. A good example of the luxury style of Art Deco is the boudoir of the fashion designer Jeanne Lanvin, designed by Armand-Albert Rateau (1882–1938) made between 1922 and 1925. It was located in her house at 16 rue Barbet de Jouy, in Paris, which was demolished in 1965. The room was reconstructed in the Museum of Decorative Arts in Paris. The walls are covered with moulded lambris below sculpted bas-reliefs in stucco. The alcove is framed with columns of marble on bases and a plinth of sculpted wood. The floor is of white and black marble, and in the cabinets decorative objects are displayed against a background of blue silk. Her bathroom had a tub and washstand made of sienna marble, with a wall of carved stucco and bronze fittings. By 1928 the style had become more comfortable, with deep leather club chairs. The study designed by the Paris firm of Alavoine for an American businessman in 1928–30, is now in the Brooklyn Museum. By the 1930s, the style had been somewhat simplified, but it was still extravagant. In 1932 the decorator Paul Ruaud made the Glass Salon for Suzanne Talbot. It featured a serpentine armchair and two tubular armchairs by Eileen Gray, a floor of mat silvered glass slabs, a panel of abstract patterns in silver and black lacquer, and an assortment of animal skins. An invention is a unique or novel device, method, composition, idea or process. An invention may be an improvement upon a machine, product, or process for increasing efficiency or lowering cost. It may also be an entirely new concept. If an idea is unique enough either as a stand alone invention or as a significant improvement over the work of others, it can be patented. A patent, if granted, gives the inventor a proprietary interest in the patent over a specific period of time, which can be licensed for financial gain. An inventor creates or discovers an invention. The word inventor comes from the Latin verb invenire, invent-, to find. Although inventing is closely associated with science and engineering, inventors are not necessarily engineers or scientists. Due to advances in artificial intelligence, the term “inventor” no longer exclusively applies to an occupation (see human computers). Some inventions can be patented. The system of patents was established to encourage inventors by granting limited-term, limited monopoly on inventions determined to be sufficiently novel, non-obvious, and useful. A patent legally protects the intellectual property rights of the inventor and legally recognizes that a claimed invention is actually an invention. The rules and requirements for patenting an invention vary by country and the process of obtaining a patent is often expensive. Another meaning of invention is cultural invention, which is an innovative set of useful social behaviours adopted by people and passed on to others. The Institute for Social Inventions collected many such ideas in magazines and books. Invention is also an important component of artistic and design creativity. Inventions often extend the boundaries of human knowledge, experience or capability. Inventions are of three kinds: scientific-technological (including medicine), sociopolitical (including economics and law), and humanistic, or cultural. Scientific-technological inventions include railroads, aviation, vaccination, hybridization, antibiotics, astronautics, holography, the atomic bomb, computing, the Internet, and the smartphone. Sociopolitical inventions comprise new laws, institutions, and procedures that change modes of social behavior and establish new forms of human interaction and organization. Examples include the British Parliament, the US Constitution, the Manchester (UK) General Union of Trades, the Boy Scouts, the Red Cross, the Olympic Games, the United Nations, the European Union, and the Universal Declaration of Human Rights, as well as movements such as socialism, Zionism, suffragism, feminism, and animal-rights veganism. Humanistic inventions encompass culture in its entirety and are as transformative and important as any in the sciences, although people tend to take them for granted. In the domain of linguistics, for example, many alphabets have been inventions, as are all neologisms (Shakespeare invented about 1,700 words). Literary inventions include the epic, tragedy, comedy, the novel, the sonnet, the Renaissance, neoclassicism, Romanticism, Symbolism, Aestheticism, Socialist Realism, Surrealism, postmodernism, and (according to Freud) psychoanalysis. Among the inventions of artists and musicians are oil painting, printmaking, photography, cinema, musical tonality, atonality, jazz, rock, opera, and the symphony orchestra. Philosophers have invented logic (several times), dialectics, idealism, materialism, utopia, anarchism, semiotics, phenomenology, behaviorism, positivism, pragmatism, and deconstruction. Religious thinkers are responsible for such inventions as monotheism, pantheism, Methodism, Mormonism, iconoclasm, puritanism, deism, secularism, ecumenism, and the Bahá’í Faith. Some of these disciplines, genres, and trends may seem to have existed eternally or to have emerged spontaneously of their own accord, but most of them have had inventors. Powered by SixBit’s eCommerce Solution

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