Art Deco Fortune Magazine Cover, September 1930

Description

Presenting a fabulous original Art Deco fortune magazine cover, September 1930.

The cover of Fortune Magazine for September 1930, framed … more 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. less