Aage Remfeldt ‘Kitty’ 1922.
(via vivien3226)
Edward Hartley Mooney Colour Etching ‘A Winter Evening’ 1922.
(via jujupigeoneyes)
1922 Fox-Trot Music Sheet ‘Dumbell’ - Cover Design by Roger de Valério.
(via vintage-art-and-lifestyle)
Charles Rennie Mackintosh ‘The Grey Iris’ ca.1922-24.
(print via ebay - skibb111)
‘Le due strade’ by Toddi, Italy, 1922.
(Source: museocinema.it)
Luigi Kasimir Etching ‘Wien, Opern Haus’ 1922.
(via eBay)
Jacoba Van Heemskerck Woodcut - Published as Plate 6 in 'Dritte Mappe' Deutsche Kunstler, Potsdam, Verlag Muller & Co., 1922,
(via worthpoint.com)
Unknown Photographer ‘Prince & Lafayette Streets, NYC.’ 1922.
“Historic Landmark Saved for Posterity.”
The old habitat of James Monroe, fifth president of the United States, stands on one of the busiest corners of New York. It was steadily going to rack and ruin until commissioner Enright who had become immensely fond of the old place got the wealthy interested in its improvement and preservation. The purchase price of the old homestead is said to be 165.00 dollars. Photo shows picturesquely dilapidated exterior.
(daytoninmanhattan.blogspot.com - On October 4, 1922 a fire broke out in the vacant building which was quickly extinguished. Then another occurred on February 28, 1923. And another on May 5, 1923.
Finally in May 1925 the block front was sold to developers. The Times reported they “will raze the historic residence and erect a loft building.” The newspaper listed the names of individuals and groups who had been fighting for the preservation of the house—including the James Monroe Memorial Association (formed in 1923), the Women’s Monroe House Memorial Association, Governor Al Smith, Mayor John Hylan and the now-deceased President Warren Harding. On n July 29, 1925, the house suffered its fifth fire within two years.
Undeterred, preservation groups forged on in hopes of saving the Monroe House. Almost miraculously, funds were raised to purchase the building and a lot at No. 65 Crosby Street was obtained. Plans were set forth to move the old mansion and in October it was carefully raised from its century-old foundation and placed on a flat bed truck. The fire escape was dismantled and workmen were swinging the old house in when part of the upper floor collapsed,” reported The Times. Bricks that rained down onto Crosby Street were “carefully salvaged” and the public was promised that the house would be restored completely when it was placed in position. But the weakened structure could not endure the move of only a few more feet. The roof caved in and the back wall collapsed.
It was offered for sale, raising the ire of State Senator Thomas F. Burchill and Assemblyman Frederick L Hackenburg, the latter denouncing “This could never happen abroad.”
Among America’s earliest attempts at preservation of a historic residence, the embattled Monroe House was demolished to be replaced by a modern loft building.)
(Image source; worthpoint.com)
Original Portrait of Pricilla Dean by Juan Segura, Celebrated Spanish Artist, 1922.
Bebe Daniels in the silent romantic drama “Singed Wings” 1922 .
Olga Wisinger-Florian ‘Blumenstrauss’ 1922.
(Source: artnet.com)
Oskar Schlemmer ‘Das Figurale Kabinett’ 1922.
(Oskar Schlemmer (1888 – 1943) was a German painter, sculptor, designer and choreographer associated with the Bauhaus school. In 1923 he was hired as Master of Form at the Bauhaus theatre workshop, after working some time at the workshop of sculpture. His most famous work is "Triadisches Ballett," in which the actors are transfigured from the normal to geometrical shapes. Also in Slat Dance and Treppenwitz, the performers costumes transform them into living sculptures, as if part of the scenery.
Schlemmer's ideas on art were complex and challenging even for the progressive Bauhaus movement. His work, nevertheless, was widely exhibited in both Germany and outside the country. His work was a rejection of pure abstraction, instead retaining a sense of the human, though not in the emotional sense but in view of the physical structure of the human. He represented bodies as architectural forms, reducing the figure to a rhythmic play between convex, concave and flat surfaces. And not just of its form, he was fascinated by every movement the body could make - trying to capture this in his work. As well as leaving a large body of work behind, Schlemmer’s art theories have also been published.)
(Source: worldofartglobal.com)
Jean (Hans) Arp ‘Abstract Form I’ ca.1922.
(Source: artnet.com)
Rudolph Baumgardt Woodcut ‘The Raging Mountain’ 1922.
(via worthpoint.com)
Edward Cucuel ‘Scheu’ 1922.
Source: willowgallery.com)