RARE_Prison_SERIAL_KILLER_Outsider_Art_Painting_Letter_Lot_Hadden_Clark_01_pwme

RARE Prison SERIAL KILLER Outsider Art Painting Letter Lot, Hadden Clark

RARE Prison SERIAL KILLER Outsider Art Painting Letter Lot, Hadden Clark
RARE Prison SERIAL KILLER Outsider Art Painting Letter Lot, Hadden Clark
RARE Prison SERIAL KILLER Outsider Art Painting Letter Lot, Hadden Clark
RARE Prison SERIAL KILLER Outsider Art Painting Letter Lot, Hadden Clark
RARE Prison SERIAL KILLER Outsider Art Painting Letter Lot, Hadden Clark
RARE Prison SERIAL KILLER Outsider Art Painting Letter Lot, Hadden Clark
RARE Prison SERIAL KILLER Outsider Art Painting Letter Lot, Hadden Clark
RARE Prison SERIAL KILLER Outsider Art Painting Letter Lot, Hadden Clark
RARE Prison SERIAL KILLER Outsider Art Painting Letter Lot, Hadden Clark
RARE Prison SERIAL KILLER Outsider Art Painting Letter Lot, Hadden Clark
RARE Prison SERIAL KILLER Outsider Art Painting Letter Lot, Hadden Clark
RARE Prison SERIAL KILLER Outsider Art Painting Letter Lot, Hadden Clark
RARE Prison SERIAL KILLER Outsider Art Painting Letter Lot, Hadden Clark
RARE Prison SERIAL KILLER Outsider Art Painting Letter Lot, Hadden Clark
RARE Prison SERIAL KILLER Outsider Art Painting Letter Lot, Hadden Clark
RARE Prison SERIAL KILLER Outsider Art Painting Letter Lot, Hadden Clark
RARE Prison SERIAL KILLER Outsider Art Painting Letter Lot, Hadden Clark
RARE Prison SERIAL KILLER Outsider Art Painting Letter Lot, Hadden Clark
RARE Prison SERIAL KILLER Outsider Art Painting Letter Lot, Hadden Clark
RARE Prison SERIAL KILLER Outsider Art Painting Letter Lot, Hadden Clark

RARE Prison SERIAL KILLER Outsider Art Painting Letter Lot, Hadden Clark
This is a seldomly seen and RARE Vintage Prison SERIAL KILLER Outsider Art Painting & Letter Lot, by convicted serial killer, Hadden Clark b. This piece depicts several artworks, including a creepy and finely rendered Valentine letter to the correspondent, featuring Cupids with erect phalluses, two graphite drawings of WNBA basketball players, and a latter artwork on the verso of a letter, featuring two angels embracing. These artworks and letters were acquired from an old filing cabinet in an abandoned storage unit from Los Angeles County, California, with letters that were addressed to Ken Karnig, Joe Hiles, Shane Bugbee, and Sondra London Feel free to look these people up yourself. If you like what you see, I encourage you to make an Offer. Please check out my other listings for more wonderful and unique artworks! I do not condone the acts of the artis t, but as a degreed Art Historian, I will allow these pieces to be available to the public, who can ultimately decide their relevancy and importance. Hadden Irving Clark (born July 31, 1952). Currently serving two 30-year sentences at. In Westover, Maryland for the murders of 6-year-old Michele Lee Dorr in 1986, and 23-year-old Laura Houghteling in 1992. He was also given a 10-year sentence for robbery after stealing from a former landlord. Clark is the second of four children, and was born and raised in Troy, New York. His brother, Bradfield Clark, strangled a woman in California before eating several body parts. Clark’s parents were both alcoholics and often fought with each other in front of their children. Clark’s mother dressed him in girls’ clothes when drunk and called him “Kristen”. His father eventually committed suicide. As a teenager, Clark tortured and killed animals owned by children who bullied him. Clark trained as a chef and served in the United States Navy until he was discharged after being diagnosed with paranoid schizophrenia. Over the years, he held a number of menial jobs but was mostly homeless. Clark was arrested multiple times for theft and retaliation. He was arrested for robbery after he vandalized a former landlord’s property and committed several thefts. On May 31, 1986, Clark was ordered by his brother to move out of the latter’s home in Silver Spring. Michele Dorr, a six-year-old friend of his niece, came over looking for her. Clark took Michele to an upstairs room and slashed her throat with a chef knife. Clark then attempted to sexually assault her corpse, drank some of her blood, ate a piece of her flesh, and stuffed her in a duffel bag. He buried her in a park 12 miles away. On October 18, 1992, he killed 23-year-old Laura Houghteling in Bethesda. Clark was working as a gardener for Laura’s mother Penny when she accused Clark of stealing tools from her backyard shed. Clark entered the house through the back door and stabbed Laura to death in her bedroom with a kitchen knife and suffocated her with a pillow. He carried her body in a bedsheet through a wooded area and buried her a half-mile away. He left behind a pillow with his fingerprint as he moved the body. Police soon discovered the bloody pillow and linked the print on it to Clark. Clark confessed and led police to Laura’s body eight months after the murder. Police began looking at him for Dorr’s murder after discovering he lived two houses down from Dorr’s father at the time she disappeared. Police later tested his brother’s old house for blood and found Dorr’s blood in the wooden floorboards of an upstairs bedroom. Clark later led police to her body in January 2000. Clark has confessed to murdering dozens of people starting as a teenager. In 2004, he sent a letter claiming he had killed a then-unidentified woman in Cape Cod. In 1974 known as Lady of the Dunes. Clark explained that he had buried evidence from the crime in his grandfather’s garden and that he knew the woman’s identity but was not going to tell authorities because he claimed they mistreated him. As he has paranoid schizophrenia. Police doubt the accuracy of the confession. The decedent was identified in 2022 as Ruth Marie Terry, who was married at the time of her death to Guy Rockwall Muldavin, who is considered a person of interest in Terry’s death as well as multiple others. Clark led police on December 15, 2000, to his grandparents’ former property where they discovered a plastic bucket with more than 200 pieces of jewelry. Among the items were Laura Houghteling’s high school class ring. He claimed the items were “trophies” he took from his victims. Author Adrian Havill’s. Book Born Evil: A True Story of Cannibalism and Sexual Murder (2001) is a true crime story of Hadden Clark’s crimes. Author Robert Keller’s book True Crime: American Monsters Volume 3: 12 Horrific American Serial Killers (2013) one of the 12 murderers reported on in the book is Hadden Clark. The author focuses on Clark’s cross-dressing cannibalism and his stash of mementos suggesting there are more victims. The Channel 5 (UK). Series Born to Kill. Episode aired: 17 September 2013, reports on Clark’s formative years and their impact on his adult criminal behavior. Network series Evil, I season 5 episode 32, “Dressed to Kill”, aired August 3, 2012, reports on Houghteling’s disappearance and law enforcement suspects the family gardener Clark is responsible. When police search his storage shed they discover evidence tying him to her death. Released multiple crime-documentary episodes from different shows covering the Hadden Clark crimes. Season 7, Episode 25: “Dressed to Kill”, aired March 29, 2003, covers Michele Lee Dorr’s case. Her dad is mentally traumatized by his daughter’s passing and provides detectives with a false confession. However further investigation uncovers evidence leading to the real killer. The series Mugshots episode “Portrait of a Serial Killer: Hadden Clark”, aired June 1, 2002. The true crime and on-the-scene police investigation series Crime Stories episode “Dark Secrets: Hadden Clark”, aired: 2002. The series The Investigators episode “Dark Secrets”, aired: 9 September 2002. Forensic Files – Season 3, Episode 9: “Beaten by a Hair”, aired: November 26, 1998, covers Laura Houghteling’s disappearance. Police find the victim’s hairbrush with 30 hairs, one of which was artificial and did not belong to Laura. The artificial hair, along with other forensic evidence, directly tied Clark to her death. Two-part series on The Last Podcast on the Left. Episodes “Hadden Clark Part I- Mommy’s Basement Bakery” and “Hadden Clark Part II- Women’s Panties”, aired: November 2019.
RARE Prison SERIAL KILLER Outsider Art Painting Letter Lot, Hadden Clark
RARE_Hand_signed_Dmitri_Cherniak_Ringers_962_SilkScreen_Print_2023_01_skvz

RARE Hand-signed Dmitri Cherniak Ringers #962 SilkScreen Print, 2023

RARE Hand-signed Dmitri Cherniak Ringers #962 SilkScreen Print, 2023
RARE Hand-signed Dmitri Cherniak Ringers #962 SilkScreen Print, 2023
RARE Hand-signed Dmitri Cherniak Ringers #962 SilkScreen Print, 2023
RARE Hand-signed Dmitri Cherniak Ringers #962 SilkScreen Print, 2023
RARE Hand-signed Dmitri Cherniak Ringers #962 SilkScreen Print, 2023
RARE Hand-signed Dmitri Cherniak Ringers #962 SilkScreen Print, 2023
RARE Hand-signed Dmitri Cherniak Ringers #962 SilkScreen Print, 2023
RARE Hand-signed Dmitri Cherniak Ringers #962 SilkScreen Print, 2023
RARE Hand-signed Dmitri Cherniak Ringers #962 SilkScreen Print, 2023

RARE Hand-signed Dmitri Cherniak Ringers #962 SilkScreen Print, 2023
This limited edition silk screen print by Dmitri Cherniak features his iconic Ringers design, numbered out of 726. The colorful print measures 19.7 inches in length and height, and is signed by the artist. This piece would be a beautiful addition to any art collection, whether framed or unframed. The LACMA Iterations title references the Los Angeles County Museum of Art where Cherniak has exhibited his work. Own a piece of contemporary art history with this stunning and unique print.
RARE Hand-signed Dmitri Cherniak Ringers #962 SilkScreen Print, 2023
RARE_Antique_American_WPA_Social_Realism_Print_Chinatown_1932_L_Allemand_01_nolk

RARE Antique American WPA Social Realism Print, Chinatown 1932 L’Allemand

RARE Antique American WPA Social Realism Print, Chinatown 1932 L'Allemand
RARE Antique American WPA Social Realism Print, Chinatown 1932 L'Allemand
RARE Antique American WPA Social Realism Print, Chinatown 1932 L'Allemand
RARE Antique American WPA Social Realism Print, Chinatown 1932 L'Allemand
RARE Antique American WPA Social Realism Print, Chinatown 1932 L'Allemand
RARE Antique American WPA Social Realism Print, Chinatown 1932 L'Allemand
RARE Antique American WPA Social Realism Print, Chinatown 1932 L'Allemand
RARE Antique American WPA Social Realism Print, Chinatown 1932 L'Allemand
RARE Antique American WPA Social Realism Print, Chinatown 1932 L'Allemand
RARE Antique American WPA Social Realism Print, Chinatown 1932 L'Allemand
RARE Antique American WPA Social Realism Print, Chinatown 1932 L'Allemand
RARE Antique American WPA Social Realism Print, Chinatown 1932 L'Allemand
RARE Antique American WPA Social Realism Print, Chinatown 1932 L'Allemand
RARE Antique American WPA Social Realism Print, Chinatown 1932 L'Allemand
RARE Antique American WPA Social Realism Print, Chinatown 1932 L'Allemand
RARE Antique American WPA Social Realism Print, Chinatown 1932 L'Allemand
RARE Antique American WPA Social Realism Print, Chinatown 1932 L'Allemand
RARE Antique American WPA Social Realism Print, Chinatown 1932 L'Allemand
RARE Antique American WPA Social Realism Print, Chinatown 1932 L'Allemand
RARE Antique American WPA Social Realism Print, Chinatown 1932 L'Allemand
RARE Antique American WPA Social Realism Print, Chinatown 1932 L'Allemand
RARE Antique American WPA Social Realism Print, Chinatown 1932 L'Allemand
RARE Antique American WPA Social Realism Print, Chinatown 1932 L'Allemand
RARE Antique American WPA Social Realism Print, Chinatown 1932 L'Allemand

RARE Antique American WPA Social Realism Print, Chinatown 1932 L'Allemand
This is a historically significant and Very RARE Antique American WPA Social Realism Woodcut Print on Rice Paper, by early Los Angeles, California journalist, photographer, writer, illustrator, and artist, Gordon Lynn L’Allemand “Allemand” 1903 – 1974. There are limited sources of information on this artist, but perhaps you know more about him or his work? This piece depicts the shadowy silhouette of a Chinese man with a flatcap, smoking a cigarette in an open doorway. Across the alley, several shady characters, and a small child stand in the entryway of a Los Angeles Chinatown Tong clubhouse. In American Chinatowns, Tongs were essentially secret societies or brotherhoods created by Chinese immigrants, which promoted and maintained order and settled community disputes among the minority Chinese population. During the 1930’s, they were often associated with crime, such as prostitution, bootlegging, and operating opium dens. This piece is titled in graphite: “Tong Lookout Chinatown, ” at the lower left edge, and signed: “Gordon L’Allemand” in graphite at the lower right edge. Additionally, there is an annotation in graphite underneath the signature which reads: To Warren from Gordon, Best Wishes. Approximately 13 x 17 inches including frame. Actual artwork is approximately 9 1/2 x 12 5/8 inches. Very good condition for nearly a century of age, and the fragile nature of the rice paper, with expected age-related toning, mild creasing at the edges, and some light discoloration please see photos carefully. Acquired from an old collection in Los Angeles, California. This is the first original artwork by L’Allemand to ever be offered for sale since the invention of the Internet. This early artistic representation of the Los Angeles historic Chinatown is Priced to Sell. If you like what you see, I encourage you to make an Offer. Please check out my other listings for more wonderful and unique artworks! Gordon Lynn L’Allemand. 1903 – Bowling Green, Kentucky. 1974 – San Luis Obispo, California. Born in Bowling Green, KY on April 2, 1903. By the 1920s L’Allemand had settled in Los Angeles and was a pupil of J. He wrote articles for the Times and was the author-illustrator of several books including You Can Grow Dwarf Trees and Pageantry On The Mesa. His subjects include still lifes, figure studies, scenes of Los Angeles, and portraits. He died in San Luis Obispo, CA on Oct. Exh: Laguna Beach AA, 1930; LACMA, 1930 (solo), 1931 (prize); Calif. Art Club, 1930-31; Painters & Sculptors of LA, 1931-37; Bullocks (LA), 1932; Calif. State Fair, 1937; All Calif. Source: Nancy Dustin Moure, Publications in California Art No. Like other major Chinatowns across the country, Old Chinatown had long been represented as a world of underground passages and secret rooms. A 1930 Los Angeles Times article described the community in this way, Tong wars, murders, dope raids, hop-house scandals, white and yellow slavery, underground tunnels, secret trap doors; all have been here. Outside in the streets old men bask lazily in the sunshine and life is peaceful to the eye, but behind barred doors one feels that mystery is eternally seething. 71 In popular articles like these, Old Chinatown was depicted as being not just unseen but unseeable to the eyes of the city’s white population. The stories of underground tunnels reflected broader fears that many whites held of Chinatown and Chinese people somehow being invisible to police and government power. In this way, Old Chinatown was represented as existing outside the legal and juridical boundaries that defined so much of the rest of the city. Indeed one might argue that the idea of being seen or seeable to the broader white population correlated directly with popular perceptions of the perceived governability of the residents of the community. The notion that Chinatown was ridden with tunnels and secret passages reflected dominant fears that the neighborhood’s residents not only could not be seen by the state, the police, or by the white power structure but also that they could not be governed in the same way. Gordon L’Allemand, ” Old Chinatown, ” Los Angeles Times, October 5, 1930, K8.
RARE Antique American WPA Social Realism Print, Chinatown 1932 L'Allemand
1946_RARE_First_Post_WWII_57th_Rose_Bowl_Parade_Photos_Pasadena_Calif_Lot_of_30_01_hh

1946 RARE First Post-WWII 57th Rose Bowl Parade Photos Pasadena Calif. Lot of 30

1946 RARE First Post-WWII 57th Rose Bowl Parade Photos Pasadena Calif. Lot of 30
1946 RARE First Post-WWII 57th Rose Bowl Parade Photos Pasadena Calif. Lot of 30
1946 RARE First Post-WWII 57th Rose Bowl Parade Photos Pasadena Calif. Lot of 30
1946 RARE First Post-WWII 57th Rose Bowl Parade Photos Pasadena Calif. Lot of 30
1946 RARE First Post-WWII 57th Rose Bowl Parade Photos Pasadena Calif. Lot of 30
1946 RARE First Post-WWII 57th Rose Bowl Parade Photos Pasadena Calif. Lot of 30
1946 RARE First Post-WWII 57th Rose Bowl Parade Photos Pasadena Calif. Lot of 30
1946 RARE First Post-WWII 57th Rose Bowl Parade Photos Pasadena Calif. Lot of 30
1946 RARE First Post-WWII 57th Rose Bowl Parade Photos Pasadena Calif. Lot of 30
1946 RARE First Post-WWII 57th Rose Bowl Parade Photos Pasadena Calif. Lot of 30
1946 RARE First Post-WWII 57th Rose Bowl Parade Photos Pasadena Calif. Lot of 30
1946 RARE First Post-WWII 57th Rose Bowl Parade Photos Pasadena Calif. Lot of 30

1946 RARE First Post-WWII 57th Rose Bowl Parade Photos Pasadena Calif. Lot of 30
1946 RARE First Post-WWII 57th Rose Bowl Parade Photos Pasadena Calif. The pictures are black and white 187L 3″ x 4.25″ in vintage condition with some signs of wear (please see pictures for further condition). 1946 Rose Parade, the first post-WWII parade and one with a fitting theme — Victory, Unity and Peace. The Grand Marshall this year was Admiral Frederick Halsey who led the U. Navy to victory in WWII. Here are some of the picture lot highlights. 1943 Commemorative Float (No parade this year). 1942 Commemorative Float (No parade this year). San Jose – Santa Clara County Float. 57th Annual Tournament of Roses Float. University of California USC Marching Band. American Legion – Iwo Jima Flag Raising Float. Los Angeles County – Wings of Victory Float. Grand Marshall Float – Admiral Frederick Halsey. Please contact me with any issues prior to leaving negative/neutral Feedback or low detail ratings, as I will always do my best to solve any problems that may come up!
1946 RARE First Post-WWII 57th Rose Bowl Parade Photos Pasadena Calif. Lot of 30
RARE_Historic_Vintage_Martin_Luther_King_Day_Poster_Los_Angeles_BOB_FITCH_01_yeq

RARE Historic Vintage Martin Luther King Day Poster, Los Angeles BOB FITCH

RARE Historic Vintage Martin Luther King Day Poster, Los Angeles BOB FITCH
RARE Historic Vintage Martin Luther King Day Poster, Los Angeles BOB FITCH
RARE Historic Vintage Martin Luther King Day Poster, Los Angeles BOB FITCH
RARE Historic Vintage Martin Luther King Day Poster, Los Angeles BOB FITCH
RARE Historic Vintage Martin Luther King Day Poster, Los Angeles BOB FITCH
RARE Historic Vintage Martin Luther King Day Poster, Los Angeles BOB FITCH
RARE Historic Vintage Martin Luther King Day Poster, Los Angeles BOB FITCH
RARE Historic Vintage Martin Luther King Day Poster, Los Angeles BOB FITCH
RARE Historic Vintage Martin Luther King Day Poster, Los Angeles BOB FITCH
RARE Historic Vintage Martin Luther King Day Poster, Los Angeles BOB FITCH
RARE Historic Vintage Martin Luther King Day Poster, Los Angeles BOB FITCH
RARE Historic Vintage Martin Luther King Day Poster, Los Angeles BOB FITCH
RARE Historic Vintage Martin Luther King Day Poster, Los Angeles BOB FITCH
RARE Historic Vintage Martin Luther King Day Poster, Los Angeles BOB FITCH
RARE Historic Vintage Martin Luther King Day Poster, Los Angeles BOB FITCH
RARE Historic Vintage Martin Luther King Day Poster, Los Angeles BOB FITCH
RARE Historic Vintage Martin Luther King Day Poster, Los Angeles BOB FITCH
RARE Historic Vintage Martin Luther King Day Poster, Los Angeles BOB FITCH
RARE Historic Vintage Martin Luther King Day Poster, Los Angeles BOB FITCH
RARE Historic Vintage Martin Luther King Day Poster, Los Angeles BOB FITCH

RARE Historic Vintage Martin Luther King Day Poster, Los Angeles BOB FITCH
This is a significant and RARE Historic Vintage Martin Luther King Jr. Day Poster, created in the early 1980’s to honor the recognition of Martin Luther King Jr. Day as a holiday in the State of California. Governor Jerry Brown signed this holiday into State Law in California on September 3rd, 1981. This piece was produced by the Los Angeles County Schools Board of Education, utilizing an original photograph of Dr. King by acclaimed American Civil Rights photographer and activist, Bob Fitch 1939 – 2016. King is represented in a stoic and contemplative stance, with several small children of various racial ethnicities and cultural backgrounds in his arms. This poster reads: Martin Luther King, Jr. The California legislature has designated January 15, birthdate of Dr. Martin Luther King, Jr. As an official State holiday… I have the audacity to believe that peoples everywhere can have three meals a day for their bodies, education and culture for their minds, and dignity, equality, and freedom for their spirits. ” Additionally, this piece is typographically signed: “Bob Fitch” at the lower right edge and reads: “Office of the Los Angeles County Superintendent of Schools, ” and bears a small seal which reads: “Los Angeles County Schools Board of Education. Approximately 21 1/2 x 27 1/2 inches including frame. Actual artwork is approximately 18 x 24 inches. Very good condition for age, with some light creasing and speckles of soiling under the glass, and mild scratches and edge wear to the vintage wooden frame. This historic poster is exceedingly scarce, as I cannot find another example anywhere, after scouring the Internet extensively. This piece would be an important addition to any museum archival collection, American Civil Rights memorabilia collection, or a collector of Bob Fitch’s impressive photographic work. Acquired in Los Angeles County, California. If you like what you see, I encourage you to make an Offer. Please check out my other listings for more wonderful and unique artworks! (January 15, 1929-April 4, 1968) was born Michael Luther King, Jr. But later had his name changed to Martin. His grandfather began the family’s long tenure as pastors of the Ebenezer Baptist Church in Atlanta, serving from 1914 to 1931; his father has served from then until the present, and from 1960 until his death Martin Luther acted as co-pastor. Martin Luther attended segregated public schools in Georgia, graduating from high school at the age of fifteen; he received the B. Degree in 1948 from Morehouse College, a distinguished Negro institution of Atlanta from which both his father and grandfather had graduated. After three years of theological study at Crozer Theological Seminary in Pennsylvania where he was elected president of a predominantly white senior class, he was awarded the B. With a fellowship won at Crozer, he enrolled in graduate studies at Boston University, completing his residence for the doctorate in 1953 and receiving the degree in 1955. In Boston he met and married Coretta Scott, a young woman of uncommon intellectual and artistic attainments. Two sons and two daughters were born into the family. In 1954, Martin Luther King became pastor of the Dexter Avenue Baptist Church in Montgomery, Alabama. Always a strong worker for civil rights for members of his race, King was, by this time, a member of the executive committee of the National Association for the Advancement of Colored People, the leading organization of its kind in the nation. He was ready, then, early in December, 1955, to accept the leadership of the first great Negro nonviolent demonstration of contemporary times in the United States, the bus boycott described by Gunnar Jahn in his presentation speech in honor of the laureate. The boycott lasted 382 days. On December 21, 1956, after the Supreme Court of the United States had declared unconstitutional the laws requiring segregation on buses, Negroes and whites rode the buses as equals. During these days of boycott, King was arrested, his home was bombed, he was subjected to personal abuse, but at the same time he emerged as a Negro leader of the first rank. In 1957 he was elected president of the Southern Christian Leadership Conference, an organization formed to provide new leadership for the now burgeoning civil rights movement. The ideals for this organization he took from Christianity; its operational techniques from Gandhi. In the eleven-year period between 1957 and 1968, King traveled over six million miles and spoke over twenty-five hundred times, appearing wherever there was injustice, protest, and action; and meanwhile he wrote five books as well as numerous articles. In these years, he led a massive protest in Birmingham, Alabama, that caught the attention of the entire world, providing what he called a coalition of conscience. And inspiring his “Letter from a Birmingham Jail”, a manifesto of the Negro revolution; he planned the drives in Alabama for the registration of Negroes as voters; he directed the peaceful march on Washington, D. Of 250,000 people to whom he delivered his address, “l Have a Dream”, he conferred with President John F. Kennedy and campaigned for President Lyndon B. Johnson; he was arrested upwards of twenty times and assaulted at least four times; he was awarded five honorary degrees; was named Man of the Year by Time magazine in 1963; and became not only the symbolic leader of American blacks but also a world figure. At the age of thirty-five, Martin Luther King, Jr. Was the youngest man to have received the Nobel Peace Prize. On the evening of April 4, 1968, while standing on the balcony of his motel room in Memphis, Tennessee, where he was to lead a protest march in sympathy with striking garbage workers of that city, he was assassinated. Robert De Witt Fitch. Robert De Witt Fitch was born on July 20, 1939, in Los Angeles. His parents were Robert Fitch and Marion Weeks De Witt. His father was a minister with the United Church of Christ. And professor of Christian ethics. Fitch went to high school in Berkeley. In 1961, Fitch earned a B. At Lewis & Clark College. Fitch later earned both a B. And a Master of Divinity. At the Pacific School of Religion. His father was dean. Of the Pacific School of Religion. In 1965, Fitch was ordained. By the United Church of Christ. Early in his career, Fitch served as an intern at Glide Memorial United Methodist Church. There he worked with groups including street gangs, the homeless, hippies and LGBT. Fitch was later a labor organizer. And a draft resistance. Fitch worked at the California. Department of Housing and Community Development. And at the Resource Center for Nonviolence. Fitch died on April 29, 2016, in Watsonville, California. He was aged 76 and died from complications of Parkinson’s disease. An archive of Fitch’s photos is held at Stanford University Libraries. The archive is described as containing over 200,000 images, primarily black and white photographs and negatives, spanning the period from 1965 to the present. From Watsonville, California, the activist photographer Bob Fitch was best known for his work that captured iconic images of major figures of movements for civil rights, peace and social justice, such as Dr. Bob Fitch has written: My life has been immeasurably enriched by the people whose lives I have been privileged to document, especially the workers and leaders of this nation’s non-violent campaigns for peace & justice. Bob Fitch: Leading Social Movement Photojournalist. Bob Fitch was a leading social movement photojournalist. His photographs were used to promote civil rights, labor rights, and war resistance movements. Bob Fitch devoted his life to community organizing for multiracial democracy after reading James Baldwin’s The Fire Next Time. Bob Fitch worked and lived at the Resource Center for Nonviolence from 1999 to 2006, and lived in Watsonville from 2006 until his death in 2016. In 1965 Fitch was invited by Hosea Williams to be a staff photographer for the Southern Christian Leadership Conference (SCLC) during the civil rights movement. “I was told, Bob, we can’t send African-American journalists and photographers into the field’cause they’ll get beat up and killed,'” Fitch recalled in an interview; Every week you’ll come back with a news story in print and photos, and you’ll send them to the major Black print media around the nation. Fitch photographed voter registration, voting, and recruitment and training for African-American political candidates during the first election following the passage of the Voting Rights Act in 1965. He documented everyday lives of African-Americans, and marches, demonstrations, meetings during SCLC’s organizing efforts in Chicago, People-to-People tours in Alabama, the Meredith Mississippi March Against Fear, and the Citizenship Education Program in Alabama by Septima Clark and Dorothy Cotton. Clayborne Carson, Stanford University movement historian, recalled that Fitch was so trusted even in unguarded moments that he was the only white person present at an emotional meeting among Dr. King, Stokely Carmichael and other civil rights figures in Greenwood, Miss. In 1966, the night before Mr. Carmichael recast the movement by invoking the slogan Black Power. Summoned to Atlanta in 1968 by Dr. King’s widow, Coretta Scott King, to cover her husband’s funeral, Mr. Fitch debated whether to photograph the open coffin. It was a tough decision to take that photo. It felt like blasphemy to put a camera in his face. But then I thought,’The world needs to see this horrible truth. After the assassination of Dr. Martin Luther King, Fitch decided to document other movements making history. He photographed Cesar Chavez, Dolores Huerta, farm workers striking in fields, and the founding convention of the United Farm Workers Union. Fitch photographed Dorothy Day of the Catholic Workers movement, Catholic war resisters Daniel Berrigan and Philip Berrigan, activist singer Joan Baez, draft resister David Harris, Black Member of Congress Ron Dellums and Pajaro Valley political leader Luis Alejo. His work is presented in. My Eyes Have Seen. 1971, Richard Steven Street’s. Photographing Farmworkers in California. This Light of Ours: Activist Photographers of the Civil Rights Movement. During his tenure at RCNV, Bob continued his photojournalism by documenting local peace & justice actions and projects in Vietnam (Friendship Village), Brazil (alcohol fuel), Sri Lanka (International Peaceforce), Palestine, Watsonville, UCSC, and the 2006 Guerrero Azteca Tijuana-to-San Francisco march with Fernando Suarez del Solar, Camilo Mejia and Pablo Paredes. In his photography he emphasized the role of the rank and file as agents for social change and he was propelled by a desire to not just observe movements but to be deeply involved in them. He set up RCNV’s website, streamlined and perfected RCNV’s outreach and media connections. Bob lived upstairs at the Resource Center’s Broadway house for several years and served as the unofficial on-site host and chief mischief maker. He was a mentor to countless young people. He had an organizing principle for young activists who sought RCNV support: bring 4 people committed to working for your organizing goal for at least a year, and we will support you. He was active in RCNV’s GI Rights Hotline, counseling troops and young people about alternatives to the military. He was instrumental in bringing the Santa Cruz City Schools Opt-In program to high schools, so that students had to request to be contacted by military recruiters instead of school districts giving student contact information to recruiters. This program was replicated nationwide. Bob played a lead role for RCNV in organizing efforts including the Santa Cruz Living Wage Coalition; the Million Mom March; the Santa Cruz Peace Coalition responding to the 1992 Iraq war, and events featuring Black Member of Congress Ron Dellums and his successor, Barbara Lee. The Bob Fitch Photography Archive is curated by Stanford Libraries Archive and is accessible to all of us. The archive contains over 200,000 images, primarily black and white photographs and negatives, spanning the period from 1965 to 2012. Bob Fitch insisted that as a condition of Stanford receiving the images, people and nonprofit organizations may download high quality image files and reproduce his photos for free. Go online to the Stanford Libraries Bob Fitch Photography Archive. In 1966, a white civil rights worker was thrown in jail in a rural Alabama town. To his surprise and enlightenment, he was bailed out by local citizens – three African-American families used their farms as security for his bail! That worker was me. Those committed and generous farm families, and other working families like them, are my heroes, my role models. The farmers and their families were not Civil Rights movement all-stars. They were not featured and profiled in the daily papers and on TV. Nevertheless, they were the source and sustenance of the Black Civil Rights movement. Successful organizing requires shrewd tacticians, articulate spokes-people and focused workers. But I also know from study and experience that successful social struggle requires the participation and support of the people who live that struggle in their daily learning, job, family and community. Trained to be a Protestant minister. Career as a photojournalist began in 1965 when he joined the Rev. Martin Luther King Jr. S organization, The Southern Christian Leadership Conference, as a staff photographer. As Fitch notes, I worked for two intense years as the volunteer photographer for Dr. King and the SCLC, crisscrossing “Black Belt” states to document his people-to-people speaking tours promoting get-out-the-vote campaigns. Fitch’s work with the SCLC in 1965 and 1966 produced powerful images of Dr. King’s speaking and leadership, as well as of the courageous efforts of marchers in events such as the 1966 Meredith March Against Fear.
RARE Historic Vintage Martin Luther King Day Poster, Los Angeles BOB FITCH
RARE_Old_Early_California_Arts_Crafts_Landscape_Print_Redwoods_DOOLITTLE_01_fv

RARE Old Early California Arts & Crafts Landscape Print, Redwoods DOOLITTLE

RARE Old Early California Arts & Crafts Landscape Print, Redwoods DOOLITTLE
RARE Old Early California Arts & Crafts Landscape Print, Redwoods DOOLITTLE
RARE Old Early California Arts & Crafts Landscape Print, Redwoods DOOLITTLE
RARE Old Early California Arts & Crafts Landscape Print, Redwoods DOOLITTLE
RARE Old Early California Arts & Crafts Landscape Print, Redwoods DOOLITTLE
RARE Old Early California Arts & Crafts Landscape Print, Redwoods DOOLITTLE
RARE Old Early California Arts & Crafts Landscape Print, Redwoods DOOLITTLE
RARE Old Early California Arts & Crafts Landscape Print, Redwoods DOOLITTLE
RARE Old Early California Arts & Crafts Landscape Print, Redwoods DOOLITTLE
RARE Old Early California Arts & Crafts Landscape Print, Redwoods DOOLITTLE
RARE Old Early California Arts & Crafts Landscape Print, Redwoods DOOLITTLE
RARE Old Early California Arts & Crafts Landscape Print, Redwoods DOOLITTLE
RARE Old Early California Arts & Crafts Landscape Print, Redwoods DOOLITTLE
RARE Old Early California Arts & Crafts Landscape Print, Redwoods DOOLITTLE
RARE Old Early California Arts & Crafts Landscape Print, Redwoods DOOLITTLE
RARE Old Early California Arts & Crafts Landscape Print, Redwoods DOOLITTLE
RARE Old Early California Arts & Crafts Landscape Print, Redwoods DOOLITTLE
RARE Old Early California Arts & Crafts Landscape Print, Redwoods DOOLITTLE

RARE Old Early California Arts & Crafts Landscape Print, Redwoods DOOLITTLE
This is a fantastic and RARE Old Early California Arts & Crafts Landscape Print, Aquatint and Etching on Paper, by early California printmaker Harold Lukens Doolittle 1883 – 1974. This artwork depicts a delightful, forested landscape scene of tall, finely detailed redwood trees in Northern California. This print is from an edition of unknown size, and likely dates to the 1930’s. Titled: “Redwood Giants” in the lower left corner and signed: Harold L. Doolittle in the lower right corner. Approximately 15 7/8 x 19 7/8 inches including frame. Actual visible artwork is approximately 8 3/4 x 10 inches. Good condition for nearly a century of age, with a few faint scuffs to the surface of the paper please see photos. Acquired from an old collection in Los Angeles, California. If you like what you see, I encourage you to make an Offer. Please check out my other listings for more wonderful and unique artworks! 1883 – Pasadena, California. 1974 – Temple City, California. Harold Lukens Doolittle (1883 – 1974) was active/lived in California. Harold Doolittle is known for Printmaker-landscape. Harold Doolittle (American 1883 – 1974) was born in Pasadena, California. He was an etcher and civil engineer who studied at Cornell University and Throop Polytechnic Institute. He worked for many years as chief design engineer for the Southern California Edison Company. He was a bit of a Renaissance man, working in all the graphic processes including photography and collotype, but he is most noted for his aquatints. Doolittle built his own press, mezzotint rocker and preferred to make his own linen paper. He was a member of the Pasadena Society of Artists, Chicago Society of Etchers, Society of American Graphic Artists, California Society of Etchers and the California Print Makers. He served as president of the California Print Makers in the late 1940’s and early 1950’s. Doolittle is represented in the Library of Congress, New York Public Library, Los Angeles Public Library, California State Library, Dayton Art Institute and Brooks Memorial Gallery. Biography from Crocker Art Museum Store. Etcher, lithographer, Harold Lukens Doolittle was born in Pasadena, CA on May 4, 1883. Doolittle studied art at the Throop Institute and civil engineering at Cornell University. Largely self-taught as an artist, he is known primarily for his aquatints. He was a mechanical engineer for Southern California Edison for 30 years and, upon retirement, continued etching on his hand-made rag paper. He died in Temple City, CA on Jan. Member: American Fine Art Association San Francisco Art Association Chicago Society of Etchers; Society of American Etchers California Society of Etchers; Calif. Prairie Makers Pasadena Society of Artists. Exh: San Francisco Art Association, 1919-20 California Society of Etchers, 1920 In: CSL; AIC; LACMA; LA Public Library; Library of Congress; San Diego Museum. AAA 1919-29; WWC 1929; WWAA 1936-62; SCA; California Design, 1910.
RARE Old Early California Arts & Crafts Landscape Print, Redwoods DOOLITTLE
RARE_Vintage_David_Hockney_Modern_LACMA_Exhibition_Lithograph_Poster_1988_01_gq

RARE Vintage David Hockney Modern LACMA Exhibition Lithograph Poster, 1988

RARE Vintage David Hockney Modern LACMA Exhibition Lithograph Poster, 1988
RARE Vintage David Hockney Modern LACMA Exhibition Lithograph Poster, 1988
RARE Vintage David Hockney Modern LACMA Exhibition Lithograph Poster, 1988
RARE Vintage David Hockney Modern LACMA Exhibition Lithograph Poster, 1988
RARE Vintage David Hockney Modern LACMA Exhibition Lithograph Poster, 1988
RARE Vintage David Hockney Modern LACMA Exhibition Lithograph Poster, 1988
RARE Vintage David Hockney Modern LACMA Exhibition Lithograph Poster, 1988
RARE Vintage David Hockney Modern LACMA Exhibition Lithograph Poster, 1988
RARE Vintage David Hockney Modern LACMA Exhibition Lithograph Poster, 1988
RARE Vintage David Hockney Modern LACMA Exhibition Lithograph Poster, 1988
RARE Vintage David Hockney Modern LACMA Exhibition Lithograph Poster, 1988
RARE Vintage David Hockney Modern LACMA Exhibition Lithograph Poster, 1988
RARE Vintage David Hockney Modern LACMA Exhibition Lithograph Poster, 1988
RARE Vintage David Hockney Modern LACMA Exhibition Lithograph Poster, 1988
RARE Vintage David Hockney Modern LACMA Exhibition Lithograph Poster, 1988
RARE Vintage David Hockney Modern LACMA Exhibition Lithograph Poster, 1988
RARE Vintage David Hockney Modern LACMA Exhibition Lithograph Poster, 1988
RARE Vintage David Hockney Modern LACMA Exhibition Lithograph Poster, 1988
RARE Vintage David Hockney Modern LACMA Exhibition Lithograph Poster, 1988
RARE Vintage David Hockney Modern LACMA Exhibition Lithograph Poster, 1988
RARE Vintage David Hockney Modern LACMA Exhibition Lithograph Poster, 1988
RARE Vintage David Hockney Modern LACMA Exhibition Lithograph Poster, 1988

RARE Vintage David Hockney Modern LACMA Exhibition Lithograph Poster, 1988
This is an exceptional and RARE Vintage David Hockney Modern LACMA Exhibition Lithograph Poster, from the Retrospective of David Hockney’s repertoire at the Los Angeles County Museum of Art in 1988. This work reads: DAVID HOCKNEY… Los Angeles County Museum of Art February 4 – April 24, 1988… ” Small fine print at the lower edge of this print reads: “David Hockney (born England 1937, active in the United States), A Walk around the Hotel Courtyard Acatlan (1985), oil on two canvases, 72 x 240 in. Photograph by Stephen Sloman. Design by Sandy Bell. David Hockney: A Retrospective was organized by the Los Angeles County Museum of Art and is supported by an indemnity from the Federal Council on the Arts and the Humanities. This exhibition is made possible by AT&T. Approximately 18 1/4 x 40 inches including frame. Actual artwork is approximately 18 x 39 1/2 inches. Very good condition for age, with moderate edge wear and paint loss to the original period frame please see photos. Acquired in Los Angeles County, California. If you like what you see, I encourage you to make an Offer. Please check out my other listings for more wonderful and unique artworks! DAVID HOCKNEY- 1988 “LACMA: A Walk Around The Hotel Courtyard, Acatlan”. This 1988 LACMA exhibition was remembered for the wildly successful opening party on Feb. 3, 1988, when over 3000 people showed up. Throngs of hundreds waited outside and down the street. Many were high dollar LACMA contributors and still getting in wasn’t easy. David Hockney painted “A Walk Around the Hotel Courtyard, Acatlán”. In 1985 after discovering a hotel courtyard in Mexico, when car trouble forced him to stop on the way while driving to Mexico City. The painting is one of his more hotly colored works, being mostly red, with green and yellow, and is done in reverse perspective. In the painting the detail of the columns is gone, the painter has vanished, but the viewer is presented with a space where distance is abolished. There is cubism, “scientific” objectivity is gone, and plurality of space is emphasized. Reverse perspective is used to produce an all-seeing experience leading to a visionary feeling. Like a frame around paintings which decorate an altar, it seems to amalgamate real space with the world of the miracle. The original oil on two canvases or a “diptych” measure 183×610 centimeters overall. It is owned by the Benesse Corporation and is currently on display at Benesse House and Art Site, a contemporary art museum and hotel at the art village of Noashima, Japan. Bradford College of Art, Royal College of Art, London. Known for his photo collages and paintings of Los Angeles swimming pools, David Hockney is considered one of the most influential British artists of the 20th century. In fact, in a 2011 poll of more than 1,000 British artists, Hockney was voted the most influential British artist of all time. For nearly 60 years, David Hockney (British, born 1937) has pursued a singular career with a love for painting and its intrinsic challenges. This major retrospective-the exhibition’s only North American venue-honors the artist in his 80th year by presenting his most iconic works and key moments of his career from 1960 to the present. Working in a wide range of media with equal measures of wit and intelligence, Hockney has examined, probed, and questioned how to capture the perceived world of movement, space, and time in two dimensions. The exhibition offers a grand overview of the artist’s achievements across all media, including painting, drawing, photography, and video. From his early experiments with modernist abstraction and mid-career experiments with illusion and realism, to his most recent, jewel-toned landscapes, Hockney has consistently explored the nature of perception and representation with both intellectual rigor and sheer delight in the act of looking. David Hockney British, b. 1937 has produced some of the most vividly recognizable and influential works of the twentieth century. Hockney gained notoriety in his mid-twenties, after receiving the Gold Medal from London’s Royal College of Art, and he quickly became one of the defining figures of the British Pop Art movement. In the late 1960s Hockney relocated to California and established himself as a prolific figurative and landscape artist. He is perhaps best recognized for the works he produced there: brightly colored, large-scale evocative images of the Southern California lifestyle, and domestic, intimate portraits of his friends, family, and lovers. Hockney’s works are notable for their quietness of subject, flatness of space, and subtle reduction of form. Throughout his career he has worked in a wide variety of media, including painting, drawing, collage, photography, and printmaking, often utilizing contemporary technologies, including fax machines, laser photocopiers, and other 20th- and 21st-century digital instruments. Hockney has received a vast number of awards and honors, including the First Annual Award of Achievement from the Archives of American Art, Los Angeles; membership to the Board of Trustees of the American Associates of the Royal Academy Trust, New York; Distinguished Honoree of the National Arts Association, Los Angeles; the Lorenzo de Medici Lifetime Career Award of the Florence Biennale; and nine honorary degrees from institutions worldwide. In 1997, he was made a Companion of Honour from the British and Commonwealth Order for his outstanding achievement in the arts. David Hockney’s work can be found in numerous distinguished public collections around the world, including the Museum of Fine Arts, Boston; the National Gallery of Australia, Canberra; the Art Institute of Chicago; the National Portrait Gallery, London; The Tate Gallery, London; the J. Paul Getty Museum, Los Angeles; the Los Angeles County Museum of Art; the Walker Art Center, Minneapolis; the Metropolitan Museum of Art, New York; the Museum of Modern Art, New York; Centre Georges Pompidou, Paris; the Philadelphia Museum of Art; the Museum of Contemporary Art, Tokyo; the Museum of Modern Art, Vienna; the Hirshhorn Museum and Sculpture Garden, Washington, D. And the Smithsonian American Art Museum, Washington, D. He currently lives and works in Normandy, France.
RARE Vintage David Hockney Modern LACMA Exhibition Lithograph Poster, 1988
RARE_Antique_Early_California_Impressionist_Landscape_Etching_Orpha_Klinker_01_czj

RARE Antique Early California Impressionist Landscape Etching, Orpha Klinker

RARE Antique Early California Impressionist Landscape Etching, Orpha Klinker
RARE Antique Early California Impressionist Landscape Etching, Orpha Klinker
RARE Antique Early California Impressionist Landscape Etching, Orpha Klinker
RARE Antique Early California Impressionist Landscape Etching, Orpha Klinker
RARE Antique Early California Impressionist Landscape Etching, Orpha Klinker
RARE Antique Early California Impressionist Landscape Etching, Orpha Klinker
RARE Antique Early California Impressionist Landscape Etching, Orpha Klinker
RARE Antique Early California Impressionist Landscape Etching, Orpha Klinker
RARE Antique Early California Impressionist Landscape Etching, Orpha Klinker
RARE Antique Early California Impressionist Landscape Etching, Orpha Klinker
RARE Antique Early California Impressionist Landscape Etching, Orpha Klinker
RARE Antique Early California Impressionist Landscape Etching, Orpha Klinker
RARE Antique Early California Impressionist Landscape Etching, Orpha Klinker
RARE Antique Early California Impressionist Landscape Etching, Orpha Klinker
RARE Antique Early California Impressionist Landscape Etching, Orpha Klinker
RARE Antique Early California Impressionist Landscape Etching, Orpha Klinker
RARE Antique Early California Impressionist Landscape Etching, Orpha Klinker
RARE Antique Early California Impressionist Landscape Etching, Orpha Klinker
RARE Antique Early California Impressionist Landscape Etching, Orpha Klinker
RARE Antique Early California Impressionist Landscape Etching, Orpha Klinker
RARE Antique Early California Impressionist Landscape Etching, Orpha Klinker
RARE Antique Early California Impressionist Landscape Etching, Orpha Klinker
RARE Antique Early California Impressionist Landscape Etching, Orpha Klinker
RARE Antique Early California Impressionist Landscape Etching, Orpha Klinker

RARE Antique Early California Impressionist Landscape Etching, Orpha Klinker
This is a finely detailed and RARE Antique Early California Impressionist Landscape Aquatint Etching on paper, by renowned California Impressionist painter and printmaker, Orpha Mae Klinker 1891 – 1964. This work is titled: “Trees and Tide” in graphite in the lower left corner, and depicts a serene seaside scene, with calm and rollicking sea in the distance, tall trees, and delicately rendered foliage. This piece is signed and annotated in graphite at the lower center edge: “75/150 An Aquatint, ” and signed: by Orpha Klinker at the lower right edge. This artwork likely dates to the late 1920’s – 1930’s. Approximately 15 x 20 inches including frame. Actual visible artwork is approximately 6 1/4 x 8 1/2 inches. Very good condition for age, with some moderate scuffing and paint loss the original period frame, and several spots of light water staining to the corners of the matting please see photos. Acquired from an old estate collection in Los Angeles County, California. If you like what you see, I encourage you to make an Offer. Please check out my other listings for more wonderful and unique artworks! 1891 – Fairfield, Iowa. 1964 – Hollywood Hills, California. Adobe landmarks, desert scenes, portrait painting, illustration. Orpha Klinker Carpenter, Orpha Ooley. Landscape paintings and etchings as well as her portraiture and early California historic sites. She was also an active illustrator and graphic designer. Klinker was recognized for her series of historical and pioneer paintings. She painted a series of portraits of notable Californians and memorialized many historic early California structures on canvas. On October 14, 1963, she was awarded a resolution by the. City Council of Los Angeles. Recognizing her outstanding professional skill and appreciation for the many honors she has brought to the city. Orpha Klinker was born in. On November 20, 1891. The firstborn of five children of. And Lydia Jane Raver. Her given name is a modification of the Biblical name. The family moved to California when she was a child, first to. Chico, and eventually to. Klinker attended school in Los Angeles at. Polytechnic High School, and later studied under noted California. She traveled to Europe with fellow artist Crystal Wood Stephen to do further art studies at the. Académie Colarossi, both in Paris, France. Klinker did commercial illustration work in fashion and furniture design during the 1920s in both Los Angeles and New York. She also created book illustrations and contributed to magazines. Starting in the 1930s, she created more than 100 illustrated historical plate designs for. Company in California, a forerunner in the commemorative plate business. These plates, showing historical features of places throughout the United States, are collectibles. While living in New York City, Klinker created a series of. With children’s characters in the. Style featuring fashionable clothing of the 1920s. The series, The Betty Bobbs Family, featuring Betty Bobbs, Bonnie Bobbs, Bobby Bobbs and Baby Bobbs, was published in. Magazine in 1925, in the January, February, May and July issues. They remain sought-after as paper doll collectibles. Beginning in the 1920s, Klinker’s work focused on fashion illustration for retail stores, furniture firms, magazines and pattern companies. Examples of her fashion work appeared in spreads in the. Feature pages to introduce the new season trends. Using multiple figures in elaborate settings, she illustrated the finest in women’s 1920s to 1930s styles. Her signature appeared in these omnibus drawings. Beginning in 1930, Klinker and her brother Zeno Klinker collaborated to form the Klinker Kraft Kard Company. They created a new line of humorous greeting cards during the Depression, a style they called burlesque cards, that was illustrated by Orpha and written by Zeno. World War II, Klinker created pastel portraits for more than 1000 United States military personnel at various Veterans Hospitals. An exhibition of some of these portraits were widely shown, including a show at the Bowers Museum in Santa Ana, California. In the mid 1930s, some of her work was signed with her married name at the time, Orpha Klinker Carpenter. Klinker died in Los Angeles on May 23, 1964. Orpha Klinker’s natural talent for art even appeared in her kindergarten days. She graduated from Polytechnic High School, L. And later studied at U. Art School and at the Cannon Art School. Artists Paul Lauritz and Anna A. Hills of Laguna Beach, were her first art teachers. She continued her study of art at the Julian and Colarossi Academies in Europe. Some of her earliest work was in designing. Many pages of her fine pen work drawings appeared in Los Angeles newspapers, illustrating the fashions of the day, not only in clothes but in furniture and other things. Then for a time she did her work in New York City and later with the Ladies Home Journal in Philadelphia. One of her first projects with which Orpha impressed the public was a notable series of her large color portraits of California pioneers in the L. TIMES under the heading of Speaking Of Pioneers. This led to another series on landmarks and famous tales of early California including oil paintings of historic adobes, buildings and trees of California. From the Mexican border to Death Valley she roamed, meeting and painting portraits of such characters as Death Valley Scotty, Shoshone Johnny, the ancient Indian who supposedly saw the first white man come to Death Valley, Emanuel A. Speegle, “The Last of the 49’ers” (over 90 years of age) and others. Orpha was active in keeping alive the memory of one historical event in particular, the signing of the Treaty of Cahuenga ending the Mexican War with California in 1847. At the site of the signing in North Hollywood, there is now a large memorial building, The Campo de Cahuenga, containing Orpha’s paintings and oil portraits of the signers, Col. Fremont and Jose Antonio Carrillo. She was vice president of the Campo de Cahuenga Association and was one of the best qualified and most genuinely interested historical painters in California. She is also noted for her oil paintings and portraits. She painted John H. Francis, founder and first principal of Polytechnic High School, L. Miss Mary Foy, first teacher and librarian of Los Angeles High School, and Dr. Joseph Widney, first president of U. And founder of its Medical School. She painted many famous and socially prominent people including Mrs. Bell, founder with her husband of Bel Air, California; Madame Caroline Severance, founder of the first two Women’s Clubs in the United States (the Boston Woman’s Club and the Friday Morning Club in Los Angeles); the famous humorist Will Rogers; the early movie star, Miss Claire Windsor; comedian Edgar Bergen and his daughter Candice; and many others. Orpha was commissioned to paint a very large portrait of one of the earlier mayors of Los Angeles while he was in office, Mayor Frank E. This portrait still hangs in the Los Angeles City Hall. She also did outstanding work as an illustrator, illustrating such books as Artists of the Desert and the Enchanted Pueblo by Ed Ainsworth of the L. TIMES, and many other books. They are now collectors’ items as her beautiful oil paintings and etchings are fast becoming. Early in 1964 she had an exhibit at the Waldorf Astoria in New York and she was honored in 1963 by the Los Angeles City Council with an especially designed scroll and also again after her untimely death in 1964, at which time she was vice president of the California Art Club, an Associate Fellow of the American Institute of Fine Arts and was on the board of The Artists of the Southwest. She had also been president of The Women Painters of the West for three terms. In addition to her achievements in the United States, Orpha Klinker has been honored in France, Belgium, Mexico and India. Her paintings are in the collections of the late Winston Churchill, President Franklin D. Roosevelt, and her scenic and flower oil paintings grace the walls of lovely homes and art galleries all over the Western world. A painter of the California and Southwestern desert, Orpha Klinker had a long list of accomplishments as a Los Angeles artist, and was also a recognized portrait, historical and pioneer genre painter. She was of German and English heritage and was born in Fairfield, Iowa, and then lived briefly on a 360 acre farm near New Sharon. Growing up in that area, she loved the desert country and took an interest in the history and traditions of California. She had early art talent, which was encouraged by her mother. Orpha began her career cutting silhouettes for the May Company in Los Angeles when she was 12 years old, and then went into furniture ad art with her work appearing in many newspaper advertisements. She studied at the U. Art School and Cannon Art School and with Paul Lauritz and Anna Althea Hills, her first private teacher. She also became an art teacher, did silhouettes of movie stars, and created “Betty Bobbs” paper dolls. She attended the Julian and Colarossi Academies in Paris, went to New York and did illustration, and then to Philadelphia where she worked for the Ladies Home Journal. Returning to the West, she pursued through her art her combined interests in the desert and history. Her family became a part of this history, owning the Klinker Building, regarded as the first skyscraper Los Angeles. She did a series of portraits and talks titled “Speaking of Pioneers, ” and her research led her far afield into deserts of California, Utah, and Arizona where she painted the Grand Canyon. One of her portraits was of the last of the “49ers, ” Emanuel Speegle. She also did a series of historical scenes on china plates, now collectors’ items and in 1939 designed the official seal of Los Angeles county. She did etchings of the desert, her chief source of inspiration. She was a member of the California Art Club and the Women Painters of the West. Her studio was in her home atop the Hollywood Hills, and she worked for preservation causes including saving the stone home of Charles Lummis, noted writer and founder of the Southwest Museum. Source: Phil Kovinick and Marion Yoshiki Kovinick, An Encyclopedia of Women Artists of the American West. Born in Fairfield, IA on Nov. 20, 1891, she and other members of the Klinker family moved to San Bernardino, CA when Orpha was a child. After graduating from Polytechnic High School, she studied art at UCLA, Cannon Art School, and continued in Paris at Académies Julian and Colarossi. After a year abroad, she worked in New York and Philadelphia before returning to California in 1925. She was married briefly to Wm Ooley (1921-23) and Cliff Carpenter (1932-36). Working in commercial art until middle age, she then stopped to concentrate on fine art. The subjects of her etchings and paintings include still lifes, portraits, California landmarks, and desert scenes. Honors awarded her are: Academician, American Int’l Academy, Washington, DC; Fellow, Andhra Research University of India (1940); Belgium’s Crois de Commandeur (1941). Member of Nat’l Academy of Mexico (1944); Gold Medal, University of Panama (1945); Member of Society of Fine Arts of Brazil (1948). She exhibited nationally, lectured on early California, and by 1959 had illustrated many books including Enchanted Pueblo. Klinker lived in Hollywood, CA until her death on May 23, 1964. Member: Society of American Graphic Artists; Calif. Society of Etchers; Laguna Beach Art Association; Los Angeles Art Association. California State Fair, 1930; Women Painters of the West, 1934-44; Friday Morning Club (LA), 1934; USC, 1935; Calif. Pacific Int’l Expo (San Diego), 1935; LA City Hall, 1935, 1938 (solos); Calif. Art Club, 1936; Ebell Salon (LA), 1937, 1955; Chamber of Commerce (Santa Paula), 1938; GGIE, 1939; Southwest Museum (LA), 1940 (solo); SWA, 1944; Artists of the Southwest (LA), 1948. In: City Hall (LA); Polytechnic High School (LA); MM. Who’s Who in California. Artists of the American West. Women Artists of the American West. (Nancy Moure); Los Angeles Times, 5-25-1964 (obituary).
RARE Antique Early California Impressionist Landscape Etching, Orpha Klinker