1952 Scottish Highlander Equestrian Hunt Alajalov Art New Yorker Cover Fc2022]

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Seller: advertisingshop ✉️ (6,153) 100%, Location: Branch, Michigan, US, Ships to: US & many other countries, Item: 305409657617 1952 SCOTTISH HIGHLANDER EQUESTRIAN HUNT ALAJALOV ART NEW YORKER COVER FC2022] .

1952 SCOTTISH HIGHLANDER EQUESTRIAN HUNT ALAJALOV ART NEW YORKER COVER FC2022]  

DATE OF THIS   **  ORIGINAL   **   ITEM :  1952


PLEASE NOTE - THIS IS A TWO-PAGE ITEM :   NEW YORKER COVER BY ALAJALOV OF A GROUP OF EQUESTRIAN HORSE HUNTERS FOX HOUND WAITING THE WEATHER OUT IN THE W.F. SMITHE GROCERY STORE - AN OLD FASHIONED HARDWARE GENERAL STORE WHERE THE OLD GUYS ARE HUDDLED AROUND A WOOD STOVE WHITTLING AND SMOKING PIPES.

SECOND PAGE IS AN ADVERTISEMENT FOR DEWERS VICTORIA VAT WHITE LABEL BLENDED SCOTCH WHISKEY - DISTILLERY LIQUOR SCHENLEY IMPORT.
AD SHOW A    FULL OR LEVEE DRESS OF DRUM MAJOR OF THE GORDON HIGHLANDERS REGIMINETAL TARTAN SCOTTISH.  DRUM MAJOR MILITARY BAND STAFF SPORRAN SWORD - FULL REGALIA  

Full dress uniform had disappeared from the army except for the Guards and certain bands. The best that most units could manage was khaki battledress, but the coronation in 1952 forced the army to introduce a smart uniform which was called number one dress. For most regiments the tunic was dark blue, but for Highland regiments the new uniform was a piper green waist length doublet. Although it is waist length at the front, there is a short skirt at the back with yellow turn-backs, buttons and pleats, quite similar to the jacket discontinued by kilted regiments a hundred years earlier in 1855.

The officer in the middle is in ceremonial dress for a parade while the hatless officer on the right is in levee dress for evening functions. He has buckled shoes and hose instead of spats and heavy shoes. The officer on the left is in what has come to be called no.1B dress. His claymore is slung from a waist-belt rather than the wide shoulder-belt. He has no red sash on his left shoulder, and his shoulder straps are of matching material instead of gold/black cord. It is difficult to tell from this photo whether the collar badges are metal or gold embroidered.

The goat-hair sporran was replaced by the small white purse worn by all ranks. This was an unpopular item that lasted a decade or so and has since been put aside in favour of the old type. The Tam o'Shanter bonnet was taken into wear but in dark blue with diced band in red, white and green.

The  Gordon Highlanders   was a  line infantry  regiment  of the  British Army  that existed for 113 years, from 1881 until 1994, when it was amalgamated with The  Queen's Own Highlanders (Seaforth and Camerons)  to form The  Highlanders (Seaforth, Gordons and Camerons). Although the 'Gordon Highlanders' had existed as the  92nd (Gordon Highlanders) Regiment of Foot  since 1794, the actual 'Gordon Highlanders Regiment' was formed in 1881 by amalgamation of the  75th (Stirlingshire) Regiment of Foot  and  92nd (Gordon Highlanders) Regiment of Foot.

The regiment was formed on 1 July 1881 instigated under the  Childers Reforms  as the county regiment of:  Aberdeenshire,  Banffshire, and  Shetland.[2]  Although the regiment was formed by two regular regiments, it in fact controlled other units which were of the former  Militia  and  Volunteer Force, including:[3][4]
  • Regimental Headquarters & Regimental Depot at  Castlehill Barracks
  • 1st Battalion (Regular, former  75th (Stirlingshire) Regiment of Foot)
  • 2nd Battalion (Regular, former  92nd (Gordon Highlanders) Regiment of Foot)
  • 3rd (Royal Aberdeenshire Highland Militia) Battalion (Militia) based at the  King Street Barracks  in  Aberdeen
  • 1st Volunteer Battalion (Volunteers, former 1st Aberdeenshire Rifle Volunteer Corps, became 1st VB in 1884), later became 4th (City of Aberdeen) Btn
  • 2nd Volunteer Battalion (Volunteers, former 2nd Aberdeenshire Rifle Volunteer Corps, became 2nd VB in 1884), later became 5th (Buchan and Formartin) Btn
  • 3rd (The Buchan) Volunteer Battalion (Volunteers, former 3rd Aberdeenshire Rifle Volunteer Corps)
  • 4th Volunteer Battalion (Volunteers, former 4th Aberdeenshire Rifle Volunteer Corps), later became 6th (The Banff and Donside) Btn
  • 5th (Deeside Highland) Volunteer Battalion (Volunteers, former 1st (Deeside Highland) Kincardineshire and Aberdeenshire Rifle Volunteer Corps), later became 7th (Deeside Highland) Btn

The 1st Battalion fought at the  Battle of Tel el-Kebir  in September 1882 during the  Anglo-Egyptian War, and then took part in the  Nile Expedition  in an attempt to relieve Major-General  Charles Gordon  during the  Mahdist War.[5]

The 1st Battalion then took part in the  Chitral Expedition  and then the  Tirah Campaign; it was during operations on the North West Frontier in October 1897, during the storming of the  Dargai Heights, that one of the regiment's most famous  Victoria Crosses  was earned. Piper  George Findlater, despite being wounded in both legs, continued to play the bagpipes during the assault. Another of the heroes involved in the charge of the Gordon Highlanders at Dargai Heights was Piper John Kidd. Piper Kidd was with Piper Findlater when, half-way up the heights, both pipers were shot down. Unmindful of his injuries, Piper Kidd sat up and continued to play "The Cock o' the North" as the troops advanced up the heights.[6][7]

Both battalions were sent to South Africa following the outbreak of the  Second Boer War  in 1899. The 2nd Battalion fought at the  Battle of Elandslaagte  in October 1899 and was part of force to relieve the  Siege of Ladysmith  in November 1899.[8]  Meanwhile, the 1st Battalion, which arrived a little later, saw action at the  Battle of Magersfontein  in December 1899 and was again in action at  Doornkop, where they suffered severe losses, in May 1900.[8]  The battalion stayed in South Africa throughout the war, which ended with the  Peace of Vereeniging  in June 1902. Four months later 475 officers and men of the 1st battalion left  Cape Town  on the SS  Salamis   in late September 1902, arriving at Southampton in late October, when the battalion was posted to  Glasgow.[9]

In 1908 the Volunteers and Militia were reorganised nationally, with the former becoming the  Territorial Force  and the latter the  Special Reserve;[10]  the regiment now had one Reserve and four Territorial battalions.[11][12]



ILLUSTRATOR/ARTIST:

Constantin Alajálov  (also  Alajalov ) (18 November 1900 — 23 October 1987) was an Armenian-American painter and illustrator. He was born in Rostov-on-Don, Russia, and immigrated to New York City in 1923, becoming a US citizen in 1928. Many of his illustrations were covers for such magazines as  The New Yorker The Saturday Evening Post , and  Fortune . He also illustrated many books, including the first edition of  George Gershwin's Song Book . His works are in New York's Museum of Modern Art and the Brooklyn Museum. He died in Amenia, New York.

Constantin Alajálov was born in Rostov-on-Don, Russia, in 1900 to an Armenian family. In 1917, the Red Revolution broke out, interrupting Alajálov's time at the University of Petrograd. Unable to stay, Alajálov joined a government organized group of artists. Traveling the countryside, they painted large propaganda murals and posters for the revolution. After this, Alajálov emigrated to Persia and again started painting for a revolution until no longer safe.

After his stay in Persia, Alajálov headed to Constantinople, his last stop before he emigrated to America at age 23. Getting a job was hard, but he finally landed one, painting wall murals at a restaurant about to be opened by Russian Countess Anna Zarnekau. Within three years, Alajálov was selling his paintings to  The New Yorker  magazine, where his first cover appeared on September 25, 1926. He went on to create more than 70 covers for the magazine. He also designed rugs for New York artist and entrepreneur Ralph Pearson.

Alajálov's first cover for the  Saturday Evening Post  appeared on October 6, 1945; this was unusual in that he was also doing covers for  The New Yorker  at the time, and both publications ordinarily required exclusivity of their artists. His final cover was for the December 1, 1962, issue. That final cover portrayed an accomplished bridge player awakened from a dream, still analyzing her bridge hand. Many of his  Saturday Evening Post  cover paintings can be viewed at the American Illustrators Hall of Fame in Indianapolis.

Alajalov died in New York in 1987. His papers are at Syracuse University, and the Archives of American Art. He bequeathed funding for a scholarship in his name to Boston University, which also maintains a collection of his photographs and scrapbooks. The Boston University holdings include a painting of Alajálov by George Gershwin.


SPECIAL CHARACTERISTICS/DESCRIPTIVE WORDS:     

The New Yorker   (stylized in  all caps) is an American magazine featuring  journalism, commentary, criticism, essays, fiction,  satire, cartoons, and poetry. Founded as a weekly in 1925, the magazine is published 47 times annually, with five of these issues covering two-week spans. Although its reviews and events listings often focus on the  cultural life of New York City,  The New Yorker   also produces  long-form journalism  and shorter articles and commentary on a variety of topics, has a wide audience outside New York, and is read internationally.

It is well known for its illustrated and often topical covers,  its commentaries on  popular culture  and eccentric  American culture, its attention to modern  fiction  by the inclusion of  short stories  and literary  reviews, its rigorous  fact checking  and  copy editing,  its  journalism  on politics and  social issues, and its single-panel  cartoons  sprinkled throughout each issue.

The New Yorker   was founded by  Harold Ross  (1892–1951) and his wife  Jane Grant  (1892–1972), a  New York Times   reporter, and debuted on February 21, 1925. Ross wanted to create a sophisticated humor magazine that would be different from perceivably "corny" humor publications such as  Judge , where he had worked, or the old  Life . Ross partnered with entrepreneur Raoul H. Fleischmann (who founded the General Baking Company)  to establish the F-R Publishing Company. The magazine's first offices were at 25 West 45th Street in  Manhattan. Ross edited the magazine until his death in 1951. During the early, occasionally precarious years of its existence, the magazine prided itself on its cosmopolitan sophistication. Ross declared in a 1925 prospectus for the magazine: "It has announced that it is not edited for the old lady in  Dubuque."

Although the magazine never lost its touches of humor, it soon established itself as a preeminent forum for serious  fiction,  essays  and journalism. Shortly after the end of  World War II,  John Hersey's essay  Hiroshima   filled an entire issue. The magazine has published short stories by many of the most respected writers of the 20th and 21st centuries, including  Ann Beattie,  Sally Benson,  Maeve Brennan,  Truman Capote,  Rachel Carson,  John Cheever,  Roald Dahl,  Mavis Gallant,  Geoffrey Hellman,  Ernest Hemingway,  Stephen King,  Ruth McKenney,  John McNulty,  Joseph Mitchell,  Alice Munro,  Haruki Murakami,  Vladimir Nabokov,  John O'Hara,  Dorothy Parker,  S.J. Perelman,  Philip Roth,  George Saunders,  J. D. Salinger,  Irwin Shaw,  James Thurber,  John Updike,  Eudora Welty, and  E. B. White. Publication of  Shirley Jackson's "The Lottery" drew more mail than any other story in the magazine's history.  In its early decades, the magazine sometimes published two or even three short stories in an issue, but in later years the pace has remained steady at one story per issue.

The nonfiction feature articles (usually the bulk of an issue) cover an eclectic array of topics. Subjects have included eccentric evangelist  Creflo Dollar, the different ways in which humans perceive the passage of time, and  Münchausen syndrome by proxy.

The magazine is known for its editorial traditions. Under the rubric  Profiles , it has published articles about prominent people such as  Ernest Hemingway,  Henry R. Luce  and  Marlon Brando, Hollywood restaurateur  Michael Romanoff, magician  Ricky Jay, and mathematicians  David and Gregory Chudnovsky. Other enduring features have been "Goings on About Town", a listing of cultural and entertainment events in New York, and "The Talk of the Town", a  feuilleton  or miscellany of brief pieces—frequently humorous, whimsical, or eccentric vignettes of life in New York—in a breezily light style, although latterly the section often begins with a serious commentary. For many years, newspaper snippets containing amusing errors, unintended meanings or badly mixed metaphors ("Block That Metaphor") have been used as filler items, accompanied by a witty retort. There is no masthead listing the editors and staff. Despite some changes, the magazine has kept much of its traditional appearance over the decades in typography, layout, covers and artwork. The magazine was acquired by  Advance Publications, the media company owned by  Samuel Irving Newhouse Jr, in 1985,  for $200 million when it was earning less than $6 million a year.

Ross was succeeded as editor by  William Shawn  (1951–87), followed by  Robert Gottlieb  (1987–92) and  Tina Brown  (1992–98). The current editor of  The New Yorker   is  David Remnick, who succeeded Brown in July 1998.

Among the important nonfiction authors who began writing for the magazine during Shawn's editorship were  Dwight Macdonald,  Kenneth Tynan, and  Hannah Arendt, whose  Eichmann in Jerusalem   reportage appeared in the magazine,  before it was published as a book.

Brown's tenure attracted more controversy than Gottlieb's or even Shawn's, thanks to her high profile (Shawn, by contrast, had been an extremely shy, introverted figure), and to the changes she made to a magazine with a similar look for the previous half-century. She introduced color to the editorial pages (several years before  The New York Times ) and included photography, with less type on each page and a generally more modern layout. More substantively, she increased the coverage of current events and topics such as celebrities and business tycoons, and placed short pieces throughout "Goings on About Town", including a racy column about nightlife in Manhattan. A letters-to-the-editor page was introduced, and authors' bylines were added to their "Talk of the Town" pieces.

Since the late 1990s,  The New Yorker   has used the Internet to publish current and archived material, and maintains a website with some content from the current issue (plus exclusive web-only content). Subscribers have access to the full current issue online and a complete archive of back issues viewable as they were originally printed. In addition,  The New Yorker ' s cartoons are available for purchase online. A digital archive of back issues from 1925 to April 2008 (representing more than 4,000 issues and half a million pages) was also issued on DVD-ROMs and on a small portable hard drive. More recently, an iPad version of the current issue has been released.  In 2014,  The New Yorker   opened up access online to all of its archives, expanded its plans to run an ambitious Website, and launched a paywalled subscription model. “What we’re trying to do,” said  Nicholas Thompson, the editor of the Website, “is to make a website that is to the Internet what the magazine is to all other magazines.”

The magazine's editorial staff unionized in 2018 and  The New Yorker Union  signed its first  collective bargaining agreement  in 2021.

The New Yorker   influenced a number of similar magazines, including  The Brooklynite   (1926 to 1930),  The Chicagoan   (1926 to 1935), and Paris's  The Boulevardier   (1927 to 1932).

Cartoons - COMIC ART

The New Yorker   has featured cartoons (usually  gag cartoons) since it began publication in 1925. For years, its cartoon editor was  Lee Lorenz, who first began cartooning in 1956 and became a  New Yorker   contract contributor in 1958.  After serving as the magazine's art editor from 1973 to 1993 (when he was replaced by  Françoise Mouly), he continued in the position of cartoon editor until 1998. His book  The Art of the New Yorker: 1925–1995   (Knopf, 1995) was the first comprehensive survey of all aspects of the magazine's graphics. In 1998,  Robert Mankoff  took over as cartoon editor and edited at least 14 collections of  New Yorker   cartoons. Mankoff also usually contributed a short article to each book, describing some aspect of the cartooning process or the methods used to select cartoons for the magazine. He left the magazine in 2017.

The New Yorker ' s stable of cartoonists has included many important talents in American humor, including  Charles Addams,  Peter Arno,  Charles Barsotti,  George Booth,  Roz Chast,  Tom Cheney,  Sam Cobean,  Leo Cullum,  Richard Decker,  Pia Guerra,  J. B. Handelsman,  Helen E. Hokinson,  Pete Holmes,  Ed Koren,  Reginald Marsh,  Mary Petty,  George Price,  Charles Saxon,  Burr Shafer,  Otto Soglow,  William Steig,  Saul Steinberg,  James Stevenson,  James Thurber, and  Gahan Wilson.

Many early  New Yorker   cartoonists did not caption their cartoons. In his book  The Years with Ross , Thurber describes the newspaper's weekly art meeting, where cartoons submitted over the previous week were brought up from the mail room to be looked over by Ross, the editorial department, and a number of staff writers. Cartoons were often rejected or sent back to artists with requested amendments, while others were accepted and captions were written for them. Some artists hired their own writers; Helen Hokinson hired James Reid Parker in 1931.  Brendan Gill  relates in his book  Here at The New Yorker   that at one point in the early 1940s, the quality of the artwork submitted to the magazine seemed to improve. It later was found out that the office boy (a teenaged  Truman Capote) had been acting as a volunteer art editor, dropping pieces he did not like down the far end of his desk.

Several of the magazine's cartoons have reached a higher plateau of fame. One 1928 cartoon drawn by  Carl Rose  and captioned by  E. B. White  shows a mother telling her daughter, "It's broccoli, dear." The daughter responds, "I say it's spinach and I say the hell with it." The phrase "I say it's spinach" entered the vernacular, and three years later, the Broadway musical  Face the Music   included  Irving Berlin's song "I Say It's Spinach (And the Hell with It)".  The  catchphrase  "back to the drawing board" originated with the 1941 Peter Arno cartoon showing an engineer walking away from a crashed plane, saying, "Well, back to the old drawing board."

The most reprinted is  Peter Steiner's 1993 drawing of two dogs at a computer, with one saying, "On the Internet, nobody knows you're a dog". According to Mankoff, Steiner and the magazine have split more than $100,000 in fees paid for the licensing and reprinting of this single cartoon, with more than half going to Steiner.

Over seven decades, many hardcover compilations of  New Yorker   cartoons have been published, and in 2004, Mankoff edited  The Complete Cartoons of The New Yorker , a 656-page collection with 2,004 of the magazine's best cartoons published during 80 years, plus a double CD set with all 68,647 cartoons ever published in the magazine. This features a search function allowing readers to search for cartoons by cartoonist's name or year of publication. The newer group of cartoonists in recent years includes  Pat Byrnes,  J. C. Duffy,  Liana Finck,  Emily Flake,  Robert Leighton,  Michael Maslin,  Julia Suits, and  P. C. Vey. Will McPhail cited his beginnings as "just ripping off  Calvin and Hobbes , Bill Watterson, and doing little dot eyes."  The notion that some  New Yorker   cartoons have punchlines so oblique as to be impenetrable became a subplot in the  Seinfeld   episode "The Cartoon",  as well as a playful jab in  The Simpsons   episode "The Sweetest Apu".

In April 2005, the magazine began using the last page of each issue for "The New Yorker Cartoon  Caption Contest". Captionless cartoons by  The New Yorker ' s regular cartoonists are printed each week. Captions are submitted by readers, and three are chosen as finalists. Readers then vote on the winner. Anyone age 13 or older can enter or vote. Each contest winner receives a print of the cartoon (with the winning caption) signed by the artist who drew the cartoon.  In 2017, after  Bob Mankoff  left the magazine,  Emma Allen  became the youngest and first female cartoon editor in the magazine's history.


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