I had always wanted to include Wynne W. Davies as my first entry. Due though to the huge volume of his work, and to do it justice, it had to be put on the backburner.
I always wondered if he had help/an understudy to put out such volume?
If you go through some editions of Everyone's on Trove, some of them feature his work on 3 or 4 pages, plus some of these illustrations have multiple titles, which I assume he had the poster artwork contracts for all of them?
I had always wanted to include Wynne W. Davies as my first entry. Due though to the huge volume of his work, and to do it justice, it had to be put on the backburner.
I always wondered if he had help/an understudy to put out such volume?
If you go through some editions of Everyone's on Trove, some of them feature his work on 3 or 4 pages, plus some of these illustrations have multiple titles, which I assume he had the poster artwork contracts for all of them?
An interesting point you raise Wil regarding if Wynne W, Davies had any other artists that shared his workload.
I'm not sure where on the forum threads it is without searching, but many years ago a member raised a similar question about John Richardson and his Richardson Studio daybill images workload.
I now wish I had asked Aub Moseley when years ago I had spoken to him how manty daybills on average he would have completed in one week.
No idea about Wynne W, Davies, but I do have some thoughts regarding John Richardson that I will mention in the future,. Before I do this though I would like to hear anyone's thoughts on this subject.
John Richardson personally stopped signing his daybill posters in the 1920s. All his work was credited as being from Richardson Studio, He was based in Australia from the 1920's until circa 1960. No way in telling if anyone else designed any of the Richardson Studio daybill designs.
Wynne W. Davies on the other hand it certainly appears that he always signed his various poster work Wynne W. Davies or WWD. Surely he wouldn't have allowed his name to appear on any work that he hadn't designed himself.
Compared to time spent on designing and completing a daybill poster, newspaper and magazine designs that he did a lot of work on were much smaller in size. This meant less time was required in producing them.
From spending the best part of a day going through some of Wynne's Everyone's editions, although small in scale, the trade advertisement detail is still significant and with the volume of poster artwork he'd have to produce in the same week. I still believe he must have had help to some degree.
I get what you're saying about his signature Lawrence, however it's not unheard of that even the great master renaissance artists had understudies doing most of the background work, whilst they took the credit.
From spending the best part of a day going through some of Wynne's Everyone's editions, although small in scale, the trade advertisement detail is still significant and with the volume of poster artwork he'd have to produce in the same week. I still believe he must have had help to some degree.
I get what you're saying about his signature Lawrence, however it's not unheard of that even the great master renaissance artists had understudies doing most of the background work, whilst they took the credit.
You make a good point Wil that it may have happened, but we will most likely never know for sure if he had any assistance,.
The following are the two different daybill versions designed by The Richardson Studio for the Australian release of The Virginian (1946).
( Bruce)
The interesting thing about one of the daybill designs is that the Richardson Studio adapted an earlier used Paramount Pictures image that was originally designed in the U,S,A, for the film Hop-A-Long Cassidy in 1935.
As seen below on the 1935 U.S.A 3 sheet this artwork was changed very slightly by the Richardson Studios, and then featured as the main design on the below Australian daybill.
Ir certainly would be interesting to see a Hop-A -Long Cassity 1935 Australia daybill image.
( Bruce)
The original U.S A. 1946 3 sheet poster image. Why wasn't the more dramatic original Joel McCrea and Barbara Britton on the horse mage used here for the daybill and the 3 sheet, instead of the William Boyd altered one, so you do have to wonder?
One other thing to point out is that there is a mistake on the daybill in question. There are two Sonny Tufts images used on the bottom of the poster. One of the four images used on the American three sheet should have been of Joel McCrea instead of Sonny Tuffs unrelated to the film image. The below non cowboy looking image is actually a promotional studio photograph from 1942
The Black Shield Of Falworth is a very early Universal International 1954 released movie that was filmed in Cinemascope. It was also filmed in standard screen for the benefit of sites not yet equipted for Cinemascope.
The following is the daybill, one sheet and an original printed press book for the original Australian release in cinemas beginning on September 30, 1955.
A couple of things to mention here are that the daybill and the press book both have a For General Exhibition censorship rating printed on them, while the one sheet has a Not Suitable For Children rating on it.
The second point is the press book advertised that the film was available In both Cinemascope and 2-D, with newspaper advertisement pages printed for both. The daybill and one sheet were printed minus the Cinemascope credit though.
My question that I would be curious to know is has anyone ever seen another early Cinemascope film advertised in this manner. I know I certainly haven't.
Good one Dave. An excellent craftsman Wynne W. Davies certainly was,
HIs motion picture artwork was only a portion of his total prolific output. At some stage or another I hope to include here some of his impressive non motion picture artwork that he was responsible for.
Two exampled of his Australian and American artwork follows.
It must just be me then as I thought that this actor has a strong resemblance to Paul Newman
The actor in question is the obscure very little known actor Morton Lowry, seen below with Errol Flynn in a scene from the 1938 film version of The Dawn Patrol.
It must just be me then as I thought that this actor has a strong resemblance to Paul Newman
The actor in question is the obscure very little known actor Morton Lowry, seen below with Errol Flynn in a scene from the 1938 film version of The Dawn Patrol.
Um I'm confused....I thought the question was who the actor was not who it looked like...he definitely looks like Paul Newman but knew it wasn't him....
Comments
Once I see how beautiful they are, then I will want the posters.
I already have too many!
If you go through some editions of Everyone's on Trove, some of them feature his work on 3 or 4 pages, plus some of these illustrations have multiple titles, which I assume he had the poster artwork contracts for all of them?
For example:
I'm not sure where on the forum threads it is without searching, but many years ago a member raised a similar question about John Richardson and his Richardson Studio daybill images workload.
I now wish I had asked Aub Moseley when years ago I had spoken to him how manty daybills on average he would have completed in one week.
No idea about Wynne W, Davies, but I do have some thoughts regarding John Richardson that I will mention in the future,. Before I do this though I would like to hear anyone's thoughts on this subject.
Not the best quality, however, this Everyone's shot shows both of the daybill's and a one sheet.
Wynne W. Davies on the other hand it certainly appears that he always signed his various poster work Wynne W. Davies or WWD. Surely he wouldn't have allowed his name to appear on any work that he hadn't designed himself.
Compared to time spent on designing and completing a daybill poster, newspaper and magazine designs that he did a lot of work on were much smaller in size. This meant less time was required in producing them.
I get what you're saying about his signature Lawrence, however it's not unheard of that even the great master renaissance artists had understudies doing most of the background work, whilst they took the credit.
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At some point or another I will include some more Wynne W, Davies artwork here. He was certainly a top rate artist.
Peter
The following are the two different daybill versions designed by The Richardson Studio for the Australian release of The Virginian (1946).
The interesting thing about one of the daybill designs is that the Richardson Studio adapted an earlier used Paramount Pictures image that was originally designed in the U,S,A, for the film Hop-A-Long Cassidy in 1935.
As seen below on the 1935 U.S.A 3 sheet this artwork was changed very slightly by the Richardson Studios, and then featured as the main design on the below Australian daybill.
Ir certainly would be interesting to see a Hop-A -Long Cassity 1935 Australia daybill image.
The original U.S A. 1946 3 sheet poster image. Why wasn't the more dramatic original Joel McCrea and Barbara Britton on the horse mage used here for the daybill and the 3 sheet, instead of the William Boyd altered one, so you do have to wonder?
One other thing to point out is that there is a mistake on the daybill in question. There are two Sonny Tufts images used on the bottom of the poster. One of the four images used on the American three sheet should have been of Joel McCrea instead of Sonny Tuffs unrelated to the film image. The below non cowboy looking image is actually a promotional studio photograph from 1942
The following is the daybill, one sheet and an original printed press book for the original Australian release in cinemas beginning on September 30, 1955.
A couple of things to mention here are that the daybill and the press book both have a For General Exhibition censorship rating printed on them, while the one sheet has a Not Suitable For Children rating on it.
The second point is the press book advertised that the film was available In both Cinemascope and 2-D, with newspaper advertisement pages printed for both. The daybill and one sheet were printed minus the Cinemascope credit though.
My question that I would be curious to know is has anyone ever seen another early Cinemascope film advertised in this manner. I know I certainly haven't.
Wynne davies art from a Columbia Pictures ad from 1932.
HIs motion picture artwork was only a portion of his total prolific output. At some stage or another I hope to include here some of his impressive non motion picture artwork that he was responsible for.
Two exampled of his Australian and American artwork follows.
Peter
The actor in question is the obscure very little known actor Morton Lowry, seen below with Errol Flynn in a scene from the 1938 film version of The Dawn Patrol.
Peter