Viewing page 7 of 38
It looks like you're using a mobile device. We recommend using a physical keyboard for transcription entry.
[[image]] The "Champagne Touch" Enjoy the elegance that makes ocean travel the height of luxury aboard America's newest cruise liners ss ARGENTINA and ss BRASIL. Every moment aboard is graced by our "Champagne touch"...gracious service, beautiful staterooms, superb cuisine. CARIBBEAN CRUISES from Boston Sept. 21 7-days $250 up from New York Oct. 6 7-days $250 up Oct. 14 9-days $325 up Oct. 23 5-days $180 up Oct. 29 12-days $430 up Nov. 10 7-days $250 up Calling variously at: San Juan, St. Thomas, Bermuda, Martinique, Trinidad, Curaçao. SOUTH AMERICA CRUISES 31 days from New York June 25, August 13, Sept. 3, October 8, November 19, $930 up 35-day Christmas-New Year Cruise from New York-Dec. 22, $1050 up (from Pt Everglades-Dec. 24) Calling at St. Thomas, Rio de Janeiro, Santos (São Paulo), Montevideo, Buenos Aires, Barbados, San Juan. 35-day SCANDINAVIA • BALTIC & NORTHERN EUROPE CRUISES from New York July 8, July 29, $1350 up SEE YOUR TRAVEL AGENT NOW! Call or write for colorful brochures MOORE-McCORMACK LINES Two Broadway, Dept. H-6, N.Y., N.Y. 10004 [[image]] "WHERE CAN YOU BUY"-SEE LAST PAGE Matta brought the high glamour and prestige of French art to the United States, unquestionably influencing such young American painters as Arshile Gorky, Jackson Pollock, Mark Rothko, Adolph Gottlieb, Robert Motherwell, Willem de Kooning and William Baziotes. Castelli was part of the circle- a collector and friend of the artists- whose hub was Peggy Guggenheim and her New York gallery, Art of This Century. Most of these artists did not begin to make any real money until the mid 1950's. They remember Castelli's apartment fondly for its wealth of bourgeois comforts. He remembers the time as one of waste and failure for himself. The fact that he was then a partner in a knit-goods business, which his father-in-law set up for him when he came out of the army, in 1945, is a source of profound embarrassment to him. I noted the fluster that came over him when questioned about his old business, and suggested that he might be ashamed to have been "in trade." "Well, yes, that partly." He smiled, with a nervous jiggling of the head. "But what a waste of time. That embarrasses me. I hate to think of how I squandered those years. After all, I didn't arrive at my vocation until I was almost fifty. That is shameful. I guess you might classify me as a playboy, unpleasant as that sounds. My father sent me away from Trieste to get the playboy in me out of the system. Ileana's family was very wealth. It made things much to easy, and other things too hard." One thing it made easier was collecting. As a collector in New York during those "wasted" years, he was considered quick and sure of eye, but timid about taking the ultimate step. One friend of de Kooning's recalls an episode in 1953, when he and de Kooning were looking at the artist's most recent picture at his studio. Castelli entered, instantly admired the painting and said he would buy it for $3,000. This called for a celebration, according to the friend, so de Kooning brought out a bottle and the proceeded to drink. When Castelli left, de Kooning said, "He won't buy it." He didn't. A year or so later, the Metropolitan Museum of Art bought the painting for $7,000. It is now worth six or seven times that. When asked about this incident, Castelli raised his eyebrow ironically. "Timid? Of course. I didn't have the money. I was too enthusiastic for my means." Nevertheless, during those years, he and his wife built a substantial and handsome collection of paintings. When, in 1957, the knit-goods business defunct he was about to "jump off the bridge" for want of vocation and a source of income, he decided to deal in paintings. "But I did not sell off my wall" he says, trying to be clearly understood on matters of pride. "The whole idea of selling my paintings off my apartment walls is a very unpleasant idea to me. It is like exposing one's life to the public. Or making something... Continued on Page 99 [[5 images]] You made the switch in shaving... now make it in power mowing with AMF HOMKO 22" Self Propelled Rotary Model 1232 FIRST STAINLESS STEEL MOWER BLADE STAINLESS STEEL FLEXOR BLADE You know how stainless steel revolutionized shaving. Now AMF/Homko revolutionizes power mowing with its exclusive Stainless Steel Flexor Blade. Designed to give your lawn a "clean shave" time after time. Clean-cutting, rust-resistant, tempered to hold a cutting edge longer. Flexor Blade tips absorb shock, eliminate bent crank-shaft. Insist on the mower with the Stain-less Steel Flexor Blade-at your AMF/Homko dealer's now! There is an AMF/Homko Power Mower That's Just Right For Your Lawn: Rotaries, Reels, Riders, Tillers. Write today for full color brochure. Ride the AMF Monorail at the New York World's Fair! AMF WESTERN TOOL, INC. Des Moines, Iowa 50302, Dept. HOL-56 Subsidiary of American Machine & Foundry Co. [[image]] Every Step A Pleasure! Dr Scholl's ARCH-LIFT® WALKING SANDALS (T.M.) FOR MEN • WOMEN • CHILDREN Don't let uncomfortable feet spoil your fun! Discover the joy of care-free hours afoot with Dr. Scholl's ARCH-LIFT WALKING SANDALS. Cool and airy- yet every step gets a gentle "lift" from the built up arch. The molded sole and cupped heel seat hold foot in place. Extended heel for better balance. All leather, smartly-styled. No other casual footwear offers so much walking pleasure! MEN'S • WOMEN'S (Style Shown Above) $10.95 Men's: Tan, Brown, Black. Sizes 6 to 15. Women's: Tan, Red, White, Black Sizes 3 to 13 Women's sizes over 10, Men's over 12, add $1.00 At Dr. Scholl's Foot Comfort® Shops, Shoe, Dept. Stores; or write DR. SCHOLL'S, Inc., Dept. 24L6, Chicago 10, Illinois [[image]] Ideal for Your Child's Feet! Provide firm support; toes remain free to grow straight, graceful. Child's: Tan, Red, White. $7.95 up. [[image]] Also WOMEN'S 1" heel Tan, Red, White, Black. Sizes 3 to 13. $10.95 [[image]] Also MEN'S CLOSED Front Brown or Black. Sizes 6 to 15. $12.95
Please note that the language and terminology used in this collection reflects the context and culture of the time of its creation, and may include culturally sensitive information. As an historical document, its contents may be at odds with contemporary views and terminology. The information within this collection does not reflect the views of the Smithsonian Institution, but is available in its original form to facilitate research. For questions or comments regarding sensitive content, access, and use related to this collection, please contact firstname.lastname@example.org.