🔥 RARE Vintage California Winter Landscape DEER Bambi Painting, HONEYWELL 1940s

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Location: Orange, California
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Item: 276426964468

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Artist:Annette Honeywell
Signed By:Annette Honeywell
Size:Large
Signed:Yes
Period:Post-War (1940-1970)
Title:“Two Deer in the Forest”
Material:Paper,Watercolor
Region of Origin:California, USA
Framing:Matted & Framed
Subject:Animal Head,Cartoons & Caricatures,Deer,Flowers,Forest,Hunting,Landscape,Seasons,Silhouettes,States & Counties,Tree
Type:Painting
Year of Production:1943
Original/Licensed Reproduction:Original
Item Height:32 3/8 in
Theme:Americana,Animation,Art,Disney,Exhibitions,Nature,Portrait,Western
Style:Americana,Figurative Art,Illustration Art,Modernism
Features:One of a Kind (OOAK)
Production Technique:Oil Painting
Country/Region of Manufacture:United States
Handmade:Yes
Item Width:28 1/2 in
Time Period Produced:1925-1949

This is a wonderful and charming RARE Vintage California Winter Landscape DEER Bambi Painting, Watercolor and Gouache on Paper, by the renowned and multitalented Franciscan Ware artist, muralist, cartoonist and designer, Annette Honeywell (1904 – 1959.) This painting depicts the lovely portrait scene of two young deer, reminiscent of Bambi, staring balefully in the viewer’s direction. They are surrounded by an idyllic snow-covered wooded landscape, with small peaks visible in the far distance. Honeywell’s palette is subdued, yet she creates a beautiful and visually striking image from the select few pigments that she utilizes. This original artwork was the image upon which the “Two Deer in the Forest” makeup compact art was based on. Signed: “Annette Honeywell” in the lower right corner. This piece likely dates to the early 1940’s. Approximately 28 1/2 by 32 1/2 inches (including frame.) Actual visible artwork is approximately 18 3/4 x 22 3/4 inches. Very good condition for age, with some moderate scuffing, edge wear and paint loss to the original vintage period wood frame. The immensely talented Annette Honeywell famously designed the Desert Rose pattern for Franciscan Ware, which has gone on to be the most popular serving ware design in American history. She was also a cartoonist for Warner Brothers and painted several interior murals in the historically significant Bullock’s department store of Pasadena, California. Acquired in Pasadena, 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! About the Artist: Annette Olga Heidelbach Honeywell Born: 1904 – Chicago, IllinoisKnown for: Paintings, commercial art, murals Annette Olga Heidelbach Honeywell (Born 1904) was active/lived in Illinois. Annette Honeywell is known for Paintings, commercial art, murals. Born in Chicago, IL on April 13, 1904. As a young girl Annette moved with her family to Idaho and shortly thereafter to San Diego, CA. Upon graduation from high school, she studied at the Chicago Academy of Fine Arts. She wed Clarence Honeywell in 1923 and settled in Los Angeles. She taught at Chouinard Art Institute and was in Los Angeles until 1953 or longer. Her work includes commercial designs, floral still lifes, and portraits. Member: Advertising Ass’n of LA. Exh: Hollywood, 1943 (solo). Murals: Bullock’s Westwood; Hercules Powder Co., Wilmington, DE.Edan Hughes, author of the book “Artists in California, 1786-1940″WW in LA 1928; California Arts & Architecture list, 1932; Current Biography, July 1953. Annette Honeywell Annette Honeywell designed the Franciscan embossed hand-painted pattern Desert Rose. Desert Rose is one of the most popular of all worldwide tableware patterns. Honeywell was an artist and designer. She exhibited her floral watercolors and portraits at art shows. In the field of design, she designed fabrics for home and clothes, wallpapers, and tableware.Born Annette Ogle Heidelbach April 13, 1904 in Chicago, Illinois, Honeywell as a young girl moved to Coeur d’Alene, North Idaho and then to San Diego, California. She studied at the Academy of Fine Arts in Chicago being the youngest day student. She married Clarence Custer Honeywell in 1923, settling in Los Angeles. Clarence died early in their marriage in 1933. Honeywell taught at Chouinard Art School.Annette Honeywell was a contract designer for Gladding, McBean & Co.’s Franciscan dinnerware Glendale division in Los Angeles from the early 1940s to the early 1950s. The design team she worked with at Franciscan was headed by Mary Grant, wife of the plant’s manager Frederic Grant. The first project Annette Honeywell designed was the pattern Desert Rose, introduced in 1941. The shapes and embossing of Desert Rose were carved by Mary Jane Winans. Mary Jane Winans was employed as a designer from 1937 to 1940, and was a freelance designer from 1941 to 1953. Mary Jane Winans became the Chief Designer and Stylist for Gladding, McBean’s Franciscan division in 1953. In 1942, Wild Flowers was introduced. Honeywell is attributed to be the designer of Wild Flowers. In 1943, the fine china pattern Blue Jessamine was introduced. In 1946, Blue Jessamine was renamed Elsinore. Honeywell designed the pattern Blue Jessamine/Elsinore. In 1950, Honeywell designed the pattern California Poppy, with the shapes being carved by Mary Jane Winans. Annette Honeywell may have designed or contributed to other earthenware or fine china patterns for Franciscan. Honeywell’s designs for dinnerware and ceramics for other ceramic companies include Vernon Kiln’s El Camino Real, California Missions 14″ plate, California Casual for Wallace China, and Garden Pinks for Stewart House California.Annette Honeywell died January 5th, 1959 at the age of 54. Designers and ArtistsThis is a list of designers and artists, the patterns they designed, and the date the pattern was introduced. The asterisk (*) by the designer’s name indicates the designer/artist was a consultant rather than an employee of Gladding, McBean/Interpace/Franciscan Ceramics.Annette Honeywell *Desert Rose – Earthenware – Hand Decorated Embossed 1941Wild Flowers – Earthenware – Hand Decorated Embossed 1942Blue Jessamine – renamed Elsinore in 1946 – Masterpiece China – Ovid Redondo Shape 1943California Poppy – Earthenware – Hand Decorated Embossed 1950 EL RANCHO’s Desert Rose: The Surprising Origins Of America’s Best-Selling Dinnerware Pattern The Desert Rose pattern, the best-selling American dinnerware pattern in history, was designed by a Warner Brothers cartoonist.Most folks associate Desert Rose with Franciscan Ware, which dates back to 1941. But the story began even earlier than that. Exactly how early is hard to tell, and when the cartoonist entered the picture is even harder to determine.Before “Franciscan Ware” Desert Rose pattern dishes, there was El Rancho Desert Rose (or Wild Rose) dinnerware. These dishes, with the “Hand Painted El Rancho” stamp on each piece were manufactured from 1931 (when a patent was applied for) to 1938, possibly earlier according to some reports. A few one-of-a-kind plates exist which look like the artist’s early prototypes. Every piece in every set, though, is unique and slightly different; they’re each little works of art, from a time when craftsmanship meant more than it does today. Though people often refer to the El Rancho line as “Made in Japan” it was not; it is merely a Japanese-style pattern, or a pattern inspired by Japanese paintings and drawings. Some say El Rancho Desert Rose tableware may have been manufactured by United China and Glass Company (UCAGCO), an American company (not Japanese, even though their logo included the word “Japan”). That’s harder to pin down. Desert Rose is very typical of Oriental-influenced Southern California art and home décor of the early 20th Century. The artist responsible for the Desert Rose pattern was noted contract designer Annette Honeywell (1902-1959) of Los Angeles. It is known Ms. Honeywell sold Desert Rose designs to Gladden, McBean & Co., in 1940 that were used to produce the Franciscan Ware versions.It is not known if Ms. Honeywell, who also worked as a cartoonist in the animation studios famed for its Looney Toons and Merrie Melodies characters, was the source of the El Rancho Desert Rose patterns, or whether the designs she sold to Gladding, McBean were merely inspired by El Rancho’s line. But her known works with the pattern seem to be evolutionary, from understated and minimalist, to the bolder Franciscan Ware version – largely similar to the delicate but rococo El Rancho pieces – which featured stronger coloring. The delicate El Rancho patterns, with pink roses, yellow buds, green leaves and brown branches were very popular; pieces and sets seem to have been sold worldwide. Collectors in Europe, Africa, North America and Australia claim to have large holdings of the El Rancho sets. If the line truly went out of production around 1938, the reasons why are not clear.After Gladding, McBean, which became one of America’s big five ceramics manufacturers after a series of Depression-era acquisitions of competitors’ lines, purchased Ms. Honeywell’s patterns in 1940, within a year they began producing Desert Rose dish sets from those patterns, in the Franciscan Ware genre at its factory in Glendale, California. Many imitators and innovators have done subsequent versions. Desert Rose would become one of the best known, most iconic, most copied tableware patterns in history. But it all started with the El Rancho line Franciscan Desert RoseFranciscan started production of Desert Rose in late 1941. Desert Rose is the best selling dinnerware pattern in the USA. Hand painted with pink roses, green leaves, & olive green stems that gracefully trim the edge. Even though the rose is thought of being from the Midwest, the dishes were named Desert Rose so people would connect it to California & Franciscan Ware. Annette Honeywell, a freelance artist who sold several concept designs to Gladding-McBean, is credited with developing the Desert Rose pattern concept. Mary Jane Winans, a designer for Gladding McBean & Company, was responsible for the production design work. The pattern was modeled after the Rosa Rugosa. The rugged & wild Rose Rugosa was a natural design selection. The bloom, with its simple delicate petals, made it adaptable to hand painting. While this rose is primarily native to the Midwest and northern sections of the United States, the pattern was named Desert Rose to give it a “California” inference. In the 1940s, products labeled “Made in California” were in demand. This beautiful pattern is still one of America’s favorite casual tableware patterns. In 1964 the sixty millionth piece had been produced, & Desert Rose is now on display in the historical Smithsonian Museum. First Lady Jacqueline Kennedy chose Franciscan Desert Rose for use in the White House. In Desert Rose, the irregularly scalloped edge of thorny vines creates a believable frame for the fully opened pink roses with their golden centers and soft green leaves. The softness of the design is further enhanced by its cream colored background. After experiencing decades of popularity, Franciscan Ware Desert Rose was discontinued in 2013. 1937 Rose Bowl football program for game between the University of Pittsburgh and the University of Washington Published by the athletic departments of the University of Pittsburgh and the University of Washington. The cover was illustrated by Annette Honeywell. Annette Honeywell 1904 – 1959There is very little information available about Annette Honeywell, a 20th Century American artist. She was born c. 1904 in Chicago, Illinois where she studied at the Chicago Academy and later, having relocated to San Diego, Los Angeles, CA., taught a subject called ‘Beginning Commercial Illustration’ at the Chouinard Art Institution in Los Angeles. In his book ‘Artists of California’, Edan Hughes,{1}identifies her as a ‘mid-20th Century, painter, commercial artist, muralist, and designer’. On May 1 1929 she was granted copyright for a series of Art works which included a doll and bull, Jack and Jill, Little Boy Blue, Mary had a Little Lamb, Monkey and Jack in the Box, Old Woman who lived in a shoe. Identified as G 33260 , 33262, 33264 33277 and 33282 and in 1938 a further patent was granted in ‘Works of Art’ numbered 7231 but at present the product cannot be identified.{2} Honeywell had a solo exhibition of her works exhibited in Hollywood in 1943. She was most noted, however, for her work with the Warner Brothers movie studio as a cartoon artist. During the time she was employed by Warner Bros. she produced a series of loose powder compacts with the name ‘Lady Vanity’, all of which carry her signature on the front underneath the lid designs. The US Patent Office also granted a patent, numbered 412,510, to Ernest Warner doing business under the name of Warners Productions Hollywood, Los Angeles, California for ‘Empty Ladies’ Powder Compacts made of Base Metals, Leather and Plastics and Adapted to contain Face Powder’. Warner filed for the patent in March 1944 and it was granted January 2 1945 as Serial number 468056.{3}The item for which the patent was granted is, at present, a mystery but could it have been for Honeywell’s series of compacts? There are twelve designs in the ‘Lady Vanity’ series and these were apparently based upon song titles. The influence of cartoon illustrations can be clearly seen in many of the lid designs. Her association with Warner Bros and the cartoonists at the company are suggested by Mueller {4} to have been influenced by cartoonists such as Chuck James and Tex Avery. These “Looney Tunes” and “Merrie Melodies” cartoon animators gave birth to some of the most well-known cartoon characters such as Bugs Bunny, Porky Pig, Daffy Duck, Elmer Fudd and Pepé Le Pew and she suggests this might explain the ‘Chickens at Hollywood and Vine’ street sign which appears on one of her compact designs. Certainly, the cartoon-like design and illustrative nature of Honeywell’s work reflects the variety of themes cartoonists produced during this period.The compacts themselves are all manufactured in a similar manner. TWO DEER IN THE FOREST; BAMBI? The subtle greenish-blue colour used on ‘The Bullfighter’ clothes features on the reverse of this design of two ‘Bambi- like’ deer within a forest scene of trees and ferns with mountains in the distance. The compact is often referred to as ‘Bambi’. The back of the ‘D’ shaped compact is gold spangled over the greenish-blue colour and fastens with a grey-green zip and shagreen-coloured leather for the hinge. The front of the compact is spangled goldtone and is signed beneath one of the deer’s feet. The compact has a moulded ivory plastic powder well and ‘D’ shaped Mirror set into the lid and contains a Lady Vanity powder puff. This design also features on a silk screen print by Honeywell although in this case the deer are pictured in the snow. National Register of Historic Places – Bullock’s Pasadena Interior designs: The interiors of Bullock’s Pasadena Interior designs were as carefully designed as the exterior and form a major part of its architectural significance. “The elegance of the interior craftsmanship…evokes (in an elitist fashion) the Arts and Crafts tradition which one so closely associates with early Pasadena,” write Gebhard and Winter.2 The interweaving of indoors and outdoors suggested by the greenstone flooring is affirmed by the use of interior planters and fieldstone walls. Extensive use of exotic woods including English oak, teak, Brazilian rosewood, mahogany, birch, pine and maple, in addition to buff colored brick, contributes to a warmth and an informal elegance that pervades the interior. In the tradition of Bullock’s Wilshire in Los Angeles, painted murals and other decorative art work were commissioned for various areas in the store. Also designed by Wurdeman and Becket along with Raymond C. Dexter of Bullock’s, the interiors of Bullock’s Pasadena were planned as a collection of sixty-one separate, smaller specialty shops, each with its own style, under the roof of a modern, efficient department store. Clothing, furniture, food, furs, toys, appliances, home furnishings — all could be purchased at this one location. Each department was given its own architectural design in a small, shop-like space. This design supported Bullock’s desire to give individualized service to its customers. This approach contrasts with the open, high-ceilinged selling floors of most other department stores of the period, such as Coulter’s (Stiles O Clements, 1938) and May Co. (A.C. Martin, 1940) on Wilshire Blvd. Together, the individual departments constituted a catalog of styles popular in the post war period. They ranged from a Victorian candy shop to a masculine Men’s Department to an casually ultra-modern Women’s Sportswear Department to an adventure fantasy theme in the Boy’s Shop. Each was crafted with a high degree of skill. “The interior design,” wrote an employee in 1947, “finally relates itself to this particular community by creating a casual suburban atmosphere, in keeping with the informal life and activities of our customers.”3 The lower level originally contained the furniture and housewares departments. At its center was the Fountain Court with New Orleans-style wrought iron ornament and an ornamental pool-fountain. The Patio Store’s large picture windows and metal trellis sun screen echoed the simpler patios of the new homes being built in suburbia. Furniture was sold by displaying it in home-like settings; one department display had an ornamental fireplace; in others, dropped soffits and indirect lighting imitated fine home interiors. Stock was stored behind the scenes and would be arranged in back rooms where serious customers could make their final selections of colors and accessories. For the China and Glass department on the lower level, Beverly Hills industrial designer foul Laszlo-designed a setting of low curving honey-colored maple cabinets with glass display shelves. A wall of glass cabinets circles the department. Laszlo is typical of the respected and fashionable talents hired to work on Bullock’s Pasadena. Born and trained in Europe, Laszlo was a noted Southern California designer whose work included buildings, interiors, textiles and furniture. From his studio on Rodeo Drive in Beverly Hills, he catered to the upper middle class with modernistic designs using modern fabrics and materials such as molded plywood. He was responsible for the design of most of the custom cabinets and furniture in Bullock’s Pasadena. Besides offices, receiving docks and stockrooms, the lower level includes an auditorium which was used for informational presentations to customers. The Middle Level originally included both Men’s and Women’s Departments for clothing and accessories. The Del Mar entry lobby is decorated with teak and Virginia greenstone floors that emphasize the indoor-outdoor quality of the space. Pale green translucent patterned glass fits between teak fins. Adjacent to the lobby was a stock room where purchases would be delivered while the customer continued to shop. When they left, all their packages would be delivered to the main entry where they could be easily picked up by car. The long, high-ceilinged hall of the toiletries department off the Del Mar lobby features custom-made copper chandeliers hanging overhead with murals (by Annette Honeywell) of tropical trees and plants gracing the soft green walls. Louvered custom-made stock cabinets line the walls and soft indirect light falls from lighting coves circling the ceiling. Small bezelled wood frames display jewel-like perfume bottles. At the far end, a tall gateway of Honduras Mahogany panelling leads to the elevator lobby. The Women’s Sportswear Department along the Lake Ave. side creates an informal but contemporary atmosphere by using elements associated with Frank Lloyd Wright’s Usonian homes: thin, broad planes of wood cantilever off of massive rectilinear columns of tan-toned Roman brick to form abstract compositions; these wood soffits drop the ceiling height to an intimate level. Kelly green walls and Old Gold carpet originally decorated the department, which had a fireplace flanked by coach lamps. In the neighboring millinery department just inside the Lake Avenue entrance, the tall windows and Pennsylvania fieldstone of the exterior wraps around inside to emphasize the store’s indoor-outdoor atmosphere. The Women’s Dress Department was called the Victorian Room. With Venetian glass candelabra hanging from the tall pink ceilings, gray-blue satin damask drapes swagged from the large faux-windows and opulently curved tufted settees, its imagery was borrowed from Victorian styles and French haute couture salons. The Men’s Shop on the north side mirrored the masculine role models of the period. It is a dark-toned, wood panelled den and was consciously located at the tip of one wing, with its own entry, where it “can be reached without running the gauntlet of femininity,” noted Architectural Forum magazine.4 The floor is a rustic tan brick, like the tack room in a horse stable. Cork ceilings and light oak paneling (with bleached redwood burl and teak) is ornamented with traditional linenfold patterns. A water color mural of early Pasadena by artist Wing Howard in a primitive style is on one wall. The elevator lobbies on all three levels use curving mahogany columns that frame the symmetrically parqueted wood doors. Directly over the doors antiqued mirrored glass with more tropical imagery of conch shells and flowers (designs by Annette Honeywell) mark each doorway. A highlight of the main floorejevator jobbv is an exquisite tapestry designed for Bullock’s Wilshire by French artist^ean Lurcat^and later brought to Bullock’s Pasadena. Using the abstracted forms of Modern art of the period, it depicts a tropical scene. Throughout the main circulation paths of the store, floors are covered in square rubber tile mixing salmon, black and tan. These tiles include a few of the carefully calibrated 400 shades of paint, stain and fabrics used throughout the building. The Top Level contained youth departments, toys, and the Coral Tea Room. The Boy’s Shop on the third floor is fitted out like a ship’s cabin. Portholes and curving braces like the ribs of a sailing ship create the theme elements. Overhead is painted a map of the Northern Hemisphere. The Coral Room included rattan furnishings. Tropical murals by Annette Honeywell were painted on the walls. It includes an auditorium for fashion shows. The Tea Room included an outdoor terrace with three circular planters, cabanas, and views of the San Gabriel Mountains framed by the colonnade of upright slabs topped with a thin, continuous concrete canopy. The Fourth floor, or penthouse, originally included offices for buyers, employee lounges, an outdoor terrace, a hospital, a radio station and an outdoor terrace for employees.

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