Art Nouveau Letterhead- Sunnyside Funeral Undertaking Embalmer Journal 1908 RARE for Sale

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Art Nouveau Letterhead- Sunnyside Funeral Undertaking Embalmer Journal 1908 RARE For Sale

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Art Nouveau Letterhead- Sunnyside Funeral Undertaking Embalmer Journal 1908 RARE:
$195.00

RARE Original Advertising Letterhead / Letter

The Sunnyside
[Funeral - Undertaking - Embalming Journal]
Super Art Nouveau GraphicsSigned LetterNew York, New York1908

For offer, a very nice old Advertising color lithograph letter head / billhead! Fresh from an old prominent estate. Never offered on the market until now. Vintage, Old, Original - NOTa Reproduction - Guaranteed !!

This came directly from papers from the Tallman Funeral home in Auburn, NY. These were discovered last year, and have not seen the light of day in over a century. SUPER Art nouveau graphics. Color lithography.The Sunnyside was a trade publication for undertakers, embalmers, and others in the funeral trade. The magazine / journal is rare to find these days, and the letterheads are very rare. This is the only one I have ever seen. Fred H. Chase, publisher, NY. Autograph letter signed - in ink.In very good condition. Fold marks. NOTE: Will be sent partially folded up as found. Please see photos and scans for all details and condition. If you collect19thcentury Americana advertisement ad history, United States of America printing, American manufacturing, industry, unusual, art, death / post mortem related, etc.this is a nice one for your paper or ephemera collection. Genealogy research importance as well. Combine shipping on multiple offer wins! 3067

A funeral director, also known as an undertaker (British English) or mortician (American English), is a professional involved in the business of funeral rites. These tasks often entail the embalming and burial or cremation of the dead, as well as the arrangements for the funeral ceremony (although not the directing and conducting of the funeral itself unless clergy are not present). Funeral directors may at times be asked to perform tasks such as dressing (in garments usually suitable for daily wear), casketing (placing the corpse in the coffin), and cossetting (applying any sort of cosmetic or substance to the best viewable areas of the corpse for the purpose of enhancing its appearance). A funeral director may work at a funeral home or be an independent employee.
EtymologyThe term mortician is derived from the Roman word mort- (“death”) + -ician. In 1895, the trade magazine The Embalmers\' Monthly put out a call for a new name for the profession in the US to distance itself from the title undertaker, a term that was then perceived to have been tarnished by its association with death. The term Mortician was the winning entry.[1][2]
HistoryAs the societal need to account for the dead and their survivors is as ancient as civilization itself, death care is among the world\'s oldest professions. Ancient Egypt is a probable pioneer in supporting full-time morticians; intentional mummification began c. 2600 BC, with the best-preserved mummies dating to c. 1570 to 1075 BC. Specialized priests spent 70 full days on a single corpse. Only royalty, nobility and wealthy commoners could afford the service, considered an essential part of accessing eternal life.[3]
Across successive cultures, religion remained a prime motive for securing a body against decay and/or arranging burial in a planned manner; some considered the fate of departed souls to be fixed and unchangeable (e.g., ancient Mesopotamia) and considered care for a grave to be more important than the actual burial.[4]
In ancient Rome, wealthy individuals trusted family to care for their corpse, but funeral rites would feature professional mourners: most often actresses who would announce the presence of the funeral procession by wailing loudly. Other paid actors would don the masks of ancestors and recreate their personalities, dramatizing the exploits of their departed scion. These purely ceremonial undertakers of the day nonetheless had great religious and societal impact; a larger number of actors indicated greater power and wealth for the deceased and their family.[5]
Modern ideas about proper preservation of the dead for the benefit of the living arose in the European Age of Enlightenment. Dutch scientist Frederik Ruysch\'s work attracted the attention of royalty and legitimized postmortem anatomy.[6] Most importantly, Ruysch developed injected substances and waxes that could penetrate the smallest vessels of the body and seal them against decay.[5]
Historically, from ancient Egypt to Greece and Rome to the early United States, women typically did all of the preparation of dead bodies.[7] They were called \"Layers out of the dead\". Mid nineteenth century, gender roles within funeral service in the United States began to change. Late nineteenth century it became a male dominated industry with the development of Funeral Directors, which changed the funeral industry both locally and nationally.[8]
Role in the United StatesAs recently as 2003, 15 percent of corporately owned funeral homes are owned by one of three corporations.[9] The majority of morticians work in small, independent family-run funeral homes. The owner usually hires two or three other morticians to help them. Often, this hired help is in the family, perpetuating the family\'s ownership. Other firms that were family-owned have been acquired and are operated by large corporations such as Service Corporation International, though such homes usually trade under their pre-acquisition names.[9]
Most funeral homes have one or more viewing rooms, a preparation room for embalming, a chapel, and a casket selection room. They usually have a hearse for transportation of bodies, a flower car, and limousines. They also normally sell caskets and urns.[10]
Organizations and licensing in the United StatesLicensing requirements in the US are determined at the state level. [1]. Most require a combination of post-secondary education (typically an associate\'s degree), passage of a National Board Examination,[11] passage of a state board examination, and one to two years\' work as an apprentice.[12]
Role in the UKThe role that a funeral director will play in the UK includes most of the administrative duties and arrangement of funeral service, including flower arrangements, meeting with family members, overseeing the funeral and burial service. This does not include embalming or cremation of the body until further training is completed.[13]
Organizations and licensing in the UKIn the UK no formal licence is required to become an undertaker (funeral director). There are national organizations such as the British Institute of Funeral Directors (BIFD), the National Association of Funeral Directors (NAFD) and the Society of Allied and Independent Funeral directors (SAIF) The BIFD offers a licence to funeral directors who have obtained a diploma-level qualification - these diplomas are offered by both the BIFD and NAFD.
The British institute of embalmers (BIE) offer Embalming training and qualifications
All of the national organizations offer voluntary membership of \"best practice\" standards schemes, which includes regular premises inspection and adherence to a specific \'code of conduct\' These organizations help funeral directors demonstrate that they are committed to continual personal development and they have no issue with regulation should it become a legal requirement [13].[14][15][16]
Role in CanadaThe role of a funeral director in Canada can include embalming, sales, oversight of funeral services as well as other aspects of needed funeral services.[17]
Organizations and licensing in CanadaA funeral director in Canada will assume many responsibilities after proper education and licensing. Courses will include science and biology, ethics, and practical techniques of embalming.[17] There are a number of organizations available to Canadian funeral directors.[2][3]
Employment opportunitiesMortuary science graduates may have to relocate to find jobs.[10]
Art Nouveau (/ˌɑːrt nuːˈvoʊ, ˌɑːr/; French: [aʁ nuvo]) is an international style of art, architecture, and applied art, especially the decorative arts. The style is known by different names in different languages: Jugendstil in German, Stile Liberty in Italian, Modernisme in Catalan, and also known as the Modern Style in English. It was popular between 1890 and 1910 during the Belle Époque period,[1] and was a reaction against the academic art, eclecticism and historicism of 19th century architecture and decoration. It was often inspired by natural forms such as the sinuous curves of plants and flowers.[2] Other characteristics of Art Nouveau were a sense of dynamism and movement, often given by asymmetry or whiplash lines, and the use of modern materials, particularly iron, glass, ceramics and later concrete, to create unusual forms and larger open spaces.[3]
One major objective of Art Nouveau was to break down the traditional distinction between fine arts (especially painting and sculpture) and applied arts. It was most widely used in interior design, graphic arts, furniture, glass art, textiles, ceramics, jewellery and metal work. The style responded to leading 19-century theoreticians, such as French architect Eugène-Emmanuel Viollet-le-Duc (1814–1879) and British art critic John Ruskin (1819–1900). In Britain, it was influenced by William Morris and the Arts and Crafts movement. German architects and designers sought a spiritually uplifting Gesamtkunstwerk (\"total work of art\") that would unify the architecture, furnishings, and art in the interior in a common style, to uplift and inspire the residents.[3]
The first Art Nouveau houses and interior decoration appeared in Brussels in the 1890s, in the architecture and interior design of houses designed by Paul Hankar, Henry van de Velde, and especially Victor Horta, whose Hôtel Tassel was completed in 1893.[4][5][6] It moved quickly to Paris, where it was adapted by Hector Guimard, who saw Horta\'s work in Brussels and applied the style for the entrances of the new Paris Métro. It reached its peak at the 1900 Paris International Exposition, which introduced the Art Nouveau work of artists such as Louis Tiffany. It appeared in graphic arts in the posters of Alphonse Mucha, and the glassware of René Lalique and Émile Gallé.
From Belgium and France, Art Nouveau spread to the rest of Europe,[citation needed] taking on different names and characteristics in each country (see Naming section below). It often appeared not only in capitals, but also in rapidly growing cities that wanted to establish artistic identities (Turin and Palermo in Italy; Glasgow in Scotland; Munich and Darmstadt in Germany), as well as in centres of independence movements (Helsinki in Finland, then part of the Russian Empire; Barcelona in Catalonia, Spain).
By 1914, and with the beginning of the First World War, Art Nouveau was largely exhausted. In the 1920s, it was replaced as the dominant architectural and decorative art style by Art Deco and then Modernism.[7] The Art Nouveau style began to receive more positive attention from critics in the late 1960s, with a major exhibition of the work of Hector Guimard at the Museum of Modern Art in 1970.[8]