There is something of anomaly in this mod ern interior on Delancey Street, surrounded by the oldest and mossiest Philadelphia tra ditions, but none at all in Earl Horter's living there. It is what you would expect of one of the Germantown Horterseven though he be an artist. Among Horter's contributions to advertis ing are many of note. Following his "Sunny Jim" days he free-lanced for a while and then settled down with N. W. Ayer Son in Phila delphia for a long period. Perhaps his best known effort has been the series of beautiful pencil drawings for Dixon's El Dorado. The making of these drawings has taken him to Europe several timespoking into old castles and cathedrals in out-of-the-way places in Spain and Italy. During the war he made many posters and a remarkable series of drawings of munition plants in conjunction with Joseph Pennell. Horter is one of the rare souls who could get along with Pennell even to the extent of printing etchings on the same press. Another notable series from Horter's pen cil were the early Jordan motorcar drawings, and still later he produced a distinguished collection of drawings of New York City's streets and buildings for the New York Edi son Company. None of these give him so much satisfaction, however, as his interpreta tion in color of George Gershwin's "Rhapsody in Blue" for the advertising of Steinway Pianos. This he considers the choicest bit of clover in which an advertising artist has ever been permitted to romp. There is no doubt that Horter has contrib uted markedly to the respect with which art- AN INTERPRETATION OF GEORGE GERSHWIN'S "RHAPSODY IN BLUE," PAINTED BY EARL HORTER TO ADVERTISE THE STEINWAY PIANO 66

Advertising Arts en | 1930 | | page 86