Alberto Vargas (9 February 1896–30 December 1982) was a noted painter of pin-up girls and sensual nudes. Born in Arequipa, Peru, Joaquin Alberto Vargas y Chávez came to the United States in 1916 after studying art in Europe prior to World War I. He was the son of famous Peruvian photographer Carlos Vargas. His early career included work as an artist for the Ziegfeld Follies and for many Hollywood studios. Vargas' most famous piece of film work was that for the 1933 film The Sin of Nora Moran, which shows a near-naked Zita Johann in a pose of desperation. The poster is frequently named one of the greatest movie posters ever made. He became famous in the 1940s as the creator of iconic World War II era pin-ups for Esquire magazine known as "Varga Girls." The nose art of many World War II aircraft was adapted from these Esquire pin-ups.

A legal dispute with Esquire over the use of the name "Varga" a trademark of Hearst Corp, owner of Esquire Magazine, resulted in a judgment against Vargas and he struggled financially until the 1960s when Playboy magazine began to use his work as "Vargas Girls." His career flourished and he had major exhibitions of his work all over the world. The death of his wife Anna Mae in 1974 left him devastated and he stopped painting. The publication of his autobiography in 1978 renewed interest in his work and brought him partially out of his self-imposed retirement to do a few works, such as album covers for Bernadette Peters and the Cars. He passed away on December 30, 1982, at the age of 86.

Many of Vargas's works from his period with Esquire are now held by the Spencer Museum of Art at the University of Kansas, which was given those works in 1980 along with a large body of other art from the magazine. His work was typically a combination of watercolor and airbrush. His mastery of the airbrush is acknowledged by the fact that the highest achievement in the community of airbrush artistry is the Vargas Award, awarded annually by Airbrush Action Magazine. His images would often portray elegantly dressed, semi-nude to nude women of idealized proportions. Vargas' artistic trait would be slender fingers and toes, with nails often painted red.
Vargas is widely regarded as one of the finest artists in his genre. He also served as a judge for the Miss Universe beauty contest in 1956-58.
Notable women painted by Vargas include Olive Thomas, Billie Burke, Nita Naldi, Marilyn Miller, Paulette Goddard and Ruth Etting.

Gil Elvgren (March 15, 1914-February 29, 1980), born Gillette Elvgren, in Minnesota was an American painter of pin-up girls, advertising and illustration. Elvgren lived in Chicago, and moved later to Florida. He was active from the 1930s to  late 1970s. Today he is best known for his pin-up paintings for Dow Calendars, Coca-Cola Girls and Brown & Bigelow (B&B). Elvgren studied at the American Academy of Art in Chicago. One of his strongest influences to his developing style was from the great artist Haddon Sundblom.
Elvgren was one of the most important pin-up and glamour artists of the twentieth century. In addition, he was a classical American illustrator. He was a master of portraying the feminine, but he wasn't limited to the calendar pin-up industry. He was strongly influenced by the early "pretty girl" illustrators, such as Charles Dana Gibson, Andrew Loomis, and Howard Chandler Christy. Other influences included the Brandywine School founded by Howard Pyle.

Elvgren was a commercial success. His clients ranged from Brown and Bigelow and Coca-Cola to General Electric and Sealy Mattress Company. In addition, during the 1940s and 1950s he illustrated stories for a host of magazines, such as The Saturday Evening Post and Good Housekeeping.Although best known for his pin-ups, his work for Coca-Cola and others depicted typical Americans ordinary everyday people.

 "PRESSING DETAILS"  Elvgren tm derivative. (c) Vancas/Elvgren Archive 1994. All rights Reserved.

ELVGREN TRADEMARK NOTICE:  The Elvgren is  re-issued as per Federal Court Order.  Elvgren is a registered Art trademark of Vancas/Vanguard, In use since  registered and in use by Daniel Vancas since 1993. Reg 1997-2004 & 2005. All rights reserved. It is today in full force and effect. The Elvgren trademarks were first a created IP by Daniel Vancas and then a fully granted ownership right to Vancas in a Permanent and Binding Arbitration with Vancas, signed by Brown & Bigelow (B&B) and made a Federal Court Order.  This agreement ended Vancas' 6 year art reproduction and publishing contract with B&B.  B&B has 292 Elvgren images, Daniel Vancas has a separate 100 Elvgren images in active use in the Vancas/Elvgren Archive today.

ELVGREN tm LICENSING AVAILABLE:

Elvgren Licensing of the separate Vancas/Elvgren Archive is available and fully authorized. Please call for details and requests. We are only offering licensing on the Vancas/Elvgren Archive and/or trademark brand Elvgren. Sample images: Pressing Details, Fan Mail, Perfection, Two Cushion, Tail Wind, Funhouse, Nobody Pinches Me, Fast Lass and many many others.

All other requests for images not in the authorized Vancas/Elvgren Archive will be refered to their separate owners.

See newly re-issued Elvgren TM below.

Earl Steffa Moran was a 20th century pin-up glamour artist. He was born in Belle Plaine, Iowa. Moran's first instruction in art came under the direction of John Stich, an elderly German artist who also taught the great illustrator W.H.D. Koerner. Moran also studied with Walter Biggs at the Chicago Art Institute.

Moran later studied at the famed Art Students League in Manhattan, where he took instruction from the muralists Vincent Drumond, Robert Henri, Thomas Fogarty (Norman Rockwell's teacher), and the legendary anatomist George Bridgman. After moving back to Chicago in 1931 and opening a small studio where he specialized in photography and illustration, he sent some paintings of bikini-clad girls to two calendar companies; when both Brown and Bigelow and Thomas D. Murphy Company bought the work, his career was officially launched.

Moran signed an exclusive contract with Brown and Bigelow in 1932 and by 1937, his pinups had sold millions of calendars for the company. In 1940, Life ran a feature article entitled "Speaking of Pictures" which mostly focused on Moran's work and made him a national celebrity. In 1941, Moran helped the magazine publisher, Robert Harrison, to launch a new men's magazine called Beauty Parade, and he later contributed pin-ups to other Harrison magazines such as Flirt, Wink and Giggles.
In 1946, Moran moved to Hollywood though he had already painted many movie stars including Betty Grable, for publicity posters. Soon after his arrival, he interviewed a young starlet named Norma Jean Dougherty who wanted to model for him. For the next four years, Marilyn Monroe posed for Moran and the two became friends. She always credited him with making her legs look better than they were as she felt they were too thin.
Moran lived in the San Fernando Valley from 1951 to 1955, hosting fabulous parties, directing and starring in short television films, painting portraits of Earl Carroll's Vanities Girls, and maintaining his position as a star of the pin-up world.
After a move to Las Vegas (circa 1955) and several years of living in the fast lane, Moran decided to devote his time to painting fine-art subjects, with nudes as his favorite theme. Signing with Aaron Brothers Galleries, he painted for collectors until 1982, when his eyesight failed. An interesting note, some of his earlier works for Harrison were signed "Steffa" or "Black Smith"
Moran died in Santa Monica, CA on January 17, 1984

The Artist    Peter Driben (d.1975)

Peter Driben with his wife, Louise
Peter Driben was perhaps one of the most productive pin-up artists of the 1940's and 50's. Although both Alberto Vargas and Gil Elvgren have extensive catalogues of work, neither came close to the output of Driben.
Driben was born in Boston and studied at Vaesper George Art School before moving to study at the Sorbonne in Paris in 1925. His first known pin-p was the cover to Tattle Tales in October 1934, and by 1935 he was producing covers for Snappy, Pep, New York Nights, French Night Life and Caprice. His career went from strength to strength in the late thirties with covers for Silk Stocking Stories, Gay Book, Movie Merry-Go-Round and Real Screen Fun.

His career was not limited to magazine covers, he also worked in advertising and for Hollywood, perhaps his most famous work being the original posters and publicity artwork for The Maltese Falcon. Peter Driben was also a close friend of publisher Robert Harrison, and in 1941 was contracted to produce covers for Harrison's new magazine Beauty Parade. Driben went on to paint covers for all of Harrison's magazines, often having as many as six or seven of his covers being published every month.

Driben married the artist, actress and poet Louise Kirby just before he began to work for Harrison.

In 1944 he was offered the the unusual opportunity, for a pin-up artist, of becoming the art director of the New York Sun, a post he retained until 1946. During the war, his popular painting of American soldiers raising the flag at Iwo Jima sparked a considerable amount of media attention.

In his later years Peter Driben turned, like many of his colleagues, to portrait and fine-art work, including a portrait of Dwight Eisenhower.

When, in the summer of 1946, Esquire announced an important new feature entitled the Esquire Gallery of Glamour, the magazine selected Fritz Willis to supply the inaugural illustration. It was his first published pin-up, and it launched a spectacular thirty-year career.

A multifaceted talent, Willis once even acted with Katherine Hepburn, in Alice Adams. In the late 1930s and early 1940s, he worked for Warner Brothers as a production-design and publicity artist. At the studio, he developed a friendship with Joe De Mers, who joined him in creating pin-ups for the Esquire Gallery.

The year 1950 was a banner one for Willis. Not only did he begin to supply illustrations to the nation's major magazines, he was also inundated with advertising commissions from companies like Max Factor, Sunkist, and Pepsi Cola. Willis painted program covers for the Shipsteads and Johnson ice Follies from 1952 to 1969 and once accepted a commission for a billboard for the Stardust Hotel and Casino Lounge in Las Vegas. He wrote four classic art-instruction books for the Waiter Foster Company which have remained in print for more than forty years.

In 1961, Willis received another important commission: Brown and Bigelow asked him to revamp their best-selling Artist's Sketch Pad calendar. He devised a fresh format and design for the calendar and, in the process, created the last of the great pin-up girls. The Willis Girl, though born in an age of rebellion, had the sophisticated air of the classic pin-up.

Willis' work was usually executed in oils on a canvas placed over illustration board; some of his magazine illustrations and pin-ups of the late 1940s were painted in gouache on board. Most images were about 18 x 24 inches (45.7 x 6 i cm), but the major pieces could be larger.

Upon his retirement, Willis and his wife Pat, who was his model as well as his best friend, moved to San Clemente, California. He later developed Parkinson's Disease and died on January 13, 1979.

Edward Runci was born in Genoa, Italy in 1921 and was brought up by his mother and grandparents in the coastal town of Catania, Sicily. The tranquil setting coupled with his mothers encouragement moved Runci to start drawing at an early age.

In 1930 he move to the United States with his mother and brother, joining his father in Pennsylvania. Despite Edward Runci wining a painting contest and being offered a scholarship his father forced him to quit school and seek employment. The family moved to Detroit in 1937, and shortly after Edward Runci joined the Marine Corps. During this time he met Maxine Sunderman at the Hollywood Canteen and they were married later that same year, in 1943. Maxine was a gifted artist herself, and often posed for her husbands paintings.

Runci's career took off after the war had finished, with his first public viewing in 1945. Soon after he was a highly sought after portait artist "to the stars and residents of Hollywood". He started producing his pin-up and calendar girls in the late forties, moving on to advertising in the early fifties. His wife Maxine, also produced a number of pin-up and glamour paintings. In a statement by  Drienne Runci Spencer, Edward Runci's daughter, she pointed out that the picture entitled 'A Pair of Winners 1950' was not painted by her father, but rather was painted by her mother Maxine. The painting is signed M. Stevens, the artistic name Maxine Sunderman used in her early years. Later she painted under the name M. Runci.

Enoch Bolles was an American painter of pin-up art.
Enoch Bolles (1883-1976) was among the earliest and most widely circulated glamour illustrators. While known today solely as a pinup artist, Bolles was a versatile illustrator who also worked extensively in the advertising industry, creating hundreds of attractive color illustrations for products ranging from bread to cigarettes. His most widely reproduced advertising illustration is the "Windy Girl" for Zippo lighters. This work, produced in 1937, has recently been reissued as the Vargas Windy Girl and has appeared in well over 100 variations on Zippo lighters.
Bolles' magazine work first appeared in 1914 on the covers of popular humor periodicals such as JUDGE and PUCK, but he is best known for FILM FUN. In 1923 Bolles became the exclusive cover artist for FILM FUN and continued in this role until the magazine folded in 1943, a victim of the Postermaster General's campaign against 'salacious' material. In addition to his 200 covers for FILM FUN, Bolles painted at least 300 more for spicy pulps, including BREEZY STORIES, PEP and NEW YORK NIGHTS. None of this work was signed and most of it remains unattributed. Psychological problems ended Bolles professional career in 1943, but he painted commissioned portraits and for personal pleasure throughout the rest of his life. Bolles' monthly lineup of all-American beauties precisely posed in wildly imaginative costumes did much to define the future of American pin-up illustration, and remain popular today.

George Brown Petty IV (27 April 1894 – 21 July 1975) was an American pin-up artist. His pin-up art appeared primarily in Esquire and Fawcett Publications's True but was also in calendars marketed by Esquire, True and Ridgid Tool Company. Petty's Esquire gatefolds originated and popularized the magazine device of centerfold spreads. Reproductions of his work were widely rendered by military artists as nose art decorating warplanes during the Second World War, including the Memphis Belle, known as “Petty Girls”.

George Petty was born in Abbeville, Louisiana to George Brown Petty III and his wife, Sarah. George IV was the couple's second child; his sister Elizabeth had been born in 1891.The Petty family moved to Chicago, Illinois just before the turn of the century, where George III, a photographer of some note, enjoyed considerable success. Today, it's possible to find his photographs of young women, madonnas and nudes anywhere from coast to coast. Petty died in San Pedro, California.

Petty was not a particularly good student in high school spending a great deal of time on extracurricular activities instead of schoolwork. His artistic bent first became obvious in high school where he was the staff artist for the school newspaper. During his high school years, he enrolled in evening classes at Chicago Academy of Fine Arts under the tutoring of Ruth VanSickle Ford where he taught his own art course, charging classmates US$5.00 per session. He also worked in his father's photo shop where he learned how to use an airbrush.
Petty studied art at the Académie Julian with Jean-Paul Laurens and others until 1916, when World War I caused Joseph P. Herrick, ambassador at that time, to order all Americans to return home. Petty returned to Chicago, and worked as an airbrush retoucher for a local printing company. He was able to establish himself as a freelance artist, painting calendar girls and magazine covers for The Household. By 1926, he was able to open his own studio.

George Petty never discussed in detail those artists that influenced him other than J. C. Leyendecker (an artist for The Saturday Evening Post during George's high school days) for his interpretation of men, Coles Phillips for his technique, and Maxfield Parrish for his use of light. However, it can be inferred from his later work that other influences included those artists who were extremely popular in Paris at the time, such as Alfons Mucha, George Barbier and, in particular, the watercolor technique of England's Russell Flint. Petty is especially known for “the Petty Girl”, a series of pin-up paintings of women done for Esquire from the Autumn of 1933 until 1956. Petty frequently depicted these women with the relative lengths of their legs being longer — and the relative sizes of their heads being smaller — than those of his actual models.

T.N. Thompson
From its initial publication in 1943, the Artists Sketch Pad was a yearly institution in the calendar- publishing business. Originally created by Earl MacPherson for Brown and Bigelow, the calendars format was adopted by most major pin-up publishers for almost twenty years. There were twelve one-sheet pages of pin-ups, spiral bound along the top of the calendar that featured a central image surrounded by a group of smaller ones.
Around 1948, MacPherson hired an assistant named Jerry Thompson, an accomplished artist who wanted an opportunity to improve his pin-ups. When MacPherson was stricken with polio late in 1951, Thompson found himself with the responsibility of painting the yearly MacPherson Sketch Book for the Shaw-Barton calendar company. He handled this project until 1958, while also creating a similar calendar for the john Baumgarth Company of Melrose Park Illinois.

One image from the Baumgarth calendar published in September 1952, was also sold as a single, one-sheet "hanger" calendar. Entitled Want to See Me Swing My Baton?, this image of a majorette was Thompson's most popular and one of the company's best money-makers. More than a million matchbooks with this picture were sold to advertisers who wanted their products or businesses associated with its all-American baton girl.

Thompson also had pin-ups published by the Kemper-Thomas calendar company. In 1950, he did a well-received series of advertising paintings for Dodge Trucks that featured scenes on a farm with horses and shiny new pickup trucks.

Thompson painted both on canvas and illustration board. Unlike MacPherson, he often combined mediums in the same painting, adding pastel, gouache, charcoal, and graphite to his oils. Only about half of his commercial pin-ups are signed.

Born 1953, in Berkeley, a single father.  This native California Artist interests is divided between pin-ups and images that capture both the popular and the nostalgic place in time imagery of the 20th Century. Youngest son of older jazz age, swing  and WWII era parents who refused to buy a TV in the early 50's.   So he learned to enjoy radio programs, like Superman, Dragnet, Lone Ranger, The Shadow, Green Hornet, Abbot & Costelo, or listening to Big band swing of Glenn Miller, Artie Shaw and Benny Goodman, on the old 1930's console!

But it was the stories of his family's history that had entrenched him culturally in the mid 20th century. His family's stories included Pan Am Flying Boats, The China Clipper, The Great Depression, The youthful migration to California, Chicago of the Jazz age,  World War II, War factories, Liberty ships, and a B-17 flying his Uncle on missions over a dangerous flack and fighter filled sky's of  Europe.

With this family history his sensitivity to this time and historic era grew to appreciate, understand the cultural significance to popular art and expressions of the time.  It is this sensitivity to connect and tie personalities and humanity even to man made objects or popular culture icons of that time that infuses his original art. Not the least of which he could remember as a boy, was the pin-up calendar girls. One of which in 1959 not yet 7 he "fell in love" and promised himself that as soon as he grew up he would find her and marry her. The pinup was by Elvgren, the painting was then then lost "LoLa" also called "Sitting Pretty". Which was indeed found by Daniel, the artist or more accurately, the painting found him. Today he paints on the very easel that "Lola" was painted on, the only easel that Elvgren, the great pinup artist used for all his 40 plus year career. (See Daniel Vancas with the Elvgren Easel)

His Mother was hugely influential and supportive of his art career when seeing his talent at a young age, took extra work for after school art classes and art materials. The young artist at 12 years old was packing his portable easel and paint kit into the old town of Mission San Jose painting the old Victorians and the original Wells Fargo Building.

SAILOR BOY 1943 by DANIEL VANCAS (c) 2005

Though his mix-media technique today is largely self taught, He received most of his art education at a small San Francisco Bay Area Art Center (Olive Hyde Art Center in Mission San Jose) and Community Colleges in the SF Bay Area. For several years, at that time a contemporary artist, Jim Schoult, also a professor of fine art at San Jose state, took the 17 year old Vancas under his wing at the Olive Hyde Art Center.  This was to him the foundation, the magic eye to see the world through the artist eye.

THE ARTIST STOPS PAINTING IN REACTION TRAGIC TIMES 1970's - HAS LIFE CHANGING INJURY 1992 - RETURNS TO ART

Between the age of 25 and 27, in about a 20 month period of time, his is beloved mother, father and several family members and personal friend all died in unrelated events. Also in this period his marriage broke up and his ex-wife moved his small daughters far too far away and kept them away for financial ransom.  Distraught, over this  unfortunate situation, he threw away his paintings in a dumpster and gave up his art for 12 years.

He worked as a Building Contractor, for many years. At 38 years of age after he had a tragic fall from a scaffold, which left him broke, bedridden, unable to do construction work again,  he discovered that much of he fine motor controls of his shaking right hand was lost.

 THE VANGUARD GALLERY IS OPENED

At that point he makes his vow to over come his nerve damage and return to his art.  After almost two years of of often painful physical therapies he recovered enough to now work almost full time in his studio,  in 1992 the studio in historic Cannery Row Monterey, becomes the Vanguard Gallery, in 1993 it was moved to Carmel by the Sea. For the first 5 years the studio was in a historic old building that had been an artist studio since the 1930's. (Deneal Morgan & Jack Laycocks). Now it's located in the Clint Eastwood Building on San Carlos St.

Daniel created the Vanguard with a retro vision, filling it with his art and photos, images of  Art Deco, WWII, Vargas Pin-Up Girls, (He was licensed by the Vargas Estate) Auto and aviation paintings. Then he topped it off with romantic music of the 1930's, 40's and 50's.

There never was a gallery like it.

DANIEL VANCAS THE ELVGREN REPLICA ARTIST, AND HIS B&B YEARS:

 Once the new gallery started to prove itself, he then entered into a world exclusive contract with the then infamous B&B Calendar Co. to recreate and publish the lost works of Elvgren, one of his childhood favorite artists, (another being Vargas).  Daniel Vancas put all his effort into this project. He opened three Vanguard Galleries, put self promotion and his personal artwork on hold, and focused on promoting and recreating the then  forgotten artist Gill Elvgren, and the lost B&B art archive. Today this is a 15 year and $1.5 million dollar effort, by Daniel Vancas and the Vanguard Gallery.

Much of the effort was spent on recreating, even repainting the lost and missing B&B art archives. It is estimated that about 40% of all Elvgren paintings have been thrown away and lost through the years. B&B lost, gave away and even threw away all of it's 300 plus Elvgren  paintings, as did Dow Calendars, when closing in 1960. Daniel Vancas has personally interviewed two people who were responsible for throwing away thousands of paintings at B&B (Brown & Bigelow) in 1957, and at Dow Calendars in 1960. Much of it was calendar pinups and many Elvgren original paintings forever lost.

The success of Daniel Vancas effort surprised him, and when it looked like success was in reach,  some rich and greedy art dealers struck first. As soon as daniel made the Elvgren name popular, Vancas'  B&B licensing rights were challenged by some hostile and aggressive east coast art dealers; who then wanted him, his gallery, his lawful Elvgren trademarks and his B&B contracts terminated.

At this point, His life's trajectory was not unlike Vargas' dispute with the Hearst Corporation over rights contracts and lost money, but only worse. Vargas didn't receive threatening letters saying that they would hurt or kill him if he stayed in the pin-up art. Daniel Vancas did, and it only got worse from there.

ELVGREN BECOMES A BRAND AND A 100 MILLION DOLLAR MARKET:

It was the attack of the Big Me vs Little You, who where now making the big time and huge profits with the Elvgren art, pushing against the artist, Daniel Vancas, who had recovered, restored, recreated and revived the art.  This was not accident as the Elvgren pinup revival started in a large way with Daniel Vancas and his Vanguard Galleries.  However, this fight had nasty elements, as he began to receive death threats and demands that he not only give up his established Elvgren IP and trademarks, but also close his Vanguard Gallery, stop being an artist or suffer the worst consequences.  This was followed by death threats and intimidation's. With his permanent physical injuries he couldn't return to be a contractor. His art  and gallery was his only trade. The artist was pushed hard and started to fight back.

BINDING ARBITRATION TO SETTLE MATTERS:

In 2001 after several years of intimidation, harassment, slander, and even attempts on his life, Then and only then, did the Court Order Binding Arbitration at Mr. Vancas's request.  B&B and Daniel Vancas make a permanent and binding agreement in Arbitration. In 2001 the contract between Vancas and B&B is terminated and Vancas retains the Elvgren trademarks, and all developed rights, on the use of 100 separate Elvgren images not owned by B&B.  It was also agreed that all agents and licensee of B&B were to stop harassing Vancas and his business. Though this was meant to solve the problems, the art dealers, who by now were newer licensee of B&B, ( who themselves had now made millions from Elvgren products), continued on to slander and harass the now penniless artist who took to sleeping in his studio on a cot to keep a roof over his head. This was  the height of the Elvgren revival and while the largest economy of the last 100 years was in full swing.

ILLEGAL POST SETTLEMENT HARASSMENTS - ADVERSARIES THROWN OUT OF FEDERAL COURT:

Nothing left, most would think they would have stopped. They did not. Their effort then and today, is to be to ruin his reputation, income and drive him from the art, and close the last remaining Vanguard Gallery. His art was was first love, they tried to force the Court to make him sell out his Elvgren trademarks for only $16000,  that they failed to take by force and intimidation. In 2004 the Federal Court threw these art dealers out of Court, as it violated the 2001 Vancas/B&B Binding Arbitration agreements. The Judge strongly admonished them to pay a fair market price of at least $1,000,000 or more for the Elvgren trademarks, or leave Daniel Vancas alone.  Daniel Vancas offered to sell out at the Courts recommended price. They refused, the only intention was to harass the artist.

Despite continuous slander and further threat, the artist refused to tell his story, until now. The artist first hoping that they would follow the rules of conduct agreed to in the Permanent Binding Arbitration, and that this would die down and his adversaries get over it, and let him follow his career.  After all they made all the "Elvgren" money.  But the mere fact that Daniel Vancas still is lawfully painting the art he loves and that his work  is supported by and consistent with  his now separate Elvgren  IP, trademark rights, Federal Court Orders, rulings and the B&B signed Arbitration Agreements; their slander web site and misinformation still remains and is in violation.

The saddest part of this story was that Daniel was never against anyone personally, including them.  He was only for the art, and naturally would stand up against bully tactics aimed at him, our that would unlawfully infringe on his rights. These art dealers refused to allow him to be a part of and share in the growing global Elvgren art market , that Daniel Vancas had invested in, and had in a large way, created.

Daniel, was always reluctant to tell his story, as it is counter productive to the Elvgren marketing and values he helped to create. But after waiting for years to see a simple retraction, even just removal of slanderous "misinformation" websites that are violating the 2001 Vancas/B&B Court Order, even infringing on his IP and trademarks, Daniel Vancas has waited silent long enough, suffering the damage to his business and income long enough.  

Daniel Vancas as an artist is committed to his artistry and craft.

2007 VANGUARDGALLERY MOVES TO CLINT EASTWOOD BUILDING - SAN CARLOS - NEXT TO HOGS BREATH INN