Riding the glorious stretch of rail along the Hudson River between West Point Military Academy and the Bear Mountain Bridge (seen here in the distance), the aerodynamic, steel cars of a New York Central System train are heading toward New York City, pulled by the “New” Empire State Express, which was launched in 1941. Zega p. 127.Learn more ›
A stream-lined, Art Deco segment of the Orinoco with her black hull and red, yellow and black funnels, presented in such a way as to imply her massive size. Anton was a native of Hamburg who started working for a local agency there, but from 1921 on, had his own studio where he produced a large body of work for Hapag, the big transatlantic conglomerate. Later, he became an art instructor at the Bremen High School of Art.Learn more ›
John Pashe designed The Rolling Stones’ iconic “tongue and lip” logo in 1971, as well as four concert posters between 1970 and 1974. Each of his posters for the band is a paean to the Art Deco transportation designs of the 1920s and 30s, reinterpreted with a post-Haight Ashbury flourish.Learn more ›
“To announce the launch of the Cunard White Star line’s biweekly luxury liner service between New York and Cherbourg, Roquin created this handsome composition, visually equating two behemoths of the sea . . . with one of the ultimate symbols of the Art Deco era, the Chrysler Building . . . the New York City skyline in the background creates the illusion of a giant anchor” (Crouse p. 239). Weallans p. 173, Crouse p. 239.Learn more ›
The Michelin Man, in his trademark orange boots, is happily puffing on a cigar and dispensing tires (Michelin, of course) to those in need; against a deep blue background, lettering in yellow and red. Left blank when the poster was printed, the text box at the bottom was filled in by different merchants with their names and addresses; in this case, Gabriel Mottin.Learn more ›
Lacaze was a landscape painter who began designing posters for the French railway companies in 1910. His well-composed images are consistently colorful and detailed, often including local architectural or structural highlights, but rarely feature people. Here, we see his view of the Place de la Concorde, with the Obelisk of Luxor, and the Fontaine de Mers in the foreground and in the background the Madeleine, visible at the end of Rue Royale.Learn more ›
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