Showing posts with label posters. Show all posts
Showing posts with label posters. Show all posts

Wednesday, 17 July 2024

ALL THE WORLD'S A FAIR

Artist: Robert M. ('Bob') Peak (1927-1992)


Sixty years ago, in 1964, I was 15 years old and fixated on all things American – art, literature and music, politics and pop-culture (especially humour, cartoons and comic books) and, of course, TV and movies. 

 

Coverage in the British press of the opening on this day of the New York World’s Fair 1964-65 was was hardly extensive, but wherever it appeared I found and devoured it.

 

The concept was visionary and the realisation looked awesome. Everything about it was new, vital and stimulating: a contemporary re-embodiment of those British extravaganzas, The Great Exhibition of 1851 about which I’d read and, from a century later, the Festival of Britain of which I had a few toddler memories. 

 

I was particularly obsessed by the NYWF because my idol, Walt Disney, was responsible for creating a quartet of attractions for the Fair’s pavilions, including the first manifestations of Disney’s ‘audio-animatronics’ including prehistoric landscapes of robot dinosaurs and an address from an android Abraham Lincoln.

 

Six decades on, the New York World’s Fair has lost none of its fascination for me and ‘memories’ of this event that I never attended have continued to fuel my fascination with the art and mechanics of theme parks – especially those engineered by Mr Disney and his successors. 

 

Perhaps this selection of posters – several by noted artists and all redolent of 60’s graphic art and design – will convey something of the sense of excitement experienced by my teenage-self!

 

 

 

Artist: David Klein (1918-2005)

 

 


Artist: Henry Benscathy (1909-1996)  

 



Artist: Unknown  

 

 
  

Artist: Dallasta

 

Artist: Unknown

 

 

 
Artist: Robert M. ('Bob') Peak (1927-1992)


 

Artist: Robert M. ('Bob') Peak (1927-1992)

 
 

 

Artist: Disney Studio



 
 Artist: Unknown
 
 


 Artist: Robert M. ('Bob') Peak (1927-1992)
 

 

 
 
Artist:  Whitney Darrow Jnr. (1909-1999)

 

 

Friday, 7 June 2024

'WHAT DID YOU DO IN THE WAR, DISNEY?'


 
A rare item of Disneyana: a 1944 WWII poster designed by the Disney Studio for the US Government's War Manpower Commission.
 
A mean, salivating grasshopper clutches a handful of dollars and a lunchbox as he hops from job to job in search of higher wages. Disney's artwork thematically references the studio's 1934 'Silly Symphony', The Grasshopper and the Ants, that (with its popular song 'The World Owes Me a Living') would have been familiar to many Americans of working-age. During WWII, American unemployment levels dropped to 1.4% due to the influx of production jobs for the war effort. This poster sought to dissuade defense workers from using the labor shortage to 'job hop'
 
Walt Disney Studios was in difficult financial straits when WWII broke out due to animators enlisting to serve in the forces and the loss of European revues from their films. Following the bombing of Pearl Harbor, Disney's massive studio lot in Burbank, California was commandeered by the US Army and many of Walt's animators were moved from making entertainment cartoons to making training films for the Navy. By 1943, almost 90% of Disney's work was related to the war effort, from powerful propaganda films to posters such as this one.

Thursday, 28 September 2023

POSTERS FROM A COUNTRY CHILDHOOD

I was born in London (Clapham, actually; South London Hospital for Women & Children, precisely) and lived in Wandsworth until I was five years old. Then – as result of a rather too-longish story for here and now – my family moved to a row of quaint cottages ('Heath Cottages' they were called) in Chislehurst. 

Twelve-point-something-miles from London and at that time (1953) still a rural village with a stables, a market garden, all those sweetly antique facilities (butchers, bakers, fishmongers, ironmongers, grocers and greengrocers, a rather good library, a flea-pit cinema with a corrugated roof in which – if it rained – it was too noisy to hear the film) and – my chief delight – a blacksmith who, whenever I looked in to watch him shoeing horses at his forge, would give me old horse-shoes.

After the dull streets of Wandsworth, Chislehurst was green and idyllic: a cricket ground, woods and ponds (caves, if you dared to go down there) and a local celebrity-tramp, 'Smokey Joe', who lived in the woods in an improvised 'house' made of old blankets and tattered lace curtains! 

The village had a Victorian, 'Tudor-style', arched Water Tower (requiring use of a driver-controlled one-way traffic flow accessed by nothing bigger than a single-decker bus), a village sign depicting Queen Elizabeth I, in 159, knighting Sir Thomas Walsingham IV (patron to Christopher Marlowe) and a cockpit, once used for cock-fights but, mercifully no longer in service!

I was educated at the village Church of England Primary School (dedicated to the original Father Christmas, St Nicholas, whose associated Parish Church contained the earthly remains of the aforementioned Tho. Walsingham); and, having triumphantly failed my 11+ examination, Chislehurst Secondary School for Boys.     

I attended, at various times in my variegated spiritual life, no fewer than four out of the five local churches (two 'high', one 'low' and one Methodist, although not in that order) and I worked in the village at the Local Council Education offices and much later – after many other non-village jobs – sitting at my typewriter as a freelance writer banging out scripts for the BBC. By then, of course, Chislehurst was no longer so much a rural beauty-spot as a dormitory for London commuters, the local blacksmith was now a Barclays Bank and the Post Office an Indian restaurant.

I loved my child life in Chislehurst (certainly more than I did the often emotionally stressful relationships in Heath Cottages), but it was only recently that I found myself nostalgically riffing on the theme of Those Were the Days which prompted me to look up whether there were any such things as transport or tourist posters for Chislehurst. And, yes, there were...

The one at the top of this post is contemporary and produced by The Chislehurst Society featuring the village pond, the cricket ground, the Church of the Annunciation (one of the 'high' ones), the caves, and what looks to be a blissfully happy couple of Chislehurstians.

The earliest Chislehurst poster I came across dates from 1914 and seems to depict what I assume was not an agressive local resident, but an early 'cave-person', suggesting just how well known was the once-believed prehistory of the subterranean labyrinth of Chislehurst Caves. Created for London Transport, this work by Tony Sarg (1880-1942) is obviously inspired by what was at the time a theory (frankly a legend) that the caves likely dated back at least 4,000 to 6,000 years. Unless this unattractive fellow was an ancestor of Smokey Joe. 

 

From 1922 comes a black-and-white print – of what, presumably, must have originally been a colour poster – presenting the drabbest conception of the rural paradise of my childhood. Nevertheless, it is the work of the highly influential graphic designer and poster artist, Edward McKnight Kauffer (1890-1954). 

 

So, there's glory for you.The next poster first appeared seven years later in 1929 and is the work of 'CWB', Cecil Walter Bacon (1905-1992) and takes us back to the time of romantic myth with a couple of Druids busily doing whatever Druids would have done in the Caves if they had ever been there to do it! 

 

I should confess at this juncture that, despite living in Chislehurst into my late 'forties I never visited the Caves: my memories mainly being of the floor-shaking vibrations we experienced from the weekend pop-concerts that thudded deep beneath our living room floor every weekend – oh, yes, and one October when the village became the focus of national attention as a result of Eamon Andrews hosting a not-very-creepy Halloween TV show live from the Caves. Finally, here's a contemporary poster created in 'retro style' (by an uncredited artist) for purchase as a framed wall decoration. Shown is, to the left, the timbered building that, when I was a child, was the local branch of Martin's Bank (impressively embellished, in those days, with the sign of a gilded grasshopper); and, to the right, the popular hostelry, 'The Rambler's Rest' (rumored, back in the day, to have once had a secret way into and out of those enigmatic Caves!) and, on its right-hand side, the end house of Heath Cottages –– just a few doors down from where I lived for so many years.

 

Wednesday, 28 November 2018

VENEZIA ON POSTERS

Two great pieces of poster imagery featuring my favourite city are currently coming up for auction but are already beyond my bidding power!

This poster from 1951 is by Adolphe Mouron Cassandre (1901-1968) and is, I think, perfection: looking at this, why wouldn't you want to go to Venice? 


As for this piece for TWA by David Klein (1918-2005) though wildly inaccurate, is a fab piece of '60s design.

Monday, 22 October 2018

MUMMY-FIXATION

Iconic 1932 horror film poster in unbelievably pristine condition, radiant with vibrant colours and totally fantastic is predicted to fetch up to $1.5 million at Sotherby's Halloween auction.


The background...
"This auction offers the opportunity to acquire one of the rarest, most highly-coveted film posters in existence: an original copy of the poster for 1932’s horror classic The Mummy.

"A stone lithograph printed to promote the film’s debut in 1932, this exceptionally well-preserved poster is a seminal example of the graphic design pioneered by Hollywood studios at the time.

"Designed by Karoly Grosz, Universal’s advertising art director, the poster is an early representation of the aesthetics that continue to influence poster design to this day: vivid, painterly splashes of color, a dynamic composition, and minimal white space.

"Depicting Boris Karloff, in the title role that cemented his place as a film icon, and Zita Johann, the subject of his mummy’s desire, the poster was exclusively created for theaters’ promotional purposes and never made available to the public. 

"Given the ephemeral nature of posters from this era — most were pasted over or discarded after a film’s run — this piece is incredibly rare: it is one of only three examples known to still exist and remains in its original, un-backed state. After setting the record for the highest price achieved for a film poster when sold by Sotheby’s in 1997, this piece was included in the Whitney Museum’s 1999 exhibition The American Century: Art and Culture 1900-2000.

"Among collectors, the posters for horror films of the 1930s are revered as the most desirable of all. This period, known as the Golden Age of Horror, ushered in a new genre of cinema and a new approach to marketing movies. As silent movies gave way to talkies, horror films employed all the latest technological innovations to craft movies that shocked and provoked. Universal set the template for horror as we know it with a trio of films: The Mummy, Frankenstein and Dracula. These movies tapped into the fears and societal unrest between the World Wars, using Hollywood magic to transport audiences to fantastical worlds where good fought evil.

"Posters from this era played a key role in horror films’ impact, defining the images that would haunt audiences and loom in the cultural memory. Released ten years after the discovery of King Tutankhamen’s tomb, The Mummy is not only an emblem of cinematic history but a relic of popular culture from the time. The film married the vogue for all things Egyptian with the allure of the supernatural, providing a snapshot of the nation’s fascinations. The Mummy was unique in utilizing ambiance and aesthetics to create a sense of foreboding, rather than relying on thrill-inducing gimmicks, which makes the poster such a landmark piece of design. Undoubtedly one of the finest posters produced during this groundbreaking era in Hollywood, and the single best-preserved example to ever come to market,The Mummy is an invaluable cultural artifact."

And, if you'll pardon the pun, that just about wraps it up!

Sunday, 7 February 2016

THE WRITING IS ON THE WALL

I love posters!

Always have! 

My Dad was a commercial artist before WWII and he passed on his own passionate love of poster art: the medium and the message...

Here's a cache of great vintage posters designs down the years from a fabulous upcoming auction at New York's Swann Auction Galleries.

All we need now is a lottery win!