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Auction Description for Swann: RARE & IMPORTANT TRAVEL POSTERS
Auction Description:
Exhibition & Sale Schedule: Sale 2427 – Rare & Important Travel Posters – begins at 1:30pm in New York on Thursday, Oct 27.   All material in Sale 2427 on display at our premises in New York City, 104 East 25th Street, as follows: Sat, Oct 22: Noon to 5pm – Mon, Oct 24: 10am to 6pm – Tues, Oct 25: 10am to 6pm – Wed, Oct 26: 10am to 6pm – Thurs, Oct 27: 10am to Noon.

RARE & IMPORTANT TRAVEL POSTERS (222 Lots)

by Swann Auction Galleries


222 lots with images

27 October 2016

Live Auction

New York, NY, USA

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FRED PANSING (1854-1912). CANADIAN PACIFIC RAILWAY CO'S / ROYAL MAIL ROUTE TO JAPAN AND CHINA. Circa 1890s. 25x39 inches, 63x99 cm.

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Description: FRED PANSING (1854-1912) CANADIAN PACIFIC RAILWAY CO'S / ROYAL MAIL ROUTE TO JAPAN AND CHINA. Circa 1890s. 25x39 inches, 63 1/2x99 cm. Condition B+: repaired tears, creases and overpainting in margins and image. Matted and framed in an original, company-issued wooden frame. One year after her launch in 1890, "the Empress of Japan began to navigate under the new red-and-white-chequered Canadian Pacific flag [visible here]" (Canadian Pacific p. 66). German-born Pansing went to sea as a young man and upon his return began painting marine scenes. He painted ship portraits for the Cunard and White Star lines, as well as other shipping companies, and these in turn were issued by the companies as lithographs to be displayed in ticket offices.

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DESIGNER UNKNOWN. HAMBURG - AMERIKA LINIE / [DEUTSCHLAND]. Circa 1900. 38x26 inches, 96x68 cm. Muhlmeister & Johler, Hamburg.

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Description: DESIGNER UNKNOWN HAMBURG - AMERIKA LINIE / [DEUTSCHLAND]. Circa 1900. 38x26 3/4 inches, 96 1/2x68 cm. Muhlmeister & Johler, Hamburg. Condition B+: minor restored losses at edges; repaired tears at edges, some into text and image; minor creases in margins and image. Framed. The Deutschland was the first four-funnel vessel built for the Hamburg-America Line. She served in a transatlantic capacity from 1900, when she was launched, until 1910 when she was taken off that route and dedicated as a cruise ship.

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F. HUGO D'ALÉSI (1849-1906). LE LAC D'ANNECY. Circa 1900. 42x29 inches, 106x75 cm. Cornille & Serre, Paris.

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Description: F. HUGO D'ALÉSI (1849-1906) LE LAC D'ANNECY. Circa 1900. 42x29 3/4 inches, 106 3/4x75 1/2 cm. Cornille & Serre, Paris. Condition A. Matted and framed. The steamship Le Ville d'Annecy, depicted here, was launched on June 7, 1900. She could carry 450 passengers. A later version of the poster has its title within the image as opposed to in the margins, and also has an overprint advertising various excursions and ticket discounts. Alpi / Manifesti 51, Hillion p. 183, Voyage p. 12 (var), Train 130 (var).

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FRED SIMPSON (DATES UNKNOWN). ORIENT CO'S PLEASURE CRUISES TO NORWAY. Circa 1898. 39x27 inches, 101x68 cm. Andrew Reid & Co. Ltd., New

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Description: FRED SIMPSON (DATES UNKNOWN) ORIENT CO'S PLEASURE CRUISES TO NORWAY. Circa 1898. 39 3/4x27 inches, 101x68 1/2 cm. Andrew Reid & Co. Ltd., Newcastle. Condition A: unobtrusive horizontal fold. The Orient Line, whose full name was the Orient Steam and Navigation Company, was formed in 1878 and operated until 1906, when it merged with another company. The company operated "high-quality passenger liners between the United Kingdom and Australia and was a pioneer of recreational cruising" (http://collections.museumvictoria.com.au/articles/10734). In 1895, The Orient Line was the first to launch pleasure cruises from England to Norway which they continued through 1904. Contemporary magazine ads for the service list the Lusitania (not to be confused with the more famous ship bearing the same name) and the Ophir as the ships which made the trips. Cruises to cooler climes in the summer months were driven by the same common sense decision to run cruises to the warmer climates in the winter months (see the next lot).

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FRED SIMPSON (DATES UNKNOWN). ORIENT CO'S PLEASURE CRUISE TO WEST INDIES. 1899. 39x30 inches, 101x76 cm. Andrew Reid & Co. Ltd., Newca

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Description: FRED SIMPSON (DATES UNKNOWN) ORIENT CO'S PLEASURE CRUISE TO WEST INDIES. 1899. 39 3/4x30 inches, 101x76 1/4 cm. Andrew Reid & Co. Ltd., Newcastle. Condition A- / A: time-staining, light foxing, minor tears and abrasions in margins; unobtrusive horizontal fold. Cruises to warm climes during the winter months became de rigueur towards the end of the 19th century. An ad in the Economist from October 22, 1898, promoting this very tour, states: "Winter afloat in the West Indies is most like a glorious summer, and at such a time - when yachts and steam launches are laid up at home - the trip should be taken." The same ad mentions that the ship making the cruise is the Lusitania, who sailed for the Orient Line between her launch in 1871 through 1900.

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ODIN ROSENVINGE (1880-1957). ARGENTINA (SUNNY SOUTH) AND BRAZIL. Circa 1910. 33x20 inches, 84x50 cm. Turner & Dunnett, Liverpool.

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Description: ODIN ROSENVINGE (1880-1957) ARGENTINA (SUNNY SOUTH) AND BRAZIL. Circa 1910. 33 1/4x20 inches, 84 1/2x50 3/4 cm. Turner & Dunnett, Liverpool. Condition A. Rosenvinge was a prolific designer of posters for various shipping companies, including the Royal Line, Anchor Donaldson Line, Allan Line, Elder Dempster Line, Orient Line and the Union Castle Line (see lot 25), but his largest client was Cunard Line. His connection to the maritime world came through his primary employer in the shipping center of Liverpool, the printer Turner and Dunnett. He was also a prolific designer of maritime and liner postcards. Advertising here, the Nelson Line was founded in 1880 and began carrying passengers in 1910, a decision which was quickly followed by its merger with Royal Mail Steam Packet Co. in 1913. Here, the artist delivers one of his most allegorical images, advertising sailings to the River Plate in Argentina. With the Basilica of Notre Dame de Boulogne in the gray foreground, a vessel heads toward a woman pulling aside a gossamer curtain to reveal a warm and sunny South American vista. This is the German version.

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VICTOR CRETEN (1878-1966). RED STAR LINE / ANVERS - NEW YORK. Circa 1900. 30x23 inches, 76x59 cm. J. Goffin Fils, Brussels.

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Description: VICTOR CRETEN (1878-1966) RED STAR LINE / ANVERS - NEW YORK. Circa 1900. 30 1/4x23 1/4 inches, 76 3/4x59 cm. J. Goffin Fils, Brussels. Condition B+ / B: repaired tears, creases and abrasions in margins and along sharp vertical and horizontal folds; skinning in left margin; fading in upper left corner; stains in image. Creten studied architecture at the Academie Royale des Beaux Arts in Brussels and most of his career was spent designing buildings (factories, apartments, country homes and civic buildings) and exhibition pavilions. This elegant, Art Nouveau poster focuses on the on-board idyll, with a passenger languidly enjoying an afternoon on deck. In the distance the Westernland is steaming across the ocean, suggesting that our passenger is currently on the deck of the Noordland, the sister ship who sailed same Antwerp to New York crossing. Creten designed fewer than a dozen posters. One cannot help but make a mental comparison to Toulouse-Lautrec's 1896 image for the Salon des Cent, which similarly features a woman reclining on a wooden deck chair as a liner passes by in the distance. Belle Epoque 47 (var), Weallans p. 15.

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DESIGNER UNKNOWN. RED STAR LINE / CLASSE UNIQUE TOURISTE. Circa 1932. 25x19 inches, 64x164 cm. L. Gaudio, Anvers.

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Description: DESIGNER UNKNOWN RED STAR LINE / CLASSE UNIQUE TOURISTE. Circa 1932. 25 1/2x19 1/2 inches, 64 3/4x164 1/2 cm. L. Gaudio, Anvers. Condition A-: minor creases and abrasions along vertical and horizontal folds; minor creases in margins and image. Paper. Matted and framed. The Minneswaska and her sister ship Minnetonka had brief lives of just over ten years each, having been built in 1923 and scrapped by 1934. Originally they sailed for the Atlantic Line but were sold to the Red Star Line in 1931. It is unusual that such an exceptional and rare Art Deco image is not attributed to any artist.

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DESIGNERS UNKNOWN. [OCEAN LINER PORTRAITS.] Two photographs. Circa 1920s. Sizes vary.

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Description: DESIGNERS UNKNOWN [OCEAN LINER PORTRAITS.] Two photographs. Circa 1920s. Sizes vary. Condition varies, generally B+ / B. Framed. Includes The "Giants of the Sea" / Leviathan & Imperator and North German Lloyd / The Twin Fliers Bremen & Europa.

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A. ROQUIN (DATES UNKNOWN). CUNARD WHITE STAR. 1938. 39x24 inches, 99x61 cm. Nadal, Paris.

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Description: A. ROQUIN (DATES UNKNOWN) CUNARD WHITE STAR. 1938. 39x24 inches, 99x61 cm. Nadal, Paris. Condition A: minor creases in margins, some affecting image. Nadal was a multi-purpose advertising studio that not only designed posters and brochures, but also created a variety of advertising objects for their clients. Among their respected and important clientele were Bugatti, Renault and the French branch of the White Star Cunard Line. H.M.S. Queen Mary, "the Queen of the Atlantic," was launched in 1936 and became the fiercest competitor to the famed Normandie in her bid to win the coveted Blue Riband (fastest crossing of the Atlantic). This stock poster (the blank space in the middle could be filled in by any ticket agency or promotional company), with the gradation from a printed solid blue sky to the sharp photography of the skyscrapers, is a rare example of the use of photography in French advertising in the 1930s.

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J.H. DOWD (1884-1956). CUNARD TO CANADA / WE'RE OFF! 39x24 inches, 100x61 cm. The British Colour Printing Co. Ltd., London.

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Description: J.H. DOWD (1884-1956) CUNARD TO CANADA / WE'RE OFF! 39 1/2x24 1/4 inches, 100 1/4x61 1/2 cm. The British Colour Printing Co. Ltd., London. Condition B: overpainting, airbrushing and repaired pin holes in corners; repaired tears, creases, abrasions and restoration at edges, in image and along horizontal fold.

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ADOLPH TREIDLER (1886-1981). NOVA SCOTIA / EASTERN STEAMSHIP LINES. Circa 1945. 29x19 inches, 75x49 cm.

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Description: ADOLPH TREIDLER (1886-1981) NOVA SCOTIA / EASTERN STEAMSHIP LINES. Circa 1945. 29 1/2x19 1/2 inches, 75x49 1/2 cm. Condition B+: repaired tears, restoration, creases and chipping in margins and image. Silkscreen. The Eastern Steamship Lines, serving the East Coast of North America, was formed from the mergers of several existing shipping companies in the years prior to the First World War. It ceased operation in 1954. We can date this poster because Harold Connolly served as Nova Scotia's provincial Minister of Industry and Publicity from 1945-1950.

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ROGER COUILLARD (1910-1999). SAIL WHITE EMPRESS TO EUROPE / CANADIAN PACIFIC. 1950. 35x23 inches, 90x59 cm.

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Description: ROGER COUILLARD (1910-1999) SAIL WHITE EMPRESS TO EUROPE / CANADIAN PACIFIC. 1950. 35 1/2x23 1/2 inches, 90 1/4x59 3/4 cm. Condition A-: minor foxing and toning in image; minor creases in image. Framed in an original Canadian Pacific frame. An Art Deco-style image of the Canadian Pacific's White Empress steamship in the style popularized by A.M. Cassandre. Despite its 1930s look, this poster is identifiable as a post-war image because of the "Canadian Pacific red-and-white-checkered houseflags which were painted on the sides of the ships' funnels" (Canadian Pacific p. 59), a feature of post-World War II marketing by the company. A prolific commercial artist and native Montrealer, Couillard designed posters for Canadian Pacific, Canadian Steamship Lines, Canadian National Railways, the cities of Montreal and Quebec, the Canadian Department of War and others. Canadian Pacific p. 171.

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ROGER COUILLARD (1910-1999). THE TADOUSSAC. Circa 1950s. 35x23 inches, 91x60 cm.

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Description: ROGER COUILLARD (1910-1999) THE TADOUSSAC. Circa 1950s. 35 3/4x23 3/4 inches, 91x60 1/2 cm. Condition B+ / B: restored loss along lower left edge; repaired tears, creases, overpainting and minor abrasions in image; extensive overpainting at edges and in upper image. Silkscreen. Situated at the confluence of the St. Lawrence and Saguenay rivers, Tadoussac (Montagnais Indian for "nipple"-referring to the nearby, breast-shaped hills) celebrated its 400th anniversary in 2000. It was the site of the first fur trading post in Canada and is world renowned for its incredible natural beauty. The Canada Steamship Lines stopped running to Tadoussac in 1965. The Grand Hotel (built in 1942) was featured in the movie The Hotel New Hampshire. Pictured is one of the three sister ships: St. Lawrence, Quebec and Tadoussac.

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GIUSEPPE RICCOBALDI (1887-1976). LLOYD TRIESTINO / EUROPA - EGITTO. 1930. 39x27 inches, 99x68 cm. Barabino & Graeve, Genova.

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Description: GIUSEPPE RICCOBALDI (1887-1976) LLOYD TRIESTINO / EUROPA - EGITTO. 1930. 39x27 inches, 99x68 1/2 cm. Barabino & Graeve, Genova. Condition B+: creases, abrasions and minor restoration in margins and image and along vertical and horizontal folds; minor repaired tear at right edge. One of at least four posters Riccobaldi designed for the Lloyd Triestino's route from Europe to Egypt. Riccobaldi studied drawing, painting and set design. He supported himself selling illustrations to books and magazines, and ultimately began designing movie posters. From 1927 on, he mostly designed travel posters. This colorful, abstract and geometrical image shows one of the Sphinxes in Karnac, along the Nile. This is the Italian version.

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GIUSEPPE RICCOBALDI (1887-1976). SAN MARCO LINE / VENICE. Circa 1930. 39x24 inches, 99x61 cm. Barabino & Graeve, Genova.

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Description: GIUSEPPE RICCOBALDI (1887-1976) SAN MARCO LINE / VENICE. Circa 1930. 39 1/4x24 1/4 inches, 99 3/4x61 1/2 cm. Barabino & Graeve, Genova. Condition B+: restoration and minor overpainting along sharp vertical and horizontal folds; minor repaired tears at edges. The San Marco Line, formally known in Italian as the Società di Navigazione 'San Marco,' was a small, short-lived subsidiary company of the Società Veneziana di Navigazione a Vapore. Formed in 1926, the San Marco Line serviced the Adriatic between Venice and the Dalmation Coast (current day Croatia). They only sailed until 1932, when they were taken over by the Adriatica Line. Pictured is one of the two sister ships - the Lorenzo Marcello or the Lazzarro Mocenigo - sailing between historical structures from all of the listed ports. These include Venice's San Marco Campanile, the Cathedral of St. Justus Rose Window in Trieste, the Pula Arena (Pola), the Rijeka Clock Tower (Fiume), Zadar's Captain's Tower (Zara), the Arch of Trajan in Ancona, the statue of a stag at the entrance to the port of Rhodes, and the no-longer extant Madonna del Mare in Opatija (Abazzia).

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ETTORE MAZZINI (1891-1960). N.G.I. GENOVA / ITALY - NEW YORK. 1921. 26x18 inches, 66x47 cm. Istituto Italiano d'Arti Orafiche, Bergamo

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Description: ETTORE MAZZINI (1891-1960) N.G.I. GENOVA / ITALY - NEW YORK. 1921. 26 1/4x18 3/4 inches, 66 3/4x47 3/4 cm. Istituto Italiano d'Arti Orafiche, Bergamo. Condition A. The Navigazione Generale Italiana (N.G.I.) was formed in 1881. The Colombo, originally named San Gennaro when she was built in 1917, became part of the company in 1921 and sailed for them until 1932.

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LUIGI MARTINATI (1893-1983).

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Description: LUIGI MARTINATI (1893-1983) "NEPTUNIA" / SITMAR LINE. Circa 1926. 27x19 1/4 inches, 68 3/4x49 cm. I.G.A.P., Rome. Condition B / B+: tears and minor losses in margins and text; creases along sharp vertical and horizontal folds. Paper. Società Italiana Servizi Marittimi, known as the Sitmar Line, was founded in 1913 and merged with Lloyd Triestino in 1936. The Neptunia had a hectic history which belies the peace and tranquility of this exotic image of the North African coast. She was constructed in 1913 by the British government and sold to the Norddeutscher Lloyd Bremen line in 1917, for whom she sailed as the Sierra Salvada. In 1917 she was seized by the Brazilian government and renamed the Avare. She capsized in dry dock in 1922 and was re-fitted by Viktor Schuppe for whom she sailed under the name Peer Gynt. She was bought by the Sitmar Line in late 1925 and renamed Neptunia, sailing for the Sitmar line until 1927, when she was again sold and renamed Oceana. Martinati designed advertising, travel and even some propaganda posters in the 1920s, but is best known for his movie posters which he began to design, almost exclusively, after the Second World War. This is the English version.

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GIULIO FERRARI (1900-1990). CRUISE TO THE WESTERN MEDITERRANEAN /

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Description: GIULIO FERRARI (1900-1990) CRUISE TO THE WESTERN MEDITERRANEAN / "NEPTUNIA." 1927. 26 3/4x19 inches, 68x48 1/4 cm. A. Marzi, Rome. Condition A-: creases in margins and along vertical and horizontal folds. Paper. This is the English version.

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JAMES GREIG (1861-1941). UNION - CASTLE LINE / HOLIDAY TOURS. 39x25 inches, 101x63 cm.

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Description: JAMES GREIG (1861-1941) UNION - CASTLE LINE / HOLIDAY TOURS. 39 3/4x25 inches, 101x63 1/2 cm. Condition A-: minor tears and creases in margins; horizontal creases in margins and image; pin holes in corners. Paper.

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K.B. (MONOGRAM UNKNOWN). ORIENT LINE / MEDITERRANEAN CRUISES. 39x24 inches, 101x63 cm.

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Description: K.B. (MONOGRAM UNKNOWN) ORIENT LINE / MEDITERRANEAN CRUISES. 39 3/4x24 3/4 inches, 101x63 cm. Condition B+: repaired tear at lower edge into text; time-staining in margins; horizontal creases in margins and image; soiling in lower image; tape on verso. Paper.

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GIOVANNI PATRONE (1904-1963). NORD - AMERIKA EXPRESS / ITALIA * COSULICH. 1934. 37x25 inches, 94x63 cm. Barabino & Graeve, Genova.

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Description: GIOVANNI PATRONE (1904-1963) NORD - AMERIKA EXPRESS / ITALIA * COSULICH. 1934. 37 1/4x25 inches, 94 1/2x63 1/2 cm. Barabino & Graeve, Genova. Condition A / A-: minor repaired tears at edges. "Patrone was an active painter and poster designer in Genoa. In the years between the wars he began to work primarily for shipping companies including Tirrenia, Italian Line, Lloyd Triestino and others" (Bolaffi p. 170). This is the German version.

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HARRY HUDSON RODMELL (1896-1984). SWEDISH AMERICAN LINE / GOTHENBURG - NEW YORK. Circa 1928. 40x25 inches, 101x63 cm. Ronald Massey, Lo

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Description: HARRY HUDSON RODMELL (1896-1984) SWEDISH AMERICAN LINE / GOTHENBURG - NEW YORK. Circa 1928. 40x25 inches, 101 1/2x63 1/2 cm. Ronald Massey, London. Condition A: slight darkening along left edge. Rodmell enrolled into the Hull School of Art in 1912 and that same year designed his first magazine cover. More than just a maritime artist, he was also a very active commercial designer. In addition to his paintings, his artistic legacy is filled with magazine covers, posters, calendars and tide tables. "His work for the ocean liner industry was prodigious and his images graced the posters of more than sixty-five companies" (Rodmell p. 20). These included Canadian Pacific, French Line, Swedish Lloyd, Shaw-Saville and Albion Line, General Steam Navigation Co., Royal Holland Lloyd, and Norddeutscher Lloyd Bremen. The Kungsholm was launched in 1928, and shortly afterwards the Swedish American Line painted the hulls of all their vessels white. Likely the second ship is the Gripsholm, launched in 1925, which also plied the Gothenburg-Copenhagen-New York route.

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ALBERT FÜSS (1898-1969). VERS NEW YORK / HAMBURG - AMERIKA LINIE. Circa 1930. 33x23 inches, 83x59 cm.

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Description: ALBERT FÜSS (1898-1969) VERS NEW YORK / HAMBURG - AMERIKA LINIE. Circa 1930. 33x23 1/2 inches, 83 3/4x59 3/4 cm. Condition A-: minor restored losses at top edge; minor repaired tears and creases at edges. Before the First World War, the Hamburg-America Line, with 175 ships, was the largest merchant fleet in the world. With much of her fleet destroyed during the war, HAPAG spent the interwar years rebuilding, focusing on efficient, economic ships of medium size. Four ships were at the center of this effort: the Albert Baillin (named after the company's pre-war managing director), her sister ship Deutschland and two similar ships, the New York and the Hamburg. Known as the "famous four," these ships were reported to be the steadiest on the Atlantic and appear together on several posters. Fuss was a prolific designer for the Hamburg-America Line. The extensive body of work he created for the company in the 1930s and 40s takes on many different aspects of travelling by ship, from the vessels themselves to the exotic lands and seas through which the ships pass. This is the French version.

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ODIN ROSENVINGE (1880-1957). SOUTH & EAST AFRICA / UNION - CASTLE LINE. Circa 1930s. 39x25 inches, 101x63 cm.

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Description: ODIN ROSENVINGE (1880-1957) SOUTH & EAST AFRICA / UNION - CASTLE LINE. Circa 1930s. 39 3/4x25 inches, 101x63 1/2 cm. Condition B: tears, losses and staining in margins and image; creases along horizontal folds; tape on verso. Paper. The Union-Castle Line, operating between Europe and Africa, was formed by the merger of the Union Line and the Castle Shipping Line. Most of their ships contained the suffix "Castle" in their names. Although the name of this ship is indistinct, it appears to be the Carnarvon Castle, which was launched in 1926.

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DESIGNER UNKNOWN. PACIFIC LINE / SOUTH AMERICA. Circa 1930s. 40x25 inches, 101x63 cm. W.A. Yeoman & Co., Liverpool.

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Description: DESIGNER UNKNOWN PACIFIC LINE / SOUTH AMERICA. Circa 1930s. 40x25 inches, 101 1/2x63 1/2 cm. W.A. Yeoman & Co., Liverpool. Condition A-: minor foxing at right edge; small stain in upper image. The Pacific Steam Navigation Company was founded in 1838 to serve the West coast of South America, and expanded their service across the Pacific to Australia. The Reina de Pacifico was a large, luxurious ship. Launched in 1930, she was the first in the company's fleet to be painted white, and her front funnel was a dummy. She gained international fame when former British Prime Minister Ramsay MacDonald died on board while on a cruise to South America in 1937.

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GIOVANNI PATRONE (1904-1963). EXPRESS AFRIQUE DU SUD / ITALIAN LINE - GÊNES. 1931. 36x24 inches, 96x61 cm. Pizzi & Pizio, Milan.

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Description: GIOVANNI PATRONE (1904-1963) EXPRESS AFRIQUE DU SUD / ITALIAN LINE - GÊNES. 1931. 36 3/4x24 1/4 inches, 96 1/4x61 1/2 cm. Pizzi & Pizio, Milan. Condition A-: minor creases in margins and image; horizontal fold. Paper. Framed. This is the French version.

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DESIGNER UNKNOWN. UNITED STATES LINES / TO U.S.A. Circa 1930. 40x25 inches, 102x63 cm. Dorland Advertising Ltd., London.

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Description: DESIGNER UNKNOWN UNITED STATES LINES / TO U.S.A. Circa 1930. 40 1/4x25 inches, 102 1/4x63 1/2 cm. Dorland Advertising Ltd., London. Condition A: repaired tear in top margin. Although the ship is virtually obscured by the large American flag, the U.S. Lines most famous three-funnel ship was the Leviathan, who sailed for the company from 1923 until 1934.

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ELLIS SILAS (1885-1972). P & O CRUISES / MEDITERRANEAN / NORWAY. Circa 1928. 60x39 inches, 153x101 cm. Philip Reid, London.

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Description: ELLIS SILAS (1885-1972) P & O CRUISES / MEDITERRANEAN / NORWAY. Circa 1928. 60 1/4x39 3/4 inches, 153x101 cm. Philip Reid, London. Condition B+: repaired tears, creases, abrasions and restoration in margins and along vertical and horizontal folds. The S.S. Ranchi began yearly cruises to Norway shortly after her launch in 1925. In 1928, this same image appeared as a magazine ad (albeit colored differently) in Punch, or the London Charivari, which helps us date the poster. Silas is best remembered as a painter. He fought at Gallipoli in the First World War during which time he did a lot of sketching, which he subsequently turned into paintings. He also designed posters for British railway companies and several shipping lines. Here, on the first class sports deck behind the second funnel, well dressed cruisers are watching a game of "Deck Tennis," a hybrid of volleyball and tennis, played with a rubber ring. The S.S. Ranchi crossed over into popular culture thanks to a cameo appearance in one of the highly regarded Tintin adventures, The Blue Lotus (although she was depicted with three funnels instead of the two she had in reality).

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ANDREW JOHNSON (DATES UNKNOWN). ORIENT CRUISES. Circa 1933. 39x24 inches, 101x63 cm.

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Description: ANDREW JOHNSON (DATES UNKNOWN) ORIENT CRUISES. Circa 1933. 39 3/4x24 3/4 inches, 101x63 cm. Condition B+: minor creases, minor losses and time-staining in margins; tears in lower image. Paper. Andrew Johnson was a commercial designer whose work was marked by an attractive modernity. He created ads for General Motors and Buick and also did a lot of work for Britain's LNER and Southern Railway. Describing the thought process behind this poster, Johnson wrote "if the poster forces attention by its dramatic presentation or its 'newness' its first object is achieved. It has been seen . . . [Here] it was felt that a 'newness' would be achieved by taking a 'close up' of the funnel, and to put this in silhouette against a light sky seemed a sure way of forcing attention, a sunny deck in the foreground would complete the tale" (Richmond p. 149). Judging from the single funnel and the cowl arrangements, this is likely a scene from the sports deck of the RMS Orion, however, as the ship wasn't launched until the end of 1934 it would have been an image based on designs. Richmond p. 153.

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ERNEST LONGMATE (1876-?). ABERDEEN & COMMONWEALTH LINE / ENGLAND TO AUSTRALIA. 1935. 40x24 inches, 101x63 cm. Gibbs & Gibbs Ltd., Londo

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Description: ERNEST LONGMATE (1876-?) ABERDEEN & COMMONWEALTH LINE / ENGLAND TO AUSTRALIA. 1935. 40x24 3/4 inches, 101 1/2x63 cm. Gibbs & Gibbs Ltd., London. Condition B+: repaired tears at edges, some into image; minor creases in margins and image; time-staining in upper text. The Aberdeen and Commonwealth Line was formed in 1933, but the name Aberdeen was no longer used in the company's title from 1938 onwards. The Sydney Harbor Bridge was constructed between 1923 and 1932. A technological marvel, it captured the imagination of the world and was used extensively in international promotion of Australia. It appears in at least one other Aberdeen and Commonwealth Line poster.

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JOHNSTON (DATES UNKNOWN). ORIENT LINE TO AUSTRALIA. 1948. 40x25 inches, 101x63 cm.

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Description: JOHNSTON (DATES UNKNOWN) ORIENT LINE TO AUSTRALIA. 1948. 40x25 inches, 101 1/2x63 1/2 cm. Condition B+: repaired tears and creases in margins and image; repaired pin holes in corners. The Orcades took her maiden voyage on December 14th, 1948, departing from Tilbury, in Great Britain, and arriving in Sydney on January 13th, 1949.

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CHARLES DIXON (1872-1934). UNION - AUSTRALASIAN LINE TO NEW ZEALAND AND AUSTRALIA. Circa 1925. 35x23 inches, 90x59 cm.

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Description: CHARLES DIXON (1872-1934) UNION - AUSTRALASIAN LINE TO NEW ZEALAND AND AUSTRALIA. Circa 1925. 35 1/2x23 1/4 inches, 90 1/4x59 cm. Condition A-: airbrushing in margins; repaired pin holes in corners. The Union Steam Ship Company of New Zealand was founded in 1875 and quickly became the largest shipping company in the Southern Hemisphere. Its routes were extensive enough to earn it the moniker of the "Southern Octopus." The RMS Tahiti began life as the RMS Port Kingston when she was constructed for the Imperial Direct West Mail Company. She was given her new name when acquired by the Union Steamship Line of New Zealand in 1911. Charles Dixon was a well-regarded painter of maritime scenes in both watercolor and oil and was a member of the Royal Academy. He worked for many different shipping companies, designing posters for P & O Line, Aberdeen Line, the Red Star Line, the French Line, the Khedival Mail Line and the White Star Line. This image was also used on the cover of a company timetable for the 1925-1926 season. Not in New Zealand.

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J.M. PROCTOR (DATES UNKNOWN). TASMANIAN RAILWAYS / THE HOLIDAY RESORT OF AUSTRALIA. 1905. 45x35 inches, 115x89 cm.

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Description: J.M. PROCTOR (DATES UNKNOWN) TASMANIAN RAILWAYS / THE HOLIDAY RESORT OF AUSTRALIA. 1905. 45 1/2x35 1/4 inches, 115 1/2x89 1/2 cm. "The Examiner" and "Weekly Courier" Offices, Launceston, Tasmania. Condition B+: repaired tears, minor restored losses, creases, abrasions and restoration in margins and image and along vertical and horizontal folds. An early and exceptional poster promoting travel to Tasmania. Combining lithography and photography, the image is a series of vignettes surrounding a map of the island. With images of transportation, scenic marvels and some cosmopolitan elements of the island, the poster serves as a visual legend, in that the depicted natural wonders correspond to numbers on the map itself. rare.

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CHARLES HENRY HUNT (1857-1938). HYDRO - MAJESTIC HOTEL / MEDLOW BATH. Circa 1920. 30x39 inches, 76x100 cm. Bloxham & Chambers Ltd., Syd

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Description: CHARLES HENRY HUNT (1857-1938) HYDRO - MAJESTIC HOTEL / MEDLOW BATH. Circa 1920. 30x39 1/2 inches, 76x100 1/2 cm. Bloxham & Chambers Ltd., Sydney. Condition B+: repaired tears, minor restored losses and overpainting in margins; minor creases and restoration in margins and image and along vertical folds; light staining in upper image; offsetting in left margin. The Hydro-Majestic Hotel opened in 1904. The modern health resort had its own generator and is said to have had electricity several days before the city of Sydney was first electrified. Its time as a spa was short-lived, however, and it was soon being promoted for its leisure activities and luxurious appointments. Here, tennis, golf, costumed dances, orchestras, picnics, billiards, motoring and swimming are all presented surrounding the hotel in the Blue Mountains and the staggering vista of the Megalong Valley. As a fire destroyed a large portion of the hotel in 1922, it is presumed that this poster predates that event.

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PERCIVAL ALBERT (PERCY) TROMPF (1902-1964). AUSTRALIA CALLS YOU / SETTLER, INVESTOR, OR TOURIST. 1928. 39x24 inches, 100x62 cm. Posters

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Description: PERCIVAL ALBERT (PERCY) TROMPF (1902-1964) AUSTRALIA CALLS YOU / SETTLER, INVESTOR, OR TOURIST. 1928. 39 1/2x24 1/2 inches, 100 1/4x62 1/4 cm. Posters Ltd., Sydney. Condition A- / B+: repaired tears at edges; creases and abrasions in image. Trompf, one of Australia's most prolific and celebrated poster designers, began his artistic career designing chocolate boxes and candy wrappers for a Melbourne confectioner. He soon opened his own studio and went on to design hundreds of travel posters.

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PERCIVAL ALBERT (PERCY) TROMPF (1902-1964). AUSTRALIA IN THE SUN. Circa 1935. 39x25 inches, 101x63 cm. Troedel & Cooper Pty. Ltd., Melb

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Description: PERCIVAL ALBERT (PERCY) TROMPF (1902-1964) AUSTRALIA IN THE SUN. Circa 1935. 39 3/4x25 inches, 101x63 1/2 cm. Troedel & Cooper Pty. Ltd., Melbourne. Condition A-: minor repaired tears and creases in margins. Known for his "bright, colorful and optimistic images," Trompf also utilized "natural images . . . to beguile both domestic and international tourists to various regions of Australia" (Trading Places p. 29-30). Lebovic 3.

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DESIGNER UNKNOWN. ADELAIDE / ALMOND BLOSSOM. Circa 1930. 39x25 inches, 100x63 cm. C. Wall, Adelaide.

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Description: DESIGNER UNKNOWN ADELAIDE / ALMOND BLOSSOM. Circa 1930. 39 1/2x25 inches, 100 1/2x63 1/2 cm. C. Wall, Adelaide. Condition A / A-: minor repaired tears, restoration and repaired pin holes in margins; minor creases in margins and image.

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PERCIVAL ALBERT (PERCY) TROMPF (1902-1964). BLUE MOUNTAIN RESORTS - N.S.W. 1946. 39x28 inches, 100x73 cm.

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Description: PERCIVAL ALBERT (PERCY) TROMPF (1902-1964) BLUE MOUNTAIN RESORTS - N.S.W. 1946. 39 1/2x28 3/4 inches, 100 1/2x73 cm. Condition A-: minor repaired tears and creases at edges. Mounted on paper. Lebovic 19.

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JAMES NORTHFIELD (1887-1973). AUSTRALIA / AUSTRALIAN PARROTS. Circa 1935. 39x25 inches, 100x63 cm. F.W. Niven, Melbourne.

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Description: JAMES NORTHFIELD (1887-1973) AUSTRALIA / AUSTRALIAN PARROTS. Circa 1935. 39 1/2x25 inches, 100x63 1/2 cm. F.W. Niven, Melbourne. Condition B+: restored losses in margins; repaired tears, creases and abrasions in margins and image and along vertical and horizontal folds. "One of ANTA's [Australia National Tourist Association] first actions was to commission a series of promotional posters from Northfield, Trompf and Sellheim, bringing their work to an international as well as national audience. These images, intended for display around the world but largely targeted at countries in the British Empire and the United States, celebrated Australia's 'unique' attractions, presenting colorful images of land and seascapes, flora and fauna and attractive people enjoying outdoor pursuits in the glorious weather. With the word AUSTRALIA printed across the top or bottom of each sheet, the posters served as a visual lexicon of Australian national identity" (Northfield p. 10). This poster depicts a King Parrot, an Eastern Rosella, Major Mitchell Cockatoos and a Sulfur-Crested Cockatoo. Northfield cover and p. 30.

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JAMES NORTHFIELD (1887-1973). AUSTRALIA / KOALA (NATIVE BEAR). 1931. 39x25 inches, 99x63 cm. J.E. Hackett, Melbourne.

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Description: JAMES NORTHFIELD (1887-1973) AUSTRALIA / KOALA (NATIVE BEAR). 1931. 39 1/4x25 inches, 99 3/4x63 1/2 cm. J.E. Hackett, Melbourne. Condition B+: creases and minor foxing in margins and image. Northfield p. 53, Trading Places 9.

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DESIGNER UNKNOWN. FLY TO AUSTRALIA / NEW ZEALAND BY CLIPPER / PAA. Circa 1950s. 42x27 inches, 107x70 cm.

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Description: DESIGNER UNKNOWN FLY TO AUSTRALIA / NEW ZEALAND BY CLIPPER / PAA. Circa 1950s. 42 1/4x27 3/4 inches, 107 1/4x70 1/2 cm. Condition A-: airbrushing in corners; minor repaired tears and creases at edges. Pan Am began flying the Boeing 377 Stratocruisers in the late 1940s. Known as "Strato" Clippers, the first of these luxury aircraft flew to Australia in 1951 and they continued flying the route through 1957 when they were replaced by the Douglas DC-7C.

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SEGUIN (DATES UNKNOWN). AUSTRALIE / JET DC - 8. Circa 1960s. 38x24 inches, 98x61 cm. Henon, Paris.

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Description: SEGUIN (DATES UNKNOWN) AUSTRALIE / JET DC - 8. Circa 1960s. 38 1/2x24 1/4 inches, 98x61 1/2 cm. Henon, Paris. Condition A: minor creases and abrasions at edges. This is the French version.

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PERCIVAL ALBERT (PERCY) TROMPF (1902-1964). AUSTRALIA. 1929. 40x25 inches, 101x63 cm. Troedel & Cooper Pty., Ltd., Melbourne.

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Description: PERCIVAL ALBERT (PERCY) TROMPF (1902-1964) AUSTRALIA. 1929. 40x25 inches, 101 1/2x63 1/2 cm. Troedel & Cooper Pty., Ltd., Melbourne. Condition A. A view of the beachgoing crowd and busy parking lot of Bondi Beach is seen from the front of the former Astra Hotel. Although the beach is not named on the poster, nor is the perspective correct, the beach is unmistakable. This iconic image is considered a "national treasure [and] . . . the embodiment of a national culture in the interwar years" (Australian Beach Cultures pp. 1 and 2). This scene of Bondi Beach was one of the first posters produced by the Australian National Travel Association (ANTA), which was formed in 1929. Its purpose was to help promote Australia as a travel destination to the American and British markets. "To communicate its message to a world that knew little of Australia, the ANTA had to resort to producing striking imagery and simple slogans . . . ANTA became heavily involved in commissioning travel posters" (Trading Places p. 5). Voyage p. 64, Lebovic 4, Trading Places 5.

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WILLIAM DOBELL (1899-1970). ORIENT LINE TO AUSTRALIA. Circa 1938. 40x25 inches, 101x63 cm.

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Description: WILLIAM DOBELL (1899-1970) ORIENT LINE TO AUSTRALIA. Circa 1938. 40x25 inches, 101 1/2x63 1/2 cm. Condition B+: tears, creases, minor losses and time-staining in margins, into text; tape on verso. Paper. Poster Art in Australia p. 40, Trading Places 33 and p. 2.

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PERCIVAL ALBERT (PERCY) TROMPF (1902-1964). PRINCE'S HIGHWAY TOUR / MELBOURNE TO SYDNEY. 19x25 inches, 50x63 cm. Robt. Harding Pty. Lt

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Description: PERCIVAL ALBERT (PERCY) TROMPF (1902-1964) PRINCE'S HIGHWAY TOUR / MELBOURNE TO SYDNEY. 19 3/4x25 inches, 50x63 1/2 cm. Robt. Harding Pty. Ltd., Melbourne. Condition B+: repaired tears, creases and minor overpainting in margins and image and along vertical and horizontal folds. The Princes Highway opened in 1920 and runs from Sydney to Port Augusta, rounding the southern coast of Australia to pass through Melbourne. While it would be not the most direct route to get from one end of the continent to the other, Trompf's poster shows why this indirect route was traveled - for its more rural and scenic vistas of the coastline. This road was named 'Princes Highway' to commemorate the Prince of Wales' (later King Edward VIII) visit to Australia. The intent was for him to make an overland trip from Melbourne to Sydney using this route, but ultimately this plan was abandoned because the road would not have been constructed to his standards in time. Trompf created this poster for the Government Tourist Bureau, advertising the ease of travel between these same cities - either by driving along the advertised coastal route or taking a train for a more direct trip.

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DESIGNER UNKNOWN. AUSTRALIA / FLY THERE BY QANTAS. 38x24 inches, 98x63 cm.

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Description: DESIGNER UNKNOWN AUSTRALIA / FLY THERE BY QANTAS. 38 3/4x24 3/4 inches, 98 1/2x63 cm. Condition B+: minor repaired tears at edges; creases and minor abrasions in margins and image; time-staining at edges.

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PERCIVAL ALBERT (PERCY) TROMPF (1902-1964). ST. PAUL'S, MELBOURNE / AUSTRALIA. 1934. 39x24 inches, 100x62 cm. F.W. Niven, Melbourne.

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Description: PERCIVAL ALBERT (PERCY) TROMPF (1902-1964) ST. PAUL'S, MELBOURNE / AUSTRALIA. 1934. 39 1/2x24 1/2 inches, 100 1/4x62 1/4 cm. F.W. Niven, Melbourne. Condition B+: unobtrusive vertical and horizontal folds; minor restoration at edges. Trading Places 14, Lebovic 21, Victoria p. 25.

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PERCIVAL ALBERT (PERCY) TROMPF (1902-1964). BRISBANE / RIVER CITY OF THE NORTH. Circa 1945. 39x25 inches, 100x63 cm. David Whyte, Brisb

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Description: PERCIVAL ALBERT (PERCY) TROMPF (1902-1964) BRISBANE / RIVER CITY OF THE NORTH. Circa 1945. 39 1/4x25 inches, 100x63 cm. David Whyte, Brisbane. Condition B+: repaired tears and creases in margins and image; repaired pin holes in corners. Trading Places 56.

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GERT SELLHEIM (1901-1970). CORROBOREE / AUSTRALIA. 1934. 39x24 inches, 100x63 cm. F.W. Niven Pty. Ltd., Melbourne.

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Description: GERT SELLHEIM (1901-1970) CORROBOREE / AUSTRALIA. 1934. 39 1/2x24 3/4 inches, 100 1/4x63 cm. F.W. Niven Pty. Ltd., Melbourne. Condition B+: repaired tears, creases and abrasions in margins and image, some affecting text; restored losses, overpainting and skinning in margins; repaired pin holes in corners. Estonian-born Sellheim studied architecture in Germany and Austria before migrating to Australia in 1926. He worked as an architect for two years and then turned to designing posters. Along with James Northfield and Percy Trompf, Sellheim is considered to be one of the finest artists who designed travel posters in Australia in the 1930s. He brings an element of the European avant-garde to his work, and his posters are "distinguished by their innovative design, in particular the use of montage" (Trading Places 29). He is most famous for designing the flying kangaroo logo for Qantas Airlines.

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