Vintage Auto Posters

Art Deco

5/15/2019

May/June 2019 edition
Issue #5 AutoMobilia Resource Magazine
Tony Singer

The movement known as “Art Deco” was a shortened name version of the planned exhibition “Arts Decoratifs”, which was held in Paris in 1925. This was a deliberate shift away from Art Nouveau, with its flowing and undulating style, lasting from about 1920 until the mid-late 1930s.
Art Deco was directly influenced by some of the prior painting movements of Cubism with its geometric forms, and Fauvism and its bright colors. Generally, the look was simpler, more precise, less embellished, and more linear.

In the world of auto posters, you see a powerful image simply depicted, as with “Triplex” by Cassandre, done in 1931. Others by Falcucci, for various early 1930’s Monte Carlo events, are busier and yet far more colorful. Another dynamic image is “Aeroshell”, done in 1932 by Kauffer.

“Pierce Arrow” by Robert Lewis is a stellar example, done in 1929, with strong graphics and metallic silver ink. “Grand Prix Suisse”, by Graf, is a world-renowned image, and was chosen for the cover of the book on the event. Two fine designs, by Kow, convey power with color: “Cap d’Antibes” and “Hotchkiss”.

This is but a small sampling of the many artists working in this manner. Naturally the prices reflect rarity of each and range from $3000 for the Hotchkiss” by Kow, to $10,950 each for either “Rallye Monte Carlo” (1930 or 1931), to $11,500 for “Aeroshell”, to $13,500 for “Pierce Arrow” (to be sold at auction in May, 2019). Continuing upward in price…. $26,750 for “Grand Prix Monte Carlo”, to $25,450 for “Grand Prix Suisse”, and $28,950 for “Cap d’Antibes”, and lastly “Triplex” which is not for sale at this time.
TS

Grand Prix DuCap Dantibes Vintage Poster

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Conserving Authenticity

3/1/2019

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Mar/Apr 2019 edition
Issue #4 AutoMobilia Resource Magazine
Tony Singer

The one consistent line of questioning from both seasoned collectors, and the new purchaser is: preservation of the poster.
The assumption is that a poster under consideration is “collectible”, having a good market value, and worthy of the investment of proper conservation techniques and possible framing.

The aim of preservation of the poster is to retain its authenticity as well as condition and color in the best manner consistent with current archival practices established and practiced world-wide. That “standard” is professional archival linen mounting. This method uses a water-based adhesive to affix the poster to acid free paper, which has already been like-wise affixed to linen. This should only be done by an expert in the field. It is a readily reversible process, but why one would wish to do this eludes me.

BEFORE - Time-worn condition 1938 poster. Note thewrinkles from humidity.

AFTER - Professionally archival linen-mounted.

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Alex Kow 1901-1978

1/1/2019

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Jan/Feb 2019 edition
Issue #3 AutoMobilia Resource Magazine
Tony Singer

AlexKowGrandPrixDuCapDantibesVintagePoster

Alex Kow Vintage Poster, Grand Prix International Automobile Du Cap D'Antibes et de Juan-Les-Pins

Easily one of the most prolific, and in demand artists of his day was Alex Kow. His work, mostly advertising ads and few posters, focused exclusively on French manufacturers, and was always signed “A. Kow”.

A little background here, which shaped him as an artist. Alexis Kojewnikow, later known as Alexis Kow, was born in 1900 in Russia, near St. Petersburg. In 1915, his father became so worried about the political situation in his homeland, he sent young Alexis to a boarding school in Lausanne, Switzerland.

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Geo Ham!

11/1/2018

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Nov/Dec 2018 edition
Issue #2
Tony Singer

Geo Ham Vintage Poster: Monaco, 2 Avril 1934, 6eme Grand Prix Automobile.

These ads and magazine covers generally are in the $100-$250 price range; small format posters are $3000-$5000; large formats run $8000-$12,000, with Grand Prix Monaco $24,000-$32,000.

His earlier work, in the 1920’s to mid-1930’s comes across as more realistic and accurate in manner, whereas his pieces from the later 1930’s onward, has a more styled/caricature approach. There is so much diversity in the content, yet his “look” remains quite consistent in particular with his later works.

Everett Anton Singer
Any questions, comments, etc ?
Tony@singer356.com

Geo Ham Vintage Poster: 12 HEURES de PARIS, Coupe Olazur, 10 Septembre 1939, AUTODROME de MONTHLERY.

Geo Ham Vintage Poster: PNEUS MOTO, DUNLOP En Vente ICI.

Geo Ham Vintage Poster: ALBI, 30 MAI, Nouveau Circuit Raymond Sommer, Pour la première fois LES MONOMILL, Prix du président de la république.

Geo Ham Vintage Poster: PRIX DE PARIS, 6 COURSES INTERNATIONALES AUTODROME LINAS-MONTLHERY, 29 AVRIL 1956, A.G.A.C.I., A.C.I.F., Valvoline.

EN UN MOIS 1ST JUIN, 1ST JUILLET, 3 GRAND PRIX, MONTREUX, PENYA-RHIN, ACF, SHELL, MUILES POUR MOTEURS.

In the world of poster designers/illustrators, Georges Hamel must have been the most prolific of his era [1920’s to 1950’s]. This Frenchman [1900-1972] best known for his illustrations of airplanes and automobiles created ads, magazine covers, and advertising posters for a vast group of predominantly French companies.

As a young boy, he showed great ability for imitation drawing. It has been said that his passion for ‘speed’ was greatly influenced by two events in his home town of Laval. In 1911, a plane piloted by a local politician, who was busy throwing leaflets, flew over the city and landed there. Then in 1913, a race for motorcycles and cars was held in Laval....he started sketching, and later at the age of 18, he moved to Paris and attended Ecole nationale des Arts décoratifs.

GeoHamPalaisRameauLILLENovembre1926VintagePoster

Geo Ham Vintage Poster: LILLE, Palais Rameau, SALON Régional de L' Automobile. du 7 au 21 Novembre 1926,

Geo Ham Vintage Poster: PRIX de PARIS, 16 Juin 1957, AUTODROME DE LINAS-MONTLHERY, A.G.A.C.I.

Geo Ham Vintage Poster: 24 HEURES du MANS, 12 et 13 juin 1954.

Geo Ham Vintage Poster: 5éme GRAND PRIX AUTOMOBILE MONACO, 23 avril 1933.

Geo Ham Vintage Poster: PRIX DE PARIS, 16 JUIN 1957, AUTODROME DE LINAS-MONTLHERY, A.G.A.C.I.

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Graphic Automobilia

9/1/2018

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Sept/Oct 2018 edition
Issue #1 AutoMobilia Resource Magazine
Tony Singer

Mille Miglia commemorative poster from the 1950s.

Posters, since the late 1880s, have existed to inform and advertise; great artists of the era were employed to creatively and beautifully illustrate the car, promote products/race meetings, and commemorate outstanding results. In the world of “automobilia”, they are visually commanding; their size can range from window cards to billboards!

The “reach” of the poster [the audience and/or location] was quite limited, in particular before the 1950’s, which meant that the number of copies printed was inherently small. Their lifespan was intended to be perhaps six months, as most were affixed to kiosks, buildings, billboards, or shop windows. Over time, we have seen the poster become quite rare, with increasing demand, elevating values, along with the educated eye realizing that they are truly their own “art” form.

Originality and authenticity is the over-riding issue. On the topic of what to look for, the answer is simple: chose a visually exciting image that appeals to you and one you’d want to see again and again. No matter how valuable the market deems a poster to be, if it doesn’t excite your eye, what is the point ? As in the car world “buy what you love”. What works for each collector is different; the “focus” may be your favorite car, races you attended, your birth year, brand loyalty, etc.

Value is in the mind of the beholder. So much drives price: subject matter, artist, era, size [some images were done in multiple formats], condition, rarity, etc. As a general statement, pre-War posters are about $2,500 to $30,000; whereas post-war range from $350 to $9500. Only the potential buyer can determine if the poster under consideration is “worth” the price.

The enjoyment the piece brings should be the over-riding factor.
For this inaugural issue, I’ve chosen one of the greatest Art Deco masterpieces, by Graf, for the 1934 Swiss Grand Prix. This poster printed via stone lithography, measures 35.5” x 50”, the European maximum single sheet size. This was chosen as the cover illustration for the book on the history of the Swiss GP.

1934 Swiss Grand Prix poster by Graf.

The second poster, the 1950’s Porsche Factory Mille Miglia commemorative, by the graphic design genius, Erich Strenger, is printed in offset lithography for the base colors, along with letterpress imprint in black. This poster measures 23” x 33”. Both pieces have stood the test of time and today represent exceptional examples of dynamic art, design, and printing.
Whether for your den, office, home, or garage environment, the authentic vintage poster is a beautiful source of visual enjoyment, as well as a fine investment. What an artistic way to display our automotive passion!

Everett Anton Singer

Any questions, comments, etc ?
Tony@singer356.com

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Art Deco

Conserving Authenticity

Alex Kow 1901-1978

Geo Ham!

Graphic Automobilia