For a small company like Porsche, the amount of paper they produced in their early years is extraordinary. In addition to promo pieces, they created commemorative racing posters, as well as those for the dealer showrooms. One book surveys their output in the 1949-1974 era: “Porsche Showroom Posters – The First 25 Years.” This has recently been updated and produced in a limited edition of 550 copies.

“Porsche Showroom Posters – The First 25 Years” is available on eBay as well as from VintageAutoPosters.com. All posters are direct-scanned for spot-on color accuracy. Limited to 550 copies and priced well at $89.50, they likely will go fast.
TS

Above: The 1954 Panamerican Race Poster English version on left (slightly rarer), Spanish version on right.  Both, because of the great design and due to the fact they were a “last running,” are in high demand.

Today the posters from this grueling race are quite rare and sought after. Many were tacked up and faded in the sun over time. These range in price from about $3,500 to $5,500. The car plates, which are extremely rare, are generally $3,000 to $4,000. With regard to repros, do be aware that on eBay a “fantasy” piece is usually on offer, and sadly some auction houses don’t do their due diligence.  

​Tony Singer

Before we begin, I must point out that the three framed posters, in this article, are part of my personal collection, and are NOT for sale. “Cap d’Antibes” is probably my all-time favorite, and is from the 1930s. If ever available one of these would usually be in the $25-$30K range. I’ve only seen two others.  “Automobiles Richard Brasier”, celebrating the car’s win of the Gordon Bennet trophy, is also incredibly rare, and is just one of two I’ve ever seen - this fine example and one awful example. The current value is likely $30-40K. Lastly, “Circuito di Milano” is usually found in a 2-sheet version, and in the past few years one sold at auction for about $65K. 
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​Again, these are not for sale, but I am using them as excellent examples to illustrate the challenges of properly and artistically framing. When you have any piece in this value range, you would be doing a great disservice to the art if not properly framed.

Having acquired a fine poster, the next step is to have it framed for display.  The following thoughts, and photos, show a variety of approaches that I have taken in the past few years.
​I am focused on the look and colors of the poster, and take into consideration internal elements that I wish to enhance and/or call attention to.  The first step is in finding a fine art framer who is experienced in archival framing techniques.  UV treated acrylic is the way to go for modest to large pieces, and all the materials used need to be acid-free. Direct sun is to be avoided at all costs, and try to be cognizant about how much light the poster will be exposed to.

These 3 framings, tend to work with the colors within the poster, to create a coherent look, which is what you want. The art itself should be the primary focus of what needs to be paid attention to.

Another approach is using mat board, which generally has color on top and white inner layer.  One can have this straight cut, a bevel edge to show the white, or a reverse bevel to hide it.  In all cases, I chose to mat to the edge of the poster (two examples below).

Lastly, one may decide to by-pass a mat and pick a frame that works well with the colors, design, and style of the poster (five examples below).

Fine frames are not cheap, and prices are all over the place. What you see in these photos range from about $300-$800, depending upon size, mat, and framing chosen. Clearly, a fine poster deserves to be conserved/preserved in the proper manner.  The exercise should be one where creativity will enhance the presentation, adding to your ownership pleasure.

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.

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.  
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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. 

This new setting for the poster provides an extremely stable environment that allows handling, rolling, shipping, and framing without damage, as well as avoiding the wrinkles from humidity. The      “12 Hours Paris” poster photos show the poster before and after linen. Professional linen mounting costs will vary based upon size, and any restoration required. The basic mounting charge runs from about $75 to $250 depending upon size.

The polar opposite of this is a practice used mainly in the 1960-1980s called “dry mounting”.  For a “collectible” poster it is a near-death experience.  Why? Unlike linen, this process uses a solvent based adhesive, heat and pressure to permanently affix the poster to foam-core or some other type of stiff backer.  As a general statement, it reduces the value by 75%.  There is no guarantee of being able to un-do this nor what effect it will have on the poster itself. I might add that dry mounting of any collectible prints (lithographs and serigraphs) also kills their value.
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Should one wish to now frame the poster, there are a few directions worth giving to your quality framer.  One is, to only use ‘archival’ [acid free] materials and the other is to use UV treated glass [if relatively small] or plexiglass [a matt or some other spacer should be employed to prevent the poster from touching the glass or plexi]. This will help reduce the damage from light that interacts with your poster. 

​Another issue worth addressing is light itself.  A bright and sunny location, while lovely, is far from ideal for your poster.  As most were printed 40 or more years ago, with inks, which were not the world’s most light-stable type. Doing whatever you can to protect the poster will give you years of pleasure instead of ending up with a washed-out image.

The “McQueen Drives Porsche” photos are a fine example of what a pristine poster looks like, and one which has had excessive light exposure/damage.  There is nothing that can bring back the lost color, and the values are significantly affected. The light effected McQueen poster would have cost around $120 to linen mount.
If your environment has windows, I would suggest contacting someone who is actively involved with 99%+ UV film application for household windows. This material, by 3M and others, is a miracle!  It reduces the damaging UV light which trashes furniture, carpets, floors, and posters…. 
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Please feel free to contact me with questions, comments, etc.
Tony Singer

Subsequently he went on to get a job as junior draftsman at a small ‘carrosier’ in Levallois. He often slipped into the workshop to see how the bodies were produced. In the evenings, he made renderings and sketches of the work he had seen. By chance his boss saw these drawings and was very impressed, because Alexis’s cars were drawn with a perfect perspective, something very few draftsmen achieved.

He proposed that Alexis start an art studio and sell his work to other coachbuilders and car manufacturers. In 1922, Kow made his first advertisements for Panhard et Levassor.
In 1978, the book A.Kow [40 ans de creation publicitaire automobile] showcases this genius’s incredible output from early 1920s into early 1950s; long out of print, but an exceptional reference book.
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He produced publicity for Panhard, Hotchkiss, Salmson, Hispano-Suiza, Delahaye, Bugatti, and Peugeot. In addition, he did ads for Marchal, Englebert, and Cibie.

“Grand Prix du Cap d’Antibes” is, in my mind, one of the absolute icon posters of the Art Deco era, or any era for that matter. In 38+ years I have seen this large poster only twice! It is the cornerstone of my personal collection, and Ralph Lauren used this design for a most successful line of automotive themed ties nearly 30 years ago. A.Kow’s automobile themed posters and advertisements typically range from $400 to $1500, with some extremely rare ones (such as my “Grand Prix du Cap d’Antibes”) valued as high as $33,000

Kow’s sense of space, creating movement and drama, is second to none. He clearly, and graphically conveys the power of his subject matter like no one else.
    
Tony Singer

Nov/Dec 2018 edition
Issue #2
​Tony Singer

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