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Vintage Auto Posters: Buyer Be Aware

10/23/2021

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Nov/Dec 2021 edition
Issue #19 AutoMobilia Resource Magazine
Photos and story by Tony Singer

With the ubiquity of Internet access, auctions seemingly popping up all over, and a multitude of eBay offerings, one has to be increasingly careful, if not downright suspicious.                         
 
If you read the fine print with most auctions, the burden of proof rests with you, the buyer. The auction is merely a conduit that connects an unknown seller with an optimistic buyer. As noted in an earlier e-blast, one company flat out said they don’t and won’t guarantee anything! With eBay, you have to “trust” what the seller says. [Editor’s note: If you buy something on eBay and deem it is not as described – not authentic – you can return it to the seller within a window of time, which I have done with a few fakes! BUT… the burden is still on you to know if it is real or not.]                        
 
So, what is a buyer to do? The simple answer is to deal with a seller who stands behind what they sell. This seller should be saying, clearly, that a poster in question is “guaranteed original.”
 
One can assume, therefore, that without said assurance, the opposite is likely to be true.                  
 
I make a strong point about this, in particular, when posters start to become more than mere “garage art” costing $50 or $100. Now, not everyone is that demanding, and it surely changes along with the price point of the image under consideration, depending upon intended use.                  
 

1934ShellRacingCommemorativePoster.jpg
1934 Shell Racing Commemorative poster from Geo Ham, 23.75"x31.5" and worth between $5,000 and $7,500.
Take for example, the world-famous Shell Racing Commemorative Poster, by Geo Ham, from 1934. This stunning image, if original, ranges from about $5,000 to $7,500 depending on condition. Yet one can find a similar image on the Internet for a few hundred dollars. You, as the buyer, need to know quite specifically what it is you are buying.                        
 
Many times, the size of a poster is a dead giveaway. The Shell poster is approximately 23.75”x31.5”, and the repros generally are quite different.  

1954PorscheTripleClassicPoster.jpg
1954 Porsche Triple Classic Victory poster from Erich Strenger, 16.5"x23.75" and worth $5,000 to $6,500.
The Porsche Triple Class Victory is another great case in point. This 1954 poster, a watercolor wash by Erich Strenger, was only issued in a size of 16.5”x23.75”, and the Italian flag’s stripes are at an angle, as per the photo. In the 1980-’90s a repro came onto the market with perfectly vertical stripes bleeding off the left and right edges, much stronger colors, and in a much large size. The original, depending upon condition, is $5,000 to $6,500, whereas the repro is $400 to $600. Quite a few auction houses have offered, and continue to offer, this reproduction as original!
Tony Singer

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Porsche Showroom Posters - Part II

6/13/2021

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Jul/Aug 2021 edition
Issue #17, AutoMobilia Resource Magazine
Tony Singer
In this second and last installment on Porsche showroom posters, we’ll look at eight wonderful images from the 356 and early 911 era. All of these and many more are found in the recently updated Porsche Showroom Posters – The First 25 Years  book
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​Let’s begin in the mid-1950s with Erich Strenger, Porsche’s in-house creative genius, and his “A Steering Wheel.” Simple, straightforward, clean and elegant, this super rare poster is 23.5"x33", and is under $19,000. That is not a typo, as this is one of the most desired Porsche posters. 










​In August of 1961 the factory issued the “B/C Steering Wheel” poster, which is 33.3"x46.5". A quite scarce poster, with a current value around $3,400.
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​Next up are two of the four “Sporting Life” posters, all designed by Hanns Lohrer, to celebrate the introduction of the final 356 “T6” body style. The “Saddle,” which was done in August 1961, is 33.5"x46.5", is around $3,300 and interestingly has a typo in the text which wasn’t caught before printing! 








​The “Golf,” issued in April 1962, is 33.25"x46.5" and is valued at under $3,900. The others in the series are the “Rifle” and “Skis,” both of which are quite rare, as are all of them.
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​In April 1963, Lohrer was enlisted to create the “World of Pleasure” image, which is 33.1"x 46.5" and valued at under $1,500.
In an effort to build a unique sales opportunity with prospective buyers, the factory issued two “Tourist Delivery” posters. A customer could order a car at their local dealer, pick it up in Stuttgart, have a factory tour, drive around Europe, and then have the car shipped home. Really, it was quite a wonderful and unique experience. The first poster was done in February 1966, with a collage of images by Strenger. It is 33"x46.7" and is valued at less than $700. 
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​The second, issued in September 1967, features the new Targa, along with a Boeing 707, implying that they’d pick you up at the airport. This wonderful poster is 33.3"x46.5" and is under $800.





​Last in the group is the “Targa” poster, issued in February 1967, showing the many special features of this ingenious design. This poster, designed by Volz, measures 33"x 46.4" and is under $1,900. 
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I have chosen to highlight the dimensions because, simply, too many reproductions are flooding the market, on eBay in particular. Pay attention when reading the ads, and it’s always best to deal with someone who guarantees the authenticity of their posters.

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For those who are looking for even more details, I’ve published a book; Porsche Showroom Posters – The First 25 Years.”  It’s printed in a 12.25"x12.25" hardcover format containing 50 pages, covering 1949-1974.  All posters were direct-scanned for this publication so precise, spot-on colors could be determined by future collectors. 

Tony Singer
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Porsche Showroom Posters - Part I

2/8/2021

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Mar/Apr 2021 edition
Issue #15, AutoMobilia Resource Magazine
Tony Singer
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.









​The vast majority of Porsche’s poster output were the race posters, which were given away at the dealers. The “showroom” posters were mainly for display at the dealership, and therefore are far more rare.
​Arbitrarily, by size, I’d like to share with you some of these creative gems.  In the 23"x33" format, there is the red 550 Spyder leading the yellow 356 Coupe, valued today at $4,200. 
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The 50th anniversary poster, 1909-1959, celebrated two of Porsche’s creations with eye-catching graphics, and is under $1,600.





​The medium size of 30"x40" was utilized to promote, only in Europe, the Carrera RS, arguably the greatest 911. This poster features the “lightweight” version of the car, as well as the super-rare specifications. This is surely the “holy grail” of 911 cars and posters. Its value is under $19,000…  if one can ever be found. 
​
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The largest format that Porsche regularly used is 33”x46.5”, which we see in the late 356 era and throughout the 911. First is the “356 cut-away,” which shows so many of the unique features of the T-6 B Coupe, presently valued at under $3,300. 








​The 912 combines photography and strong graphics, at an uphill angle, as the 4-cylinder replacement of the 356, and is just under $2,000.  
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​Another poster using the high contrast with black, is “Jeder…,” which was only released in Europe. The simple message translated is: “Each cube has six sides, but you can only see three. Also, a Porsche cannot show all sides when you see it in the showroom. Drive it, then it will show you its best sides.” A brilliant marketing message, and quite rare… under $1,600.









​​The 911S was introduced in July 1966, and this gentleman with his stunning red car, on a matte black background, jumps off the surface. Exceedingly rare, and just under $5,600. 
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​Last is “Reliability on the Race Track; Safety on the Street,” released in 1969. This conveys the dual personality of the Porsche with simplicity and strong colors. Value: $1,615.  
“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

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Carrera Panamericana Posters: Most dangerous race in the world!

10/17/2020

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Nov/Dec 2020 edition
Issue #13 AutoMobilia Resource Magazine
Tony Singer
MexicoCumple1950poster
    Just the name conveys danger, as this border-to-border race existed for only five years, 1950-1954. With the completion of the Panamerican Highway, Mexico’s government used the race to celebrate its achievement and attract attention. Generally, it was a nine-stage race, held over five days, covering approximately 2,100 miles.While similar to the Mille Miglia and Targa Florio, the Carrera Panamericana was much longer and considered to be the most dangerous race of any type in the world, with many fatalities of both competitors and spectators.
Initially, it was more of a “stock car” race, with many American vehicles, and morphed into a world-class road race with serious European marques later dominating. In 1950 the winner was McGriff/Elliott in an Oldsmobile 88; in 1951 Ferrari 212s were first and second with Taruffi and Ascari. The Mercedes-Benz 300 SL W194 won the 1952 race with Kling, and Lang second. For 1953 the Lancia D24 won with Fangio/Bronzoni in the overall class, and a Porsche 550 Coupe took the under 1600 cc class. In 1954 the winner was a Ferrari 375 Plus driven by Maglioli, with Phil Hill and Ritchie Ginther second in a 375 MM; third was the Porsche 550 Spyder driven by Hans Herrmann. 
Carrera Panamericana Mexico Vintage Poster
Carrera Panamericana Mexico Vintage Poster
Carrera Panamericana Mexico Vintage Poster
Carrera Panamericana Mexico Vintage Poster
Carrera Panamericana Mexico Vintage Poster photo
Carrera Panamericana Race Vintage Poster
Carrera Panamericana Race Vintage Poster
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.
Carrera Panamericana Race Vintage license plate



​II Carrera Panamericana “Mexico” car plate number 87. Valued at approximately $3,000-$4,000.
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

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I've Been Framed

1/31/2020

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Mar/Apr 2020 edition
Issue #9 AutoMobilia Resource Magazine
Tony Singer
The Artistic Challenge of Framing a Vintage Poster
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. 
​
​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.

Grand Prix International Automobile Du Cap Dantibes Vintage Poster

​As mentioned, my all-time favorite poster is “
Cap d’Antibes” by Kow (above).  I wanted a warm gold frame to draw on the warmer tones, and chose a strong blue fabric covered mat to play against the sky and water. I like to have the mat come up to the very edge of the paper, as many times there is printer information, etc., in that margin.
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Automobiles Richard Brasier Vintage Auto Poster

​“Automobiles Richard Brasier”
, from 1904, is a world famous poster deserving of a fine treatment.  In this situation, I chose a darker blue fabric mat to play against that in the poster, and a matte silver frame to highlight and contrast the design elements (above).
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Circuito DeMilano Vintage Auto Poster





​​Newly acquired, “Circuito di Milano” (right) was a major challenge, as the wide variety of color within the poster made selecting a strong mat color impossible.  Instead, I opted for a soft almost tan fabric to gently contrast with the internal colors, and a warm gold frame to work with both the poster and mat.
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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).
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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

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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. 
1938_12HeursdeParisPosterBEFORE
BEFORE - Time-worn condition 1938 poster. Note thewrinkles from humidity.
1938_12HeuresDeParisPosterAFTER
AFTER - Professionally archival linen-mounted.
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.
​
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.
1970McQueenDrivesPorsche12HoursSebringPosterFADED
1970 McQueen Drives Porsche 12Hours Sebring Poster which is FADED - Due to light exposure.
1970McQueenDrivesPorsche12HoursSebringPosterPRIMO
1970 McQueen Drives Porsche 12Hours Sebring Poster which is PRIMO - This poster was kept in UV light free conditions, retaining its beauty and its value.
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…. 
​
Please feel free to contact me with questions, comments, etc.
Tony Singer

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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
AlexKowGrandPrixDuCapDantibesVintagePosterAlex 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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The Russian revolution of 1917 changed Alexis’s life dramatically, but luckily, a Swiss family took him under their wings and made it possible for him to study at the Collège Technique des Arts et Métiers in Genève. This family owned a Rochet-Schneider automobile, and during this time Alexis became fascinated by cars. After finishing his studies, he went to Paris where he tried to invent a drawing machine, but failed.
AlexKow40AnsDeCreationPublicicitaireAutomobileVintagePosterAlex Kow Vintage Poster, 40 Ans de Creation Publicitaire Automobile.
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.
​
He produced publicity for Panhard, Hotchkiss, Salmson, Hispano-Suiza, Delahaye, Bugatti, and Peugeot. In addition, he did ads for Marchal, Englebert, and Cibie.

AlexKowMarchaCorindonVintagePosterAlex Kow Vintage Poster, Marchal Corindon, Mercredi 13 Juillet.
“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

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AlexKowPanhard1950VintagePoster
Alex Kow Vintage Poster, la Dyna PANHARD, dous donne une ame de compétiteur! 1950.
AlexKowMonteCarlo1949VintagePoster
Alex How Vintage Poster, Monte-Carlo 1949.
AlexKowTroisRecordsduMondeHotchkissVintagePoster
Alex Kow Vintage Poster, Hotchkiss, Montlhéry 1934
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Geo Ham!

11/1/2018

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Nov/Dec 2018 edition
Issue #2
​Tony Singer
GeoHamMonacoApril1934VintagePoster
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.
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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.

Tony Singer


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GeoHamACFreims3juillet1938VintagePoster
Geo Ham Vintage Poster: 12 HEURES de PARIS, Coupe Olazur, 10 Septembre 1939, AUTODROME de MONTHLERY.
GeoHam1PneusMotoDunlopPoster
Geo Ham Vintage Poster: PNEUS MOTO, DUNLOP En Vente ICI.
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Geo Ham Vintage Poster: ALBI, 30 MAI, Nouveau Circuit Raymond Sommer, Pour la première fois LES MONOMILL, Prix du président de la république.
GeoHamPrixDeParis1956VintagePoster
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.
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.
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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.
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GeoHamPalaisRameauLILLENovembre1926VintagePoster
Geo Ham Vintage Poster: LILLE, Palais Rameau, SALON Régional de L' Automobile. du 7 au 21 Novembre 1926, 
GeoHamPrixDeParis1957VintagePoster
Geo Ham Vintage Poster: PRIX de PARIS, 16 Juin 1957, AUTODROME DE LINAS-MONTLHERY, A.G.A.C.I.
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Geo Ham Vintage Poster: 24 HEURES du MANS, 12 et 13 juin 1954.
GeoHamMonacoApril1933VintagePoster
Geo Ham Vintage Poster: 5éme GRAND PRIX AUTOMOBILE MONACO, 23 avril 1933.
GeoHamPrixDeParis1957VintagePoster
Geo Ham Vintage Poster: PRIX DE PARIS, 16 JUIN 1957, AUTODROME DE LINAS-MONTLHERY, A.G.A.C.I.
GeoHamShellGrandsPrixPoster
EN UN MOIS 1ST JUIN, 1ST JUILLET, 3 GRAND PRIX, MONTREUX, PENYA-RHIN, ACF, SHELL, MUILES POUR MOTEURS.

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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 1950s
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.
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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.


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1934 Swiss Grand Prix poster Graf1934 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!

Tony Singer

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    Tony Singer Posters
    Tony Singer

    Vintage Auto Posters

    Tony Singer, the owner of Vintage Auto Posters and Automobilia Monterey International Expo writes about finding, preserving and collecting Vintage Auto Posters.
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