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Auction Description for Swann: RARE & IMPORTANT TRAVEL POSTERS
Viewing Notes:
Exhibition & Sale Schedule: Sale 2293 - Rare & Important Travel Posters - begins at 1:30pm in New York on Thurs, November 8. All material in Sale 2293 on display at our premises in New York City, 104 East 25th Street, as follows - Sat, Nov 3: Noon to 5pm - Mon, Nov 5: 10am to 6pm - Tues, Nov 6: 10am to 6pm - Wed, Nov 7: 10am to 6pm - Thurs, Nov 8: 10am to Noon.

RARE & IMPORTANT TRAVEL POSTERS

by Swann Auction Galleries

Platinum House

201 lots with images

November 8, 2012

Live Auction

104 East 25th Street

New York, NY, 10010 USA

Phone: 212.254.4710

Fax: 212 979 1017

Email: swann@swanngalleries.com

201 Lots
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L. CAMPBELL TAYLOR (1874-1969). LMS / THE PEAK DISTRICT / PEVERIL CASTLE. 1924. 39x49 inches, 100x126 cm. Bemrose & Sons, Ltd.

Lot 101: L. CAMPBELL TAYLOR (1874-1969). LMS / THE PEAK DISTRICT / PEVERIL CASTLE. 1924. 39x49 inches, 100x126 cm. Bemrose & Sons, Ltd.

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Description: L. CAMPBELL TAYLOR (1874-1969) LMS / THE PEAK DISTRICT / PEVERIL CASTLE. 1924. 39 1/2x49 1/2 inches, 100 1/2x126 cm. Bemrose & Sons, Ltd. Condition B: losses in margins and corners, some affecting image; repaired tear through bottom margin into text; repaired tears through edges, affecting image. Taylor was a painter known for his portraits and interiors with figures. This is one of only a few posters he designed for the LMS.

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WALTER SPRADBERY (1889-1969). THAMES VALLEY. 1946. 39x49 inches, 101x125 cm. Baynard Press, London.

Lot 102: WALTER SPRADBERY (1889-1969). THAMES VALLEY. 1946. 39x49 inches, 101x125 cm. Baynard Press, London.

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Description: WALTER SPRADBERY (1889-1969) THAMES VALLEY. 1946. 39 3/4x49 1/4 inches, 101x125 cm. Baynard Press, London. Condition B+: restoration along vertical and horizontal folds; minor restoration in margins and image. Spradbery was a landscape painter, lino-cut artist and poster designer. He designed over 90 posters for London Transport and also did work for the Southern Railway.

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DONALD MAXWELL (1877-1936). THE WEALD OF KENT / SOUTHERN RAILROAD. 1924. 39x49 inches, 99x124 cm. M. Corquodale & Co. Ltd., London.

Lot 103: DONALD MAXWELL (1877-1936). THE WEALD OF KENT / SOUTHERN RAILROAD. 1924. 39x49 inches, 99x124 cm. M. Corquodale & Co. Ltd., London.

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Description: DONALD MAXWELL (1877-1936) THE WEALD OF KENT / SOUTHERN RAILROAD. 1924. 39 1/4x49 inches, 99 3/4x124 1/2 cm. M. Corquodale & Co. Ltd., London. Condition B+: vertical and horizontal folds; repaired tears and restoration in margins; abrasions in image. The "Weald," an Old English name for forest, is an area in Southeast England rich in geologic history. Parts of the landscape have been officially designated as "Areas of Outstanding Natural Beauty" by the British Government. Art for All p. 158.

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ANTON VAN ANROOY (1870-1949). THE BROADS / 200 MILES OF SAFE INLAND WATERWAYS. Circa 1928. 39x49 inches, 100x124 cm. Eyre & Spottiswood

Lot 104: ANTON VAN ANROOY (1870-1949). THE BROADS / 200 MILES OF SAFE INLAND WATERWAYS. Circa 1928. 39x49 inches, 100x124 cm. Eyre & Spottiswood

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Description: ANTON VAN ANROOY (1870-1949) THE BROADS / 200 MILES OF SAFE INLAND WATERWAYS. Circa 1928. 39 1/2x49 inches, 100 1/4x124 1/2 cm. Eyre & Spottiswoode Ltd., H.M. Printers, London. Condition B+: minor restoration along sharp vertical and horizontal folds. Van Anrooy designed posters for both the Great Western Railway and the London and North Eastern Railway. This is one of his few posters that does not focus on a location's architectural details. Furness / Eastern Counties p. 105.

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GYRTH RUSSELL (1892-1970). GREAT WESTERN RAILWAY / STRATFORD - UPON - AVON. Circa 1930. 39x49 inches, 101x126 cm. McCorquodale & Co., L

Lot 105: GYRTH RUSSELL (1892-1970). GREAT WESTERN RAILWAY / STRATFORD - UPON - AVON. Circa 1930. 39x49 inches, 101x126 cm. McCorquodale & Co., L

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Description: GYRTH RUSSELL (1892-1970) GREAT WESTERN RAILWAY / STRATFORD - UPON - AVON. Circa 1930. 39 1/4x49 3/4 inches, 101x126 1/2 cm. McCorquodale & Co., London. Condition B+: repaired tears, creases and restoration in margins and corners; abrasions and creases in image. Canadian-born Russell, who was primarily a painter and etcher, designed about a dozen posters for the Great Western Railway. During World War I he served as an official war artist for the Canadian army.

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TOM GILFILLAN (1932-1953). TO THE HEBRIDES. Circa 1930. 39x24 inches, 100x63 cm. John Horn Ltd., Glasgow.

Lot 106: TOM GILFILLAN (1932-1953). TO THE HEBRIDES. Circa 1930. 39x24 inches, 100x63 cm. John Horn Ltd., Glasgow.

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Description: TOM GILFILLAN (1932-1953) TO THE HEBRIDES. Circa 1930. 39 1/2x24 3/4 inches, 100 1/2x63 cm. John Horn Ltd., Glasgow. Condition A. As if illuminated from within, this intensely-colored lithograph of the sun setting over the Hebrides captures a stylish and beautiful moment. Gilfillan designed about half a dozen posters for the LMS Railway.

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ELLIS MARTIN (DATES UNKNOWN). THE CORNISH RIVIERA / GREAT WESTERN RAILWAY. 1924. 40x25 inches, 101x63 cm. J. Wiener, London.

Lot 107: ELLIS MARTIN (DATES UNKNOWN). THE CORNISH RIVIERA / GREAT WESTERN RAILWAY. 1924. 40x25 inches, 101x63 cm. J. Wiener, London.

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Description: ELLIS MARTIN (DATES UNKNOWN) THE CORNISH RIVIERA / GREAT WESTERN RAILWAY. 1924. 40x25 inches, 101 1/2x63 1/2 cm. J. Wiener, London. Condition B+ / B: restored loss in upper right corner; light vertical and horizontal folds; creases in image; repaired tears at edges. A rare/span and beautiful poster for Penzance's St. Michael's Mount. The tidal island, similar to its more famous French cousin, Mt. St. Michele, has a medieval castle and church at its apex.

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KENNETH DENTON SHOESMITH (1890-1939). LONDON / ROYAL MAIL. Circa 1921. 40x25 inches, 101x63 cm.

Lot 108: KENNETH DENTON SHOESMITH (1890-1939). LONDON / ROYAL MAIL. Circa 1921. 40x25 inches, 101x63 cm.

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Description: KENNETH DENTON SHOESMITH (1890-1939) LONDON / ROYAL MAIL. Circa 1921. 40x25 inches, 101 1/2x63 1/2 cm. Condition B+: restoration along sharp vertical and horizontal folds; restored pin holes in corners. Not to be confused with a London Underground poster, which might also show scenes of famous buildings around the British capital city, this image actually advertises cruises. We can date the image by the ships that are mentioned. The Famous "O" Steamers, Orbita, Orduna, Oropesa, Orca and Oroya, went into service for the Royal Mail Company on the transatlantic route beginning in 1920.

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FREDERICK C. HERRICK (1887-1970). THE OPEN GATE / THAT LEADS FROM WORK TO PLAY. 1925. 41x26 inches, 104x66 cm. [The Baynard Press, Lond

Lot 109: FREDERICK C. HERRICK (1887-1970). THE OPEN GATE / THAT LEADS FROM WORK TO PLAY. 1925. 41x26 inches, 104x66 cm. [The Baynard Press, Lond

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Description: FREDERICK C. HERRICK (1887-1970) THE OPEN GATE / THAT LEADS FROM WORK TO PLAY. 1925. 41x26 inches, 104x66 cm. [The Baynard Press, London.] Condition B+: minor losses along vertical and horizontal folds; minor restoration at edges. Matted and framed. Almost all of Herrick's posters are marked by an elegant, Art Deco stylization, and indeed, he was the only British artist to participate in the famed 1925 Parisian Exposition Internationales des Arts Decoratifs et Industriels Modernes. In addition to his poster design work he was also in charge of the Baynard Press in London.

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GWYNEDD M. HUDSON (DATES UNKNOWN). THE ZOO. 1926. 40x24 inches, 102x63 cm. John Waddington Ltd., London.

Lot 110: GWYNEDD M. HUDSON (DATES UNKNOWN). THE ZOO. 1926. 40x24 inches, 102x63 cm. John Waddington Ltd., London.

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Description: GWYNEDD M. HUDSON (DATES UNKNOWN) THE ZOO. 1926. 40 1/4x24 3/4 inches, 102x63 cm. John Waddington Ltd., London. Condition B: expertly recreated top inch of image and margin; restoration and overpainting in margins; abrasions in image. Hudson was a British illustrator whose primary works were her illustrations for Alice in Wonderland (1922) and Peter Pan (1931). In 1929 she designed one other poster for the Underground, Spring Beckons You.

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REGINALD HIGGINS (1877-1933). BEST COAST / HOLIDAY COAST / LMS. Circa 1928. 55x40 inches, 141x101 cm. S.C. Allen & Co., London.

Lot 111: REGINALD HIGGINS (1877-1933). BEST COAST / HOLIDAY COAST / LMS. Circa 1928. 55x40 inches, 141x101 cm. S.C. Allen & Co., London.

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Description: REGINALD HIGGINS (1877-1933) BEST COAST / HOLIDAY COAST / LMS. Circa 1928. 55 1/2x40 inches, 141x101 1/2 cm. S.C. Allen & Co., London. Condition B+ / B: creases, abrasions, restored losses and restoration along vertical and horizontal folds and in margins and image; repaired tears and restoration at edges; recreated margins; overpainting in left image. Higgins, who "studied at the St. John's Wood Art School and the Royal Academy Schools . . . was a portrait and decorative painter who designed posters for the LNER" (Railways p. 156). He also designed a few posters for the London Midland and Scotland Railway.

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DESIGNER UNKNOWN. GREAT WESTERN RAILWAY / TORQUAY. 1927. 39x24 inches, 101x63 cm. Philip Reid, London.

Lot 112: DESIGNER UNKNOWN. GREAT WESTERN RAILWAY / TORQUAY. 1927. 39x24 inches, 101x63 cm. Philip Reid, London.

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Description: DESIGNER UNKNOWN GREAT WESTERN RAILWAY / TORQUAY. 1927. 39 3/4x24 3/4 inches, 101x63 cm. Philip Reid, London. Condition B+: expertly restored upper corners; minor restoration in margins. In a manner reminiscent of some of the best French travel posters of the era, in particular the work of Roger Broders, this poster promotes the English Riviera with this view of stylish holiday-makers, the beach of Torre Abbey Sands and the gentle curve of the bay.

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DESIGNER UNKNOWN. GREAT WESTERN RAILWAY / CAMBRIAN COAST. Circa 1925. 39x24 inches, 101x63 cm. Philip Reid, London.

Lot 113: DESIGNER UNKNOWN. GREAT WESTERN RAILWAY / CAMBRIAN COAST. Circa 1925. 39x24 inches, 101x63 cm. Philip Reid, London.

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Description: DESIGNER UNKNOWN GREAT WESTERN RAILWAYS / CAMBRIAN COAST. Circa 1925. 39 3/4x24 3/4 inches, 101x63 cm. Philip Reid, London. Condition A- / B+: restored pin holes in corners; repaired tear through top margin. A map of the grand sweep of the Cambrian Coast, Wales' western shoreline along Cardigan Bay. Vacationers play a round of golf in the foreground and the background gives a sense of the mountains and scenery that stretch right up the coast, with rail lines running to the tip of the Llyn Peninsula.

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FRANK WOOTTON (1914-1998). ISLE OF MAN. Circa 1955. 39x49 inches, 100x126 cm. Haycock Press, London.

Lot 114: FRANK WOOTTON (1914-1998). ISLE OF MAN. Circa 1955. 39x49 inches, 100x126 cm. Haycock Press, London.

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Description: FRANK WOOTTON (1914-1998) ISLE OF MAN. Circa 1955. 39 1/2x49 3/4 inches, 100 1/2x126 1/2 cm. Haycock Press, London. Condition B+: minor restoration and overpainting in margins and image; repaired tears at edges. Although he designed many British travel posters, Wootton is best remembered for his work as an aviation artist. He served as the official war artist to the Royal Air Force during the Second World War.

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EDWARD WESSON (1910-1983). HUNTINGDONSHIRE. Circa 1955. 39x49 inches, 101x126 cm. Waterlow & Sons, London.

Lot 115: EDWARD WESSON (1910-1983). HUNTINGDONSHIRE. Circa 1955. 39x49 inches, 101x126 cm. Waterlow & Sons, London.

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Description: EDWARD WESSON (1910-1983) HUNTINGDONSHIRE. Circa 1955. 39 3/4x49 3/4 inches, 101x126 1/2 cm. Waterlow & Sons, London. Condition A- / B+: restoration in margins and at edges. Watercolorist and member of the Royal Society of Marine Artists and the Royal Society of British Artists, Wesson designed around six posters for travel destinations within Britain.

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FRED TAYLOR (1875-1963). OXFORD. Circa 1951. 39x50 inches, 101x127 cm. Jordison & Co., London.

Lot 116: FRED TAYLOR (1875-1963). OXFORD. Circa 1951. 39x50 inches, 101x127 cm. Jordison & Co., London.

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Description: FRED TAYLOR (1875-1963) OXFORD. Circa 1951. 39 3/4x50 inches, 101x127 cm. Jordison & Co., London. Condition B+: restoration and overpainting in margins and borders. Taylor was a prolific artist who worked extensively for the British Railway companies, London Transport and the Empire Marketing Board. In all, he designed over 100 posters. His versatile style was often very detailed and largely focused on near-photographic rendering of architecture. He designed a similar poster-map for Cambridge, with a detailed, bird's-eye view, including all of the individual college crests.

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PAUL B. MANN (DATES UNKNOWN). HARWICH / HOOK OF HOLLAND. Circa 1955. 40x25 inches, 101x63 cm. Jordison & Co., Middlesbrough.

Lot 117: PAUL B. MANN (DATES UNKNOWN). HARWICH / HOOK OF HOLLAND. Circa 1955. 40x25 inches, 101x63 cm. Jordison & Co., Middlesbrough.

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Description: PAUL B. MANN (DATES UNKNOWN) HARWICH / HOOK OF HOLLAND. Circa 1955. 40x25 inches, 101 1/263 1/2 cm. Jordison & Co., Middlesbrough. Condition A-: minor restoration and creases in margins and corners. Mann, an illustrator and poster designer, specialized in industrial and railway imagery. In 1944, he wrote a book entitled "How to Draw Locomotives," and in 1949, another book, "How to draw Rolling Stock."

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ALAN DURMAN (1905-1963). GOLDEN ARROW / THE ALL - PULLMAN SERVICE TO PARIS. 1960. 39x25 inches, 101x63 cm. Leonard Ripley, London.

Lot 118: ALAN DURMAN (1905-1963). GOLDEN ARROW / THE ALL - PULLMAN SERVICE TO PARIS. 1960. 39x25 inches, 101x63 cm. Leonard Ripley, London.

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Description: ALAN DURMAN (1905-1963) GOLDEN ARROW / THE ALL - PULLMAN SERVICE TO PARIS. 1960. 39 3/4x25 inches, 101x63 1/2 cm. Leonard Ripley, London. Condition A- / B+: unobtrusive horizontal folds; minor restoration in margins. The Golden Arrow was a luxurious British train with Pullman cars linking London with Dover on the trip to Paris. Once ferried to the other side of the Channel, travelers were met by the French Fleche d'Or for the remainder of the journey to the French capital.

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BARBER (DATES UNKNOWN). THE GOLDEN ARROW / PULLMAN SERVICE. Circa 1955. 40x24 inches, 101x63 cm. Jordison & Co., London.

Lot 119: BARBER (DATES UNKNOWN). THE GOLDEN ARROW / PULLMAN SERVICE. Circa 1955. 40x24 inches, 101x63 cm. Jordison & Co., London.

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Description: BARBER (DATES UNKNOWN) THE GOLDEN ARROW / PULLMAN SERVICE. Circa 1955. 40x24 3/4 inches, 101 1/2x63 cm. Jordison & Co., London. Condition A-: creases in image. Here, a Britania class engine, the William Shakespeare, with distinctive golden arrows painted on its side and front, pulls its luxurious Pullman carriages to Dover. From there, passengers would board a ferry to cross the English Channel.

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EYK (DATES UNKNOWN). SEE AMERICA / BY AMERICAN EXPRESS. Circa 1935. 38x23 inches, 98x59 cm. Hill, Sutken, London.

Lot 120: EYK (DATES UNKNOWN). SEE AMERICA / BY AMERICAN EXPRESS. Circa 1935. 38x23 inches, 98x59 cm. Hill, Sutken, London.

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Description: EYK (DATES UNKNOWN) SEE AMERICA / BY AMERICAN EXPRESS. Circa 1935. 38 3/4x23 1/2 inches, 98 1/2x59 1/2 cm. Hill, Sutken, London. Condition B+: expertly restored losses at edges, some affecting image; abrasions in image. An exceptional and rare/span cross-promotion between American Express and the New York Central Lines, which, oddly, was printed in England. We could only locate one other known copy of this poster in the University of Kansas' Spencer Museum of Art.

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C.H.W. (INITIALS UNKNOWN). P.W.A. IN ACTION. Circa 1935. 25x36 inches, 63x91 cm. U.S. Geological Survey.

Lot 121: C.H.W. (INITIALS UNKNOWN). P.W.A. IN ACTION. Circa 1935. 25x36 inches, 63x91 cm. U.S. Geological Survey.

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Description: C.H.W. (INITIALS UNKNOWN) P.W.A. IN ACTION. Circa 1935. 25x36 inches, 63x91 cm. U.S. Geological Survey. Condition B+: expertly replaced left and right margins. "Our relief rolls on to pay rolls / A map showing how the Public Works program is building a greater nation - making jobs for men and factories - how it conserves resources and harnesses rivers - how finer transportation is being created and land saved for better use."

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K.V. (DATES UNKNOWN). A GOOD - NATURED MAP OF THE UNITED STATES / GREYHOUND LINES. 1939. 20x30 inches, 51x77 cm. Reserve Litho & Prt. C

Lot 122: K.V. (DATES UNKNOWN). A GOOD - NATURED MAP OF THE UNITED STATES / GREYHOUND LINES. 1939. 20x30 inches, 51x77 cm. Reserve Litho & Prt. C

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Description: K.V. (DATES UNKNOWN) A GOOD - NATURED MAP OF THE UNITED STATES / GREYHOUND LINES. 1939. 20x30 1/4 inches, 51x77 cm. Reserve Litho & Prt. Co., Cleveland. Condition A- / B+: repaired tears in margins; restoration in lower right corner.

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DESIGNER UNKNOWN. DAILY LINE / PORTLAND & BOSTON STEAMERS. Circa 1890. 21x14 inches, 55x38 cm. Rand Avery Supply Co., Boston.

Lot 123: DESIGNER UNKNOWN. DAILY LINE / PORTLAND & BOSTON STEAMERS. Circa 1890. 21x14 inches, 55x38 cm. Rand Avery Supply Co., Boston.

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Description: DESIGNER UNKNOWN DAILY LINE / PORTLAND & BOSTON STEAMERS. Circa 1890. 21 3/4x14 inches, 55 1/4x38 cm. Rand Avery Supply Co., Boston. Condition B+: minor losses in image; minor staining in margins and image. The Portland was one of the most luxurious ships to ply the Boston-Maine route in the last decade of the 19th century. This night-boat went down with all hands in a major storm in 1898. "The wooden-hulled paddle wheel steamship Portland measured 291 feet in total length with a maximum breadth of 68 feet. Built in 1889 by the New England Shipbuilding Company of Bath, Maine, the steamer was one of New England's largest and most luxurious side paddle wheel steamships, accommodating up to 800 passengers. For nearly 10 years Portland connected Boston, Massachusetts and Portland, Maine for the Portland Steam Packet Company (later renamed the Portland Steamship Company) . . . [the] Portland carried thousands of passengers and tons of cargo along the New England coast and earned the reputation as a safe and dependable steamer." (http://stellwagen.noaa.gov/maritime/portland.html)

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A.T. SEARS (DATES UNKNOWN). ROCK ISLAND ROUTE CHICAGO / ROCK ISLAND & PACIFIC R'Y. Circa 1880. 22x13 inches, 56x35 cm. Cameron, Amberg

Lot 124: A.T. SEARS (DATES UNKNOWN). ROCK ISLAND ROUTE CHICAGO / ROCK ISLAND & PACIFIC R'Y. Circa 1880. 22x13 inches, 56x35 cm. Cameron, Amberg

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Description: A.T. SEARS (DATES UNKNOWN) ROCK ISLAND ROUTE CHICAGO / ROCK ISLAND & PACIFIC R'Y. Circa 1880. 22x13 3/4 inches, 56x35 cm. Cameron, Amberg & Co., Chicago. Condition B+ / B: discoloration in margins, affecting text at bottom right; restoration in image. An early poster for the Chicago, Rock Island and Pacific Railway, which had an extensive network throughout the American Midwest, providing service to or through Nebraska, Iowa, Missouri, Kansas, Tennessee, Colorado, Minnesota and more. The company began in 1847, and acquired other railway lines, changing its name several times until a reorganization in 1880, when it officially became the Chicago, Rock Island and Pacific Railway. The railway ultimately went into receivership and was liquidated in 1980. A cornerstone of the railroad's legacy is the American folk song that bears its name.

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MAURICE LOGAN (1886-1977). CARRISO GORGE / SOUTHERN PACIFIC. 1929. 23x16 inches, 58x40 cm.

Lot 125: MAURICE LOGAN (1886-1977). CARRISO GORGE / SOUTHERN PACIFIC. 1929. 23x16 inches, 58x40 cm.

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Description: MAURICE LOGAN (1886-1977) CARRISO GORGE / SOUTHERN PACIFIC. 1929. 23x16 inches, 58 1/2x40 1/2 cm. Condition A- / B+: minor tears at edges; creases and abrasions in margins and image; light foxing in margins. Printed on thick paper. In 1917, Logan and five other California painters joined together to form the "Society of Six," a group of artists whose work was categorized first and foremost by bold colors. "Considered outsiders in their time, their work is now recognized as part of the vital and enduring lineage of American art." As early as 1923, Maurice Logan was designing posters for the Southern Pacific Railway, but in the late 1920s, the Railway began to reproduce his popular paintings. Zega p. 64.

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MAURICE LOGAN (1886-1977). THE ALAMO / SOUTHERN PACIFIC. 1929. 23x16 inches, 58x40 cm.

Lot 126: MAURICE LOGAN (1886-1977). THE ALAMO / SOUTHERN PACIFIC. 1929. 23x16 inches, 58x40 cm.

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Description: MAURICE LOGAN (1886-1977) THE ALAMO / SOUTHERN PACIFIC. 1929. 23x16 inches, 58 1/2x40 1/2 cm. Condition B+: creases and abrasions in margins and image; discoloration at edges. Printed on thick paper. Logan himself declared that "posters should give broad impressions rather than details, and yet the picture should depict the scene unmistakably" (Zega p. 61).

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M. GUNDLACH (DATES UNKNOWN). SOUTHERN CALIFORNIA / GO VIA - UNION PACIFIC SYSTEM. Circa 1920. 42x28 inches, 108x71 cm.

Lot 127: M. GUNDLACH (DATES UNKNOWN). SOUTHERN CALIFORNIA / GO VIA - UNION PACIFIC SYSTEM. Circa 1920. 42x28 inches, 108x71 cm.

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Description: M. GUNDLACH (DATES UNKNOWN) SOUTHERN CALIFORNIA / GO VIA - UNION PACIFIC SYSTEM. Circa 1920. 42 1/2x28 inches, 108x71 cm. Condition B: repaired tears, restoration, creases and overpainting in image; overpainting and restoration in margins. A rare/span, early poster for travel to California. We could only locate one other copy in the Wisconsin Historical Society. The bucolic landscape depicts the mountains, rolling hills, fields, and foliage of Southern California, complete with golf players and a distant mission. The railroad's logo that appears on this poster was only used between 1914 and 1932.

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SAM HYDE HARRIS (1889-1977). SOUTHERN PACIFIC'S NEW DAYLIGHT. 1937. 23x16 inches, 58x40 cm.

Lot 128: SAM HYDE HARRIS (1889-1977). SOUTHERN PACIFIC'S NEW DAYLIGHT. 1937. 23x16 inches, 58x40 cm.

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Description: SAM HYDE HARRIS (1889-1977) SOUTHERN PACIFIC'S NEW DAYLIGHT. 1937. 23x16 inches, 58x40 cm. Condition A- / B+ minor creases and abrasions in image. Paper. In the 1930s, "streamlined trains were among the most striking, visible and accessible examples of Modernism" in America (Zega p. 104). "The streamliner was perfectly suited to the poster medium; its smooth airflow profile offered the prospect of a respite from America's stylistic preoccupation with realism" (ibid). This scarce/span poster is an excellent example of American modernist design. Zega 141, Harris p. 103.

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SAM HYDE HARRIS (1889-1977). ONLY SOUTHERN PACIFIC TRAINS SHOW YOU THE COAST LINE. Tempera on board. Circa 1937. 27x39 inches, 70x100 c

Lot 129: SAM HYDE HARRIS (1889-1977). ONLY SOUTHERN PACIFIC TRAINS SHOW YOU THE COAST LINE. Tempera on board. Circa 1937. 27x39 inches, 70x100 c

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Description: SAM HYDE HARRIS (1889-1977) ONLY SOUTHERN PACIFIC TRAINS SHOW YOU THE COAST LINE. Tempera on board. Circa 1937. 27 1/2x39 1/2 inches, 70x100 1/4 cm. Condition B+: chipping and flaking in image. Framed. Harris was born in England and moved to Los Angeles when he was 15. His career began as a commercial artist, painting notices on sides of buildings, creating signs and billboards, designing posters and typography and more. In 1920, he was hired by the Atchison, Topeka, and Santa Fe Railway Company to design posters. He also worked for the Southern Pacific. "The major portion of the advertising appeared in brochures, magazines and newspapers, but local advertisements were in the form of billboards and hand-painted posters that appeared in department stores, banks, displays in windows and bulletin boards in ticket offices and lobbies" (Harris p. 18). The Coast Daylight began service in 1937, running up and down the California coast, making the trip between San Francisco and Los Angeles. Train #99, depicted here, made the northbound route and train #98 returned southbound. The elegant and streamlined cars were pulled by the sleek GS-2 engines, all marked by their red and orange Daylight colors. Harris is best remembered as a Southern Californian plein air painter, but his bright, bold advertising work for the railroads was an important part of the American commercial landscape in the 1930s and 40s. Harris p. 104. Provenance: from the family of the artist through the California State Railroad Museum.

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DESIGNER UNKNOWN. SAN FRANCISCO WORLD'S FAIR ON TREASURE ISLAND / SOUTHERN PACIFIC. 1939. 23x16 inches, 58x40 cm.

Lot 130: DESIGNER UNKNOWN. SAN FRANCISCO WORLD'S FAIR ON TREASURE ISLAND / SOUTHERN PACIFIC. 1939. 23x16 inches, 58x40 cm.

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Description: DESIGNER UNKNOWN SAN FRANCISCO WORLD'S FAIR ON TREASURE ISLAND / SOUTHERN PACIFIC. 1939. 23x16 inches, 58x40 cm. Condition B+: minor tears at edges; creases in corners. Paper. We could only locate one other copy of this poster (with different text) located in the collection of the Wolfsonian Museum in Miami, Florida. Their text variation reads, "Four Scenic Routes to San Francisco / Go one way, return another * See twice as much."

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DESIGNER UNKNOWN. SOUTHERN PACIFIC'S FOUR SCENIC ROUTES MEET AT / SAN FRANCISCO. Circa 1940. 23x16 inches, 58x40 cm.

Lot 131: DESIGNER UNKNOWN. SOUTHERN PACIFIC'S FOUR SCENIC ROUTES MEET AT / SAN FRANCISCO. Circa 1940. 23x16 inches, 58x40 cm.

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Description: DESIGNER UNKNOWN SOUTHERN PACIFIC'S FOUR SCENIC ROUTES MEET AT / SAN FRANCISCO. Circa 1940. 23x16 inches, 58x40 cm. Condition A. Paper.

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HOWARD KOSLOW (1924- ). SAN FRANCISCO. 1964. 37x25 inches, 96x64 cm. Penn Prints, New York.

Lot 132: HOWARD KOSLOW (1924- ). SAN FRANCISCO. 1964. 37x25 inches, 96x64 cm. Penn Prints, New York.

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Description: HOWARD KOSLOW (1924- ) SAN FRANCISCO. 1964. 37 3/4x25 1/4 inches, 96x64 cm. Penn Prints, New York. Condition B+: repaired tears, restoration and overpainting in margins and image. Hand-signed by the artist in pen. Howard Koslow is a painter and a stamp designer who has painted on commission for NASA, the United States Air Force, the Coast Guard and the National Park Service. He is a member of the Society of American Historical Artists, and also designed travel posters in the 1960s.

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WILLIAM HAINES HALL (1903-1977). CROSSING GREAT SALT LAKE / ON SOUTHERN PACIFIC. 1940. 23x16 inches, 59x40 cm.

Lot 133: WILLIAM HAINES HALL (1903-1977). CROSSING GREAT SALT LAKE / ON SOUTHERN PACIFIC. 1940. 23x16 inches, 59x40 cm.

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Description: WILLIAM HAINES HALL (1903-1977) CROSSING GREAT SALT LAKE / ON SOUTHERN PACIFIC. 1940. 23 1/4x16 inches, 59x40 1/2 cm. Condition A. Zega 142.

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STANLEY BROWER (DATES UNKOWN). SEE TWICE AS MUCH OF THE UNITED STATES / ON SOUTHERN PACIFIC'S 4 SCENIC ROUTES. 1938. 23x15 inches, 58x

Lot 134: STANLEY BROWER (DATES UNKOWN). SEE TWICE AS MUCH OF THE UNITED STATES / ON SOUTHERN PACIFIC'S 4 SCENIC ROUTES. 1938. 23x15 inches, 58x

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Description: STANLEY BROWER (DATES UNKOWN) SEE TWICE AS MUCH OF THE UNITED STATES / ON SOUTHERN PACIFIC'S 4 SCENIC ROUTES. 1938. 23x15 3/4 inches, 58 1/2x40 cm. Condition A. One in a series of posters promoting Southern Pacific's new streamlined trains. Here, the Daylight is blazing its way out of a map of the United States superimposed over a star-spangled emblem that looks like a railroad spike. In the mid-1930s, Southern Pacific's advertising manager, F. Q. Treadway, chose to illustrate "bold speed-styled profiles" on the company's posters. Zega p. 109.

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WILLARD R. CAR (DATES UNKNOWN). CARLSBAD CAVERNS / SOUTHERN PACIFIC. Circa 1940. 23x16 inches, 58x40 cm.

Lot 135: WILLARD R. CAR (DATES UNKNOWN). CARLSBAD CAVERNS / SOUTHERN PACIFIC. Circa 1940. 23x16 inches, 58x40 cm.

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Description: WILLARD R. CAR (DATES UNKNOWN) CARLSBAD CAVERNS / SOUTHERN PACIFIC. Circa 1940. 23x16 inches, 58 1/2x40 1/2 cm. Condition A: minor crease through lower left corner. In 1940, the geologically stupendous Carlsbad Caverns became part of Southern Pacific's advertising as a great day trip on the journey west to see San Francisco's World's Fair. Travelers could disembark in El Paso and then travel by "big, stream-lined, air-conditioned motor coach" to see the caverns, and be back in El Paso by the evening to continue their westward journey. The railroad used this same image in newspaper ads (see Pittsburgh Post Gazette, May 29, 1940).

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Lot 136: "S" (INITIAL UNKNOWN). SPECIAL EXCURSION TO OLD MEXICO / SOUTHERN PACIFIC / MEXICAN CENTRAL / SANTA FE. Circa 1930. 32x16 inches, 82x42

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Description: "S" (INITIAL UNKNOWN) SPECIAL EXCURSION TO OLD MEXICO / SOUTHERN PACIFIC / MEXICAN CENTRAL / SANTA FE. Circa 1930. 32 1/4x16 3/4 inches, 82x42 1/2 cm. Condition B+ / B: restoration and restored losses along vertical fold; repaired tears and restoration in corners and at edges. Both the Santa Fe and Southern Pacific Railroads had access to Mexican rail through a hub in El Paso--making the Mexican Central an extension of the U.S. rail companies.

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BERN HILL (1911-1977). LOUISVILLE & NASHVILLE - THE OLD RELIABLE. Circa 1950s. 23x18 inches,60x46 cm.

Lot 137: BERN HILL (1911-1977). LOUISVILLE & NASHVILLE - THE OLD RELIABLE. Circa 1950s. 23x18 inches,60x46 cm.

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Description: BERN HILL (1911-1977) LOUISVILLE & NASHVILLE - THE OLD RELIABLE. Circa 1950s. 23 3/4x18 inches,60 1/2x46 cm. Condition B / B+: expert overpainting in image; restoration in margins and corners. Bern Hill was a graphic designer and painter. He "worked for the Kudner Agency, a New York City advertising firm. At the end of 1949, General Motors' Electro-Motive Division embarked on a rather radical advertising campaign which included vertical format streamline style paintings for the covers of Railway Age [Magazine]" (Vintage Rails, January / February 1998, p. 64). Between 1950 and 1956 Hill painted 65 paintings. "Electro-Motive also produced a series of very high-grade posters of Hill's paintings that were overwritten by the marketing theme for that particular railroad . . . it is unknown if all 65 paintings were turned into posters . . . Hill's assignment was to portray the 'feel' of each railroad in a scene that often captured the landscape of the individual road and gave the viewer the sense of that road's missions -- freight, passenger or switching" (Railroad Heritage, No. 6, 2002, p. 10).

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BERN HILL (1911-1977). SMOOTH GOING / CHICAGO AND NORTHWESTERN SYSTEM. Circa 1950s. 22x17 inches, 56x43 cm.

Lot 138: BERN HILL (1911-1977). SMOOTH GOING / CHICAGO AND NORTHWESTERN SYSTEM. Circa 1950s. 22x17 inches, 56x43 cm.

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Description: BERN HILL (1911-1977) SMOOTH GOING / CHICAGO AND NORTHWESTERN SYSTEM. Circa 1950s. 22x17 inches, 56x43 cm. Condition A: minor wrinkles at edges. Paper.

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BERN HILL (1911-1977). SERVING TWO GULF PORTS - MOBILE AND NEW ORLEANS. Circa 1950s. 23x18 inches, 60x46 cm.

Lot 139: BERN HILL (1911-1977). SERVING TWO GULF PORTS - MOBILE AND NEW ORLEANS. Circa 1950s. 23x18 inches, 60x46 cm.

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Description: BERN HILL (1911-1977) SERVING TWO GULF PORTS - MOBILE AND NEW ORLEANS. Circa 1950s. 23 3/4x18 inches, 60 1/2x46 cm. Condition B: expert, extensive overpainting in image; restoration in margins and corners. Through his work for General Motors Hill, "single-handedly managed to represent almost every railroad of the day" (Vintage Rails, January / February, 1998, p. 75).

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BERN HILL (1911-1977). STREAMLINED FOR FREIGHT. Circa 1950s. 24x18 inches, 61x46 cm.

Lot 140: BERN HILL (1911-1977). STREAMLINED FOR FREIGHT. Circa 1950s. 24x18 inches, 61x46 cm.

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Description: BERN HILL (1911-1977) STREAMLINED FOR FREIGHT. Circa 1950s. 24x18 1/4 inches, 61x46 1/2 cm. Condition B+: restoration and overpainting in corners and image.

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BERN HILL (1911-1977). KATY STATION SAN ANTONIO, TEXAS. Circa 1950s. 24x18 inches, 61x46 cm.

Lot 141: BERN HILL (1911-1977). KATY STATION SAN ANTONIO, TEXAS. Circa 1950s. 24x18 inches, 61x46 cm.

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Description: BERN HILL (1911-1977) KATY STATION SAN ANTONIO, TEXAS. Circa 1950s. 24x18 1/4 inches, 61x46 1/2 cm. Condition B+: restoration and overpainting in corners and image; repaired tears in image. "The beauty of Hill's locomotive paintings are found in the way he captures the essence of each railroad. The 1950s represented a period in railroad history that found America with an abundance of regional rail lines, all featuring distinctive paint schemes. Often railroads operated only in a small geographical location and were unknown in some parts of the country" (Railroad Heritage, No. 6, 2002, p. 10).

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BERN HILL (1911-1977). AT THE CROSSROADS OF AMERICA. Circa 1950s. 23x18 inches, 60x46 cm.

Lot 142: BERN HILL (1911-1977). AT THE CROSSROADS OF AMERICA. Circa 1950s. 23x18 inches, 60x46 cm.

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Description: BERN HILL (1911-1977) AT THE CROSSROADS OF AMERICA. Circa 1950s. 23 3/4x18 1/4 inches, 60 1/2x46 1/2 cm. Condition B+ / B: restored loss in lower right corner; restoration and overpainting in corners and in image. It is clear from looking at his images that Hill had an incomparable sense of graphic design and layout. His angles, perspectives and use of color lend themselves perfectly to poster design.

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EDWARD M. EGGLESTON (1883-1941). ATLANTIC CITY / PENNSYLVANIA RAILROAD. Circa 1935. 40x25 inches, 102x63 cm. O. Co., Clifton, N.J.

Lot 143: EDWARD M. EGGLESTON (1883-1941). ATLANTIC CITY / PENNSYLVANIA RAILROAD. Circa 1935. 40x25 inches, 102x63 cm. O. Co., Clifton, N.J.

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Description: EDWARD M. EGGLESTON (1883-1941) ATLANTIC CITY / PENNSYLVANIA RAILROAD. Circa 1935. 40 1/4x25 inches, 102 1/2x63 1/2 cm. O. Co., Clifton, N.J. Condition B+ / B: repaired tears, restoration and overpainting in margins and corners, some affecting image and text. One in a series of posters Eggleston created for the Pennsylvania Railroad, all of which feature beautiful, elegant women. Here, accompanied by a well-dressed suitor (the only man to appear in his posters), the woman is looking out over the hustle and bustle of the famous Atlantic City boardwalk, with the ocean and the Steel Pier in the distance. Eggleston was a commercial artist and illustrator, whose fashionable women graced the covers of magazines and also showed up in advertising for products such as car upholstery, lotion, corsets, laces and more. He is perhaps best remembered for his pin-up style calendar images. Eggleston p. 24.

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EDWARD M. EGGLESTON (1883-1941). ATLANTIC CITY / PENNSYLVANIA RAILROAD. Circa 1935. 40x25 inches, 102x63 cm. O. Co., Clifton, N.J.

Lot 144: EDWARD M. EGGLESTON (1883-1941). ATLANTIC CITY / PENNSYLVANIA RAILROAD. Circa 1935. 40x25 inches, 102x63 cm. O. Co., Clifton, N.J.

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Description: EDWARD M. EGGLESTON (1883-1941) ATLANTIC CITY / PENNSYLVANIA RAILROAD. Circa 1935. 40 1/4x25 inches, 102 1/2x63 1/2 cm. O. Co., Clifton, N.J. Condition A-: minor tears and creases at edges and in corners. Paper. Three of Eggleston's posters for the Pennsylvania Railroad promote travel to Atlantic City. The other two advertise the New Jersey seaside city as America's "All Year Resort." Eggleston p. 24.

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EDWARD M. EGGLESTON (1883-1941). ATLANTIC CITY / PENNSYLVANIA RAILROAD. Circa 1935. 40x25 inches, 102x63 cm. O. Co., Clifton, N.J.

Lot 145: EDWARD M. EGGLESTON (1883-1941). ATLANTIC CITY / PENNSYLVANIA RAILROAD. Circa 1935. 40x25 inches, 102x63 cm. O. Co., Clifton, N.J.

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Description: EDWARD M. EGGLESTON (1883-1941) ATLANTIC CITY / PENNSYLVANIA RAILROAD. Circa 1935. 40 1/4x25 inches, 102 1/2x63 1/2 cm. O. Co., Clifton, N.J. Condition B+: restoration along repaired tears in right and bottom margins; restored loss in upper right corner; creases and abrasions in margins and image. Here, the busy beach, bustling boardwalk and grand architecture of the hotels are all on display, albeit eclipsed by a striking bathing beauty. Eggleston p. 24.

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EDWARD M. EGGLESTON (1883-1941). WASHINGTON / THE CITY BEAUTIFUL. Circa 1935. 40x25 inches, 102x63 cm.

Lot 146: EDWARD M. EGGLESTON (1883-1941). WASHINGTON / THE CITY BEAUTIFUL. Circa 1935. 40x25 inches, 102x63 cm.

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Description: EDWARD M. EGGLESTON (1883-1941) WASHINGTON / THE CITY BEAUTIFUL. Circa 1935. 40 1/4x25 inches, 102 1/2x63 1/2 cm. Condition B+ / B: repaired tears and restoration in margins and corners; minor discoloration in image. Disembarking from a train, this stylish woman can't help looking up and smiling at the sights of America's capital. A "City Beautiful" indeed, especially when pictured in a montage of images which places the White House, Supreme Court and Capitol all in the same view. While this is one of the more demure women depicted by Eggleston, his attention to architectural detail remains as sharp as ever. Eggleston p. 24.

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SASCHA MAURER (1897-1961). WASHINGTON / PENNSYLVANIA RAILROAD. Circa 1940. 40x25 inches, 103x63 cm.

Lot 147: SASCHA MAURER (1897-1961). WASHINGTON / PENNSYLVANIA RAILROAD. Circa 1940. 40x25 inches, 103x63 cm.

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Description: SASCHA MAURER (1897-1961) WASHINGTON / PENNSYLVANIA RAILROAD. Circa 1940. 40 3/4x25 inches, 103 1/2x63 1/2 cm. Condition A-: minor restoration in margins; minor abrasions in image. Maurer worked for several of the most prominent Eastern American Railroad companies. Throughout his career, he made posters for the New York Central Line, The Pennsylvania Railroad and the New Haven Railroad. Maurer was "proud of the wartime poster Washington, which framed the capitol dome with a single Doric column, his metaphor for the solidity of Democracy" (Zega p. 114). rare/span

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DESIGNER UNKNOWN. GO BY TRAIN / FLORIDA / PENNSYLVANIA RAILROAD. Circa 1941. 40x25 inches, 102x64 cm.

Lot 148: DESIGNER UNKNOWN. GO BY TRAIN / FLORIDA / PENNSYLVANIA RAILROAD. Circa 1941. 40x25 inches, 102x64 cm.

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Description: DESIGNER UNKNOWN GO BY TRAIN / FLORIDA / PENNSYLVANIA RAILROAD. Circa 1941. 40 1/4x25 1/4 inches, 102x64 cm. Condition B+ / B: expertly restored loss in upper left corner; restoration and repaired tears at edges; abrasions in image. Silkscreen.

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DESIGNER UNKNOWN. WHATEVER THE WEATHER / PENNSYLVANIA RAILROAD. Circa 1941. 40x25 inches, 102x64 cm.

Lot 149: DESIGNER UNKNOWN. WHATEVER THE WEATHER / PENNSYLVANIA RAILROAD. Circa 1941. 40x25 inches, 102x64 cm.

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Description: DESIGNER UNKNOWN WHATEVER THE WEATHER / PENNSYLVANIA RAILROAD. Circa 1941. 40 1/4x25 1/4 inches, 102x64 cm. Condition B+: repaired tears and restoration at edges; abrasions in image. In 1936, Raymond Loewy designed a streamlined cover for the Pennsylvania Railroad's K4 locomotive, giving the engine a modern "torpedo" look. In 1939, Loewy designed the S1, the largest locomotive ever built (known as "The Big Engine"). Too large to actually negotiate many of the turns on the Pennsylvania Railroad's network, the engine was primarily used for publicity (such as at the New York World's Fair in 1939), as well as in brochures, calendars and posters such as this one. The red cars being pulled behind the engine are part of the PRR's "Fleet of Modernism," (Raymond Loewy-designed rolling stock / passenger cars.) This image also appeared in magazine advertisements for the railroad.

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DESIGNER UNKNOWN. PENNSYLVANIA RAILROAD'S GREAT / ALL WEATHER FLEET GOES THROUGH! Circa 1942. 40x25 inches, 102x63 cm.

Lot 150: DESIGNER UNKNOWN. PENNSYLVANIA RAILROAD'S GREAT / ALL WEATHER FLEET GOES THROUGH! Circa 1942. 40x25 inches, 102x63 cm.

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Description: DESIGNER UNKNOWN PENNSYLVANIA RAILROAD'S GREAT / ALL WEATHER FLEET GOES THROUGH! Circa 1942. 40 1/4x25 inches, 102x63 1/2 cm. Condition A-: minor restoration in corners and image. The S1 operated between 1939 and 1945. Her enormous size restricted her to primarily working the Ohio to Chicago route. This image also appeared in magazine advertisements for the railroad.

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