Car POSTERS Emmanuel Lopez
Contents
6
Preface
8
Introduction
10
1891-1899: The Forerunners
20
1900-1919: The Belle Époque
50
1920-1945: The Golden Age
96
Races and Competitions
142 International Car Shows 158 The Accessory Trades 194 Colonial Expeditions by Car 198 Selected Poster Designers
Page 2: Peugeot Leonetto Cappiello, 1925 Imprimerie Devambez, Paris 118.9 x 160.2 cm Emmanuel Lopez Collection Opposite: Shell for anti-knock Yunge, 1930 114.2 x 76.2 cm Collection G. Marci, Brussels
Contents
6
Preface
8
Introduction
10
1891-1899: The Forerunners
20
1900-1919: The Belle Époque
50
1920-1945: The Golden Age
96
Races and Competitions
142 International Car Shows 158 The Accessory Trades 194 Colonial Expeditions by Car 198 Selected Poster Designers
Page 2: Peugeot Leonetto Cappiello, 1925 Imprimerie Devambez, Paris 118.9 x 160.2 cm Emmanuel Lopez Collection Opposite: Shell for anti-knock Yunge, 1930 114.2 x 76.2 cm Collection G. Marci, Brussels
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Your choice, a Super-Sport BNC GĂŠo Ham, 1920 Atelier Publietout, Paris 75.7 x 113 cm
Studebaker This is the new car! Leonetto Cappiello, 1925 Devambez, Paris 115 x 156.2 cm
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Your choice, a Super-Sport BNC GĂŠo Ham, 1920 Atelier Publietout, Paris 75.7 x 113 cm
Studebaker This is the new car! Leonetto Cappiello, 1925 Devambez, Paris 115 x 156.2 cm
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Milan circuit Parco Reale at Monza Grand Prix of the Automobile Club d’Italia Aldo Mazza, 1922 G. Ricordi, Milano 99.1 x 139.4 cm
An 8 h.p. Citroën of the ‘Little Rosalie’ series covered 300,000 km in 134 days Pierre Loüys, 1925 Imprimerie Bedos, Paris 116.2 x 158 cm Emmanuel Lopez Collection
Following spread: Forstenrieder Park races, Bavarian Car Club, Munich Julius Engelhard, 1925 Oscar Consee, Munich 118 x 89.5 cm
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Milan circuit Parco Reale at Monza Grand Prix of the Automobile Club d’Italia Aldo Mazza, 1922 G. Ricordi, Milano 99.1 x 139.4 cm
An 8 h.p. Citroën of the ‘Little Rosalie’ series covered 300,000 km in 134 days Pierre Loüys, 1925 Imprimerie Bedos, Paris 116.2 x 158 cm Emmanuel Lopez Collection
Following spread: Forstenrieder Park races, Bavarian Car Club, Munich Julius Engelhard, 1925 Oscar Consee, Munich 118 x 89.5 cm
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Bern Grand Prix Carlo Demende, 1954 Laupen Bern 88.5 x 127 cm Emmanuel Lopez Collection
Porsche, International Grand Prix of Venezuela, Caracas Photo Weltman-Kapitzki, 1958 60 x 84 cm Collection G. Marci, Brussels and Emmanuel Lopez Collection
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Bern Grand Prix Carlo Demende, 1954 Laupen Bern 88.5 x 127 cm Emmanuel Lopez Collection
Porsche, International Grand Prix of Venezuela, Caracas Photo Weltman-Kapitzki, 1958 60 x 84 cm Collection G. Marci, Brussels and Emmanuel Lopez Collection
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Porsche Daytona 24-Hour Race 1968 Zuffenhorsen Allemagne 86 x 118 cm Emmanuel Lopez Collection
Porsche, 24 Hours of Daytona, USA 1971 Strenger Imp. Germany 76.5 x 101.5 cm Emmanuel Lopez Collection
McQueen Drives Porsche 1970 KG Stuttgart Zufferhausen Imprimerie Porsche 77 x 101.5 cm Emmanuel Lopez Collection
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Porsche Daytona 24-Hour Race 1968 Zuffenhorsen Allemagne 86 x 118 cm Emmanuel Lopez Collection
Porsche, 24 Hours of Daytona, USA 1971 Strenger Imp. Germany 76.5 x 101.5 cm Emmanuel Lopez Collection
McQueen Drives Porsche 1970 KG Stuttgart Zufferhausen Imprimerie Porsche 77 x 101.5 cm Emmanuel Lopez Collection
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‘Damn, an Amplor!’ Car horns for gentlemen Jean Routier, 1910 Affiches Gaillard, Paris-Amiens 118 x 159 cm Emmanuel Lopez Collection
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Shell, oil for motors Lunnon, 1925 76.2 x 114.2 cm
neither paved nor metalled. Contemporary posters show the various ingenious solutions rival firms came up with, many of them short-lived. Likewise, headlights, a quintessential accessory for drivers’ security that opened the way to night-time driving, were the subject of intense competition between manufacturers, and that rivalry is reflected in their posters. Firstly, manufacturers came up with wick lamps fuelled by acetylene gas, with a large curved glass lens fixed in front of a deflector that allowed the wick to shine and project its light forwards. A number of firms took part in the adventure, notably the famous aircraft constructor Blériot. Other companies such as Marchal or Cibié devoted their efforts entirely to developing headlights. Most of them participated in major competitions, where their headlights gave constructors a competitive advantage, such as the Le Mans Twenty-four Hours, which takes place partly at night and, by the same token, provides an important showcase for accessories. Pierre Marchal used his posters to communicate the idea of his headlights as cat’s eyes. After a number of false starts, petrol soon became the predominant form of fuel for all cars. Thus began the rivalry between oil companies, some better known than others, such as Motricine, Shell, Mobil, Caltex, Esso… Conflict in the world of oil – still current today, as we know – led to changes in the source of supply of crude oil and caused fluctuations in prices, meaning constructors had to outdo each with their ingenuity in order to stay ahead of their rivals; to this end they turned once again to their talented illustrators. Another derivative of crude oil – engine oil – was equally important to the smooth functioning and maintenance of motor vehicles. It offered another platform for illustrators to display their talent. Veedol, Castrol, Yacco, Energol, Shell, Renault and Mobiloil thus undertook aggressive marketing which gave rise to some splendid posters – sometimes offbeat, but always inventive. Motor competitions also contributed to the success of these accessory manufacturers. Among all the illustrations created for them, some attained a rare quality and have gone down in history, such as those produced by Cassandre for Boyriven, the brake manufacturer; Gentilhomme, maker of car horns; or Triplex, who made windscreens. Similarly, the Stop Fire poster advertising the first in-car fire extinguishers bears the signature of a great poster artist, Loupot. The spark plug maker Oléo chose the image of a ‘Negro’, as the contemporary expression had it, which would remain their main advertising image for many years.
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‘Damn, an Amplor!’ Car horns for gentlemen Jean Routier, 1910 Affiches Gaillard, Paris-Amiens 118 x 159 cm Emmanuel Lopez Collection
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Shell, oil for motors Lunnon, 1925 76.2 x 114.2 cm
neither paved nor metalled. Contemporary posters show the various ingenious solutions rival firms came up with, many of them short-lived. Likewise, headlights, a quintessential accessory for drivers’ security that opened the way to night-time driving, were the subject of intense competition between manufacturers, and that rivalry is reflected in their posters. Firstly, manufacturers came up with wick lamps fuelled by acetylene gas, with a large curved glass lens fixed in front of a deflector that allowed the wick to shine and project its light forwards. A number of firms took part in the adventure, notably the famous aircraft constructor Blériot. Other companies such as Marchal or Cibié devoted their efforts entirely to developing headlights. Most of them participated in major competitions, where their headlights gave constructors a competitive advantage, such as the Le Mans Twenty-four Hours, which takes place partly at night and, by the same token, provides an important showcase for accessories. Pierre Marchal used his posters to communicate the idea of his headlights as cat’s eyes. After a number of false starts, petrol soon became the predominant form of fuel for all cars. Thus began the rivalry between oil companies, some better known than others, such as Motricine, Shell, Mobil, Caltex, Esso… Conflict in the world of oil – still current today, as we know – led to changes in the source of supply of crude oil and caused fluctuations in prices, meaning constructors had to outdo each with their ingenuity in order to stay ahead of their rivals; to this end they turned once again to their talented illustrators. Another derivative of crude oil – engine oil – was equally important to the smooth functioning and maintenance of motor vehicles. It offered another platform for illustrators to display their talent. Veedol, Castrol, Yacco, Energol, Shell, Renault and Mobiloil thus undertook aggressive marketing which gave rise to some splendid posters – sometimes offbeat, but always inventive. Motor competitions also contributed to the success of these accessory manufacturers. Among all the illustrations created for them, some attained a rare quality and have gone down in history, such as those produced by Cassandre for Boyriven, the brake manufacturer; Gentilhomme, maker of car horns; or Triplex, who made windscreens. Similarly, the Stop Fire poster advertising the first in-car fire extinguishers bears the signature of a great poster artist, Loupot. The spark plug maker Oléo chose the image of a ‘Negro’, as the contemporary expression had it, which would remain their main advertising image for many years.
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Texaco Motor Oil, double the driving pleasure! R. van Doren, 1936 Imprimerie J. Goussens, Brussels 116 x 158 cm Collection G. Marci, Brussels
Caltex, change of season AndrĂŠ Linglet, 1950 Imprimerie Marci, Brussels 119 x 80 cm Collection G. Marci, Brussels
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Texaco Motor Oil, double the driving pleasure! R. van Doren, 1936 Imprimerie J. Goussens, Brussels 116 x 158 cm Collection G. Marci, Brussels
Caltex, change of season AndrĂŠ Linglet, 1950 Imprimerie Marci, Brussels 119 x 80 cm Collection G. Marci, Brussels
ISBN: 978-1-85149-759-1
£25.00/$49.50