DA25002 Guild of Railway Artists (1985) V01 200725

 Purchase from a charity shop in Lyme Regis and intend to PDF on Etsy.

Here’s a glimpse of The Great Western Collection—a striking volume showcasing paintings by members of the Guild of Railway Artists, accompanied by Brian Hollingsworth’s historical commentary.

Who Is Brian Hollingsworth, M.A.?

• Full name: John Brian Hollingsworth (listed as J. B. Hollingsworth, b. 1923) .

• Though specific biographical details on his education (like confirmation of an M.A.) are scarce, his body of published work reflects deep expertise in railway history and locomotive engineering.

The Great Western Collection (1985)

• Role: Hollingsworth serves as the author of the “Explanation”—a well-informed historical overview of the Great Western Railway (GWR, 1835–1985), spanning from its inception to contemporary context. .

• Content: This large-format book (approximately 160 pages) contains around 60 full-color artworks by Guild members, visually tracing the evolution of the GWR over 150 years. .

• Publication details: Originally published by Blandford Press in Poole (1985), with limited deluxe editions (e.g., numbered copies within 500) and later reprints such as from New Orchard Editions in 1989 and Orion Publishing Group in 1988. .

Hollingsworth’s Broader Works

Brian Hollingsworth has authored or co-authored several notable railway-related titles:

• The Great Book of Trains (1987)

• Illustrated Directory of Trains of the World (2000)

• The Pleasures of Railways (1983)

• Ffestiniog Adventure (1981)

• Illustrated Encyclopaedia of the World’s Modern Locomotives (with Arthur Cook, 1984)

• Railways of the World (1986)

• Atlas of the World’s Railways (1980)

• The Illustrated Encyclopaedia of North American Locomotives (1987)

…and more, including thematic works on steam locomotives and model railways .

Overall, his publishing history displays a consistent focus on railway systems, locomotive types, historical narratives, and technical directories.

Summary: Who Is Brian Hollingsworth?

Aspect Details

Name John Brian Hollingsworth (J. B. Hollingsworth)

Known For Writing historical and pictorial narratives on railways

Notable Work The Great Western Collection—artistic and historical tribute to GWR

Other Publications Numerous railway encyclopedias, atlases, and histories

Let me know if you’d like details on any of his other publications or further insights into the artworks featured in The Great Western Collection!

DA25001 Forgotten Folk Singer - Bonnie Dobson V01 140725

 The lost lady of folk loved by Robert Plant

Bonnie Dobson was in the same folk scene as Bob Dylan in the Sixties before she disappeared. Now, at 84, she’s back with a new album. 

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By Will Hodgkinson

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In the 1960s

Next image ›

In 2002 I did an interview with Robert Plant in which he enthused about a folk song of apocalyptic warning called Morning Dew. The ballad, Plant said, was written by the American songwriter Tim Rose, but the best version was by a Canadian habitué of the early Sixties Greenwich Village folk scene called Bonnie Dobson.

I was sure Plant was wrong and that the mysterious Dobson was in fact the writer of Morning Dew — one of the most haunting songs of the Cold War era, since covered by the Grateful Dead, the Allman Brothers and Plant himself. But it was hard to prove because Dobson was the ultimate lost lady of folk. She made a handful of great albums in the Sixties and Seventies, including 1970s classic Good Morning Rain, before disappearing.

Still, I did my best to set Plant straight.

“So it was you,” says Bonnie Dobson, a remarkably youthful 84-year-old in tasselled mukluk boots, from her books, paintings and photographslined living room in Primrose Hill, north London. It turns out that Dobson has been in Primrose Hill since 1969, living alone after her architect husband, Andrew, died in 2014. “In 2013 Robert Plant asked me to sing Morning Dew at a tribute to Bert Jansch, so he was giving it back to me. Tim Rose stole my song.”

It had never occurred to Dobson to copyright Morning Dew. In 1964 she was told to publish it because her fellow folk singer Fred Neil wanted to record a version, but by then Rose had already claimed it as his own.

“He also claimed to write Hey Joe, so he was a serial song stealer. It got annoying, having to explain to everyone that I wrote it. I never met the guy, and then in 1998 he was playing the Half Moon in Putney.

After he did Morning Dew to huge applause, I shouted, ‘How about giving credit to the person who wrote it?’”

Rose, thinking on his feet, invited Dobson on stage with him. “And I shouted, ‘I wouldn’t get up on stage with you if it was the last thing I do!’”

Morning Dew was the first song Dobson wrote, aged 19. In 1961, after playing the Ash Grove club in Los Angeles, she got into a gloomy conversation with friends about the impending likelihood of nuclear Armageddon. Everyone present had seen On the Beach, the 1959 film about the aftermath of nuclear war. “This was before the Cuban missile crisis but everyone was scared. I was staying at a friend’s house, so I sat up one evening and wrote the song.”

That was 65 years ago. Now Dobson has made an album of plangent, keening country rock and folky blues with the Hanging Stars, a much younger five-piece she met through an acoustic scene centred around the Betsey Trotwood pub in Clerkenwell in London. It marks a long-awaited second act in a career that could have been as glittering as that of Joan Baez or Joni Mitchell.

Morning Dew was not Dobson’s only great song. Good Morning Rain is a gem of sweet melancholy; Winter’s Going is a tale of murderous revenge by a scorned lover, and it sounds like an ancient folk ballad. A contemporary of Bob Dylan and Pete Seeger, Dobson was described in the 1962 Philadelphia Folk Festival programme as “Canada’s gift to the United States”. Then she disappeared. What happened? “I fell in love,” Dobson says on why she came to England in 1969, never to return to North America. “It was one of those whirlwind transatlantic romances, which I don’t advise, but then I had two kids and there’s no way you can be off on the road. I decided to finish that degree I never completed back in Toronto instead.”

Dobson took a politics, philosophy and history degree at Birkbeck College in London, where her professor asked if she would stand in as a philosophy administrator after the last one walked out. “I had never done a job in my life!

But I knew how to file, I knew the people on the course, and by the time I left in 2007 I was running the faculty of arts and organising conferences.”

Dobson’s first return to the stage came that year, when Jarvis Cocker curated the Meltdown festival at Southbank Centre and convinced her to come out of retirement.

“That was quite a concert,” she says. “My kids had never seen me on stage, my colleagues were there, and I was terrified, but it was great. Who doesn’t love Jarvis?”

She was among an idealistic, early Sixties generation for whom folk song was a means of political engagement. Schooled in the music of Paul Robeson and the Weavers thanks to her left-leaning parents, she was 20 when in 1961 she made her debut at Gerde’s Folk City, New York’s epicentre of serious folk.

“Before then I had never sung professionally. From 13 I used to go to summer camps in Quebec where everyone was singing folk songs, and one evening a friend I was babysitting for took me to meet a man called Paul Endicott. He was managing [the country blues duo] Sonny Terry and Brownie McGhee, and I thought, ‘Well, this will be a nice thing to do before I go back to university.’ That was it.”

Dobson found herself at the heart of the low-rent, communal, bohemian New York world depicted — although not accurately, she says — in the Dylan biopic A Complete Unknown.

She was friends with Gil Turner, an activist and folk singer who gave Dylan a roof over his head after he arrived in Greenwich Village in 1961.

“I knew Dylan when he was funny,” Dobson says. “I read his biography and he never mentioned any of the people who helped him. Gil and his wife, Lori, fed and housed Dylan, and every time I visited them he would be in the back room, typing away. But it was an extraordinary time, very collegiate.

I remember these guys called Tom and Jerry turning up, who everyone thought were really good. They became Simon and Garfunkel.”

It was also a time when Dobson was riding high. For her residency at Gerde’s Folk City she was paid $125 a week, a lot of money in 1961. But the Greenwich Village scene was shortlived.

“In the mid-Sixties Andy Warhol moved in,” Dobson says, sticking a finger down her throat.

“That’s when the drugs moved in too.

Then people realised how much money Dylan got for his advance; [the politically minded folkie] Phil Ochs never recovered. And once we saw the Beatles on The Ed Sullivan Show we knew it was a new era.”

Dobson’s career continued to thrive, particularly in Canada. But after a tumultuous childhood due to her mother’s alcoholism, she craved the certainties of family and settled down in London. She finally returned to the studio in 2014, after a tiny label called Hornbeam released her first album in decades.

“We were about to go on tour for that album, but then my husband, Andrew, got sick and we had to cancel the whole thing,” Dobson says. “It was a heartbreak in every respect. And after Andrew died I wasn’t doing anything.” Has she played since? “Gigs have been few and far between.

Now this album has come along.”

Dreams, Dobson’s new album with the Hanging Stars, is a delight. There’s a tale of a woman left lonely called Baby’s Got the Blues, which she wrote after Andrew died. There are memories of Canada in the title track, tales of one-night stands and general reflections of a life well lived, albeit one touched by tragedy. Dobson’s son died by suicide in 2011.

“It should never have happened,” she says. “He was depressed, he was getting help and he was given two prescriptions that should never have been taken. He was gorgeous.

“After my son died a friend told me, ‘You’re on the tightrope now. Don’t look down.’ So I wrote [the] song [Don’t Look Down] about him, and life goes on. I have a motto: when in doubt, make jam.”

With that, Bonnie Dobson, the great lost lady of folk, gives me a jar of her homemade jam.

Dreams by Bonnie Dobson and the Hanging Stars is out on Loose

DA24001 Ray Evans - Sketching V01 150824

Anybody that has followed my blogging on artists and art knows that I have a particular liking for anyone that can sketch. It is an amazing human skill to be able to view any scene or object and instantly sketch it out on a piece of paper. Here is a book dedicated to teaching you how to sketch written and drawn by Ray Evans. (1920 -2008).

Use the link below to view “A Pocket Guide to Sketching” by Ray Evans (1986).

https://drive.google.com/file/d/17lqiy0x4o9q9NoGfK7tnVtfEJO_MkGuk/view?usp=sharing

Significantly not only does Ray Evans sketch examples of objects and scenes he also sketches out all the pens, brushes and paints he advises you to use. It was a lovely A6 size pocket book (10.5 cm by 14.8 cm) until I guillotined off the binding so I could put it through my sheet feed book scanner to create the above PDF. Enjoy. Banno

  

Newbridge, Ebbw Vale  1979

Biography - Ray Evans (1920–2008)

The National Library of Wales

Painter, illustrator, writer and teacher, born in Hale, Cheshire. He studied at Instituto di Belle Arti, Florence, 1945–6; Manchester College of Art, 1946–8; and Heatherley’s School of Fine Art, 1948–50, under Iain Macnab, termed “a great influence”. Evans worked for six months with the advertising agents Colman, Prentis & Varley, 1950–1, then as a freelance. Among various teaching appointments was Southampton College of Art, 1956–66. Did commissioned work for major companies such as British Petroleum, Eagle Star, banks and government. Many solo exhibitions included Thackeray, Furneaux and Canaletto Galleries; Winchester city art gallery; and Ashbarn Gallery in Petersfield. RA and RI, of which he was a member, RBA and RWA were among group show appearances.

Shared a three-man exhibition at The Wykeham Gallery, Stockbridge, 2002, another at The Albany Gallery, Cardiff, in 2003. Among Evans’ books were Travelling with a Sketchbook, 1980, and How to be a Successful Illustrator, 1993. National Library of Wales in Aberystwyth, Southampton Education Authority and Winchester gallery hold his work. Lived in Salisbury, Wiltshire.

Text source: 'Artists in Britain Since 1945' by David Buckman (Art Dictionaries Ltd, part of Sansom & Company) 

 

 

 

 Small Print

The Author Copyright of  “A Pocket Guide to Sketching “ is acknowledged as being owned Ray Evans (1920-2008) heirs or dependants or who so ever it willed to by Ray Evans. Whilst the Publishers Copyright, now lapsed, was owned by William Collins Sons & Co Limited. To seek approval of both the Author and Publisher the publisher was emailed but no response has been received as of August 2024.   

DMB Publishing the Digital Publisher of this digitised copy operates on a strictly non for profit basis, whilst it is shared here strictly under a Creative Commons 4.0 Licence defined by CC BY-NC-SA 4.0 Deed. The copyright owners are acknowledged and if there is any objection to this digitised copy being shared the content will be immediately removed from the internet. The sole objective of its publication on the internet is to raise public awareness of this publication whilst ensuring its retention for posterity so future generations can have access to its content.

Afterword.

Strangely enough a copy of this book in a PDF format appears to be freely shared by www.scribd.com see below.

 

 

  

  

DA23005 Terry Harrison - Watercolour

I always enjoy looking through the printed Christmas Cards we receive through the post each year. There is always one that stirs my emotions when I look at the image printed on the front of the card. In my case the ones that appeal to me are usually watercolour paintings of some local scene. For some reason these are often seaside resorts. There must be embedded in my consciousness some memory stored imagery that when it matches up with the image on the Christmas Card fires my emotions. Maybe its whilst on holiday I am enjoying myself so much that images are more deeply recorded into the memory banks. Anyway. This year (2023) it was a watercolour called Harbourside by Terry Harrison.

So I did my usual Google search and sadly found that Terry Harrison (1951 – 2017) was deceased. But his legacy was being upheld by wife Fiona Peart who is also a watercolour artist with her painting just as appealing to me. Terry was obviously a very industrious artist both in his paintings sold through his own Fine Art Publishing Company but also in the ideas he marketed in terms of jigsaw puzzles, paint brushes and paints. My interest in art extends into how artists now make a living by making use of the internet based technologies. Many artists are now able to support themselves working at home or in a small studio by using the internet. To me this is the opportunity for artists themselves to win back ownership from the large corporate world that has for too long controlled these sales channels to the public.

So take a look at Terry Harrison and Fiona Peart on their respective websites with links below. Fiona like me also blogs on Blogspot (Google owned) so I have included her link as well.

www.terryharrisonart.com

www.fionapeart.com

https://fionapeart.blogspot.com

 

DA23004 Emma Appels-Riley – Watercolour

I met Emma briefly at her stall selling her artwork on the Shaldon Village Green, near Teignmouth, on Wednesday 23rd August 2023 at an Arts and Crafts Fair. Without a doubt the best artwork representing  my favoured genre that I had seen whilst exploring the local art galleries of Dawlish, Shaldon and Teignmouth. Her work is displayed at Gallery 8, 43 Teign Street, Teignmouth, Devon TQ14 8EA.

She describes her own work below :-

“Vibrant water colours of local scenes. I love painting buildings and all their quirky details with a large measure of artistic licence. Boat scenes are a favourite of mine. Watercolour is a real passion of mine and trying to capture the light is always my aim.”

She explained she did her painting in a loft area within her home. She admitted she did not focus enough on her web presence like many artists preferring to be painting rather than being at a screen marketing her creations. Having looked at her website I was surprised to see it covered her artwork undertaken in South Africa and the style was identical to my favourite Urban Sketcher Pete Scully with my post below linking to his work and digital activities :- 

https://adigitalartist.blogspot.com/2023/03/da23001-pete-scully-urban-sketcher.html

 But Emma's site below showed none of her latest work in Devon so she certainly needs to update her web presence urgently.

https://emmacarl.wixsite.com/emmaappelsriley/about-emma

Now for my usual rant about the state of art in the UK. So once again I reiterate my own concern about the modern art movement and the way it is being funded through the Government bureaucrats incorrectly controlling the funding to large Galleries and Museums. This being undertaken with poor taste and thereby failing to appreciate the importance of artistic education, skills and dedication. Looking at many of the modern art galleries so called modern art requires so little talent or effort. Modern artists have replaced the craft and long hours of practice with an odd desire to often become focussed on shock value or minimalistic or cartoon or abstract like representations rather than true art. This fashion in modern art to place artists like Damien Hirst and Tracey Ermin as being iconic artists of our era on a pedestal whilst ignoring the dedication of the true artists spending hours enhancing their techniques. With efforts focussed upon trying to convince the public that if you cannot see the hidden meanings behind these so called works of art you are in some way intellectually inferior. Whilst this trash sells for millions whilst work created by the dedicated true artists not making hundreds. What has gone so wrong with the art market ? How have we educated through Government and sadly the Media the public to place value on items that fail to represent the artistic skills that we should be acknowledging in our fellow human beings. Modern Art has become a odd interpretation of fashion rather than than something with long lasting pedigree. Is it recoverable? It is only recoverable through education where the next generations are taught to appreciate human creativity, skill and persistence.

In my case I believe that if the artists with these skills could embrace more the use of digital technology they have an opportunity to recover the situation through direct contact with the public. In parallel to this the efforts being made by Local Councils to develop in tourist locations a renaissance of local artists leading to a rediscovery of classical art and culture provides a counter movement to Government failure to lead on any sort of arts initiative. Read my  https://adigitalartist.blogspot.com/2023/04/da23002-cork-ireland-visual-centre-of.html to appreciate what the Irish Arts Council achieved in 1995-1997. The Government of the United Kingdom should consider such an initiative.   

To me it remains a necessity to view artwork ideally in its original state very closely to see the detail brush or pencil strokes of the artist. Unfortunately whilst such work on pure landscapes has become less popular the movements in respect of the inclusion of trains, boats and planes for the enthusiasts of these modes of transport has become inclusive of excellent landscapes. These have become excellent specialist artwork marketplaces commanding their justly deserved high prices paid by enthusiasts. So the inclusion of steam trains in any Teignmouth or Dawlish artwork immediately creates access to a new marketplace. Whilst in the Teignmouth and Shaldon areas the inclusion of boats exploits another transport focussed element and its associated marketplace. Build in vintage cars, buses and lorries to further exploit the nostalgic dimension.

So as the post was about Emma’s watercolours  I have included the one I purchased as a Limited Edition below subject to her Copyright so you get see the style of her latest work although the visual intensity of the colours is lost in this digital copy.

 

                   The Ship Inn & Back Beach, Teignmouth . 162/250 . Copyright : Emma Appels-Riley      

DA23003 Poster Art - American

One genre of visual arts that always appeals to me is Poster Art. In the United Kingdom I particularly like Railway Poster Art whilst in America all types of poster art appeals to me in particular the way they advertise their seaside destinations. This blog post will look at American Poster Art whilst a later post will look at UK Railway Poster Art. Let us look at some of the history of American Poster Art.

Please note the Copyright of the narrative “American Poster Art History” below belongs to :-

ENCYCLOPEDIA OF ART 

© visual-arts-cork.com. All rights reserved. 

American Poster Art History

The 20^th Century would be dominated by American commercial illustration, not least because of its powerful publishing and printing industry. The introduction of four-colour letterpress printing technology made possible the faithful reproduction of a full colour painting. Henceforth illustrators could have their drawings and paintings reproduced exactly as created. Soon, publications like Harper's Weekly, McClure's, Scribner's, and The Century began to attract America's best painters as freelance illustrators. New publications appeared, including the Saturday Evening Post, Collier's Weekly, American Magazine, McCall's, Peterson's, Woman's Home Companion, Metropolitan, Outing, The Delineator, All-Story Magazine, Vogue and others, leading to a huge increase in opportunities for illustrative artists, although this did not prevent the use of labour-saving devices like cameras, Balopticans and pantographs. Young talented illustrators at this time included Stanley Arthurs, Harvey Dunn, Edward Hopper, Frank Schoonover and N.C. Wyeth, along with outstanding women-artists like Elizabeth Shippen Green, Violet Oakley, Jessie Willcox Smith, Sarah S. Stillwell and Ellen Thompson. 

World War I led to increased demand for posters and billboards, as well as pictures of the fighting. Eight leading illustrators, including W. J. Aylward, Walter Jack Duncan, Harvey Dunn, Wallace Morgan, Ernest Peixotto, and Harry Townsend, were sent to the Western Front to produce paintings and drawings (now in the Smithsonian Institute) to inform the public and also stimulate more support for the war effort. See also James Montgomery Flagg's famous 1917 army recruiting poster depicting Uncle Sam pointing directly at the viewer. (Famous American World War II propaganda posters include Rosie the Riveterby Norman Rockwell.) 

The 1920s post war boom in America led to even greater demand for commercial images, advertising graphics, and literary pictures to accompany magazine serializations of novels by the likes of F.Scott Fitzgerald, and Ernest Hemingway. Literary illustrators such as Walter Biggs, Charles Chambers, Dean Cornwell, James Montgomery Flagg, became celebrities in the process. Meanwhile Norman Rockwell (1894-1978), whose niche was the cover of the Saturday Evening Post, was fast becoming a household name in American art, with his nostalgic, sentimental pictures of a bygone era. In the 1920s new periodicals emerged, including The New Yorker, Vanity Fair, Smart Set and College Humor, all of which recruited new artists to illustrate their contents. 

In contrast, the 1930s was a bleak era of depression and recession. Many illustrators were laid off and publications closed (two exceptions being Fortune magazine, launched in 1930, and Esquire magazine, launched 1933), while photography began to replace hand-drawn imagery. The only bright spot was the increased demand for paintings and drawings to illustrate pulp novels, a genre which attracted newcomer illustrators like Walter Baumhofer, Emery Clarke, John Clymer, John Falter, Robert G. Harris, Tom Lovell, and Amos Sewell, as well as established illustrators like Robert Graef, John Newton Howitt, George Rozen, and Herbert Morton Stoops. 

The 1940s offered new illustrative possibilities. During the war, these included advertising imagery for military products, and magazine illustrations aimed at home front wives and girlfriends of servicemen on active duty overseas. After the war, there was a surge in demand for advertising graphics, point of sale imagery, and magazine illustrations. The post war baby boom also led to increased demand for illustrated books for children. Leading American illustrators of the time included John Gannam, John Falter, Robert Fawcett and Haddon Sundblom. 

The 1950s proved to be a pivotal decade for American illustrators. It began well, with strong demand across the board, notably in advertising and marketing. Unfortunately, the advent of television led to a major decline in magazine advertising, and a consequent reduction in illustrated pages. More photography was employed to introduce greater realism in publishing, and this too led to a drop in demand for illustrative works. Brighter colours and bolder themes failed to arrest the decline, as many magazines went bankrupt. As it was, the 1960s witnessed a mini-resurgence of the medium, with a new demand for music album covers, music posters, and comic book art. (The music poster movement expanded into marketing and merchandizing with free album-posters, as well as promotional concert posters. Demand for this type of fine art echoed the earlier demand for vintage posters during the late 19th century.) In addition, the growing popularity of paperback novels (Penguin Books, Pocket Books, Bantam Books) created a fierce market for attractive front-cover art. Practitioners of this precise form of poster-like literary illustration included James Avati, James Bama, and Stanley Meltzoff. The late 1950s also saw the emergence of famous artists like Andy Warhol (1928-87), and Roy Lichtenstein (1923-97), who cut their teeth on commercial graphic design - including cartoon imagery and screen-printing techniques - before becoming major figures in the 1960s Pop art market. Warhol for instance studied painting and design at the Carnegie Institute of Technology, Pittsburgh (1945-49), before producing illustrations for shoe advertisements, album cover designs, and also literay illustrations for Truman Capote's writings. For more, see Andy Warhol's Pop Art of the sixties and seventies. 

During the 1970s and 1980s, the US commercial art market fragmented into a large number of more specialized segments, including: animation and movies, video games, music, book illustration, fashion drawing, "Sword and Sorcery" paperback books, newspaper comic strips, political cartoons and others. It was the last decade in which illustration remained largely unaffected by the Computer Revolution. 

By contrast, illustration in the 1990s was changed for ever by the universal adoption of computer systems and computerised methods of image-creation, editing, replication and communication. The art of illustration became the technique of image processing, as more and more commercial artists produced professional pictures without any traditional art training, or without any ability in drawing. More and more professional illustrators were replaced by novices proficient in graphics software programs like Adobe Illustrator, Photoshop, and CorelDRAW, as well as Wacom tablets and Kai's Power Tools. At the same time, however, this type of digital art has been combined with more traditional methods. Fusion illustration, for instance, is a mixed form of fine art and commercial art involving illustration, graphic design, typography, and photography. Moreover, the widespread popularity of the science-fiction and fantasy genres (books, games, posters, products) has created an entirely new genre requiring both fine art and digital skills. 

 

Types & Styles of Illustration  Here is a short list of selected styles of illustrative art, featuring some of the main types of magazine, book and post illustrations of the 20th century. Listed thematically, rather than chronologically, it is not intended to be exhaustive, and for reasons of space, certain categories (eg. comics and music imagery) have been left out altogether.  Children's Illustrations    Beatrix Potter  The Tale of Peter Rabbit (1902)   The Tale of Squirrel Nutkin (1903)   The Tale of Two Bad Mice (1904)   The Tale of Mrs. Tiggy-Winkle (1905)   The Tale of Mr. Jeremy Fisher (1906)   The Tale of Jemima Puddle-Duck (1908)  Arthur Rackham  Fairy Tales of the Brothers Grimm (1900)  Peter Pan in Kensington Gardens (1906)   Alice's Adventures in Wonderland (1907)  The Welsh Giant, The Allies Fairy Book (1916)  Edmund Dulac  I've hardly closed my eyes all night, Hans Christian Andersen Fables (1912)  Barry Moser  Brer Fox & Brer Coon - Jump Again! More Adventures of Brer Rabbit (1987)    Arts and Crafts    Aubrey Beardsley  The Stomach Dance from Salome (1907)  John Austen  Illustration from Byron's Don Juan (1926)    Art Nouveau    Jules Cheret  Advertisement for La Loie Fuller (1893)  Felix Vallotton  Le Bain (1894)  Theophile Steinien  Advertisememt for the Cabaret du Chat Noir (1896)  Alfonse Mucha  Advertisement for Waverly Cycles (1898)  Henri de Toulouse-Lautrec  Yvette Guilbert    Object Poster    Lucien Bernhard  Advertisement for Manoli Cigarettes (1910)  Max Oppenheimer  Exhibition poster for Moderne Galerie (1911)  Robert Hardmeyer  Advertisement for Waschanstalt Zurich AG (1915)    Expressionism    Thomas Theodor Heine  Cover Illustration for Simplicissimus (1897)  Alfred Kubin  The Ghost at the Ball, The Dance of Death (1918)  Kathe Kollwitz  Die Lebenden dem Toten (1919)  Richard Janthur  Illustration for Robinson Crusoe (1922)  Feliks Topolski  Nuremberg Trial, Topolski's Chronicle (1946)  Antoinio Frasconi  The Fox & the Grapes (La Fontaine's Fabels) 1950    Art Deco    Fortunato Depero  Cover Illustration for Vanity Fair (July 1930)  A.M. Cassandre  Advertisement for Au Bucheron Furniture Store (1927)  Rockwell Kent  Memoirs of Jacques Casanova (1928)  Marcello Dudovich  Advertisement for Borsalino (1930)  Jean Carlu  Cover Illustration for Vanity Fair (July 1931)    Romanticism    Maxfield Parrish  Stars (1926)  Franklin Booth  Advertisement for Butterick Publishers (1926)  Herbert Paus  Cover Illustration for Popular Science (1929)    Surrealism    Rene Magritte  La Reproduction Interdite (1937)  Herbert Bayer  Life Hangs on a String (1937)    Realism    J.C. Leyendecker  Cover Illustration for Collier's Magazine (June 24, 1916)  Norman Rockwell  Time to Retire (1924)  Advertisement for Interwoven Socks (1929)  After the Prom (1957)  Howard Pyle  Howard Pyle's Book of Pirates (1925)  Al Parker  Cover Illustration for Journal (July 1945)  Roy Carnon   Advertisement for Reed Paper Group (1953)  Malcolm T. Liepke  Brochure for Bender Fabrics (1984)    Gothic    Theodor Kittelsen  The Dying Mountain Troll, Simplicissimus Vol.II No.31 (1887)  Heinrich Kley  Betriebsftvrung, Sammelalbum (1938)  Brad Holland  Illustration for Confessions of a Short-Artist, Personlich (1997)    Psychedelic    C.H. Johansen  Poster for Visions (1967)  Victor Moscoso  Poster for Big Brother & the Holding Co (1967)  Alan Aldridge  Illustration for Aldridge's Interview with The Beatles and Sgt Pepper (1967)  Ganesh, Print for House of Blues' Ganesh Festival (1995)    Neo Expressionism    Andre Francois  Illustration for Punch (1960)  Ralph Steadman  Illustration for the New York Times Op-Ed (1962)  Tomi Ungerer  Black Power/White Power (1967)  Jay Beildt  Amerika is Devouring its Children (1970) (after Goya)  Robert Osborn  War (1985)  Bascove  Tales of Apartheid, The Progressive (1985)  Heinz Edelman  Trained Sausage, Seville Catalog (1989)  Marshall Arisman   Silence of the Lambs (1990)  Edward Sorel  Crush Hour, Cover Illustration for The New Yorker (Jan 31, 1994)    Neo Realism    David Mccaulay  Illustration from Cathedral: The Story of Its Construction (1973)  Paul Davis  Three Penny Opera, Poster for the New York Public Theater (1976)  Anita Kunz  Linda Rondstadt, Rolling Stone Magazine (1981)  Julian Allen  Freud, The New York Times Book Review (1998)    Neo Surrealism    Roland Topor  Illustration from Toxology (1970)  Dean Rohrer  Monica Lisa, Cover Illustration for The New Yorker (Feb 8, 1999)  Edward Lam  Clintonmania, The New York Times Book Review (1999)   Guy Billout  Canyon, The Atlantic Monthly (January 2000)  Istvan Banyai  Election Debates Are Missing the Purpose.... George Magazine (2002)  Viktor Koen  Reinventing Physics, The New York Times Book Review (June 2005)    Punk    Bruce Carleton  Mutant Monster Beach Party - Cover Illustration for Punk (1978)  Scott Neary  Illustration for Rolling Stone (1980)    Postmodernist Illustrations    Ron Lieberman  Album Cover for Cathy Chamberlain's Rag n Roll Review (1977)  Paul Reott  Blind Date, The Blue Book (1983)  John Flaming, Steven Guarnaccia  Advertisement for the Dallas Society of Visual Communicatons (1990)  Henrik Drescher  Rakasa, The Gruesome Guide to World Monsters (2005)    Digital Illustration    Cyan  Poster for the 15th Anniversary of Friends of Good Music, Berlin (1998)  eBoy  Temperature Building, The New York Times Magazine (2005)  Henning Wagengreth  Istanbul (2006)    Caricatures    Jean Mulatier  Leonid Brezhnev, Cover Illustration for Stern Magazine (1972)  David Levine  Liza Minelli (1972)  Gerald Scarfe  The Queen, Scarfeland (1989)  Robert Risko  J. Edgar Hoover, Vanity Fair (1992)  Philip Burke  Dick Cheney, Vanity Fair (1995).

 

Note: To use the above table contents effectively “copy and paste” the Artist Name and the Painting Description directly into Google search and it will bring up the details available on the internet. This will normally include the images and supporting narrative.

End of narrative by © visual-arts-cork.com. All rights reserved.

 

 

David Bannister Postscript

As you can appreciate from the above narrative on American Posters this is a huge subject with the many sub-genre within the poster movement. What you like will be your personal preference. With Google you will be able to further research your own preferences remembering to use Google Images to locate posters.

Below I have listed some of the resources I like to use to look at and purchase poster prints.

Fine Art America is the world’s largest art marketplace and print-on-demand technology company founded in 2006. You will not find all artists on their site since artists may not have licensed the reproduction of their work to them. For example you will not find anything by Edward Hopper. But impressively over one hundred and fifty Norman Rockwell painting are displayed and copies can be purchased.

http://www.fineartamerica.com

I have to admit this is a personal choice of mine with these not vintage posters but recently painted ones that capture the atmosphere of American beach towns. It brings back for me my holidays in America.

http://www.beachtownposters.com

This is a really unusual site that sells original metal signs. It is a site offering everything and it is super to browse through the range on offer. Smaller signs can be purchased that are very low priced.

http://www.originalmetalsigns.co.uk