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A. M. CASSANDRE (ADOLPHE MOURON, 1901-1968) ETOILE DU NORD. 1927. 41x29 inches. Hachard, Paris.
A. M. CASSANDRE (ADOLPHE MOURON, 1901-1968) ETOILE DU NORD. 1927.
41 1/4x29 1/2 inches. Hachard, Paris.
Condition B+: restoration, restored losses and overpainting in margins and corners, affecting text; minor restoration around creases in image.
L'Etoile du Nord (The North Star) was an absolute revolution in advertising when it first appeared in 1927. Although advertising a Pullman train, it was startling to have a travel poster that depicted no landscape, no destination, and no train. The pure and powerful image is a tribute to the dramatic use of perspective, with the train, represented allegorically by the astral object, dancing on the horizon where many rails converge in the distance. To keep the image as clean and unobstructed as possible, Cassandre corrals the typography at the very bottom of the image and then organizes it in a neat and structured way, like a frame. Here he also develops one of his signature design elements: viewing an object from a low angle to make it seem larger than life and more impressive, a technique he perfected in his 1935 poster for the Normandie. Mouron / Cassandre pl. 11, Weill / Cassandre pl. 11, Suntory 48, p. 72, Reina Sophia p. 161.
All items are offered for sale subject to Swann Galleries' standard terms and conditions of sale, which are published in our catalogues and are posted below.
41 1/4x29 1/2 inches. Hachard, Paris.
Condition B+: restoration, restored losses and overpainting in margins and corners, affecting text; minor restoration around creases in image.
L'Etoile du Nord (The North Star) was an absolute revolution in advertising when it first appeared in 1927. Although advertising a Pullman train, it was startling to have a travel poster that depicted no landscape, no destination, and no train. The pure and powerful image is a tribute to the dramatic use of perspective, with the train, represented allegorically by the astral object, dancing on the horizon where many rails converge in the distance. To keep the image as clean and unobstructed as possible, Cassandre corrals the typography at the very bottom of the image and then organizes it in a neat and structured way, like a frame. Here he also develops one of his signature design elements: viewing an object from a low angle to make it seem larger than life and more impressive, a technique he perfected in his 1935 poster for the Normandie. Mouron / Cassandre pl. 11, Weill / Cassandre pl. 11, Suntory 48, p. 72, Reina Sophia p. 161.
All items are offered for sale subject to Swann Galleries' standard terms and conditions of sale, which are published in our catalogues and are posted below.
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