Drawing of the Day: Loose Talk Can Cost Lives, 1942

Poster
Falter, 1942
The Victoria & Albert Museum

American and British servicemen faced a common problem during the Second World War—“good time girls.” These vixens in their seductive sweaters with their flowing hair, red fingernails, painted lips and flashy baubles were thought to be on the prowl to snare innocent men and shake them down for military secrets.

To be sure, there were a variety of female spies who did, in fact, seduce servicemen into sharing confidential information. However, most of these girls were more interested in making some money than they were in selling intelligence to the Nazis. Nevertheless, men were warned to keep their mouths closed and not get trapped by these “good time girls.” Many a propaganda poster warned against them. Here’s one.

This one was printed in America and depicts such a temptress. She’s the picture of seduction, in fact. She’s even taller and stronger than the soldier who has fallen into her embrace. She’s got him and she aims to corrupt him, and, then go straight to Hitler with whom she’ll laugh while tossing her blonde curls over her broad shoulders.

The poster warns is “Sailor beware.” Still, we can’t be quite sure if he’s pushing her away or returning her so-called “affection.”

The point was…this could be you. Well, not me. But, maybe one of the rest of you. An inscription in black on pale blue at the bottom states: “Loose Talk Can Cost Lives.” Well, we can’t argue that. 

The poster was designed in 1942 by John Falter (1910-1982) for the British and American Ambulance Corps.

Antique Image of the Day: The Devil's Forge, 1903

Poster for "The Devil's Forge"
London, 1903
The Victoria & Albert Museum

This handsome poster depicts the famed dancer Edie Slack in the role of the Sixteenth-Century sword maker Karl, from the second scene of the ballet “The Devil's Forge.”  The moment shows  Karl thrusting his sword into the fire and the stream in a mystic cave to make it invincible. Theis well-received ballet was first performed at London's Alhambra Theatre, Leicester Square, in January of 1903.

An exceptional color lithograph, this poster shows Edie Slack as an auburn-haired female warrior brandishing a rapier in her right hand, her left hand on her hip.  Her fiery hair is accentuated by the flames leaping from the bottom left-hand corner of the poster.  The name of the theatre “ALHAMBRA” is in the top left-hand corner in white upper-case lettering, and the name of the production “THE DEVIL'S FORGE” is shown in white upper-case lettering at the bottom right corner.

This was printed for the opening of the ballet in 1903 by Weiner's Ltd.Punch Magazine (also known as The London Charivari) of 21 January 1903 mentioned the show:

AN EVENING FROM HOME. 

AT the Alhambra the plot of the new ballet, The Devil's Forge, will remind veteran opera-goers of Der Freischiitz, and the younger generation of Siegfried. But the scene in the cavern of the mountain witch, where the three army corps of flame, frost and water fairies are manoeuvred with the utmost precision and great kaleidoscopic splendour, owes nothing to WEBER or WAGNER. Miss EDIE SLACK, as that dashing young blade, Karl, excellent in a Romeo costume; Mile. AI.MA MARI, as the Mountain Fairy, gives an excellent imitation of an animated pair of compasses. Music by Mr. GEORGE BYXI;, of the sumptuous and sonorous type. For the rest one can take trips to Fez or the Moon, per Bioscope, or watch the NOLSET Troupe noisey in nature as in name perform their astonishing feat of 'Circling the Circ.' Squaring the circle is nothing to the achievement of this amazing quartet of cyclists, who climb into a large skeleton bottomless bucket, so to speak, and then proceed, all four of them, to race, full tilt round the inner sides to the bucket, which is gradually hoisted up twenty feet into the air.

Print of the Day: Force, the Wheat Malt Cereal, 1903

Force Cereal Advertisement
1903
The Victoria & Albert Museum

This advertising poster from 1903 was printed in America for a British cereal concern. “Force” Cereal was one of the first to introduce a brand mascot. The character was known as “Sunny Jim.” He was created by Minnie Maud Hanff and Dorothy Ficken who worked for the Edwardian advertising agency of Earnest Elmo Calkins. Sunny Jim appeared on many a large billboard in the 1900s and quickly became a popular pop culture figure who, by the 1930s, was one of the most recognizable characters in Britain as well as in the U.S.

Print of the Day: Mr. Punch at Madame Tussaud's, 1999

Poster by Denis Piper, 1999
The Victoria & Albert Museum

I don’t usually write about recent objects, but this one was too perfect for today that I couldn’t resist. Well, obviously, we can see that it’s a poster letting us know that Punch and Judy would be appearing at Madame Tussaud’s in London for Christmas. They actually look quite pleased to be doing so.

The advert for this special Christmas appearance was designed by Denis Piper.

Antique Image of the Day: Women - There's work to be done and a war to be won... Now!, 1944

Propaganda Poster
Vernon Grant, 1944
The Victoria & Albert Museum

World War II was, by no means, fun. Not for anyone. But, makers of propaganda posters tried their best to make the situation seem as surmountable and endurable as possible. While the women left at the home front during the First World War were just as involved, a concerted movement was made during the second war to make women’s war work seem light and enjoyable. Posters were created in a cartoonish style which presented this grueling labor during a tragic time as something light-hearted.

This 1944 poster, for example, is the work of Vernon Grant, a celebrated children’s artist who is also well known as the creator of the original characters of “Snap, Crackle and Pop,” for Kellogg’s Cereal.

Here, Grant depicts eleven women working at various jobs to aid the war effort. The message of the poster becomes its visual centerpiece as the women seem to be working to create red block letters that spell out “WOMEN.” The message in reinforced with the text: “There’s work to be done and a war to be won...Now!"

Print of the Day: Don't Distract Your Mates, 1942

"Don't Distract Your Mates"
Royal Society for the Prevention of Accidents
Ministry of Labour, 1942
The Victoria & Albert Museum

Made in 1942, during the Second World War, this poster was designed by Bruce Angrave as a bit of instructional propaganda. To be sure, it’s quite grim, but it serves its purpose quite well, acting as a reminder of the serious injury or death that could result from being distracted and not paying attention in the workplace. During this period, with much of Britain’s usual workforce fighting in the war, a good many people with little previous work experience had to take jobs for which they were not trained nor for which they had developed the necessary discipline. Since many of these jobs directly benefited the war effort, posters such as this were created to remind people to be vigilant while working in order to avoid accidents.

Angrave's image depicts a black tree laden with unusual fruit—the fruits of distraction: prosthetic limbs, crutches and a coffin.

The inscription reads: 


These are the fruits of horseplay 
DON'T DISTRACT YOUR MATES

The poster was printed by Loxley Bros. Ltd. for the Royal Society for the Prevention of Accidents, a division of the Ministry of Labour and National Service.

Print of the Day: Southend, Seaside Excursions, 1925

Southend:  Seaside Excursions
Herrick, 1925
The Victoria & Albert Museum

Frederick Charles Herrick (1887-1970) designed this poster in 1925 for the Underground Electric Railways Co. of London, Ltd. Printed by Baynard Press, the chromolithograph depicts a woman in a blue bathing costume and orange swim cap as she readies herself for a day at the seaside with her friends who seem to like to wave. The dark background serves to set off the type: “Southend: Seaside Excursions.” Meant to entice post-Great War tourists, the poster was designed to advertise inexpensive train fare to seaside destinations—still considered a suitable spot for a one-day holiday.

Print of the Day: Blue Cross Tea, 1900

Hoarding Poster for Blue Cross Tea
England, 1900
The Victoria & Albert Museum

This British chromolithograph was designed as a hoarding poster. In essence, posters on hoardings were tiled repeatedly so that the image was recurring many times over and seen in full. This design which focuses on the trademark and brand on an uncluttered and brightly-colored ground would have been quickly identifiable and easily read.

The poster was designed in 1900 for Blue Cross Tea. The design features a grocer’s shop which also advertises for Blue Cross Tea, a clever way of reinforcing the brand. A well-dressed man leaves the shop with a package of biscuits on the end of his umbrella. He appears to be saying:

“The Best for Me, It’s Blue Cross Tea.” This is the work of Stewart Browne for The British & Beningtons Tea Trading Association Ltd.

Print of the Day: Seamen Prefer Shell, 1934

Click on the image to prefer Shell.

Advertising Poster
Tristram Hillier, 1934
The Victoria & Albert Museum

YOU CAN BE SURE OF SHELL

SEAMEN PREFER SHELL

Oh really? Printed in 1934, this poster (color lithograph) was published as an advertisement for “Shell Motor Spirit.” “Motor Spirit,” I suppose, is “petrol” or as we say in the U.S. “gaaaaaas.” Neat.

The poster shows all sorts of very complicated-looking naval instruments arranged on a table. Behind them, a seascape is punctuated by a lighthouse and steamship.

Interestingly, this poster has been signed by its artist—Tristram Paul Hillier (1905-1983). It was printed by Vincent Brooks, Day & Son, Ltd. for Shell Mex and British Petroleum, Ltd. 

Print of the Day: Mr. Punch at Madame Tussaud's, 1999

Poster by Denis Piper, 1999
The Victoria & Albert Museum

I don’t usually write about recent objects, but this one was too perfect for today that I couldn’t resist. Well, obviously, we can see that it’s a poster letting us know that Punch and Judy would be appearing at Madame Tussaud’s in London for Christmas. They actually look quite pleased to be doing so.

The advert for this special Christmas appearance was designed by Denis Piper.

Print of the Day: Loose Talk Can Cost Lives, 1942

Poster
Falter, 1942
The Victoria & Albert Museum

American and British servicemen faced a common problem during the Second World War—“good time girls.” These vixens in their seductive sweaters with their flowing hair, red fingernails, painted lips and flashy baubles were thought to be on the prowl to snare innocent men and shake them down for military secrets.

To be sure, there were a variety of female spies who did, in fact, seduce servicemen into sharing confidential information. However, most of these girls were more interested in making some money than they were in selling intelligence to the Nazis. Nevertheless, men were warned to keep their mouths closed and not get trapped by these “good time girls.” Many a propaganda poster warned against them. Here’s one.

This one was printed in America and depicts such a temptress. She’s the picture of seduction, in fact. She’s even taller and stronger than the soldier who has fallen into her embrace. She’s got him and she aims to corrupt him, and, then go straight to Hitler with whom she’ll laugh while tossing her blonde curls over her broad shoulders.

The poster warns is “Sailor beware.” Still, we can’t be quite sure if he’s pushing her away or returning her so-called “affection.”

The point was…this could be you. Well, not me. But, maybe one of the rest of you. An inscription in black on pale blue at the bottom states: “Loose Talk Can Cost Lives.” Well, we can’t argue that. 

The poster was designed in 1942 by John Falter (1910-1982) for the British and American Ambulance Corps.

Print of the Day: Southend, Seaside Excursions, 1925

Southend:  Seaside Excursions
Herrick, 1925
The Victoria & Albert Museum

Frederick Charles Herrick (1887-1970) designed this poster in 1925 for the Underground Electric Railways Co. of London, Ltd. Printed by Baynard Press, the chromolithograph depicts a woman in a blue bathing costume and orange swim cap as she readies herself for a day at the seaside with her friends who seem to like to wave. The dark background serves to set off the type: “Southend: Seaside Excursions.” Meant to entice post-Great War tourists, the poster was designed to advertise inexpensive train fare to seaside destinations—still considered a suitable spot for a one-day holiday.

Print of the Day: Blue Cross Tea, 1900

Hoarding Poster for Blue Cross Tea
England, 1900
The Victoria & Albert Museum

This British chromolithograph was designed as a hoarding poster. In essence, posters on hoardings were tiled repeatedly so that the image was recurring many times over and seen in full. This design which focuses on the trademark and brand on an uncluttered and brightly-colored ground would have been quickly identifiable and easily read.

The poster was designed in 1900 for Blue Cross Tea. The design features a grocer’s shop which also advertises for Blue Cross Tea, a clever way of reinforcing the brand. A well-dressed man leaves the shop with a package of biscuits on the end of his umbrella. He appears to be saying:

“The Best for Me, It’s Blue Cross Tea.” This is the work of Stewart Browne for The British & Beningtons Tea Trading Association Ltd.

Antique Image of the Day: Women - There's work to be done and a war to be won... Now!, 1944

Propaganda Poster
Vernon Grant, 1944
The Victoria & Albert Museum

World War II was, by no means, fun. Not for anyone. But, makers of propaganda posters tried their best to make the situation seem as surmountable and endurable as possible. While the women left at the home front during the First World War were just as involved, a concerted movement was made during the second war to make women’s war work seem light and enjoyable. Posters were created in a cartoonish style which presented this grueling labor during a tragic time as something light-hearted.

This 1944 poster, for example, is the work of Vernon Grant, a celebrated children’s artist who is also well known as the creator of the original characters of “Snap, Crackle and Pop,” for Kellogg’s Cereal.

Here, Grant depicts eleven women working at various jobs to aid the war effort. The message of the poster becomes its visual centerpiece as the women seem to be working to create red block letters that spell out “WOMEN.” The message in reinforced with the text: “There’s work to be done and a war to be won...Now!"

Print of the Day: Force, the Wheat Malt Cereal, 1903

Force Cereal Advertisement
1903
The Victoria & Albert Museum

This advertising poster from 1903 was printed in America for a British cereal concern. “Force” Cereal was one of the first to introduce a brand mascot. The character was known as “Sunny Jim.” He was created by Minnie Maud Hanff and Dorothy Ficken who worked for the Edwardian advertising agency of Earnest Elmo Calkins. Sunny Jim appeared on many a large billboard in the 1900s and quickly became a popular pop culture figure who, by the 1930s, was one of the most recognizable characters in Britain as well as in the U.S.

Print of the Day: Seamen Prefer Shell, 1934

Click on the image to prefer Shell.

Advertising Poster
Tristram Hillier, 1934
The Victoria & Albert Museum

YOU CAN BE SURE OF SHELL

SEAMEN PREFER SHELL

Oh really? Printed in 1934, this poster (color lithograph) was published as an advertisement for “Shell Motor Spirit.” “Motor Spirit,” I suppose, is “petrol” or as we say in the U.S. “gaaaaaas.” Neat.

The poster shows all sorts of very complicated-looking naval instruments arranged on a table. Behind them, a seascape is punctuated by a lighthouse and steamship.

Interestingly, this poster has been signed by its artist—Tristram Paul Hillier (1905-1983). It was printed by Vincent Brooks, Day & Son, Ltd. for Shell Mex and British Petroleum, Ltd. 

Print of the Day: “Silence, The Enemy Is Watching Out For Your Secrets;”

Silence, L'Ennemi Guette Vos Confidences
Paul Colin, 1939
The Victoria & Albert Museum

Titled “Silence, L'Ennemi Guette Vos Confidences,” this French propaganda poster dates to 1939 and the first rumbles of the Second World War. This was one of the most prolific posters in France, finding wide distribution.

Designed by artist Paul Colin (1892-1985), the poster depicts the enemy as a dark and sinister shadow creeping up upon two men innocently talking. The image neatly encapsulates the understandable paranoia at the time—the terrifying notion that around every corner, a spy for the other side might be lurking.

Colin was among a group of artists who were influenced by contemporary art movements of the 1930s. Colin’s work, especially, reflects Art Deco influences. He founded the “Ecole Paul Colin” in Paris in 1926, offering exceptional training to dozens of young and ambitious graphic artists. 

And...and...I think the little men upon whom the shadow is spying look like adorable little bears.  But, that's not really the point of the piece.  Still--don't they?

Print of the Day: Telling a Friend May Mean Telling the Enemy, 1942

Telling a Friend May Mean Telling the Enemy
Britain, 1942
The Victoria & Albert Museum

The work of an unknown artist, this World War II-era poster from 1942 relies on the then-popular stereotype of the gossiping woman to make an important wartime propaganda point. Let’s see how it works. A sailor tells a secret to his girl, who tells her friend, and the information eventually gets passed on to a suspicious character.  I prefer to look at it this way, Joel McCrea tells a secret to Barbara Stanwyck who tells it to Joan Crawford who tells it to Vivien Leigh who goes straight to evil Conrad Veidt.

Curiously, though the messengers are women, the source and ultimate recipient of the secret are both men. So, it’s not just men who gossip despite what Ricky Ricardo or Fred Flintstone might have you believe.

This poster is in keeping with the similar propaganda slogan of “Keep Mum She's not so Dumb,” which also implies that women cannot be trusted to keep secrets, regardless of whether her revelation is innocent chat or espionage. In short, your friend's friend may be your enemy or, as the poster states, "Telling a friend may mean telling the enemy."

Print of the Day: Don't Distract Your Mates, 1942

"Don't Distract Your Mates"
Royal Society for the Prevention of Accidents
Ministry of Labour, 1942
The Victoria & Albert Museum

Made in 1942, during the Second World War, this poster was designed by Bruce Angrave as a bit of instructional propaganda. To be sure, it’s quite grim, but it serves its purpose quite well, acting as a reminder of the serious injury or death that could result from being distracted and not paying attention in the workplace. During this period, with much of Britain’s usual workforce fighting in the war, a good many people with little previous work experience had to take jobs for which they were not trained nor for which they had developed the necessary discipline. Since many of these jobs directly benefited the war effort, posters such as this were created to remind people to be vigilant while working in order to avoid accidents.

Angrave's image depicts a black tree laden with unusual fruit—the fruits of distraction: prosthetic limbs, crutches and a coffin.

The inscription reads: 


These are the fruits of horseplay 
DON'T DISTRACT YOUR MATES

The poster was printed by Loxley Bros. Ltd. for the Royal Society for the Prevention of Accidents, a division of the Ministry of Labour and National Service . 

Object of the Day, Museum Edition: A Poster for the New York World's Fair, 1939

Poster for the New York World's Fair
Alfred Staehle, 1939
The Victoria & Albert Museum

In London, in 1851, Prince Albert’s dream of an international exhibition of the arts and sciences came to life with “The Great Exhibition.”  From this monumental affair, the Victoria & Albert museum was born, first as the Museum of Manufactures, and, then, later as the South Kensington Museum before finally becoming the V&A in 1899—at the heart of Brompton’s “Albertopolis” section of museums.

As the V&A reminds us, the Great Exhibition started a world-wide, ever-lasting trend.  They say, “The exhibitions, expositions and world's fairs staged around the world since then have been spectacular, popular and influential. Unsurpassed in their scale and confidence, the expositions encompassed the very latest developments in art, science and technology from all nations of the world, displayed in a fabulous array of buildings and parks.”

This was especially evident in the New York World’s Fair of 1939.  Here, we see a dynamic design, by the fair’s designer, for the New York World’s Fair which perfectly demonstrates the sense of optimism and enjoyment by depicting a woman who is shown waving in front of the iconic structures of the fair--the Trylon and Perisphere.

Though opened during troubled times, the New York fair sought to portray a confident vision of the future.  The fair’s designer, Albert Staehle (1899-1974), was an illustrator  who was initially made famous via his American, “Elsie the Cow” advertisements for Borden's milk, and, later, the 'Smokey the Bear' character for the National Forest Service.