Description: GREAT ART DECO STYLE INDIAN MOTORCYCLE ADVERTISING POSTER ART. THE MESSAGE IS SIMPLE, GET A MOTORCYCLE AND BE FREE OF THE HUSTLE AND BUSTLE OF THE CROWDED CITIES AND MASSES...... DOES THIS NOT STILL HOLD APPEAL??? BRIGHT COLORS AND STYLE, OF A TIME WHEN THE WIDE OPEN ROADS HELD A PROMISE AND HOPE.... DON'T FOLLOW THE CROWD,,,, BE YOUR OWN MAN (OR WOMAN...) PLEASE SEE PHOTO FOR DETAILS AND CONDITION OF THIS NEW POSTER SIZE OF POSTER PRINT - 12 X 18 INCHES DATE OF ORIGINAL PRINT, POSTER OR ADVERT - 1926 At PosterPrint Shop we look for rare & unusual ITEMS OF commercial graphics from throughout the world. The PosterPrints are printed on high quality 48 # acid free PREMIUM GLOSSY PHOTO PAPER (to insure high depth ink holding and wrinkle free product) Most of the PosterPrints have APPROX 1/4" border MARGINS for framing, to use in framing without matting. MOST POSTERPRINTS HAVE IMAGE SIZE OF 11.5 X 17.5. As decorative art these PosterPrints give you - the buyer - an opportunity to purchase and enjoy fine graphics (which in most cases are rare in original form) in a size and price range to fit most all. As graphic collectors ourselves, we take great pride in doing the best job we can to preserve and extend the wonderful historic graphics of the past. Should you have any questions please feel free to email us and we will do our best to clarify. We use USPS. WE ship items DAILY. We ship in custom made extra thick ROUND TUBES..... WE SHIP POSTERPRINTS ROLLED + PROTECTED BY PLASTIC BAG For multiple purchases please wait for our invoice... THANKS. We pride ourselves on quality product, service and shipping. POSTERPRINTARTSHOP DESCRIPTION OF ITEM: additional information: Through the years starting with the first V-Twins around 1910, Harley and Indian focused on larger bikes with 1000 cc or 61 cubic inch displacement and small singles. With Franklin’s Scout, attention was given to a mid-size machine, in this case with 37 cubic inches or 600cc displacement. The machine served police departments and the military well. Frame, engine, braking, lower seat height and other revisions made up the 101 Scout for 1928, widely regarded as the best Indian ever made and next week’s Featured Bike. An unusual and wonderful part of this particular Indian Scout is the amount of “paper” that is still with it. In 1926 Indian celebrated its Sliver Jubilee so the owners manual has that special graphic on it, and the original owner kept the Parts List and Lubrication booklets as well. Heywood’s interesting “library” label is attached and alongside is a hand written note regarding Robert C. Cole, second owner, receiving the bike in 1952. More recently, the restoration shop’s invoice itemizes the work performed. When you visit the National Motorcycle Museum you can take in this fine Scout owned by Joe Wessbecker, restored by Ed Rich, American Classic Motorcycle Museum. There are also several dozen great Indians, street and competition, from a 1905 Camelback all the way up to a Chief from the Gilroy era, around the year 2000. And don’t miss the Museum’s 2019 fundraising bike, the new for 2019 Indian FTR1200S Race Replica. Side note: With the success of the Scout, there were at least two unauthorized “replicas” being produced overseas at the time. In Osaka, Japan a household-appliances manufacturer produced a “Scout,” such that when Indian obtained one in 1923 it was indistinguishable from their 1921 originals. Some of these Japanese Scouts were sold in Australia and Southeast Asia. The Scout also became very popular in Germany and in 1923 a replica named the Mabeco became available. Max Bernardt & Co. produced them until 1926. Twin headlights distinguished most replicas for the original. Indian Motorcycle (or Indian) is an American brand of motorcycles owned and produced by American automotive manufacturer Polaris Inc. Originally produced from 1901 to 1953 in Springfield, Massachusetts, United States, Hendee Manufacturing Company initially produced the motorcycles, but the name was changed to the Indian Motocycle Company in 1923. In 2011, Polaris Industries purchased the Indian motorcycle marque and moved operations from North Carolina and merged them into their existing facilities in Minnesota and Iowa. Since August 2013, Polaris has designed, engineered, and manufactured multiple lines of motorcycles under the Indian Motorcycle brand that reflect Indian's traditional styling. The Indian Motorcycle factory team took the first three places in the 1911 Isle of Man Tourist Trophy. During the 1910s, Indian Motorcycle became the largest manufacturer of motorcycles in the world. Indian Motorcycle's most popular models were the Scout, made from 1920 to 1946, and the Chief, made from 1922 until 1953, when the Indian Motorcycle Manufacturing Company went bankrupt. Various organizations tried to perpetuate the Indian Motorcycle brand name in subsequent years, with limited success. The "Indian Motocycle Co." was founded as the Hendee Manufacturing Company by George M. Hendee in 1897 to manufacture bicycles. These were initially badged as "Silver King" and "Silver Queen" brands but the name "American Indian", quickly shortened to just "Indian", was adopted by Hendee from 1898 onwards because it gave better product recognition in export markets. Oscar Hedstrom joined in 1900. Both Hendee and Hedstrom were former bicycle racers and manufacturers, and after building three prototypes in Middletown, Connecticut,[3] they teamed up to produce a motorcycle with a 1.75 bhp, single-cylinder engine in Hendee's home town of Springfield. The motorcycle was successful and sales increased dramatically during the next decade. The first Indian prototype was then built and completed on May 25, 1901, by Hedström at the old Worcester Cycle Manufacturing Company in Middletown, Connecticut, and the first public demonstration was held on Cross Street in Springfield, Massachusetts at 12:00 noon on Saturday, June 1, 1901. In 1901, a prototype and two production units of the diamond-framed Indian Single were successfully designed, built and tested. The first Indian motorcycles, having chain drives and streamlined styling, were sold to the public in 1902. In 1903, Indian's co-founder and chief engineer Oscar Hedstrom set the world motorcycle speed record of 56 mpH In 1904 the company introduced the deep red color that would become Indian's trademark. Annual production of Indian motorcycles then exceeded 500, rising to a peak of 32,000 in 1913. The engines of the Indian Single were built by the Aurora Firm in Illinois under license from the Hendee Mfg. Co. until 1906. Aurora produced engines under license for Indian from about 1901 to 1907. Aurora was also allowed to sell Indian design engines to third parties and pay Indian a fee. After 1907, Aurora could make its own complete motorcycles, which it did as Thor, and Indian began manufacturing its own engines. In 1905, Indian built its first V-twin factory racer and in following years made a strong showing in racing and record-breaking. In 1907, the company introduced the first street version V-twin and a roadster styled after the factory racer. The roadster can be distinguished from the racers by the presence of twist grip linkages One of the firm's most famous riders was Erwin "Cannonball" Baker, who set many long-distance records. In 1914, he rode an Indian across America, from San Diego to New York, in a record 11 days, 12 hours and ten minutes. Baker's mount in subsequent years was the Powerplus, a side-valve V-twin, which was introduced in 1916. Its 61ci (1000 cc), 42 degree V-twin engine was more powerful and quieter than previous designs, giving a top speed of 60 mph (96 km/h). The Powerplus was highly successful, both as a roadster and as the basis for racing bikes. It remained in production with few changes until 1924. Competition success played a big part in Indian's rapid growth and spurred technical innovation as well. One of the American firm's best early results came in the Isle of Man TT in 1911, when Indian riders Oliver Cyril Godfrey, Franklin and Moorehouse finished first, second and third. Indian star Jake DeRosier set several speed records, both in America and at Brooklands in Britain, and won an estimated 900 races on dirt and board tracks. He left Indian for Excelsior and died in 1913, aged 33, of injuries sustained in a board track race crash with Charles "Fearless" Balke, who later became Indian's top rider. Work at the Indian factory stopped as DeRosier's funeral procession passed. Oscar Hedstrom left Indian in 1913 after disagreements with the board of directors regarding dubious practices to inflate the company's stock value. George Hendee resigned in 1916. Indian introduced the 221 cc single cylinder two-stroke Model K "Featherweight" in 1916. The Model K had an open cradle frame with the engine as a stressed member and a pivoting front fork that had been used earlier on single-cylinder motorcycles but had mostly been replaced on other Indian motorcycles by a leaf-sprung trailing link fork. The Model K was manufactured for one year and was replaced in 1917 by the Model O. The Model O had a four-stroke flat-twin engine and a new frame, but retained the pivoting fork at the front. The Model O was manufactured until 1919. As the US entered World War I, Indian sold most of its Powerplus line in 1917 and 1918 to the United States government, starving its network of dealers. This blow to domestic availability of the motorcycles led to a loss of dealers from which Indian never quite recovered. While the motorcycles were popular in the military, post-war demand was then taken up by other manufacturers to whom many of the previously loyal Indian dealers turned. While Indian shared in the business boom of the 1920s, it had lost its Number One position in the US market to Harley-Davidson.Inter-war era The Scout and Chief V-twins, introduced in the early 1920s, became the Springfield firm's most successful models. Designed by Charles Franklin, the middleweight Scout and larger Chief shared a 42-degree V-twin engine layout. Both models gained a reputation for strength and reliability. In 1930, Indian merged with Du Pont Motors. DuPont Motors founder E. Paul DuPont ceased production of duPont automobiles and concentrated the company's resources on Indian. DuPont's paint industry connections resulted in no fewer than 24 color options in 1934. Models of that era had Indian's famous war bonnet logo on the gas tank. Indian's huge Springfield factory was known as the Wigwam, and native American imagery was much used in advertising. In 1940, Indian sold nearly as many motorcycles as its major rival, Harley-Davidson. During this time, Indian also manufactured other products such as aircraft engines, bicycles, boat motors and air conditioners. The Indian Scout was built from 1920 through 1949. It rivaled the Chief as Indian's most important model. The Scout was introduced for 1920. Designed by Charles B. Franklin, the Scout had its gearbox bolted to the engine and was driven by gears instead of by belt or chain. The engine originally displaced 37 cu in (610 cc); the Scout 45, with a displacement of 45 cu in (740 cc), became available in 1927 to compete with the Excelsior Super XA front brake became standard on the original Scout early in 1928. In 1928, the Scout and Scout 45 were replaced by the Model 101 Scout. Another Franklin design, the 101 Scout had a longer wheelbase and lower seat height than the original. The 101 Scout was well known for its handling. The 101 Scout was replaced by the Standard Scout for 1932. The Standard Scout shared its frame with the Chief and the Four; as a result, the Standard Scout was heavier and less nimble than the 101. A second line of Scouts was introduced for 1933. Based on the frame of the discontinued Indian Prince single-cylinder motorcycle, the Motoplane used the 45 cubic inch engine from the Standard Scout while the Pony Scout had a reduced displacement of 30.5 cu in (500 cc). In 1934 the Motoplane was replaced by the Sport Scout with a heavier but stiffer frame better able to withstand the power of the 45 cubic inch engine, while the Pony Scout, later renamed the Junior Scout, was continued with the Prince/Motoplane frame. Between the introduction of the Sport Scout in 1934 and the discontinuation of the Standard Scout in 1937 there were three Scout models (Pony/Junior, Standard, and Sport) with three different frames. The Sport Scout and the Junior Scout were continued until civilian production was interrupted in early 1942. Introduced in 1922, the Indian Chief had a 1,000 cc (61 cubic inches) engine based on the Powerplus engine; a year later the engine was enlarged to 1,200 cc (73 cubic inches). Numerous improvements were made to the Chief over the years, including the provision of a front brake in 1928. In 1940, all models were fitted with the large skirted fenders that became an Indian trademark, and the Chief gained a new sprung frame that was superior to rival Harley's unsprung rear end. The 1940s Chiefs were handsome and comfortable machines, capable of 85 mph (137 km/h) in standard form and over 100 mph (160 km/h) when tuned, although their increased weight hampered acceleration. The 1948 Chief had a 74 cubic inch engine, hand shift and foot clutch. While one handlebar grip controlled the throttle the other was a manual spark advance. In 1950, the V-twin engine was enlarged to 1,300 cc (79 cubic inches) and telescopic forks were adopted. But Indian's financial problems meant that few bikes were built. Production of the Chief ended in 1953. Indian purchased the Ace Motor Corporation in 1927 and moved production of the 4-cylinder Ace motorcycle to Springfield. It was marketed as the Indian Ace in 1927. In 1928, the Indian Ace was replaced by the Indian 401, a development of the Ace designed by Arthur O. Lemon, former Chief Engineer at Ace, who was employed by Indian when they bought Ace. The Ace's leading-link forks and central coil spring were replaced by Indian's trailing-link forks and quarter-elliptic leaf spring. In 1929, the Indian 401 was replaced by the Indian 402 which received a stronger twin-downtube frame based on the 101 Scout frame and a sturdier five-bearing crankshaft than the Ace, which only had a three-bearing crankshaft. Despite the low demand for luxury motorcycles during the Great Depression, Indian not only continued production of the Four, but continued to develop the motorcycle. One of the less popular versions of the Four was the "upside down" engine on the 1936-37 models. While earlier (and later) Fours had inlet-over-exhaust (IOE) cylinder heads with overhead inlet valves and side exhaust valves, the 1936-1937 Indian Four had a unique EOI cylinder head, with the positions reversed. In theory, this would improve fuel vaporization, and the new engine was more powerful. However, the new system made the cylinder head, and the rider's inseam, very hot. This, along with an exhaust valvetrain that required frequent adjustment, caused sales to drop. The addition of dual carburetors in 1937 did not revive interest. The design was returned to the original configuration in 1938. Like the Chief, the Four was given large, skirted fenders and plunger rear suspension in 1940. In 1941, the 18-inch wheels of previous models were replaced with 16-inch wheels with balloon tires. The Indian Four was discontinued in 1942. Recognition of the historical significance of the 1940 four-cylinder model was made with an August 2006 United States Postal Service 39-cent stamp issue, part of a four-panel set entitled American Motorcycles. A 1941 model is part of the Smithsonian Motorcycle Collection on display at the National Museum of American History. Single examples of both the 1931 and 1935 Indian Fours are in the ground vehicle collection of the Old Rhinebeck Aerodrome. During World War II, Chiefs, Scouts, and Junior Scouts were used in small numbers for various purposes by the United States Army and were also used extensively by British and other Commonwealth military services, under Lend Lease programs. However, none of these Indian models could unseat the Harley-Davidson WLA as the motorcycle mainly used by the US military. An early war military design by Indian was based on the 750 cc (46 cu in) Scout 640 (and was often compared to Harley-Davidson's WLA), but was either too expensive or heavy, or a combination of both. Indian's later offering, the 500 cc (31 cu in) 741B was not selected to gain a US Military contract. Indian also made a version based on the 1,200 cc (73 cu in) Chief, the 344. Approximately 1,000 experimental versions mounting the 750 cc motor sideways and using shaft drive, as on a modern Moto Guzzi, the 841, were also tried. Indian made a prototype of a lightweight bike, called the M1 light motorcycle for the World War 2 Airborne forces. The lightweight design could be airdropped with the troops. The design never made it past prototype. During World War II, the US Army requested experimental motorcycle designs suitable for desert fighting. In response Indian designed and built the 841. Approximately 1,056 models were built. The Indian 841 was heavily inspired by the BMW R71 motorcycle (which, though not used by the German Army later was the basis for the Soviet M72, which is the basis for the Ural and Chiang Jiang motorcycle) as was its competitor, the Harley-Davidson XA. However, unlike the XA, the 841 was not a copy of the R71. Although its tubular frame, plunger rear suspension, and shaft drive were similar to the BMW's, the 841 was different from the BMW in several aspects, most noticeably so with its 90-degree longitudinal-crankshaft V-twin engine and girder fork. The Indian 841 and the Harley-Davidson XA were both tested by the Army, but neither motorcycle was adopted for wider military use. It was determined that the Jeep was more In 1945, a group headed by Ralph B. Rogers purchased a controlling interest of the company. On November 1, 1945, duPont formally turned the operations of Indian over to Rogers.Under Rogers' control, Indian resumed production with only one model, the Chief, for 1946 and ‘47. 1947 was also the year the Indian-head fender light, also known as the "war bonnet", was introduced. In 1948, they added two rebadged import models, the Czech built CZ125b, and the Brockhouse Engineering produced Corgi Scooter. The Scooter, a novel 100cc vehicle developed for paratroopers during World War II, was rebadged the Papoose. Indian also produced a limited number (appx. 50) 648 model Scouts for racing. In 1949, they discontinued the Chief, as they began domestic manufacture of two lightweight motorcycles, the single-cylinder 220 cc 149 Arrow and the twin-cylinder 440 cc 249 Scout. The Scout was offered in various trim levels. The initial shipment of lightweights developed a reputation for unreliability, often associated with a rush to market. Later shipments were reported by publications of the time to have resolved most reliability issues by the following year. The 1950 lineup brought back the Chief, with telescopic forks. It also saw the introduction of the twin-cylinder 500 cc Warrior model, which received both a standard and high pipe sporting TT trim. On the Corporate side, Rogers would step down as CEO of Indian to take employment at Texas Instruments. Replacing Rogers was hand-picked successor John Brockhouse, President and owner of Brockhouse engineering. Unfortunately, new management did not bring new fortune, and production of all models wound down in 1952, with most 1953 Chiefs built from remaining parts. All product manufacturing ended in 1953. Art Deco, short for the French Arts Décoratifs, and sometimes just called Deco, is a style of visual arts, architecture, and product design, that first appeared in France in the 1910s (just before World War I), and flourished in the United States and Europe during the 1920s and 1930s. Through styling and design of the exterior and interior of anything from large structures to small objects, including how people look (clothing, fashion and jewelry), Art Deco has influenced bridges, buildings (from skyscrapers to cinemas), ships, ocean liners, trains, cars, trucks, buses, furniture, and everyday objects like radios and vacuum cleaners. It got its name after the 1925 Exposition internationale des arts décoratifs et industriels modernes (International Exhibition of Modern Decorative and Industrial Arts) held in Paris. Art Deco combined modern styles with fine craftsmanship and rich materials. During its heyday, it represented luxury, glamour, exuberance, and faith in social and technological progress. From its outset, Art Deco was influenced by the bold geometric forms of Cubism and the Vienna Secession; the bright colours of Fauvism and of the Ballets Russes; the updated craftsmanship of the furniture of the eras of Louis Philippe I and Louis XVI; and the exoticized styles of China, Japan, India, Persia, ancient Egypt and Maya art. It featured rare and expensive materials, such as ebony and ivory, and exquisite craftsmanship. The Empire State Building, Chrysler Building, and other skyscrapers of New York City built during the 1920s and 1930s are monuments to the style. In the 1930s, during the Great Depression, Art Deco became more subdued. New materials arrived, including chrome plating, stainless steel and plastic. A sleeker form of the style, called Streamline Moderne, appeared in the 1930s, featuring curving forms and smooth, polished surfaces. Art Deco is one of the first truly international styles, but its dominance ended with the beginning of World War II and the rise of the strictly functional and unadorned styles of modern architecture and the International Style of architecture that followed. Art Deco took its name, short for arts décoratifs, from the Exposition Internationale des Arts Décoratifs et Industriels Modernes held in Paris in 1925, though the diverse styles that characterised it had already appeared in Paris and Brussels before World War I. Arts décoratifs was first used in France in 1858 in the Bulletin de la Société française de photographie. In 1868, the Le Figaro newspaper used the term objets d'art décoratifs for objects for stage scenery created for the Théâtre de l'Opéra. In 1875, furniture designers, textile, jewellers, glass-workers, and other craftsmen were officially given the status of artists by the French government. In response, the École royale gratuite de dessin (Royal Free School of Design), founded in 1766 under King Louis XVI to train artists and artisans in crafts relating to the fine arts, was renamed the École nationale des arts décoratifs (National School of Decorative Arts). It took its present name, ENSAD (École nationale supérieure des arts décoratifs), in 1927. At the 1925 Exposition, architect Le Corbusier wrote a series of articles about the exhibition for his magazine L'Esprit Nouveau, under the title "1925 EXPO. ARTS. DÉCO.", which were combined into a book, L'art décoratif d'aujourd'hui (Decorative Art Today). The book was a spirited attack on the excesses of the colourful, lavish objects at the Exposition, and on the idea that practical objects such as furniture should not have any decoration at all; his conclusion was that "Modern decoration has no decoration". The actual term art déco did not appear in print until 1966, in the title of the first modern exhibition on the subject, held by the Museum of Decorative Arts in Paris, Les Années 25 : Art déco, Bauhaus, Stijl, Esprit nouveau, which covered the variety of major styles in the 1920s and 1930s. The term was then used in a 1966 newspaper article by Hillary Gelson in The Times (London, 12 November), describing the different styles at the exhibit. Art Deco gained currency as a broadly applied stylistic label in 1968 when historian Bevis Hillier published the first major academic book on it, Art Deco of the 20s and 30s. He noted that the term was already being used by art dealers, and cites The Times (2 November 1966) and an essay named Les Arts Déco in Elle magazine (November 1967) as examples. In 1971, he organized an exhibition at the Minneapolis Institute of Arts, which he details in his book The World of Art Deco. Society of Decorative Artists (1901–1945) The emergence of Art Deco was closely connected with the rise in status of decorative artists, who until late in the 19th century were considered simply as artisans. The term arts décoratifs had been invented in 1875, giving the designers of furniture, textiles, and other decoration official status. The Société des artistes décorateurs (Society of Decorative Artists), or SAD, was founded in 1901, and decorative artists were given the same rights of authorship as painters and sculptors. A similar movement developed in Italy. The first international exhibition devoted entirely to the decorative arts, the Esposizione Internazionale d'Arte Decorativa Moderna, was held in Turin in 1902. Several new magazines devoted to decorative arts were founded in Paris, including Arts et décoration and L'Art décoratif moderne. Decorative arts sections were introduced into the annual salons of the Sociéte des artistes français, and later in the Salon d'Automne. French nationalism also played a part in the resurgence of decorative arts, as French designers felt challenged by the increasing exports of less expensive German furnishings. In 1911, SAD proposed a major new international exposition of decorative arts in 1912. No copies of old styles would be permitted, only modern works. The exhibit was postponed until 1914; and then, because of the war, until 1925, when it gave its name to the whole family of styles known as "Déco". Art Deco was not a single style, but a collection of different and sometimes contradictory styles. In architecture, Art Deco was the successor to and reaction against Art Nouveau, a style which flourished in Europe between 1895 and 1900, and also gradually replaced the Beaux-Arts and neoclassical that were predominant in European and American architecture. In 1905 Eugène Grasset wrote and published Méthode de Composition Ornementale, Éléments Rectilignes, in which he systematically explored the decorative (ornamental) aspects of geometric elements, forms, motifs and their variations, in contrast with (and as a departure from) the undulating Art Nouveau style of Hector Guimard, so popular in Paris a few years earlier. Grasset stressed the principle that various simple geometric shapes like triangles and squares are the basis of all compositional arrangements. The reinforced-concrete buildings of Auguste Perret and Henri Sauvage, and particularly the Théâtre des Champs-Élysées, offered a new form of construction and decoration which was copied worldwide. In decoration, many different styles were borrowed and used by Art Deco. They included pre-modern art from around the world and observable at the Musée du Louvre, Musée de l'Homme and the Musée national des Arts d'Afrique et d'Océanie. There was also popular interest in archaeology due to excavations at Pompeii, Troy, and the tomb of the 18th dynasty Pharaoh Tutankhamun. Artists and designers integrated motifs from ancient Egypt, Africa, Mesopotamia, Greece, Rome, Asia, Mesoamerica and Oceania with Machine Age elements. Other styles borrowed included Russian Constructivism and Italian Futurism, as well as Orphism, Functionalism, and Modernism in general. Art Deco also used the clashing colours and designs of Fauvism, notably in the work of Henri Matisse and André Derain, inspired the designs of art deco textiles, wallpaper, and painted ceramics. It took ideas from the high fashion vocabulary of the period, which featured geometric designs, chevrons, zigzags, and stylized bouquets of flowers. It was influenced by discoveries in Egyptology, and growing interest in the Orient and in African art. From 1925 onwards, it was often inspired by a passion for new machines, such as airships, automobiles and ocean liners, and by 1930 this influence resulted in the style called Streamline Moderne. Art Deco was associated with both luxury and modernity; it combined very expensive materials and exquisite craftsmanship put into modernistic forms. Nothing was cheap about Art Deco: pieces of furniture included ivory and silver inlays, and pieces of Art Deco jewellery combined diamonds with platinum, jade, coral and other precious materials. The style was used to decorate the first-class salons of ocean liners, deluxe trains, and skyscrapers. It was used around the world to decorate the great movie palaces of the late 1920s and 1930s. Later, after the Great Depression, the style changed and became more sober. A good example of the luxury style of Art Deco is the boudoir of the fashion designer Jeanne Lanvin, designed by Armand-Albert Rateau (1882–1938) made between 1922 and 1925. It was located in her house at 16 rue Barbet de Jouy, in Paris, which was demolished in 1965. The room was reconstructed in the Museum of Decorative Arts in Paris. The walls are covered with moulded lambris below sculpted bas-reliefs in stucco. The alcove is framed with columns of marble on bases and a plinth of sculpted wood. The floor is of white and black marble, and in the cabinets decorative objects are displayed against a background of blue silk. Her bathroom had a tub and washstand made of sienna marble, with a wall of carved stucco and bronze fittings. By 1928 the style had become more comfortable, with deep leather club chairs. The study designed by the Paris firm of Alavoine for an American businessman in 1928–30, is now in the Brooklyn Museum. By the 1930s, the style had been somewhat simplified, but it was still extravagant. In 1932 the decorator Paul Ruaud made the Glass Salon for Suzanne Talbot. It featured a serpentine armchair and two tubular armchairs by Eileen Gray, a floor of mat silvered glass slabs, a panel of abstract patterns in silver and black lacquer, and an assortment of animal skins. Powered by SixBit's eCommerce Solution
Price: 21.95 USD
Location: Branch, Michigan
End Time: 2024-11-17T23:07:27.000Z
Shipping Cost: 8.95 USD
Product Images
Item Specifics
All returns accepted: ReturnsNotAccepted
Type: Poster
