Description: PRODUCED FROM AN OLD ADVERTISING BROCHURE FOR THE BURLINGTON ROUTE RAILROAD THIS POSTERPRINT HAS SUPER ART DECO STYLE TO PROMOTE THE CHICAGO CENTURY OF PROGRESS WORLDS FAIR..... TRAVEL BY TRAIN......BRIGHT AND BOLD COLORS.... WOW! 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 - 1933 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: A Century of Progress International Exposition, also known as the Chicago World's Fair, was a World's Fair held in the city of Chicago, Illinois, United States, from 1933 to 1934. The fair, registered under the Bureau International des Expositions (BIE), celebrated the city's centennial. The theme of the fair was technological innovation, and its motto was "Science Finds, Industry Applies, Man Adapts", trumpeting the message that science and American life were wedded. Its architectural symbol was the Sky Ride, a transporter bridge perpendicular to the shore on which one could ride from one side of the fair to the other. One description of the fair noted that the world, "then still mired in the malaise of the Great Depression, could glimpse a happier not-too-distant future, all driven by innovation in science and technology." Fair visitors saw the latest wonders in rail travel, automobiles, architecture and even cigarette-smoking robots. The exposition "emphasized technology and progress, a utopia, or perfect world, founded on democracy and manufacturing." A Century of Progress International Exposition, also known as the Chicago World's Fair, was a World's Fair held in the city of Chicago, Illinois, United States, from 1933 to 1934. The fair, registered under the Bureau International des Expositions (BIE), celebrated the city's centennial. The theme of the fair was technological innovation, and its motto was "Science Finds, Industry Applies, Man Adapts", trumpeting the message that science and American life were wedded. Its architectural symbol was the Sky Ride, a transporter bridge perpendicular to the shore on which one could ride from one side of the fair to the other. One description of the fair noted that the world, "then still mired in the malaise of the Great Depression, could glimpse a happier not-too-distant future, all driven by innovation in science and technology." Fair visitors saw the latest wonders in rail travel, automobiles, architecture and even cigarette-smoking robots. The exposition "emphasized technology and progress, a utopia, or perfect world, founded on democracy and manufacturing." A Century of Progress was organized as an Illinois nonprofit corporation in January 1928 for the purpose of planning and hosting a World's Fair in Chicago in 1934. City officials designated three and a half miles of newly reclaimed land along the shore of Lake Michigan between 12th and 39th streets on the Near South Side for the fairgrounds. Held on a 427 acres (1.73 km2) portion of Burnham Park, the $37,500,000 exposition was formally opened on May 27, 1933, by US Postmaster General James Farley at a four hour ceremony at Soldier Field. The fair's opening night began with a nod to the heavens. Lights were automatically activated when the rays of the star Arcturus were detected. The star was chosen as its light had started its journey at about the time of the previous Chicago world's fair—the World's Columbian Exposition—in 1893. The rays were focused on photoelectric cells in a series of astronomical observatories and then transformed into electrical energy which was transmitted to Chicago. ExhibitsThe fair buildings were multi-colored, to create a "Rainbow City" as compared to the "White City" of Chicago's earlier World's Columbian Exposition. The buildings generally followed Moderne architecture in contrast to the neoclassical themes used at the 1893 fair. One famous feature of the fair were the performances of fan dancer Sally Rand. Other popular exhibits were the various auto manufacturers, the Midway (filled with nightclubs such as the Old Morocco, where future stars Judy Garland, The Cook Family Singers, and The Andrews Sisters performed), and a recreation of important scenes from Chicago's history. The fair also contained exhibits that would seem shocking to modern audiences, including offensive portrayals of African-Americans, a "Midget City" complete with "sixty Lilliputians", and an exhibition of incubators containing real babies. The fair included an exhibit on the history of Chicago. In the planning stages, several African-American groups from the city's newly growing population campaigned for Jean Baptiste Point du Sable to be honored at the fair. At the time, few Chicagoans had even heard of Point du Sable, and the fair's organizers presented the 1803 construction of Fort Dearborn as the city's historical beginning. The campaign was successful, and a replica of Point du Sable's cabin was presented as part of the "background of the history of Chicago". Also on display was the "Lincoln Group" of reconstructions of buildings associated with the biography of Abraham Lincoln, including his birth cabin, the Lincoln-Berry Store, the Chicago Wigwam (in reduced scale), and the Rutledge Tavern which served as a restaurant. Admiral Byrd's polar expedition ship the City of New York was visited by President Franklin D. Roosevelt when he came to the fair on October 2, 1933. The City was on show for the full length of the exhibition. One of the highlights of the 1933 World's Fair was the arrival of the German airship Graf Zeppelin on October 26, 1933. After circling Lake Michigan near the exposition for two hours, Commander Hugo Eckener landed the 776-foot airship at the nearby Curtiss-Wright Airport in Glenview. It remained on the ground for twenty-five minutes (from 1 to 1:25 pm) then took off ahead of an approaching weather front, bound for Akron, Ohio. The "dream cars" which American automobile manufacturers exhibited at the fair included Duesenberg and Rollston's $20,000 Twenty Grand ultra-luxury sedan; Cadillac's introduction of its V-16 limousine; Nash's exhibit had a variation on the vertical (i.e., paternoster lift) parking garage—all the cars were new Nashes; Lincoln presented its rear-engined "concept car" precursor to the Lincoln-Zephyr, which went on the market in 1936 with a front engine; Pierce-Arrow presented its modernistic Pierce Silver Arrow for which it used the byline "Suddenly it's 1940!" But it was Packard which won the best of show. One interesting and enduring exhibit was the 1933 Homes of Tomorrow Exhibition that demonstrated modern home convenience and creative practical new building materials and techniques with twelve model homes sponsored by several corporations affiliated with home decor and construction. Marine artist Hilda Goldblatt Gorenstein (Hilgos) painted twelve murals for the Navy's exhibit in the Federal Building for the fair. The frieze was composed of twelve murals depicting the influence of sea power on America, beginning with the settlement of Jamestown, Virginia, in 1607 when sea power first reached America and carrying through World War I. The first Major League Baseball All-Star Game was held at Comiskey Park (home of the Chicago White Sox) in conjunction with the fair. In MAy 1934, the Union Pacific Railroad exhibited its first streamlined train, the M-10000, and the Chicago, Burlington and Quincy Railroad its famous Zephyr which, on May26, made a record-breaking dawn-to-dusk run from Denver, Colorado, to Chicago in 13 hours and 5 minutes, called the "Dawn-to-Dusk Dash". To cap its record-breaking speed run, the Zephyr arrived dramatically on-stage at the fair's "Wings of a Century" transportation pageant. The two trains launched an era of industrial streamlining.[16] Both trains later went into successful revenue service, the Union Pacific's as the City of Salina, and the Burlington Zephyr as the first Pioneer Zephyr. The Zephyr is now on exhibit at Chicago's Museum of Science and Industry. Frank Buck furnished a wild animal exhibit, Frank Buck's Jungle Camp. Over two million people visited Buck's reproduction of the camp he and his native assistants lived in while collecting animals in Asia. After the fair closed, Buck moved the camp to a compound he had created at Amityville, New York. Planning for the design of the Exposition began over five years prior to Opening Day. According to an official resolution, decisions regarding the site layout and the architectural style of the exposition were relegated to an architectural commission, which was led by Paul Cret and Raymond Hood. Local architects on the committee included Edward Bennett, John Holabird, and Hubert Burnham. Frank Lloyd Wright was specifically left off the commission due to his inability to work well with others, but did go on to produce three conceptual schemes for the fair. Members of this committee ended up designing most of the large, thematic exhibition pavilions. From the beginning, the commission members shared a belief that the buildings should not reinterpret past architectural forms – as had been done at earlier fairs, such as Chicago's 1893 World's Columbian Exposition—but should instead reflect new, modern ideas, as well as suggest future architectural developments. Because the fairgrounds was on new man-made land that was owned by the state and not the city, the land was initially free from Chicago's strict building codes, which allowed the architects to explore new materials and building techniques. This allowed the design and construction of a wide array of experimental buildings, that eventually included large general exhibition halls, such as the Hall of Science (Paul Cret) and the U.S. Federal Building (Bennet, Burnham and Holabird); corporate pavilions, including the General Motors Building (Albert Kahn) and the Sears Pavilion (Nimmons, Carr, and Wright); futuristic model houses, most popular was the twelve-sided House of Tomorrow (George Frederick Keck); as well as progressive foreign pavilions, including the Italian Pavilion (Mario de Renzi and Adalberto Libera); and historic and ethnic entertainment venues, such as the Belgian Village (Burnham Brothers with Alfons De Rijdt) and the Streets of Paris (Andrew Rebori and John W. Root) where fan dancer Sally Rand performed. These buildings were constructed out of five-ply Douglas fir plywood, ribbed-metal siding, and prefabricated, boards, such as Masonite, Sheetrock, Maizewood, as well as other new man-made materials. The exhibited buildings were windowless (but cheerfully lighted) buildings. Structural advances also filled the fairgrounds. These included the earliest catenary roof constructed in the United States, which roofed the dome of the Travel and Transport Building (Bennet, Burnham and Holabird) and the first thin shell concrete roof in the United States, on the small, multi-vaulted Brook Hill Farm Dairy built for the 1934 season of the fair. Science fiction (sometimes shortened to Sci-Fi or SF) is a genre of speculative fiction which typically deals with imaginative and futuristic concepts such as advanced science and technology, space exploration, time travel, parallel universes, extraterrestrial life, sentient artificial intelligence, cybernetics, certain forms of immortality (like mind uploading), and the singularity. Science fiction predicted several existing inventions, such as the atomic bomb,[1] robots[2] and borazon,[3] whose names entirely match their fictional predecessors. Science fiction can trace its roots back to ancient mythology,[4] and is related to fantasy, horror, and superhero fiction, and contains many subgenres. Its exact definition has long been disputed among authors, critics, scholars, and readers. Science fiction, in literature, film, television, and other media, has become popular and influential over much of the world, It has been called the "literature of ideas", and often explores the potential consequences of scientific, social, and technological innovations.[5][6] It is also often said to inspire a "sense of wonder".[7] Besides providing entertainment, it can also criticize present-day society and explore alternatives. 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.[4] 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. Origins 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. The Chicago, Burlington and Quincy Railroad (reporting mark CBQ) was a railroad that operated in the Midwestern United States. Commonly referred to as the Burlington Route, the Burlington, or as the Q, it operated extensive trackage in the states of Colorado, Illinois, Iowa, Missouri, Nebraska, Wisconsin, Wyoming, and also in Texas through subsidiaries Colorado and Southern Railway, Fort Worth and Denver Railway, and Burlington-Rock Island Railroad. Its primary connections included Chicago, Minneapolis–Saint Paul, St. Louis, Kansas City, and Denver. Because of this extensive trackage in the midwest and mountain states, the railroad used the advertising slogans "Everywhere West", "Way of the Zephyrs", and "The Way West". In 1967, it reported 19,565 million net ton-miles of revenue freight and 723 million passenger miles; corresponding totals for C&S were 1,100 and 10 and for FW&D were 1,466 and 13. At the end of the year, CB&Q operated 8,538 route-miles, C&S operated 708, and FW&D operated 1362 (these totals may or may not include the former Burlington-Rock Island Railroad). In 1970, it merged with the Northern Pacific Railway and the Great Northern Railway to form the Burlington Northern Railroad. 1901–1945 Following the purchase of the Burlington by GN and NP, expansion continued. In 1908, the CB&Q purchased both the Colorado & Southern and Fort Worth & Denver Railways, giving it access south to Dallas and the Gulf of Mexico ports in Houston and Galveston. It also extended its reach south in the Mississippi Valley region by opening up a new line from Concord, Illinois, south to Paducah, Kentucky. It was during this period that the Burlington was at its largest, exceeding just over 12,000 route miles in 14 states by the 1920s. With the First World War having the same effect on the railroad as on all other railroads, during the 1920s, the Burlington Route had an increasingly heavy amount of equipment flooding the yards. With the advent of the Great Depression, the CB&Q held a good portion of this for scrap. Despite the decrease of passengers, it was during this time that the railroad introduced the famed Zephyrs. In 1929, the CB&Q created a subsidiary, the Burlington Transportation Company, to operate intercity buses in tandem with its railway network. In 1936, the company would become one of the founding members of the Trailways Transportation System, and still provides intercity service to this day as Burlington Trailways. As early as 1897, the railroad had been interested in alternatives to steam power, namely, internal-combustion engines. The railroad's shops in Aurora had built an unreliable three-horsepower distillate motor in that year, but it was hugely impractical (requiring a massive 6,000-pound flywheel) and had issues with overheating (even with the best metals of the day, its cylinder heads and liners would warp and melt in a matter of minutes) and was therefore impractical. Diesel engines of that era were obese, stationary monsters and were best suited for low-speed, continuous operation. None of that would do in a railroad locomotive; however, there was no diesel engine suitable for that purpose then. Always innovating, the railroad both purchased "doodlebug" gas-electric combine cars from Electro-Motive Corporation and built their own, sending them out to do the jobs of a steam locomotive and a single car. With good success in that field, and after having purchased and tried a pair of General Electric steeple-cab switchers powered by distillate engines, Burlington president Ralph Budd requested of the Winton Engine Company a light, powerful diesel engine that could stand the rigors of continuous, unattended daily service. The experiences of developing these engines can be summed up shortly by General Motors Research vice-president Charles Kettering: "I do not recall any trouble with the dip stick." Ralph Budd, accused of gambling on diesel power, chirped that "I knew that the GM people were going to see the program through to the very end. Actually, I wasn't taking a gamble at all." The manifestation of this gamble was the eight-cylinder Winton 8-201A diesel, a creature no larger than a small Dumpster, that powered the Burlington Zephyr (built 1934) on its record run and opened the door for developing the long line of diesel engines that has powered Electro-Motive locomotives for the past seventy years. Powered by SixBit's eCommerce Solution
Price: 21.95 USD
Location: Branch, Michigan
End Time: 2024-12-17T23:08:06.000Z
Shipping Cost: 8.95 USD
Product Images
Item Specifics
All returns accepted: ReturnsNotAccepted
Type: Poster
