19th Century Paris Magicians Poster on Canvas

Set of 4 turn of the century American Lithographic framed prints. Controversial and illustrated in the typical turn of the Century American fashion. A set of four vibrantly coloured lithographic prints, framed in unusual Gothic pine frames. With brass hooks still attached, the reverse clearly show that these images have never been removed or replaced since they would have been framed in the 1900s. Depicting life’s process of the Afro American, from courting to creating a family. We have never seen the like and in this collection/condition, you are unlikely to see the same ever again. Dimensions in inches: H 14.5 x D 11.5 x W 1 Origin: America circa: 1900 - 1920 Condition: Aged Completely solid in structure and form, aged surface as shown with a deep natural patina across all areas. No breaks but the frames and prints are discoloured and faded as you would come to expect of item of this Material and age. The House of Antiques...

Early 20th Century Painted Canvas Paris Theatre Mask Mould An unusual piece of early 20th century theatrical costume, recently obtained from a Paris (Franc...

“She allowed me to triumph in the 1912 Tour de France” says Eugène Christophe the Parisian hero of the Tour de France, an original advertisement...

This was an estate find and part of a beautiful collection of rare excellent turn of the century posters. They were hidden away for over a 100 years. About the poster: You'd think that a play called 'The New Baby' might feature said child in its promotional material. But here's the thing, there really isn't a baby at the center of the comedy, and that's the crux of this entertainment. The plot concerns a husband who is so bored with country life that he dreams up the idea of having an illegitimate son in London as a way to get into town for an occasional 'night off'. When his wife decides that the child should be adopted, the expected comic tissue of falsehoods and misunderstandings frays and hilarity ensues. Adapted from German by A. Bourchier, the farce opened in London in 1896 to what a local critic termed 'much mirth'. Several years later, when the play had crossed the Atlantic and entered the repertory of David de Wolf - cleverly called the Baby's 'chaperone' on the poster - and his troupe of travelling players, that understated review was translated into the more American howling success'. The cast and director would've been totally unfamiliar with the British hinterlands, so this splendid design concentrates on the hi-jinks of the characters and their situation.' At the start of the 20th century, America was in the full glory of its cultural adolescence, bursting with energy and optimism. In 1900 in New York there were 33 legitimate Broadway theatres, and many more would be built within the next decade to meet growing audience demand. New York's exploding population was also enjoying increased mobility. In 1904, the city opened its first underground commuter railroad lines. Thanks to these 'subways,' tens of thousands living far from the theatre district could catch a Broadway show and still sleep in their own beds. Add in the ever-increasing numbers of tourists who came into the city by rail and steamship, and it was easy to see why Broadway could now support more productions and longer runs than ever before.' We believe this magnificent and awe inspiring poster typifies the best of musical history and musical posters...