SUPER ART DECO STYLE ON THE POSTERPRINT PRODUCED FROM A FRENCH ADVERT FOR TALBOT HIGH END AUTOMOBILES... THE FASHIONABLE DRESSED FLAPPER WOMEN IS ALL SET FOR A DAY AT THE GOLF LINKS TO SHOW OFF HER NEW SPORTS CAR...
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 - 1929
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DESCRIPTION OF ITEM: additional information:
ARTIST;
Marcel-Jacques HEMJIC. 1894 - 1942. Biography. The French artist and illustrator Marcel Hemjic studied with Bernard Boutet de Monvel and worked as a fashion illustrator for Paul Poiret. He also contributed drawings to such magazines as Femina, Le Rire, Le Sourire and La Baïonette, and designed several posters.
Soon after the end of the war, Clément-Talbot was brought into a combine named STD Motors. Shortly afterward, STD Motors' French products were renamed Talbot instead of Darracq.
In the mid-1930s, with the collapse of STD Motors, Rootes bought the London Talbot factory and Antonio Lago bought the Paris Talbot factory, Lago producing vehicles under the marques Talbot and Talbot-Lago. Rootes renamed Clément-Talbot Sunbeam-Talbot in 1938, and stopped using the brand name Talbot in the mid-1950s. The Paris factory closed a few years later.
Ownership of the marque came by a series of takeovers to Peugeot, which revived use of the Talbot name from 1978 until 1994.
Talbot London
Clément-Talbot was founded in 1903. The first products were cars that were London-assembled mechanical components of French Clément-Bayard cars but the French components were soon replaced by British parts. The brand-name was reduced to Talbot after the first year.
STD Motors
In December 1919, Darracq of London with its factory in Suresnes, Paris, bought the entire capital of Clément-Talbot and later bought Sunbeam and renamed itself STD Motors. Those initials referred to Sunbeam, Talbot and Darracq. But in the depth of the Great Depression, STD Motors became unable to pay its debts. Its subsidiaries managed to find buyers and in 1936 STD Motors ceased to exist.
Talbot London under STD Motors
Clément-Talbot continued to be known for the design and quality of its products and it remained profitable during the depression. Clément-Talbot was bought by Rootes Group and later renamed Sunbeam-Talbot. Then Sunbeam alone twenty years after that.
Talbot Paris under STD Motors
In 1920, Suresnes products were branded Talbot-Darracq but the word Darracq was dropped in 1922. If exported to England Paris-made Talbots were rebadged Darracq or Talbot-Darracq
Dragged down by the 1924 borrowing to pay for the Sunbeam racing programme, STD Motors and Automobiles Talbot France suffered a financial collapse in late 1934.
Talbot London under the Rootes brothers
Following the financial collapse of its parent, STD Motors, Clément-Talbot remained financially sound with readily marketable products. Clément-Talbot was bought by Rootes Securities and continued to manufacture the same catalogue of vehicles quietly introducing components from Hillman and Humber cars. As the genuine Talbot parts bins emptied, a modified Hillman Aero Minx was introduced to the production line and given the Talbot brand name.
In 1938, this Talbot Ten and its stable mates were badged Sunbeam-Talbot and owner, Clément-Talbot's, name changed to fit.
Talbot Paris under Antonio Lago
Following the financial collapse of STD Motors and Paris's Automobiles Talbot, Antonio Lago, the Suresnes' manager, arranged a management buyout of the French operation.
Antonio Lago involved Talbot in sports car and Grand Prix racing as well as producing high quality luxury cars. In the postwar world of austerity the French government introduced punitive annual taxation on cars with engines larger than 2.6-litres and Talbot sales were severely restricted. Lago continued the Talbot business until 1958 when the factory doors were closed.
The dormant Talbot marque was sold to Simca. Simca was bought by Chrysler Europe in 1970. PSA Peugeot Citroën acquired the still dormant Talbot marque when it bought Chrysler in 1978. PSA Peugeot Citroën began to use a Talbot badge on former Simca and Chrysler models.
Chrysler/Peugeot era (1979–1985)
Chrysler Europe struggled to enter profitability for much of its existence, and had relied on government support to ensure its survival. With mounting pressure on its core North American business, the decision was taken by Chrysler's then CEO Lee Iacocca to offload the ailing European operations. The French Government persuaded both Renault and PSA Peugeot Citroën to bid for the company; as it was keen to keep Simca in domestic ownership.
In August 1978, PSA negotiated a deal with Chrysler to acquire Chrysler Europe for a nominal $1. Although PSA took responsibility for Chrysler Europe's considerable debts and liabilities, the move was a strategic one; acquiring Simca would remove a strong domestic competitor in the French market while gaining access to that company's expertise in small front wheel drive cars; while at the same time the old Rootes operations would give the company a stronger foothold in the United Kingdom – France's biggest export market where both Peugeot and Citroën lagged behind arch rival Renault. PSA formally took control of the old Chrysler Europe on 1 January 1979.
The Peugeot takeover saw the end of the Rootes' Chrysler Hunter production, but the Chrysler Avenger and Sunbeam (also both Rootes designs), and the Simca 1307 (Chrysler Alpine in UK), and Horizon continued rebadged as Talbots.
All former Chrysler products registered in Britain after 1 August 1979 bore the Talbot badge. Talbot's UK branch manufactured the Alpine, Solara, and Horizon at its aging Ryton plant in Coventry, after the British-developed cars had all been retired, except for the largest revenue source of the UK arm at that time, building CKD kits of the Hillman Hunter to be sent to Iran where they were assembled as the Peykan.[4]
The last remaining car produced by the Rootes group, the Chrysler (previously Hillman) Avenger, remained in production as a Talbot until the end of 1981; production of the Avenger-derived Talbot Sunbeam also ended in 1981. The entry-level model in the Talbot range from December 1981 onwards was the Talbot Samba, a three-door hatchback based on the Peugeot 104.
In 1981, Peugeot began producing the Talbot Tagora, a boxy four-door saloon marketed as a rival to the Ford Granada and to the Vauxhall Carlton/Opel Rekord. But as sales were insufficient in both Britain and France, production ceased in 1983 after only 19,389 units were manufactured.
At the end of 1984, the Alpine hatchback and its related Solara saloon were re-badged Minx and Rapier, depending upon specification rather than body shape. The new names were inherited from the Rootes Group; Rootes had previously produced the Hillman Minx and Sunbeam Rapier. The new versions were produced until 1986. Former Rootes names are still revived occasionally; in 1982, there was a Talbot Solara "Sceptre" model, the name being inherited from the Humber Sceptre which was produced between 1963 and 1976.
Decline and Demise
In the UK, the Chrysler and Talbot marques had gained nearly 120,000 sales in 1979, only outsold by Ford and British Leyland. However, it then went into decline, not helped by the recession in the early 1980s, or by a lack of new models being launched. By 1985, however, after years of losses, PSA Peugeot Citroën began to question its three-brand strategy. The Talbot Tagora model failed in the marketplace; the Samba was essentially a decade-old design thanks to its Peugeot 104 parentage, whilst the ageing 1510/Alpine/Solara models overlapped with both the Citroën BX and forthcoming Peugeot 405.
At the eleventh hour, the decision was made to release the forthcoming Horizon replacement as the Peugeot 309 instead of Talbot Arizona. It was a controversial decision, because the British arm of the company believed there was greater brand loyalty to Talbot in the UK, with its historical connection to the Rootes Group. However, the decision to concentrate on the Peugeot brand prevailed, and the 309 became the first of a long line of British-built Peugeot models to be assembled at the Ryton plant. Partly because they were perceived as "British" (despite most of their content actually being imported from PSA's French factories), the 309 and the subsequent 405, 306 and 206 models were very successful in the UK market, and regularly featured among the country's top ten best-selling cars.
Around 1984, PSA had also considered launching a replacement for the Talbot Samba based on the platform of the Citroën AX, which was still under-development, but such was the success of the Peugeot 205 in the supermini sector that PSA felt there was little need for a third supermini in its portfolio. It became clear however, that there was no long-term future for the Talbot brand in 1986 when PSA sold the Whitley research and development centre to Jaguar, signalling the end of any more British-developed models.
Production of the Horizon continued in Spain and Finland until 1987, marking the end of the Talbot name on passenger cars (the Samba had been discontinued in May 1986), although the Talbot Express panel van continued in production until 1994, after which the entire Talbot marque was axed.
Talbots in the UK
The Talbot Express van (along with its identical sister vehicle the Fiat Ducato) was a popular base vehicle for motorhomes and campervan conversions. According to the website How Many Left?, as of June 2016 there were fewer than 40 Alpine/Solara models, 20 Horizons, 10 Sambas and only one Tagora still registered with the British Driver & Vehicle Licensing Agency, compared to well over 5,000 Talbot Express vans.
Resurrection
In 2008, PSA considered reintroducing Talbot to the market, targeting low-budget buyers, as Renault did with its Dacia Logan. It was suggested that these could be models produced in China such as Talbot versions of the Citroën Elysée and of the Peugeot 206, but did not make a comeback as of 2012 because PSA introduced the second-generation Citroën C-Elysée and the Peugeot 301.
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.
Flappers were a subculture of young Western women in the 1920s who wore short skirts (knee height was considered short during that period), bobbed their hair, listened to jazz, and flaunted their disdain for what was then considered acceptable behavior. Flappers were seen as brash for wearing excessive makeup, drinking alcohol, smoking cigarettes in public, driving automobiles, treating sex in a casual manner, and otherwise flouting social and sexual norms. As automobiles became available, flappers gained freedom of movement and privacy. Flappers are icons of the Roaring Twenties, the social, political turbulence, and increased transatlantic cultural exchange that followed the end of World War I, as well as the export of American jazz culture to Europe. There was a reaction to this counterculture from more conservative people, who belonged mostly to older generations. They claimed that the flappers' dresses were 'near nakedness', and that flappers were 'flippant', 'reckless', and unintelligent.
The slang term "flapper" may derive from an earlier use in northern England to mean "teenage girl", referring to one whose hair is not yet put up and whose plaited pigtail "flapped" on her back or from an older word meaning "prostitute". The slang word "flap" was used for a young prostitute as early as 1631.By the 1890s, the word "flapper" was used in some localities as slang both for a very young prostitute and, in a more general and less derogatory sense, of any lively mid-teenage girl.
The standard non-slang usage appeared in print as early as 1903 in England and 1904 in the United States, when novelist Desmond Coke used it in his college story of Oxford life, Sandford of Merton: "There's a stunning flapper" In 1907, English actor George Graves explained it to Americans as theatrical slang for acrobatic young female stage performers. The flapper was also known as a dancer, who danced like a bird—flapping her arms while doing the Charleston move. This move became quite a competitive dance during this era.
By 1908, newspapers as serious as The Times used the term, although with careful explanation: "A 'flapper', we may explain, is a young lady who has not yet been promoted to long frocks and the wearing of her hair 'up'". In April 1908, the fashion section of London's The Globe and Traveller contained a sketch entitled "The Dress of the Young Girl" with the following explanation:
Americans, and those fortunate English folk whose money and status permit them to go in freely for slang terms ... call the subject of these lines the 'flapper.' The appropriateness of this term does not move me to such whole-hearted admiration of the amazing powers of enriching our language which the Americans modestly acknowledge they possess ..., [and] in fact, would scarcely merit the honour of a moment of my attention, but for the fact that I seek in vain for any other expression that is understood to signify that important young person, the maiden of some sixteen years.
The sketch is of a girl in a frock with a long skirt, "which has the waistline quite high and semi-Empire, ... quite untrimmed, its plainness being relieved by a sash knotted carelessly around the skirt."
By November 1910, the word was popular enough for A. E. James to begin a series of stories in the London Magazine featuring the misadventures of a pretty fifteen-year-old girl and titled "Her Majesty the Flapper". By 1911, a newspaper review indicates the mischievous and flirtatious "flapper" was an established stage-type.
By 1912, the London theatrical impresario John Tiller, defining the word in an interview he gave to The New York Times, described a "flapper" as belonging to a slightly older age group, a girl who has "just come out". Tiller's use of the phrase "come out" means "to make a formal entry into 'society' on reaching womanhood". In polite society at the time, a teenage girl who had not come out would still be classed as a child. She would be expected to keep a low profile on social occasions and ought not to be the object of male attention. Although the word was still largely understood as referring to high-spirited teenagers, gradually in Britain it was being extended to describe any impetuous immature woman By late 1914, the British magazine Vanity Fair was reporting that the Flapper was beginning to disappear in England, being replaced by the so-called "Little Creatures."
A Times article on the problem of finding jobs for women made unemployed by the return of the male workforce, following the end of World War One, was titled "The Flapper's Future". Under this influence, the meaning of the term changed somewhat, to apply to "independent, pleasure-seeking, khaki-crazy young women".
In his lecture in February 1920 on Britain's surplus of young women caused by the loss of young men in war, Dr. R. Murray-Leslie criticized "the social butterfly type... the frivolous, scantily-clad, jazzing flapper, irresponsible and undisciplined, to whom a dance, a new hat, or a man with a car, were of more importance than the fate of nations". In May of that year, Selznick Pictures released The Flapper, a silent comedy film starring Olive Thomas. It was the first film in the United States to portray the "flapper" lifestyle. By that time, the term had taken on the full meaning of the flapper generation style and attitudes
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