DESCRIPTION OF ITEM -

WONDERFUL BRIGHT COLORFUL ART DECO STYLE AVIATION AIRPLANE RACE ARTWORK.  THE CURTISS REYNOLDS AIRPORT OUT OF CHICAGO WAS THE SITE AND THE CROWD WAS READY....  DARE DEVIL PILOTS WEAVE AROUND THE PYLONS CHEATING DEATH AND DESTRUCTION....  THAT'S THE WAY TO SPEND A WEEKEND!!!

The 1930 National Air Races were moved to Chicago, IL. The site would be the the Curtiss-Reynolds Airport, race dates August 23rd to September 1st. The first Thompson Trophy Race would take place in Chicago.

After the embarrassing defeat of the Nation's finest pursuit ships in the 1929 races at Cleveland, the military was out for revenge. This time the Navy would attempt to put the civilian aircraft manufacturers in their place. This year was sure to be different!

The Navy had a plan; take the Curtiss Hawk Seaplane F6C-3 that won the 11th and final Curtiss Marine Trophy Race at Anacosta Navel Air Station on May 31st. and have Curtiss modify it to Navy Specifications.

The lower wing was removed and part of the upper wing was covered with coolant radiators. Seaplane floats were replaced with a set of streamlined landing gears with special wheel pants. The stock Curtiss D-12 engine was replaced with a 700hp supercharged Curtiss Conqueror with a new cowling. 

The modified Hawk had a top speed potential of 250mph at it's best altitude and a projected average speed of 220mph in the race.  

The Travel Air R that won the Thompson Cup was now owned by Curtiss-Wright and was on tour for the Company. Several more Travel Air R’s were produced; one was purchased by the Shell Oil Co., the other by Texaco.

Lee Schoenhair, chief pilot of the B.F. Goodrich Company and second place winner of the 1929 cross-country race called "Matty" Laird president of the E.M. Laird Aircraft Company of Chicago and asked him to build a racer for the 1st Thompson Trophy Race. There was a little over three weeks time to complete the plane, but Laird agreed it could be done.                                                           

"Matty" Laird, "Speed" Holman and Lee Schoenhair standing (L-R) in front of the just completed racer. A last minute decision put "Speed" Holman in the pilot' seat due to his Laird racing experience. 

The men's non-stop cross country derby  ( Los  Angeles to Chicago) attracted no less  than four Lockheed Vega's and one air express.
                                                     1st place Wiley Post
                                                     2nd place Art Goebel
                                                     3rd place  Lee Schoenhair
                                                     4th place  William Brock
                                                     5th place  Roscoe Turner  (Air Express)

                                    The Women's Class A Pacific Derby from Long Beach CA to Chicago IL
                                                    1st place   Gladys O'Donnell in a Waco
                                                    2nd place  Mildred Morgan in a Travel Air
                                                    3rd place   Jean LaRene  in a American Eagle

                                   The Women's class B Dixie Race from Washington DC to Chicago IL
                                                    1st place  Phoebe Omlie in a Monocoupe
                                                    2nd place Marty Bowman in a Fleet
                                                    3rd place  Laura Ingalls in a DH Moth 

With 44 scheduled events, the first  Thompson  Trophy  Race would be the big attraction of the meet.  As expected  the revamped  Curtiss  Hawk  flown by Capt. Arthur   Page  of the  United  States  Marine  Corps.  took  an   early  lead  and after several  laps, passed  or  lapped the entire field.  The race   now  concentrated on second place with Speed Holman and Jim Haizlip  virtually side by side. As Page approached   home  pylon for lap seven, he suddenly pulled up and out of the race and than slid off on the left wing and nosed down and into the ground and crashed. Captain  Page  died  of  his injures  later that day. "Speed" Holman won  by a very narrow  margin  over  Jim Haizlip. The Laird  would be  the only   biplane  to win the Thompson Trophy Race.                                                                                                                            

The Thompson Trophy Race entries

   Place         Pilot        Aircraft No.        License No.     Speed
     1 st   Speed Holman           77       NR10538     201.91
     2nd   Jim Haizlip          26      NR482N      199.8
     3rd     Ben Howard           37       NR2Y      162.8
     4th    Paul Adams           81         449W      142.64
   DNF    Frank Hawks          13       NR1313   Out 3rd lap
   DNF    Errett Williams           92       NR536V   Out 8th lap
   DNF    Capt. Page           27       A-7147    Crashed


The Laird "Solution" changed hands a number of times and was modified to attain greater speed. It never again became a challenger and was finally acquired by the New England Air Museum in Windsor Locks (Bradley Field) Connecticut and was restored to it's original form where It is currently on display. 
In 1930 the Cleveland Municipal Airport would be host to the Gordon Bennett International Balloon Race and Aerial Carnival, August 31st and September 1st. The Army sent a Pursuit, Bomber and an Observation Squadron. The Navy and Marine squadrons would also participate. Well-known fliers, Frank Hawks and "Jimmie" Doolittle were scheduled to pay a visit. 

The National Air Races (also known as Pulitzer Trophy Races) are a series of pylon and cross-country races that have taken place in the United States since 1920. The science of aviation, and the speed and reliability of aircraft and engines grew rapidly during this period; the National Air Races were both a proving ground and showcase for this.

History

In 1920, publisher Ralph Pulitzer sponsored the Pulitzer Trophy Race and the Pulitzer Speed Trophy for military airplanes at Roosevelt Field, Long Island, New York, in an effort to publicize aviation and his newspaper. The races eventually moved to Cleveland, where they were known as the Cleveland National Air Races. They drew the best flyers of the time, including James Doolittle, Wiley Post, Tex Rankin, Frank Hawks, Jimmy Wedell, Roscoe Turner, and others from the pioneer age of aviation. These air races helped to inspire Donald Blakeslee as a young boy. Other races included in the U.S. National Air Races were the Mitchell Trophy Race, the Town & Country Club Race for civilians, the Kansas City Rotary Club Trophy "for all three military services," and the Glenn Curtiss Trophy Race for "biplanes with engines having less than 510 cubic inches (8,400 cm3).

Starting in 1929, the races usually ran for up to 10 days, usually from late August to early September to include Labor Day. Aviation promoter Cliff Henderson was managing director of the National Air Races from 1928 to 1939. During World War II the races were on hiatus.

The races included a variety of events, including cross-country races originating in Portland, Oakland, and Los Angeles, with a final destination in Cleveland.? Also included were landing contests, glider demonstrations, airship flights, and parachute-jumping contests. The more popular events were the Thompson Trophy Races which started in 1929;? a closed-course race where aviators raced their planes around pylons; and the Bendix Trophy Race across most of the USA starting in 1931.

In 1929, a Santa Monica, California to Cleveland, Ohio route was started for the Women's Air Derby (nicknamed the "Powder Puff Derby"), featuring well-known female pilots such as Amelia Earhart, Pancho Barnes, Bobbi Trout, and Louise Thaden. Thaden was the winner in the heavy Class D (engines with 510–810 cubic inches (8,400–13,300 cm3)), while Phoebe Omlie won the light Class C (engines with 275–510 cubic inches (4,510–8,360 cm3)). This was also the year for the first female pylon race, the winner of which was awarded the Aerol Trophy beginning in 1931.

In Chicago, on the last day of the 1930 trophy race (September 1), USMC Captain Arthur Page crashed his modified Curtiss Hawk Seaplane F6C-3, and died of his injuries later that day.

After being on hiatus during the U.S. participation in World War II, the post-war races featured newer surplus military planes that greatly outclassed the planes from the pre-war era. In 1949 Bill Odom lost control of his P-51 "Beguine" and crashed into a home, killing himself and two people inside. The races went on hiatus again.

Though the events specific to Cleveland were in suspension, the cross country races for the Thompson, Bendix, and G.E. trophies continued. Three B-47s flew cross country from March Air Force Base to the Philadelphia International Airport as participants in the 1955 Labor Day race. In the 1956 event, three B-47s participated in the G.E. Trophy race for Jet Bombers, flying from Kindley Field, Bermuda, to Oklahoma City. One of these set a course speed record of 601.187 MPH.

The annual event resumed in 1964 as the Reno National Championship Air Races, taking place in mid-September. The Cleveland National Air Show also began in 1964.

National Air Races were run by U.S. Air Race, Inc. from 1995-2007. The company was founded by famed World Race Gold Medalist Marion P. Jayne and after her death from cancer in 1996, was run by her daughter Patricia Jayne (Pat) Keefer, 1994 World Race Gold Medalist. Under Keefer's leadership, the events tabulated a perfect safety record with nearly 600,000 miles raced, over 3,200 safe landings at 81 different airports in 43 states and two countries in 25 events. With the help of hundreds of volunteers and over 250 different sponsors she awarded 26 Learn-to-Fly scholarships and reached an estimated 20 million people with a positive message about General Aviation.

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.


 

SIZE OF NEW POSTER PRINT - 12 X 18 INCHES

ORIGINALLY A - FRONT COVER ARTWORK

DATE OF ORIGINAL PRINT, POSTER OR ADVERT -  1930

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