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The Railway Poster in Britain

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The Railway Poster in Britain Features Railways and Tourism (part 2) The Railway Poster in Britain Dieter W. Hopkin and Beverley Cole Museum’s extensive collection (see pp. bills and notices were similar to those that The National Railway Museum 25–28). The story of railways in Britain had been used by the stagecoaches. A has been reflected in the development of simple statement of the services the rail- The National Railway Museum (NRM) in the railway poster. This art form illustrates ways offered was enough to show that York is part of the National Museum of the major changes that have occurred in they were preferable and often quicker Science and Industry of Britain. It was British society over the years and captures and cheaper. These letterpress posters opened in 1975 and is probably the big- the spirit and character of British life over were produced using standard printing gest museum of its type in the world. Its that period. Railway posters also provide blocks and included no individual graphic collections are the largest, the most com- historical information about the geo- design. When illustrative elements were prehensive, and the most significant in graphical growth of the network and about introduced, they were generally standard their field anywhere in the world and in- the people for whom they were designed. patterns depicting generic locomotives clude 100 locomotives, nearly 200 car- As such, they are material evidence of Brit- and carriages that were combined to form riages and wagons and artefacts of every ish culture and are social documents. trains. description from uniforms to signalling They illustrate styles in art, the changing By the 1850s, rivalry between the large equipment. patterns of holiday-making, urban and number of competing private railway The Museum’s Pictorial Collections con- rural landscapes, architecture, fashion, the companies resulted in a greater use of tain original works of art, paintings, draw- development of advertising standards, and advertising to promote alternative ser- ings, engravings and other printed the approaches and aspirations of com- vices. Another development was the op- material covering more than 150 years of panies. eration of special or excursion trains railway history in Britain. Perhaps the additional to the timetabled services to strongest collection is that of railway post- provide transport to specific events. These ers. The collection of over 7000 posters Early Railway Posters were either arranged by the railway com- covers the whole history of railway ad- panies or independent travel operators vertising from the earliest simple hand- The earliest advertisements of the railways like Thomas Cook, who organized his first bills to today’s sophisticated examples. were simple, giving factual information railway excursion in 1841. This article includes a selection of the about the services offered. These hand- The first mass advertising of this sort arose Copyright National Railway Museum, UK The Newcastle and Carlisle Railway was one of the first railways to advertise its services for popular travel. Copyright National Railway Museum, UK This particularly early letterpress poster of 1846 promotes cheap fares to travel to a popular sporting event in Carlisle in the north west of England. (National Railway Museum/ The artist Norman Wilkinson working on the artwork for his poster ‘Garston, a Merseyside Port’ 1924. Science & Society Picture Library, U.K.) (National Railway Museum, U.K.) The original colour of the posters on this page has been changed for copyright reasons. Copyright © 1998 EJRCF. All rights reserved. Japan Railway & Transport Review 17 • September 1998 21 Railways and Tourism (part 2) from the Great Exhibition in London in 1851. During the 6 months of the Exhibi- tion, it attracted over 6 million visitors, many of whom arrived in London by trains operated by many competing companies. During the 1850s and 1860s, commercial rivalry on a number of principal routes lead to an increase in railway advertis- ing. New, cheaper and more convenient services were promoted. In this climate, more creative posters began to be pro- duced incorporating pictorial designs. Probably the earliest example is a rare poster produced by the London & Dover Railway around 1845; only one example is known to survive and it is in the collec- tions of the NRM. It is probably the first British railway poster that incorporates realistic railway scenes and several colours. Copyright National Railway Museum, UK Development of Railway publicity stands on a show ground in 1909 advertising the services of the London & North Western, Pictorial Posters Lancashire & Yorkshire, Furness, North Staffordshire, South Eastern & Chatham, Great Western, Midland and Great Central railways. (National Railway Museum, U.K.) It was not until the 1870s that the real ad- vances in pictorial posters took place. temptations that lay just a train ride away. World War, the railway companies were Early coloured posters still predominantly The best set new standards for advertis- fortunate in having few competitors for conveyed factual information rather than ing art, while others remained a clutter of this traffic. The train was quite simply the images. They were often poorly com- text and images. Some posters that com- best and often the only way to travel. posed, garish and typographically coarse. bined image and text most successfully The rapid growth of seaside resorts owed However, they did lay the foundations for were produced by the Great Northern much to the expansion of the railway net- the more creative illustrative posters that Railway. Skegness is So Bracing by John work. Sea bathing increased in popular- were to follow. Hassall, which first appeared in 1908 and ity during the nineteenth century and Britain’s railways did not really make good featured the figure of the Jolly Fisherman railways were able to provide fast access use of artists for their advertising until the skipping along the beach, was the most from the towns and cities for many more beginning of the twentieth century. In famous, but there were many others and people who had the luxury of leisure time 1905, the London & North Western Rail- several of the introduced subjects and and paid and public holidays. The rail- way took the lead in commissioning themes were developed over the years. ways opened up parts of the country Norman Wilkinson to produce artwork for which had been previously inaccessible. a new type of poster that incorporated Holiday travel New resorts sprung up on Britain’s coasts. landscape paintings. The other compa- Above all, it was holiday travel that the However, the new visitors that the rail- nies followed this example with varying railway poster came to be associated ways brought were not always welcomed success. The pictorial railway poster soon with—a world of sunshine, sandy beaches with open arms. At Bridlington, in York- developed into a familiar feature of rail- and endless fun. Growing prosperity led shire, day visitors were disliked by regu- way stations as the companies tried to to increased demand for travel. However, lar visitors and residents alike and the entice passengers with an almost endless some companies had not always been station was sited well away from the sea. variety of colourful and evocative images. keen to cater for holiday traffic, but it Most of the larger resorts came to cater Some of the finest poster artists of the day gradually came to be seen as an impor- for all classes of visitor but others tried to were employed to portray the delights and tant source of revenue. Before the First retain a more select clientele. The original colour of the posters on this page has been changed for copyright reasons. 22 Japan Railway & Transport Review 17 • September 1998 Copyright © 1998 EJRCF. All rights reserved. In some cases, railways created resorts companies, brought a greater degree of note was Speed to the West while the LMS where little had existed before. In 1871, unity to the network and made life easier promoted images reflecting the size of the Skegness in Lincolnshire had a popula- for the traveller, but the four companies company and the breadth of its opera- tion of less than 500. A railway line was were very different in size and character. tions. The companies also made use of opened to the town 2 years later and a The new companies were keen to develop the history of their operations and the large station was built with the hope of strong corporate images and during the heritage of their operational areas to pro- attracting holiday traffic to the sandy 1920s and 1930s created distinctive in- mote their images. beaches. The crowds came and the fa- house styles that were applied to every- cilities grew. By 1907, Skegness was at- thing associated with the company from House styles of The Big Four tracting 300,000 visitors a year, mostly locomotives to leaflets. This had a clear All developed their own styles using par- from the industrial towns of the East Mid- impact on advertising and especially post- ticular artists and approaches. Each com- lands and Yorkshire. ers. The LNER was a leader in graphic pany also had its own distinct branding design with its use of good artists for its to depict its title or initials. The GWR The Golden Age of poster illustrations and the development button logo or the LNER ellipse are clear the Railway Poster of its distinctive Gill sans serif graphics, examples of this. Because of their need named after Eric Gill. to have popular appeal they reflected the In 1923, the railway companies were re- Strong themes emerged that became fa- fashion and style of the period. Art deco, organized by the government. The exist- miliar to the railway traveller; the South- abstract, as well as more conventional ing 123 private railways were formed into ern Railway promoted the South for representational styles, were used.
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