The Flickr Publicity Image Generatr

A German language timetable and fares leaflet issued by the "Marineverwaltung" or the state owned Regie voor Maritiem Transport who, from 1846 until 1997, operated ferries across the Channel. The Mercury helmet design, superimposed with a stylised compass, car and vessel at sea, is by Miessen; René Miessen (1911 – 2000) was a Belgian advertising artist and designer who, in his later years, moved to Paris where he practised as an artist under the name Bellor.

The title translates as "To Great Britain with your car via Ostend - Dover" and is for services operated during the 1959 season.

A delightful cover for this, an unusual foray into North West England by the London & North Eastern Railway. Aimed at the North East England market and stressing the LNER's trans-Pennine route through Teesdale, it gives details of the many delights of the English Lake District mentioning railways but carefully avoiding the name of the rival London Midland & Scotish Railway who largely served the area.

The cover is beautifully simple, using only black and a blue tint on cream/white card and is signed "N", There is a good part of me that wants to jump to Frank Newbould, a well known graphic designer and poster artist, who was one of the LNER 'stable' of artists.

An English language leaflet from May 1987 giving details of the earlier stages of the direct rail services serving Amsterdam Schiphol Airport that began the process of firmly placing the airport station at the heart of many NS local and Intercity services.

By the time this leaflet was issued through services to Amsterdam CS and beyond into the northern and eastern provinces had begun following the initial phases that had seen direct services between Amsterdam RAI and Zuid to Den Haag, Rotterdam and Dordrecht as well as south of the latter terminus.

The artwork uses a clever take on a flying NS train.

Associated British and Irish Railways was a marketing organisation jointly formed by the London Midland & Scottish Railway (LMSR), London & North Eastern Railway (LNER), and Southern Railway (SR) in 1934, later joined by Great Western Railway (GWR) and Great Southern Railways (GSR) in 1935. Most of its promotional material was aimed at the North American market and it produced annual editions of folders giving information about the services and destinations served by the railway companies.

One of the folders produced was that of a railway map of the whole of the UK and Ireland showing the lines and ferry services of the member railways. This issue, with an interesting but uncredited cover, uses an interesting map. The Philips cartography would, in post-war years, go on to be used by the newly nationalised British Railways after 1948, and it appears to have been first introduced by the London & North Eastern Railway in c.1936; it is interesting to see the use of the company's adopted typeface, Gill Sans, used for place names. This folder makes me think that for ABR use, Philips may have been commissioned, possibly by the LNER, to extend this style of coverage to the whole outline network in the UK and Éire.

It has been scanned in four overlapping sections to save damage to a fragile item. This shows Northern England and the majority of Eastern Scotland. Someone has subsequently 'removed' the word Associated from the title and key.

Associated British and Irish Railways was a marketing organisation jointly formed by the London Midland & Scottish Railway (LMSR), London & North Eastern Railway (LNER), and Southern Railway (SR) in 1934, later joined by Great Western Railway (GWR) and Great Southern Railways (GSR) in 1935. Most of its promotional material was aimed at the North American market and it produced annual editions of folders giving information about the services and destinations served by the railway companies.

One of the folders produced was that of a railway map of the whole of the UK and Ireland showing the lines and ferry services of the member railways. This issue, with an interesting but uncredited cover, uses an interesting map. The Philips cartography would, in post-war years, go on to be used by the newly nationalised British Railways after 1948, and it appears to have been first introduced by the London & North Eastern Railway in c.1936; it is interesting to see the use of the company's adopted typeface, Gill Sans, used for place names. This folder makes me think that for ABR use, Philips may have been commissioned, possibly by the LNER, to extend this style of coverage to the whole outline network in the UK and Éire.

It has been scanned in four overlapping sections to save damage to a fragile item. This section shows the whole of Ireland as well as the western most extremities of South Wales and Cornwall.

Associated British and Irish Railways was a marketing organisation jointly formed by the London Midland & Scottish Railway (LMSR), London & North Eastern Railway (LNER), and Southern Railway (SR) in 1934, later joined by Great Western Railway (GWR) and Great Southern Railways (GSR) in 1935. Most of its promotional material was aimed at the North American market and it produced annual editions of folders giving information about the services and destinations served by the railway companies.

One of the folders produced was that of a railway map of the whole of the UK and Ireland showing the lines and ferry services of the member railways. This issue, with an interesting but uncredited cover, uses an interesting map. The Philips cartography would, in post-war years, go on to be used by the newly nationalised British Railways after 1948, and it appears to have been first introduced by the London & North Eastern Railway in c.1936; it is interesting to see the use of the company's adopted typeface, Gill Sans, used for place names. This folder makes me think that for ABR use, Philips may have been commissioned, possibly by the LNER, to extend this style of coverage to the whole outline network in the UK and Éire.

It has been scanned in four overlapping sections to save damage to a fragile item.

Associated British and Irish Railways was a marketing organisation jointly formed by the London Midland & Scottish Railway (LMSR), London & North Eastern Railway (LNER), and Southern Railway (SR) in 1934, later joined by Great Western Railway (GWR) and Great Southern Railways (GSR) in 1935. Most of its promotional material was aimed at the North American market and it produced annual editions of folders giving information about the services and destinations served by the railway companies.

One of the folders produced was that of a railway map of the whole of the UK and Ireland showing the lines and ferry services of the member railways. This issue, with an interesting but uncredited cover, uses an interesting map. The Philips cartography would, in post-war years, go on to be used by the newly nationalised British Railways after 1948, and it appears to have been first introduced by the London & North Eastern Railway in c.1936; it is interesting to see the use of the company's adopted typeface, Gill Sans, used for place names. This folder makes me think that for ABR use, Philips may have been commissioned, possibly by the LNER, to extend this style of coverage to the whole outline network in the UK and Éire.

It has been scanned in four overlapping sections to save damage to a fragile item. This scan covers the majority of England, excluding Cornwall, along with the bulk of Wales.

Associated British and Irish Railways was a marketing organisation jointly formed by the London Midland & Scottish Railway (LMSR), London & North Eastern Railway (LNER), and Southern Railway (SR) in 1934, later joined by Great Western Railway (GWR) and Great Southern Railways (GSR) in 1935. Most of its promotional material was aimed at the North American market and it produced annual editions of folders giving information about the services and destinations served by the railway companies.

One of the folders produced was that of a railway map of the whole of the UK and Ireland showing the lines and ferry services of the member railways. This issue, with an interesting but uncredited cover, uses an interesting map. The Philips cartography would, in post-war years, go on to be used by the newly nationalised British Railways after 1948, and it appears to have been first introduced by the London & North Eastern Railway in c.1936; it is interesting to see the use of the company's adopted typeface, Gill Sans, used for place names. This folder makes me think that for ABR use, Philips may have been commissioned, possibly by the LNER, to extend this style of coverage to the whole outline network in the UK and Éire.

It has been scanned in four overlapping sections to save damage to a fragile item. This section shows Western Scotland, including the Highlands and Islands, along with the northern areas of the island of Ireland.

This undated booklet has a feel of being an early London & North Eastern Railway publication followingt he company's creation in 1923; the text that gives details of the series of more regional guides in the 'Holidays Illustrated Series" and the logo on the back cover are all of that period c.1924/25 when much of their publicity still had a 'feel' of their constituant companies.

The cover, with a rather "Qaulity Street" lady, is by Austin Cooper and suggests earlier and more leisurely days. Cooper (1890 - 1964) was the British-Canadian artist noted for his contemporary graphic design work and who was one of the LNER's 'stable' of artists and designers. The booklet gives details of the various mostly East Coast resorts served by the LNER stretching from East Anglia to the Moray Firth in Scotland.

For many years, from Victorian times up into the mid-Twentieth Century, a popular pastime was the collection of relief scraps that depicted a wide range of subjects, with the object of creating your own scenes built up from scraps in a scrapbook. One of the many printers of scuh relief scraps was the well-known London based art printers of Raphael Tuck & Sons, noted for colour tracts, booklets and postcards and whose premises were bombed out with total loss in the Blitz of December 1940. They recovered to issue carry on issuing such publications and these scraps are, in many ways, clever items of relief printing.

The bound folder acts as a catalogue and includes sample sheets; these include the circus (Series R6) and a relatively modern take on British Railways
(Series R19). What helps date the catalogue is the mention of the Queen's Coronation in 1953 and the inclusion of samples of Coronation relief scraps (Series R10) that show various officials and flunkies.

For many years, from Victorian times up into the mid-Twentieth Century, a popular pastime was the collection of relief scraps that depicted a wide range of subjects, with the object of creating your own scenes built up from scraps in a scrapbook. One of the many printers of scuh relief scraps was the well-known London based art printers of Raphael Tuck & Sons, noted for colour tracts, booklets and postcards and whose premises were bombed out with total loss in the Blitz of December 1940. They recovered to issue carry on issuing such publications and these scraps are, in many ways, clever items of relief printing.

The bound folder acts as a catalogue and includes sample sheets; these include the circus (Series R6) and a relatively modern take on British Railways
(Series R19). What helps date the catalogue is the mention of the Queen's Coronation in 1953 and the inclusion of samples of Coronation relief scraps (Series R10) that show various officials and flunkies.

For many years, from Victorian times up into the mid-Twentieth Century, a popular pastime was the collection of relief scraps that depicted a wide range of subjects, with the object of creating your own scenes built up from scraps in a scrapbook. One of the many printers of scuh relief scraps was the well-known London based art printers of Raphael Tuck & Sons, noted for colour tracts, booklets and postcards and whose premises were bombed out with total loss in the Blitz of December 1940. They recovered to issue carry on issuing such publications and these scraps are, in many ways, clever items of relief printing.

The bound folder acts as a catalogue and includes sample sheets; these include the circus (Series R6) and a relatively modern take on British Railways
(Series R19). What helps date the catalogue is the mention of the Queen's Coronation in 1953 and the inclusion of samples of Coronation relief scraps (Series R10) that show various officials and flunkies.

An undated advertising leaflet that makes some marvellous claims as to why eating sugar actually helps you slim; it must be so as a "Dietitian" says so.

Tate & Lyle were the dominant UK sugar refiner and producer formed by merger in 1921. In post-WW2 years the company agressively fought what was seen as a proposal to nationalise the industry, along with the British Sugar Corporation that held an effective monopoly over the beet manufacturing of sugar, and as part of this invented the "Mr. Cube" advertising symbol. This leaflet, although undated, feels c.1960 with mention of contemporary athletes and it was slipped inside an early 1960s recipe book.

The outer covers show two of the iconic Tate & Lyle packaging design that was used for many years, this being for their Caster Sugar.

An undated advertising leaflet that makes some marvellous claims as to why eating sugar actually helps you slim; it must be so as a "Dietitian" says so.

Tate & Lyle were the dominant UK sugar refiner and producer formed by merger in 1921. In post-WW2 years the company agressively fought what was seen as a proposal to nationalise the industry, along with the British Sugar Corporation that held an effective monopoly over the beet manufacturing of sugar, and as part of this invented the "Mr. Cube" advertising symbol. This leaflet, although undated, feels c.1960 with mention of contemporary athletes and it was slipped inside an early 1960s recipe book.

The outer covers show two of the iconic Tate & Lyle packaging design that was used for many years. This shows the Cube Sugar packet.

An undated advertising leaflet that makes some marvellous claims as to why eating sugar actually helps you slim; it must be so as a "Dietitian" says so.

Tate & Lyle were the dominant UK sugar refiner and producer formed by merger in 1921. In post-WW2 years the company agressively fought what was seen as a proposal to nationalise the industry, along with the British Sugar Corporation that held an effective monopoly over the beet manufacturing of sugar, and as part of this invented the "Mr. Cube" advertising symbol. This leaflet, although undated, feels c.1960 with mention of contemporary athletes and it was slipped inside an early 1960s recipe book.

A well produced brochure showing the full range of Bedfrod commercial vehicles produced by the Vauxhall Motors Ltd. at their Luton plant. These included the 10/12-Cwt light van models, the 'middleweight' 20/25-Cwt to 5 ton models and the 'Big Bedfords" of 7-ton capacity alongside the various iterations of the versatile vehicles including ambulances, municipal vehicles and the Bedford-Scammell articulated vehicles.

A four-inch by four-inch, black and white photo of Michael Ontkean dressed as Sheriff Harry S. Truman in "Twin Peaks." The original photo was taken in May 1989 and this image, complete with crop marks, was run on Nov. 10, 1990 in anticipation of episode 2.007.

See: twinpeaksblog.com/2025/04/27/twin-peaks-publicity-michael...

'Forget it never Hugo comes ever.'
Pupils' sayings
Sign for a local funeral business
Remscheid-Lennep, Bergisches Land
North Rhine-Westphalia, Germany 25.06.2023

"Von Moskau bis zum Wilden Westen Hugos Kisten sind die Besten."
"Hugo Loch kommt doch."
Schülersprüche
Hinweisschild auf ein örtliches Bestattungsunternehmen
Remscheid-Lennep, Bergisches Land
Nordrhein-Westfalen, Deutschland 25.06.2023

Vintage German publicity still, used in Dutch cinemas (therefore the mark of the Dutch national censorship board). FSK. Adler Film (Anna Althoff). Still for Ossessione / Obsession/ Von Liebe besessen (Luchino Visconti, 1943), freely adapted from James M. Cain's novel The Postman Always Rings Twice. Here with Massimo Girotti (Gino), Clara Calamai (Giovanna) and Michele Riccardini (Don Remigio). In West-Germany the film was only first commercially released in 1959. In the Netherlands, the film was shown in cineclubs in 1958.

Handsome, manly Italian actor Massimo Girotti (1918-2003) had a career that spanned seven decades. He is best remembered for four roles: the young wanderer Gino in Luchino Visconti's Ossessione (1943), the stern lover in Michelangelo Antonioni's Cronaca di un amore (1950), the passionate patriot in Visconti's Senso (1954), and the tormented father in Pier Paolo Pasolini's Teorema/ Theorem (1968).

Though she acted in many light entertainment films, Clara Calamai's (1909-1998) most famous role will for always be the one of the femme fatale Giovanna in Luchino Visconti's steamy (proto-)neorealist film Ossessione/ Obsession (1943).

Vintage Austrian postcard. Ghwala Druck, Vienna. Postcard for the Persil industrial film and early sound film Wäsche - Waschen - Wohlergehen (Johannes Guter, 1932), commissioned by the company Henkel, produced in 1931 and first publicly shown on 24 January 1932 at the Ufa-Palast am Zoo in Berlin. On this card: Dr Breuer (Fritz Alberti) explains to an audience in his laboratory.

Fritz Alberti (1877-1954) was a German stage and screen actor.