Everywhere you go you can be sure of Shell
Poster
1932 (printed)
1932 (printed)
Artist/Maker | |
Place of origin |
This is a poster for Shell petroleum. Heeding the protests of SCAPA (The Society for Checking the Abuses of Public Advertising) against poster hoardings and obtrusive signs along the roadside, Shell began to attach posters to the sides and backs of lorries. Jack Beddington, publicity director of the amalgamated Shell-Mex and BP Ltd, commissioned well-known artists as well as specialist poster artists to produce these lorry bills. These were changed every few weeks, so many artists were involved. Beddington’s use of artists and emphasis on landscape imagery did not simply reflect his personal artistic preference. It was carefully targeted to appeal to his middle-class customers. These not only appreciated art, but were being rallied by action groups, such as the Council for the Preservation of Rural England.
Object details
Categories | |
Object type | |
Title | Everywhere you go you can be sure of Shell (published title) |
Materials and techniques | colour lithograph |
Brief description | Poster by Graham Sutherland depicting the Great Globe Swanage, lettered 'Everywhere you go you can be sure of Shell'. Great Britain, 1932. |
Physical description | Landscape format poster in green yellow and blue depicting a statue of a globe in a landscape with a Shell oil slogan below and above. |
Dimensions |
|
Credit line | Given by Messrs. Shell Mex, Ltd. |
Subject depicted | |
Place depicted | |
Summary | This is a poster for Shell petroleum. Heeding the protests of SCAPA (The Society for Checking the Abuses of Public Advertising) against poster hoardings and obtrusive signs along the roadside, Shell began to attach posters to the sides and backs of lorries. Jack Beddington, publicity director of the amalgamated Shell-Mex and BP Ltd, commissioned well-known artists as well as specialist poster artists to produce these lorry bills. These were changed every few weeks, so many artists were involved. Beddington’s use of artists and emphasis on landscape imagery did not simply reflect his personal artistic preference. It was carefully targeted to appeal to his middle-class customers. These not only appreciated art, but were being rallied by action groups, such as the Council for the Preservation of Rural England. |
Bibliographic reference | Victoria and Albert Museum, Department of Engraving, Illustration and Design & Department of Paintings, Accessions 1933, London: Printed under the Authority of the Board of Education 1934 |
Collection | |
Accession number | E.1313-1933 |
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Record created | February 26, 2003 |
Record URL |
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