Chicago World’s Fair Travel Poster by Glenn C. Sheffer, 1933

4.9 (84 recensioni)
Stampato e incorniciato in Stati Uniti
Consegna gratuita in 2–3 giorni
Resi entro 90 giorni · Garanzia di 10 anni
4.8/5 Eccellente
Opera dell’artista originale Mai generata dall’IA
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Restaurata nel nostro laboratorio dall’opera originale del 1933 e stampata in qualità museale. Descrizione completa
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Glenn C. Sheffer’s World’s Fair; Chicago, created in 1933, presents the city’s great exposition as a vertical surge of architecture, movement and...

Glenn C. Sheffer’s World’s Fair; Chicago, created in 1933, presents the city’s great exposition as a vertical surge of architecture, movement and modern ambition. A monumental female figure rises from a globe at the centre, her arms lifted above a flowing blue-green gown, while skyscrapers, towers and aircraft crowd the surrounding sky. Intense blue is set against vivid orange, yellow-green and passages of near-black, giving the poster the compressed energy and immediate legibility of Art Deco commercial design.

The poster promoted Chicago’s 1933 World’s Fair, formally known as the Century of Progress International Exposition. Conceived to mark the city’s centenary, the fair placed particular emphasis on science, industry and technological development. Its vision of the future carried added force during the Great Depression: Chicago was being advertised not merely as a destination, but as a stage on which modern life could be displayed at an exhilarating scale. Sheffer, best known for poster and illustration work, translates that promise into a concise visual spectacle designed to catch the prospective traveller’s eye.

A closer look

The composition climbs emphatically upwards. At its base, the word “CHICAGO” fixes the scene geographically; above it, the globe provides a rounded platform for the central figure. Her pale, metallic-toned bodice is sharply distinguished from the softer folds of her gown, which descend in long blue ribbons and create a strong sense of movement. The raised arms continue the poster’s vertical thrust, drawing the eye towards the bold capital lettering “WORLD’S FAIR” across the top.

Behind her, the city is less a literal panorama than an assembly of modern emblems. Slender structures overlap in stepped layers of blue and green, their simplified silhouettes suggesting both Chicago’s skyline and the temporary architecture of the exposition. A conspicuous tower marked with red-and-white vertical stripes interrupts the cooler palette. To the upper right, small aeroplanes and elongated airships cross the open sky, extending the imagery of progress beyond the city and into the air.

The lower corners introduce a darker, more grounded counterweight. On the left, a muscular seated figure bends over what appears to be a drawing pad; on the right, another black silhouette leans forwards among the architectural forms. Their compact poses contrast with the expansive gesture of the woman above. Between these shadowed foreground figures and the bright, atmospheric background, Sheffer creates depth without sacrificing the flat colour and crisp contours essential to poster design.

Context and significance

The wording “1833 A CENTURY OF PROGRESS 1933” makes the fair’s historical argument explicit, linking Chicago’s first hundred years to a confident vision of what might come next. Yet the design does not dwell on the past. Its globe, aircraft and soaring towers belong to a visual language of speed, international reach and technological possibility. Even the tall, narrow format contributes to this rhetoric: nearly every line seems to ascend.

Sheffer’s poster is especially revealing as a document of how major exhibitions were presented to a mass audience. Rather than cataloguing attractions, it condenses an entire fair into a few memorable signs—city, world, flight, architecture and the human figure. The result retains the persuasive clarity of advertising while offering a vivid record of the optimism with which 1930s Chicago chose to represent itself.

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Artwork can feel intimate at smaller sizes and dramatically more architectural at larger ones. Use the room preview, model image and size guide to see how the proportions and scale will work in your space.

If you need an exact size, specialist framing or help planning a larger display, ask our workshop for advice.

The model in the listing images is holding the 24x36in (60x90cm) version of this art print.

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Every piece is produced to archival standards using fade-resistant pigment inks on acid-free matte art paper. Choose an art print, framed art print or framed canvas using the finish options above.

Framed art prints use crystal-clear optical acrylic for excellent clarity, lower weight and safer delivery than glass. Each piece arrives professionally framed and ready to hang.

Selected artworks can be produced at statement sizes up to 3 metres (10ft). Custom sizing and specialist framing are also available. If the exact option you need is not listed, contact our workshop.

This artwork is also available as a float framed canvas, sometimes known as a shadow gap framed canvas or canvas floater. The work is printed on artist's cotton canvas and then stretched over a handmade box frame. We then "float" the canvas inside a wooden frame, which is available in a range of colours (black, dark brown, oak, antique gold and white). This is a wonderful way to present an art print without glazing in front. See some examples of float framed canvas art and explore the differences between my different finishes.

Molte delle nostre mappe e stampe d’arte vengono scelte come regali premurosi per case, uffici, studi e luoghi significativi.

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Realizziamo gli ordini localmente in 23 paesi in tutto il mondo, così i regali possono spesso essere prodotti vicino al destinatario. Questo li aiuta ad arrivare più rapidamente, a viaggiare in maggiore sicurezza e a evitare sorprese legate a dazi doganali o di importazione.

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Most orders are made locally and delivered in around 2–3 working days, depending on the product, size and destination.

We print and frame maps and artwork in 24 countries around the world, so your order is usually made close to you or your recipient. That means faster delivery, less time in transit, and no customs or import duty surprises.

Personalised and customised pieces usually take an extra 1–2 working days, because we prepare your design and send it to you for approval before printing.

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Read our full delivery and local production guide

Our standard frame is a gallery-style black ash hardwood frame, with a simple, modern look. It is approximately 20mm (0.8in) wide. You can also view some lovely customer photos of framed maps and art.

We use super-clear acrylic glazing, also known as Perspex or Acrylite, instead of traditional glass. It is lighter, safer, and has lower reflectivity, giving the artwork a clearer, cleaner appearance.

Six standard frame colours are available at no extra cost: black, dark brown, dark grey, oak, white, and antique gold. Custom framing and mounting/matting is also available for customers looking for something more specific.

Most maps, art prints, and illustrations are also available as a framed canvas. We use matte cotton canvas, stretch it over a sustainably sourced wooden box frame, and then float the piece within a wooden outer frame. The finished result is beautifully presented, with no glazing between you and the artwork.

All frames are supplied ready to hang, with either string or brackets fitted to the back. Very large frames will include heavy-duty hanging plates and/or a mounting baton. If you have any questions, please get in touch.

We can also supply old maps and artwork on canvas, foam board, cotton rag, and other materials.

If you would prefer to frame your map or artwork yourself, please read our size guide before ordering.

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