New York Municipal Airports Travel Poster: Floyd Bennett Field and North Beach, 1936
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La consegna standard è gratuita in tutto il mondo e richiede solitamente circa 3 giorni lavorativi. Vuoi inviare un regalo all’estero? Realizziamo la maggior parte degli ordini localmente, nel paese del destinatario.
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La consegna standard è gratuita in tutto il mondo e richiede solitamente circa 3 giorni lavorativi. Vuoi inviare un regalo all’estero? Realizziamo la maggior parte degli ordini localmente, nel paese del destinatario.
Per gli ordini personalizzati, prevedi tempi aggiuntivi per la progettazione e l’approvazione della bozza. Consulta i dettagli di consegna.
Resi: Gli ordini standard possono essere restituiti o cambiati entro 90 giorni dalla consegna. Gli articoli personalizzati e realizzati su misura sono generalmente esclusi dai resi per ripensamento. Consulta la nostra politica sui resi.
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City of New York Municipal Airports No. 1 Floyd Bennett Field – No. 2 North Beach, created in 1936, presents aviation as...
Continua a leggereCity of New York Municipal Airports No. 1 Floyd Bennett Field – No. 2 North Beach, created in 1936, presents aviation as the public face of a modern metropolis. Two propeller aircraft sweep across a field of brilliant red, their pale bodies crossing on opposing diagonals above bands of emphatic lettering. New York’s familiar skyline is entirely absent: the city is represented instead by movement, infrastructure and the open air.
The poster belongs to a period when commercial flight was becoming both a practical form of transport and a potent emblem of civic ambition. Its subject is not simply travel to New York, but New York as a gateway organised for the aviation age. Floyd Bennett Field had opened in 1931 as the city’s first municipal airport, while North Beach would later be developed into the airport now known as LaGuardia. In the midst of the Depression, such projects could be promoted as visible evidence of confidence, investment and future opportunity.
A closer look
The aircraft dominate the upper part of the design. One points to the right and the other to the left, creating a compact choreography of opposing directions rather than a conventional procession. Their wings and fuselages are defined by clean contours and restrained beige-grey shading, enough to suggest volume without weakening the poster’s flat graphic force. Circular treatment around the propellers supplies an economical impression of rapid rotation.
Behind them, the saturated red ground functions almost like a signal colour. Against it, the light aeroplanes and white lettering become immediately legible, even at a distance. A muted blue wave-like band along the lower edge offers the briefest indication of water below, grounding the airborne forms while recalling the coastal geography of New York’s municipal airfields. The limited palette—red, creamy beige and subdued blue—keeps every element clear and purposeful.
Typography carries as much weight as illustration. “CITY OF NEW YORK MUNICIPAL AIRPORTS” appears in bold sans-serif capitals, while “No. 1 FLOYD BENNETT FIELD” and “No. 2 NORTH BEACH” establish an almost administrative order. Changes in scale separate the civic message from practical information, turning a list of facilities into a declaration of metropolitan reach. Smaller inscriptions name F. H. La Guardia as mayor and John McKenzie as Commissioner of Docks, giving the promotion an explicitly municipal authority rather than the identity of a private airline campaign.
Context and significance
Travel posters commonly advertised destinations through monuments, scenery or leisure. This design takes a markedly different course, making transport infrastructure itself the attraction. The aeroplanes do not arrive at a picturesque city; they embody the city’s modernity. That choice reflects the expanding cultural status of aviation during the 1930s, when streamlined forms, strong diagonals and compressed sans-serif lettering became an especially effective visual language for speed.
The pairing of Floyd Bennett Field and North Beach also records a transitional chapter in New York aviation. Floyd Bennett Field represented the city’s early municipal aspirations, while the development at North Beach pointed towards a new centre for passenger traffic. The poster therefore occupies an intriguing position between promotion and civic record: spare, forceful and forward-looking, it turns two named airfields into a concise vision of New York connected to the wider world.
Choosing the right size and finish
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 16x20in (40x50cm) version of this art print.
Where personalisation is available, you can add a short title or dedication, or one considered visual detail. See examples of personalised artwork.
Choose Original to retain the colour and character of the source artwork, or Aged for a warmer, more antique appearance. See examples of our Aged artwork.
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.
City of New York Municipal Airports No. 1 Floyd Bennett Field – No. 2 North Beach, created in 1936, presents aviation as the public face of a modern metropolis. Two propeller aircraft sweep across a field of brilliant red, their pale bodies crossing on opposing diagonals above bands of emphatic lettering. New York’s familiar skyline is entirely absent: the city is represented instead by movement, infrastructure and the open air.
The poster belongs to a period when commercial flight was becoming both a practical form of transport and a potent emblem of civic ambition. Its subject is not simply travel to New York, but New York as a gateway organised for the aviation age. Floyd Bennett Field had opened in 1931 as the city’s first municipal airport, while North Beach would later be developed into the airport now known as LaGuardia. In the midst of the Depression, such projects could be promoted as visible evidence of confidence, investment and future opportunity.
A closer look
The aircraft dominate the upper part of the design. One points to the right and the other to the left, creating a compact choreography of opposing directions rather than a conventional procession. Their wings and fuselages are defined by clean contours and restrained beige-grey shading, enough to suggest volume without weakening the poster’s flat graphic force. Circular treatment around the propellers supplies an economical impression of rapid rotation.
Behind them, the saturated red ground functions almost like a signal colour. Against it, the light aeroplanes and white lettering become immediately legible, even at a distance. A muted blue wave-like band along the lower edge offers the briefest indication of water below, grounding the airborne forms while recalling the coastal geography of New York’s municipal airfields. The limited palette—red, creamy beige and subdued blue—keeps every element clear and purposeful.
Typography carries as much weight as illustration. “CITY OF NEW YORK MUNICIPAL AIRPORTS” appears in bold sans-serif capitals, while “No. 1 FLOYD BENNETT FIELD” and “No. 2 NORTH BEACH” establish an almost administrative order. Changes in scale separate the civic message from practical information, turning a list of facilities into a declaration of metropolitan reach. Smaller inscriptions name F. H. La Guardia as mayor and John McKenzie as Commissioner of Docks, giving the promotion an explicitly municipal authority rather than the identity of a private airline campaign.
Context and significance
Travel posters commonly advertised destinations through monuments, scenery or leisure. This design takes a markedly different course, making transport infrastructure itself the attraction. The aeroplanes do not arrive at a picturesque city; they embody the city’s modernity. That choice reflects the expanding cultural status of aviation during the 1930s, when streamlined forms, strong diagonals and compressed sans-serif lettering became an especially effective visual language for speed.
The pairing of Floyd Bennett Field and North Beach also records a transitional chapter in New York aviation. Floyd Bennett Field represented the city’s early municipal aspirations, while the development at North Beach pointed towards a new centre for passenger traffic. The poster therefore occupies an intriguing position between promotion and civic record: spare, forceful and forward-looking, it turns two named airfields into a concise vision of New York connected to the wider world.
Choosing the right size and finish
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 16x20in (40x50cm) version of this art print.
Where personalisation is available, you can add a short title or dedication, or one considered visual detail. See examples of personalised artwork.
Choose Original to retain the colour and character of the source artwork, or Aged for a warmer, more antique appearance. See examples of our Aged artwork.
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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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.
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Very large framed orders can take a little longer, as they need extra care in production and delivery.
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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.
Lavoriamo con interior designer, realtà del settore hospitality, professionisti del settore immobiliare, uffici e acquirenti aziendali per singoli pezzi e progetti coordinati di più ampia portata.
Quest'opera può essere adattata a una specifica parete, stanza o progetto e il nostro laboratorio può aiutare a coordinare dimensioni, materiale e incorniciatura prima della produzione.
- Dimensioni precise, extra-large e su misura
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- Personalizzazione dell'opera, per regolarne il colore e lo stile
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Ogni stampa artistica restaurata inizia dall’opera originale dell’artista—mai da una sostituzione generata dall’IA.
Il nostro studio di Londra lavora a partire da materiali di origine accuratamente selezionati da musei, biblioteche, archivi e collezioni private. Restauriamo i danni dovuti all’età, i colori sbiaditi e le imperfezioni di riproduzione, preservando al contempo la composizione, il tratto del pennello, il segno, la texture e il carattere d’epoca dell’artista.
Non utilizziamo l’IA generativa per ridisegnare, reinterpretare o inventare l’opera. Il restauro digitale viene impiegato solo per recuperare e riprodurre l’opera originale nel modo più fedele possibile.
Una volta restaurata, l’opera master viene preparata per il formato e la finitura da te scelti. Il tuo pezzo viene quindi stampato e, se selezionato, incorniciato vicino alla destinazione di consegna.
Le nostre stampe artistiche giclée utilizzano carta opaca archivistica senza acidi da 200 g/m² e inchiostri pigmentati resistenti allo sbiadimento, per una finitura ricca e di qualità museale. Le stampe artistiche incorniciate utilizzano acrilico ottico cristallino e arrivano pronte da appendere.
Sono disponibili anche tele incorniciate ed edizioni speciali su cotone-rag. Scopri di più sui nostri materiali e finiture.
Restauriamo e produciamo mappe e stampe d’arte dal 1984, e garantiamo personalmente ogni pezzo.
Ogni ordine è coperto dalla nostra garanzia di 10 anni e dalla garanzia di consegna senza danni. Se il vostro pezzo arriva danneggiato, lo sostituiremo o lo rifaremo gratuitamente. Se qualsiasi altro aspetto non fosse conforme, contattate il nostro team di laboratorio e provvederemo tempestivamente a risolvere il problema.
Per tutti i dettagli, consultate la nostra politica su resi e rimborsi.
