Abdulla Cigarettes 1921. Mélisande à Monte-Carlo — Anne Fish

Abdulla Cigarettes 1921. Mélisande à Monte-Carlo — Anne Fish

Abdulla Cigarettes 1921. Mélisande à Monte-Carlo — Anne Fish

Four series. Four protagonists. One unmistakable face.

In 1921, Abdulla Cigarettes launched a twelve-episode narrative campaign in La Vie Parisienne — one protagonist across a full year of issues, each episode advancing the story. The copy, in French, matched the illustration in wit and precision.
Anne Harriet Fish drew all four series: Mélisande à Monte-Carlo (1921), Dalilah (1922), Léonie à Los Angeles (1923), Leur Mari et le Pacha (1924). Four protagonists, one unmistakable face. This is the first.

A splendid detail of Abdulla Cigarettes Ad - Melisande at Montecarlo. No. 12. LA NOUVEL AN / NEW YEAR. La Vie Parisienne. December 17, 1921.

A splendid detail of the Ad N.12 

The outstanding advertising campaigns for Abdulla Cigarettes


Abdulla & Company Ltd, founded in London, England, in 1902, was most famous for its cigarette brand, produced in various blends (Egyptian, Virginian, and Turkish).  Philip Morris, Int. currently owns the brand.

The Abdulla cigarette advertising campaigns of the 1920s and 1930s were among the most advanced of the time. They were designed and drawn in different series according to the magazines and the countries. They became famous for their humor and quality of illustration. The copy was always paradoxical but very well written.

Anne Harriet Fish illustrated at least eleven of these series, from 1919 to 1932, published in the French magazine "La Vie Parisienne" and the British magazine "Punch. Her carefree thin stroke, elegant style, and humorous wit are, in our opinion, of the utmost value.

Each illustration below is accompanied by an approximate English translation of the original ad copy, with the exception of the first ad which originally ran in English."

 Most images are available for purchase in high-resolution.
The files are professionally restored. and ready for use up to large-sized prints.
Tick the button to reach Abdulla's product page, or use the links in the description to buy that specific subject.

Abdulla Cigarettes Ad - Melisande at Montecarlo. No. 1. FAREWELL PARIS. La Vie Parisienne, February 19, 1921. Artwork by Anne Harriet Fish.

No. 1. FAREWELL PARIS.
February 19, 1921.

Melisande has perfected her "system" for winning each masculine heart at first sight. Is she not the most chic and elegant young widow in all Paris?
Scorning such easy successes she decides to try her luck at the tables, and her departure for Monte Carlo draws a crowd of disconsolate admirers.

Henri presents her with flowers - they will be left in the train to wither! Georges brings her chocolates — to be eaten by her maid! But tactful Eduard delights Melisande with a box of exquisite Abdulla Cigarettes, knowing that she will gratefully remember the giver with every whiff of Abdulla's enchanting Fragrance.

ABDULLA THE COSMOPOLlTAN CIGARETTE


Original ad's text in English.

Abdulla Cigarettes Ad - Melisande at Montecarlo. No. 6. AU BALCON / AT THE BALCONY. La Vie Parisienne. July 2, 1921. Artwork by Anne Harriet Fish.

No. 2. L'HOTEL DE PARIS.
March 3, 1921.

Mélisande lives in Paradise, that is to say, at the Hotel de Paris. She tastes Chinese tea,  candied chestnuts, and indulges in a spicy babbling with a charming viscountess.

Her friend's son is a young man of the world, very chic, aged 18, who succumbs at first sight to a great passion, without hope, for Mélisande.

With the burning desire to impress the beloved, he showed off his cigarette case. Look at my wonderful discovery, Madame, he said, boasting. This Hotel provides the most delicious cigarettes, Les Abdulla - Taste one.

Delicious Mélisande refrained from telling the young viscount that her cigarette case was already full of exquisite "Abdulla Roselips," and, smiling, accepted the cigarette. She inhaled the fascinating scent with genuine delight as each new cigarette is an enchanted surprise because of its infinite perfections.


Translated from the original French text.

No. 2. L'HOTEL DE PARIS - Lisez le texte original en français

Mélisande réside dans un Paradise, c'est-à-dire à l'Hôtel de Paris. Elle déguste du thé de Chine, grignote des marrons glacés, et s'abandonne à un piquant babillage avec une charmante vicomtesse.

Le fils de son amie est un jeune homme du monde, très chic, agé de 18 ans, qui succombe a première vue d’une grande passion, sans espoir, pour Mélisande. Avec le désir ardent d'impressionner l'adorée, il exhiba son porte-cigarettes. Regardez ma découverte merveilleuse, Madame dit-il en se vantant. Cet Hôtel fournit les cigarettes les plus délicieuses du monde Les Abdlulla — Goûtez-en une.

Délicieuse Mélisande, elle s'abstint de dire au jeune vicomte que déjà son porte-cigarettes était plein d'exquises Abdulla Roselips, et, souriante, accepta la cigarette offerte. Elle aspira le parfum fascinant avec un ravissement tout à fait réel, parce que chaque cigarette nouvelle est une surprise enchantée à cause de ses infinies perfections.

ABDULLA. LA CIGARETTE COSMOPOLITE

1921. Mélisande a Monte-Carlo. High Society Lifestyle saw by Anne Fish


This post showcases the full series of 1921 Abdulla advertising in the French magazine "La Vie Parisienne."
The star is Mélisande, a wealthy, young, elegant, and beautiful Parisian who goes to Monte Carlo to try her luck at the casino. Here she stays at the Hotel de Paris, where she meets an elegant Englishman who woos her and with whom she gets engaged and finally marries three days before New Year's Eve; her life unfolds between suitors, losses, and wins at the table and a lifestyle of unbridled luxury.

Interestingly, the advertisements typically showcased elegant, high-society people and lifestyle, even when the product was targeted to the middle-class, in an aspirational fashion.
The next posts will showcase more stories from 1922 to 1924, again illustrated by Anne Fish.

Abdulla Cigarettes Ad - Melisande at Montecarlo. N.3 AU CAFE DE PARIS. La Vie Parisienne. April 16, 1921. Artwork by Anne Harriet Fish.

No. 3. AU CAFE DE PARIS.
April 16, 1921.

MELISANDE has the prettiest ankles in Monte-Carlo, and thank goodness, fashion forces her to display them! Between each exquisite service from the Café de Paris, she dances with an eye-catching grace.

But suddenly-oh! horror, in the middle of a shimmy Foxtrot, she dropped her cigarette case full of adorable ABDULLA CIGARETTES! What luck! it felt beside the table of a tall and distinguished Englishman dining alone each evening and worships him in respectful silence.

He got up to pick it up before she lost momentum, and handed it to her with a sparkling look, stammering a few French words.

MELISANDE thanked him with a radiant encouraging smile. Doesn't he also smoke “ABDULLA?” And because of that, he is a charming man, educated and of good taste.

Translation from the original French text.

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Translated from the original French text.

N.3 AU CAFE DE PARIS - Lisez le texte original en français

MELISANDE a les plus jolies chevilles de Monte-Carlo et remercions les cieux que la mode l'oblige à les exposer! Entre chaque service exquis du Café de Paris, elle danse avec une grâce qui attire les yeux.

Mais tout à coup-oh! horreur-au milieu d'un Shimmy Foxtrot elle laissa tomber son porte-cigarettes plein d'adorables CIGARETTES ABDULLA! Quelle chance! Il tomba a coté de la table d un grand et distingué Anglais qui dine seul chaque soir, et l’adore dans un silence respectueux.

II se leva pour le ramasser avant qu'elle perde la cadence, et lui remit avec un regard étincelant en bégayant quelques mots de Français. MELISANDE le remercia avec un radieux d encourageant sourire. Ne fume-t-il pas lui aussi des “ABDULLA?” Et a cause de celà, c'est un homme charmant, d'education et de bon goût.

ABDULLA LA CIGARETTE COSMOPOLITE

Abdulla Cigarettes Ad - Melisande at Montecarlo. No. 4. AU CASINO. La Vie Parisienne. May 7, 1921. Artwork by Anne Harriet Fish.

No. 4. AU CASINO.
May 7, 1921.

Until this evening "Luck" has always smiled on Mélisande.

She had barely spent an hour at the Casino when, stack after stack of large green tokens - each representing a hundred francs - had melted and disappeared like snow.
Mélisande feels in her heart the strange empty feeling that all unhappy players know, and feels hurt and disconcerted that the "God of Chance" has stopped favoring her. She plays it back — over and over again — and with a bitter little smile finds that her purse no longer contains a single token.

She leaves the tables somewhat undecided whether to hit the croupier or burst into tears and, in the presence of the charming flirt, the tall and handsome Englishman awaiting her to cheer and console her.
He knows so well that an exquisite "Abdulla Cigarette" smoked at the right time will cure the most fatal blow of Destiny and under the magical spell of Abdulla's perfume, Mélisande quickly forgets her only hour of sadness.

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Translated from the original French text.

No.4. AU CASINO - Lisez le texte original en français

Jusqu'à ce soir la "Chance" et la "Bonne Fortune" ont toujours souri à Mélisande.

A peine a-t-elle passé une heure au Casino que déjà pile après pile de gros jetons verts-chacun représentant cent francs-ont fondu et disparu comme de la neige. Mélisande éprouve au coeur l'étrange sensation vide que tous les joueurs malheureux connaissent, et se sent blessée et déconcertée que le " Dieu du Hasard" cessa de la favoriser. Elle rejoue—encore et encore—et avec un petit sourire amer s’aperçoit que son sac-à-main ne contient plus un seul jeton.

Elle quitte les tables quelque peu indécise, si elle doit frapper le croupier ou fondre en larmes, et, se trouve en présence du charmant flirt le grand et bel Anglais l'attendant pour l’égayer et la consoler. Il sait si bien qu'une exquisite "Cigarette Abdulla" fumée au bon moment, guérira le coup le plus fatal de la Destinée et sous le charme magique du parfum d'Abdulla, Mélisande oublie bien vite sa seule heure de tristesse.

ABDULLA LA CIGARETTE COSMOPOLITE

A Modern Coordinated Corporate Image in the Twenties.


Interestingly, the first three ads in the series were casually designed. Logo and fonts vary every time, and the first ad is even in English (the magazine was French). Probably, the London parent company must have groomed the agency in charge of the campaign. From the fourth announcement onwards, Logo, title, and body font have been chosen. It seems normal today, but in those days, it was a very advanced thing.

Each year, theme and characters varied, and any new series had a dedicated design. In the beginning, the series was annual, then two shorter stories per year were published.

Abdulla Cigarettes Ad - Melisande at Montecarlo. No. 4. AU CASINO. La Vie Parisienne. May 7, 1921. Artwork by Anne Harriet Fish.

No. 5. SUR LES TERRASSES.
June 11, 1921.

Mélisande loves change, and as she walks happily along the terraces with Edouard and Henri, her wicked little heart has no mercy for her adorer, the Englishman who sits alone in despair.

He thinks bitterly of his sad fate, not only because the two admirers of Mélisande escort the prettiest woman in France but also because they inhale the exquisite scent of ABDULLAS CORONETS.

He stupidly forgot to take his cigarette case, and black with jealousy, he cannot leave the terrace to seek consolation in an ABDULLA.

Mélisande's heart, you would have been touched if she had known that he was without ABDULLA, but this was far from his thoughts. He remained gloomy while thinking of suicide, deprived of Mélisande and ABDULLA, the calming and inspiring Cigarette.

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Translated from the original French text.

No. 5. SUR LES TERRASSES - Lisez le texte original en français

Mélisande aime le changement et comme elle se promène gaiement le long des terrasses avec Edouard et Henri son petit coeur méchant ne garde aucune pitié pour son adorateur l’Anglais qui est assis seul perdu de désespoir.

Il pense avec amertume à, son triste destin non seulement, parce que les deux admirateurs de Mélisande escortent la plus jolie femme de France mais aussi parce qu'ils aspirent l’exquise odeur des ABDULLAS CORONETS.

Il a stupidement oublie de prendre son porte-cigarettes et noir de jalousie il ne peut quitter la terrasse pour chercher la consolation dans une ABDULLA.

Le cœur de Mélisande tu aurait été touche si elle avait su qu'il était sans ABDULLA mais ceci était bien loin de sa pensée et il resta sombre en songeant au suicide, privé de Mélisande et d'ABDULLA la calmante et inspiratrice Cigarette.

ABDULLA LA CIGARETTE COSMOPOLITE

Abdulla Cigarettes Ad - Melisande at Montecarlo. No. 6. AU BALCON / AT THE BALCONY. La Vie Parisienne. July 2, 1921. Artwork by Anne Harriet Fish.

No. 6. AT THE BALCONY.
July 2, 1921.

Mélisande quarreled with her English admirer. Who can say why? The charms of a woman by her whims and her coldness inflame the heart of a man much more.

All-day long, he begged forgiveness for the crimes he never committed, and now like an unhappy Romeo, he remains below the balcony of his beloved. Oh! happiness. What intuition could have told him that an unforgiven sinner was crying below? In response to the whispered words of penance and adoration, she smiles, and an immense weight lifts from her heart.

He pleads in an unhappy voice for a ribbon, a flower, some precious memories of their reconciliation, but she threw him a box of divine ABDULLA Cigarettes. Each "Rose-Tipped" Cigarettes will remind him of the enchantment of an hour of moonlight while their seductive scent will recall Mélisande's fascinations.

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Translated from the original French text.

No. 6. AU BALCON - Lisez le texte original en français

Mélisande s'est disputée avec son admirateur Anglais. Qui peut dire pourquoi? Les charmes d'une femme par ses caprices et sa froideur enflamment bien plus le coeur d'un homme.

Toute la journée il a imploré le pardon pour les crimes qu'il n'a jamais commis et maintenant comme un malheureux Roméo il reste au-dessous du balcon de son adorée. Oh ! bonheur. Quelle est l intuition qui a bien pu lui dire qu'un pécheur impardonné pleurait au-dessous. En réponse aux mots de pénitence et d'adoration murmurés elle sourit et un immense poids se soulève de son coeur.

Il plaide d'une voix malheureuse pour obtenir un ruban. une fleur, quelques précieux souvenirs de leur réconciliation mais elle lui lança une boîte de divines Cigarettes ABDULLA. Chaque Cigarettes "Rose-Tipped" lui rappellera l'enchantement d'une heure de clair de lune pendant que leur parfum séduisant rappellera les fascinations de Mélisande.

ABDULLA LA CIGARETTE COSMOPOLITE

Abdulla Cigarettes Ad - Melisande at Montecarlo. No. 7. L'APÉRITIF. La Vie Parisienne. July 30, 1921. Artwork by Anne Harriet Fish.

No. 7. APERITIF.
July 30, 1921.

Any Monte-Carlo "regular" knows that a perfect day always starts with an aperitif at the Café de Paris.

Melisande is sitting in a blue wicker chair sheltered by a bulky parasol, like the morning she looks fresh and young. At her coast is the tall, handsome Englishman who follows her like her shadow,

She cheerfully toys with icy and sweet something, and he sips a Martini, and while smoking sucks in the "chic" and tempting "ABDULLA Cigarette," which always increases a man's good mood.
Melisande is delighted to see her admirer in such a happy disposition. He will keep her company running the stores and decides that he will buy her funny novels, armfuls of beautiful flowers, a new purse, and a host of other little things. But above all and all, he must buy her a dozen boxes of these enchanted "Rose-Tipped Abdullas" at the Tobacconist near the Café de Paris.
Charming little Melisande thinks that the privilege of worshipers is to pay for what they worship.

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Translated from the original French text.

No. 7. L'APÉRITIF - Lisez le texte original en français

 Tout "habitué" de Monte-Carlo sait qu'une journée parfaite commence toujours par un apéritif au Café de Paris?

Melisande est assise sur une chaise bleue eu osier et abritée par un volumineux parasol, comme la matinée, elle a l'air frais et jeune. A ses côtes se trouve le grand et bel Anglais qui la suit comme son ombre,

Elle folâtre gaiement avec quelque chose qui est glacé et doux, et lui, boit un Martini a petites gorgées et tout en fumant aspire la "chic" et tentante "Cigarette ABDULLA" qui augmente toujours la bonne humeur d'un homme.

Melisande se réjouit de voir son admirateur dans une si heureuse disposition. Il va lui tenir compagnie pour courir les magasins et elle a décide qu'il lui achèterait des romans amusants, des brassées de belles fleurs. un nouveau sac à main et une quantité d'autres petites choses. Mais sur tout et avant tout, il doit lui acheter une douzaine de boites de ces enchantées "Rose-Tipped Abdullas" au Bureau de tabac à coté du Café de Paris.

La Charmante petite Melisande pense que le privilège des adorateurs est de payer pour ce qu'ils adorent.

ABDULLA LA CIGARETTE COSMOPOLITE

Abdulla Cigarettes Ad - Melisande at Montecarlo. No. 8. LA MASCOTTE. La Vie Parisienne. August 20, 1921. Artwork by Anne Harriet Fish.

No. 8. MASCOT.
August 20, 1921.

Despite her recent defeat at the Casino, Mélisande has returned to the gaming tables and tonight her pretty little head is swimming in the dizzying flight of victory.

One is to wonder by what marvelous system was it able to steal such a pile of tokens of one hundred francs to the recalcitrant rake of the croupier?

Did she spend tiring hours jotting down red and black winning numbers in a nasty little notebook, or were her agitated dreams filled with good ideas and omens?

No! Mélisande's wisdom is far too strong for her to adopt gambling as a profession. A charming inspiration prompted her to play a heavy nap on the number which constantly brings her happiness and joy. Her favorite cigarette is "Turkish Abdulla," "Number Eleven" and it is no surprise that she sees the little white ball, in its mad rush, quietly fall into number eleven. The "ABDULLAS" "have always been those where luck and success have had no equivalent.

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Translated from the original French text.

No. 8. LA MASCOTTE - Lisez le texte original en français

 Malgré sa recente défaite au Casino, Mélisande est retournée aux tables de jeux et ce soir sa jolie petite tête nage dans la fuie étourdissante de la victoire.

On est a se demander par quel merveilleux système a-t-elle pu dérober une telle pile de jetons de cent francs au râteau récalcitrant du croupier?

A-t-elle passe des heures fatigantes à prendre note dans un méchant petit calepin des numéros gagnants rouges et noirs ou est-ce que ses rêves agites on été remplis de bonnes idées et d augures?

Non! La sagesse de Mélisande est beaucoup trop forte pour qu’elle adopte le jeu comme profession. Une charmante inspiration l’a poussée à jouer une forte somme sur le numéro qui lui procure constamment du bonheur et de la joie. Sa cigarette favorite est la "Turkish Abdulla," "Numéro Onze " et c’est sans étonnement qu’elle voit la petite boule blanche, dans sa course folle, tomber tranquillement dans le numéro onze. Les " ABDULLAS" " ont toujours été celles ou la chance et la réussite n’ont pas eu d'équivalents.

ABDULLA LA CIGARETTE COSMOPOLITE

Abdulla Cigarettes Ad - Melisande at Montecarlo. No. 9. DANS UN JARDIN / IN A GARDEN. La Vie Parisienne. September 17, 1921. Artwork by Anne Harriet Fish.

No. 9. IN A GARDEN.
September 17, 1921.

Mélisande had never dreamed of an international alliance until one day, her elegant Englishman took her little fingers and whispered burning words of love in the hollow of her ear.
Her long black lashes veil his beautiful topaz eyes as he begs her again to marry him.

She wonders if she will be able to resign herself to the rain in the cold of England, and live so far away from the attractions of Paris?

She has already almost decided to reject his request; the glorious independence of a young and pretty French widow does not give up so easily: when all of a sudden, her gaze falls on a white box which contains Abdulla cigarettes.
England is the Home of delicious Abdulla, and life can become a masterpiece. If, despite the fog of London, the scent of divine Abdulla unites their hearts.

The dazzling gaze with which she responds to her plea transports the Englishman with ecstasy. He owes all his happiness to a thin "Rose Tipped" cigarette.

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Translated from the original French text.

No. 9. DANS UN JARDIN - Lisez le texte original en français

Mélisande n’avait jamais songé à une alliance internationale jusqu'au jour où son élégant Anglais a capturé ses petits doigts et a chuchoté des mots brûlants d'amour clans le creux de l’oreille.
Ses longs cils noirs voilent ses beaux yeux de topaze pendant qu'il la supplie encore de nouveau de se marier avec lui.

Elle se demande si elle pourra se résigner, à la pluie au froid de l'Angleterre, et vivre tellement éloignée des attraits de Paris? Elle a déjà presque décidé de rejeter sa demande, la glorieuse indépendance d'une jeune et jolie veuve française ne s'abandonne pas aussi facilement: quand tout à coup son regard tombe sur une boite blanche qui contient, des cigarettes° enchantées Abdulla.

L'Angleterre est le Home des délicieuses Abdulla et la vie peut y devenir un chef-d oeuvre. si malgré le brouillard de Londres le parfum des divines Abdulla unit leurs coeurs. Le regard éblouissant avec lequel elle répond à sa plaidoirie, transporte l’Anglais avec extase. C’est à une mince cigarette “Rose Tipped" qu’il doit tout son bonheur.

ABDULLA LA CIGARETTE COSMOPOLITE

Abdulla Cigarettes Ad - Melisande at Montecarlo. No. 10. DINER DE FIANÇAILLES 7 ENGAGEMENT DINNER. La Vie Parisienne. October 15, 1921. Artwork by Anne Harriet Fish.

No. 10. ENGAGEMENT DINNER.
October 15, 1921.

A far-sighted bride mentally notes the specialties that her future husband likes to eat to be able to offer him a renewal of charms when the "treats" of married life have lost some of their novelty.

Mélisande and her devoted Englishman celebrated their engagement with a tête-à-tête dinner at the Hôtel de Paris, and each excellent dish is so appreciated by her beloved that she decides without hesitation to follow them for life.
So doing, he will never be in a bad mood, and she will never be bored.

In the meantime, they drink to the amphora of happiness and live in a golden world, idealism, which is made even more delightful by the aroma of Abdulla's Rose Tipped. Another reason to live here thinks the cunning Mélisande is that my Englishman will soon forget England with its mud and gray sky since he can get his ABDULLA Cigarettes at the Hotel de Paris itself.

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Translated from the original French text.

No. 10. DINER DE FIANÇAILLES - Lisez le texte original en français

Une fiancée prévoyante note mentalement les spécialités que son futur mari aime à manger, afin de pouvoir lui offrir un renouveau de charmes quand les "friandises" de la vie mariée auront perdu un peu de leur nouveauté.

Mélisande et son dévoué Anglais ont célèbre leurs fiançailles par un diner tête a tête a l'Hôtel de Paris et chaque plat excellent est tellement apprécié par son adoré qu'elle décide sans hésitation à les suivre pour la vie. Ainsi faisant il ne sera jamais de mauvaise humeur et elle ne sera jamais ennuyée.

Dans l'intervalle, ils boivent à l'amour et au bonheur et vivent dans un monde doré, l’idéalisme qui est encore rendu plus ravissant par l arôme des Abdullas Rose Tipped. Encore une raison de vivre ici pense la rusée Mélisande, mon Anglais oubliera bientôt l 'Angleterre avec sa boue et son ciel gris, puisqu'il peut obtenir ses Cigarettes ABDULLA à l'Hôtel de Paris même.

ABDULLA LA CIGARETTE COSMOPOLITE

Abdulla Cigarettes Ad - Melisande at Montecarlo. No. 11. GAGE D’AMOUR / LOVE TOKEN. La Vie Parisienne. November 12, 1921. Artwork by Anne Harriet Fish.

No. 11. GAGE D'AMOUR.
November 12, 1921.

Every morning Mélisande wakes up with a happy feeling in prospect.
Her maid opens the pretty curtains letting in a golden flood of the luxurious Monte-Carlo sunshine while lazy Mélisande stretches out in her bed like a pretty Persian cat and almost purrs with pleasure,

It is wonderful to be young and pretty to stay at the Hotel de Paris and have a devoted Englishman as a fiancé.
And what a penetrating sensation to stay in bed and guess what gift your worshiper could send her today.

With her café au lait, the maid brings her a bouquet, a love letter, and a gift; sometimes it is pearls or emeralds or a beautiful handbag, chocolates or perfumes. Still, it is often a large white box of lovely "ABDULLA" Cigarettes that charming happy Mélisande.

The Cigarettes "ABDULLA" is the ideal gift for a delicate and elegant woman.

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Translated from the original French text.

No. 11. GAGE D'AMOUR - Lisez le texte original en français

Chaque matin Mélisande se réveille avec une sensation heureuse en perspective.
Sa femme de chambre entr'ouvre les jolis rideaux laissant entrer un flot d'or du luxueux soleil de Monte-Carlo pendant que Mélisande paresseuse s étire dans son lit comme un joli chat de Perse et ronronne presque de plaisir.

C'est merveilleux d'être jeune et jolie de demeurer à l'Hôtel de Paris d de posséder comme fiancé un Anglais dévoué.
Et quelle sensation pénétrante de rester couchée et de deviner quel cadeau sou adorateur pourra bien lui envoyer aujourd'hui.

Avec son café au lait, la bonne lui apporte un bouquet, une lettre amoureuse et un cadeau, quelquefois, ce sont des perles ou des émeraudes quelquefois c'est un joli sac à main, des chocolats ou des parfums, mais souvent, c'est une grande boite blanche de ravissantes Cigarettes "ABDULLA" lesquelles charmant heureuse Mélisande. Les Cigarette* "ABDULLA" sont l'idéal cadeau pour une délicate et élégante femme du monde. ABDULLA LA CIGARETTE COSMOPOLITE

Abdulla Cigarettes Ad - Melisande at Montecarlo. No. 11. GAGE D’AMOUR / LOVE TOKEN. La Vie Parisienne. November 12, 1921. Artwork by Anne Harriet Fish.

No. 12. La NOUVEL AN.
December 17, 1921.

Mélisande est mariée avec son Anglais depuis 3 jours et ils sont, pour la nouvelle année, avec le reste, de la foule élégante au Café de Paris.

Le 1er Janvier est fêté avec du Champagne et des danses. De gais parasols de papier s'agitent folâtrement, et des tambours joujoux résonnent follement aux ébats d'une bande de joyeux réveillonneurs.
Mais Mélisande et son mari sont trop profondément heureux pour Fox-Trotter avec frénésie. Au coup de minuit l'Anglais se penche pour embrasser sa petite main avec un frissar d'adoration et de gratitude, alors solennellement, ils se jurent fidélité mutuelle au parfum des séduisantes cigarettes ABDULLA.

L’ABDULLA est la cigarette de romance et de charme subtil car c’est grâce a elle qu'ils se sont rencontrés, aimés et mariés, et comme ils quittent ces pages Mélisande et son mari souhaitent à chacun et à tous une bonne et heureuse année et beaucoup de Cigarettes ABDULLA.

ABDULLA LA CIGARETTE COSMOPOLITE

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No. 12. THE NEW YEAR - English translation

Mélisande has been married to her Englishman for three days and celebrates the new year with an elegant crowd at the Café de Paris.
January 1 is celebrated with Champagne and dancing. Bright paper parasols stir frantically, and toy drums echo madly to the frolics of a band of merry wake-up calls.

But Mélisande and her husband are too profoundly happy to Fox-Trot with frenzy. Finally, at the stroke of midnight, the Englishman bends down to kiss her little hand with a shudder of adoration and gratitude. Solemnly, they swear to each other mutual fidelity to the scent of the alluring ABDULLA cigarettes.

ABDULLA is the cigarette of romance and subtle charm because, and thanks to her, they met, loved, and married.
Now Mélisande and her husband, leaving these pages, wish everyone good and happy years and many ABDULLA Cigarettes.

ABDULLA THE COSMOPOLITAN CIGARETTE

Copyright, links and credits

These works were published in the French Magazine "La Vie Parisienne" in 1921.
According to our records, there are no restrictions on publication, especially in the original typographical layout.

United States:
In the United States, any 1921 magazine is in the public domain due to copyright expiration.
Source 1 >, Source 2 >

France where “La Vie Parisienne” was published.
The BnF / Bibliothèque Nationale de France
, which keeps the largest archive of French magazines, considers the newspaper to be a collective work that entered the public domain 70 years after publication.
Source>
The BnF has a digital archive of seventy-nine years / 1851 issues of "La Vie Parisienne." The digital files are in black and white for reference only. Still, for us, they have been invaluable in choosing and finding the ads to reproduce.

The United Kingdom. Country of citizenship of Anne Harriet Fish.
IN the UK, copyright in the actual typographical layout of the published editions only lasts for 25 years from the end of the year in which it was published. In other words, reproducing the magazines by scanning them would not pose any problem.
Source >

Philip Morris Inc. is the current owner of the Abdulla Trade Mark.

Bread-making as a form of art in Sardinia

Bread-making as a form of art in Sardinia

Bread-making as a form of art in Sardinia

From the Coccoi Pintau to the wedding sculpture — bread as form, ritual, and daily art.

In Sardinia, bread is shaped, sculpted, painted, and dressed in fabric. Symbolic and religious forms for Easter and Lent, ceremonial breads for weddings, calendar breads, toys, dolls — and among the finest, the Coccoi Pintau, an everyday bread of exceptional refinement.
A selection of these images was published on FMR Magazine N.14, Summer Solstice 2025 under the title "The Simple Luxury of Daily Bread." Photographs by Roberto Bigano.

Traditional bread from Sardina given as wedding favor.
Coccoi Pintau, Shaped Bread (literally painted bread) from Sardinia

Coccoi Pintau. 
Literally translated to "painted bread" in the Sardinian dialect, it means decorated bread, and it is for everyday use.
Settimo San Pietro, Cagliari

Coccoi Pintau. 
Letteralmente "Pane dipinto" (Pane sagomato) in dialetto sardo. Per uso quotidiano, è molto buono, con una testura particolare.

Coccoi Pintau, Shaped Bread (literally painted bread) from Sardinia

Coccoi Pintau. 
Literally translated to "painted bread" in the Sardinian dialect, it means decorated bread, and it is for everyday use. Settimo San Pietro, Cagliari.
Letteralmente "Pane dipinto" (Pane sagomato) in dialetto sardo. Per uso quotidiano, è molto buono, con una testura particolare.

Calendar Bread


Calendar bread is usually baked at the beginning of Lent, usually in the form of a doll. Every week, leading up to Easter, one leg is removed.
The second example below, with small dolls in a style reminding of Vodoo, represents the days remaining to the next baking day.

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Pane calendariale.

Il pane calendario è di solito panificato all’inizio della quaresima, in linea di massima in forma di bambola a sette gambe che vengono “mangiate” una alla settimana, fino a Pasqua. Il secondo esempio qui sotto con bamboline che ricordano un pò il Vodoo, rappresentano i giorni rimanenti alla prossima panificazione.

Seven legs doll. (Pippia a setti cambas “bambola a sette gambe

Pippia a setti cambas.
Seven legs doll. (Pippia a setti cambas "bambola a sette gambe). Baked at the beginning of lent. Any week a leg is removed to measure the time remaining to Easter.
Settimo San Pietro. Cagliari


Bambola a sette gambe. Pane calendariale. Panificato all'inizio della Quaresima; ogni settimana viene staccata una gamba per misurare il tempo mancante alla Pasqua.

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Pippia a setti cambas.
Bambola a sette gambe. Pane calendariale. Panificato all'inizio della Quaresima; ogni settimana viene staccata una gamba per misurare il tempo mancante alla Pasqua.
Settimo San Pietro. Cagliari


Sotto
Pane è sa gida.
Pane calendariale, le sette bamboline rappresentano i giorni della settimana e contano quelli mancanti alla successiva panificazione.
Settimo San Pietro. Cagliari

Pane è sa gida. Weekly calendar. Any day a puppet is eaten, to count the remaining days to the next baking day.

Pane è sa gida.
Weekly calendar. Any day a doll is eaten, to count the remaining days to the next baking day.
Settimo San Pietro. Cagliari.
Pane calendariale, le sette bamboline rappresentano i giorni della settimana e contano quelli mancanti alla successiva panificazione.

Wedding Bread


On the occasion of weddings, the variety and fantasy of bread creations reaches its peak. Bread of the bride, wedding party favor bread given to all of the guests and finally the apotheosis of "The bride's bread", incredibly virtuous.

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Pane in occasione di matrimoni.

Per il matrimoni la varietà e la fantasia delle creazioni con il pane, raggiunge il culmine. Pane della Sposa, Pane bomboniera, da offrire agli invitati, fino all'apoteosi della "Corona della sposa", incredibilmente virtuosa.

Pane è sposos. Bread of the spouses. Paulilatino, Nuoro, Sardin

Pane è sposos. Bread of the spouses
Pane degli sposi.
Paulilatino, Nuoro.

Good luck bread of the spouses with a sophisticated shape

Pane è sposos. Bread of the spouses
Pane degli sposi.
Paulilatino, Nuoro.

Good luck bread of the spouses with a sophisticated shape

Wedding Bread - Crown of the Bride
Tramatza, Sassari.
Pane nuziale, corona della sposa.

Traditional bread from Sardina given as wedding favor.

Wedding Favor Bread - Bomboniere di nozze
Given to all the guests. Tramatza, Sassari.

Easter Bread


Easter is another occasion in which dedicated imaginative and artistic bread is prepared, with or without hard-boiled eggs, doves, peacocks and birds in general.
Below some samples from Dorgali, in the province of Nuoro.

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Pane pasquale.

La Pasqua è un’altra occasione per creare splendide sculture di pane, spesso con uova sode ed un tripudio di colombe, pavoni ed uccelli in generale. La tradizione è diffusa in tutta la Sardegna, ma particolarmente nella provincia di Nuoro.

Easter Bread with hard-boiled eggs and little doves - Pane con uova e colombelle). Dorgali, Nuoro, Sardinia.

Easter Bread with hard-boiled eggs - Pane Pasquale con uova sode.
Dorgali, Nuoro.

St. Mark traditional artistic bread. Cogone de Santu Marcu (Pane di San Marco. Lei, Nuoro, Sardinia, Italy

Finely decorated bread with doves and flowers for the St. Mark feast.
Cogone de Santu Marcu (Pane di San Marco).
Lei, Nuoro.

Putzoneddu, little bird. Traditional Easter bread from Sardinia.

Putzoneddos, uccellini - Little birds
Orgali, Nuoro.

Putzoneddu, little bird. Traditional Easter bread from Sardinia.

Putzoneddos, uccellini - Little birds
Orgali, Nuoro.

Symbolic and Religious Bread


The Sardinians reveal a particular talent in religious, sophisticated and imaginative subjects. Or extremely simple as in the case of the coin-bread offered as a wish for good luck.

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Pane a tema religioso o simbolico.

I sardi, tradizionalmente molto religiosi, rivelano un particolare talento nella creazioni di soggetti tipo croci, acquasantiere etc. Oppure all’opposto, estremamente semplici come queste “monete di pane” donati come augurio di buona fortuna.

Cruxi Quaresimale Lent Cross Traditional Religious Bread from Sardinia

Cruxi Quaresimale - Lent Cross.
Croce quaresimale.
Settimo San Pietro, Cagliari.

Bead Holy water stoup (Acquasantiera in Pane). Tramazza, Oristano, Sardinia

Stoup - Acquasantiera
Richly decorated.
Tramazza, Oristano.

Acquasantiera
Riccamente decorata.

Bread coins, Santa Rita’s greeting Bread. Oliena, Nuoro.Sardinia

Bread coins, Santa Rita's Bread
Greeting Bread.
Oliena, Nuoro.

Pane di Santa Rita.
Monete di pane donate come augurio.

Toy Bread


Bread dough is also used to make toys. Sardinian mums love to tap into their creativity by creating handbags, birds, dolls. This custom is particularly widespread in the province of Nuoro.

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Pane giocattolo.

La pasta del pane è tradizionalmente usata anche per creare semplici giocattoli. Le mamme sarde danno sfogo alla loro creatività "sfornando" borse, scarpe, biciclette, draghi, uccelli e bambole. 

Toy bread in form of bag – Pane giocattolo a forma di borsa. Dorgali, Nuoro.

Toy bread in form of bag - Pane giocattolo a forma di borsa.
Dorgali, Nuoro.

Iscarpa, Toy Bread Shoe. Bonorva, Sassari, Sardinia

Iscarpa. Toy bread in form of shoe - Pane giocattolo a forma di scarpa 
Bonorva, Sassari.

Pitzinnas de obu. Traditional Easter Bread & Egg Dolls


These finely decorated bread and egg dolls are impressive. They are typical of the province of Nuoro and are often "dressed" with imaginative artisan fabrics.

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Pitzinnas de obu. Bambole di pane e uovo.

Queste notevoli bambole sono finemente decorate e le uova dipinte. In alcuni casi sono vestite con tessuti tradizionali sardi.

Traditional Easter Bread & Egg Dolls, dressed in traditional Sardinia fabric

Pitzzinnas de obu, egg little girl. Easter bread.
Traditional Easter Bread & Egg Dolls, dressed in traditional Sardinian fabric.

Pitzinnas de obu. Traditional Easter Bread & Egg Dolls from Sardinia

Pitzzinnas de obu, egg little girl. Easter bread.
Traditional Easter Bread & Egg Dolls,

Copyright and credits

Photographs by Roberto Bigano.
All the images in this post are copyrighted.
Tutte le immagini di questo post sono coperte da copyright.

“The Girl Of To-Day” Beauty Contest. The New York Times 1913

“The Girl Of To-Day” Beauty Contest. The New York Times 1913

Stories

Dec 18, 2019

The 1913 New York Times Girl of-Today Beauty Contest. Miss Betty Skalnik

1913's American beauties revealed.


In late 1913 The New York Times organized a peculiar beauty contest, asking readers to send photographs of typical American beauties. As the NYT wrote, “hundreds of photographs came in, assuming the proportions of an avalanche.”
Ninety photographs were selected. They depict an extraordinary snapshot of the concept of beauty, elegance, and aesthetic in photography at the time. All the pictures have captions with name, address, and sometimes a phone number.

The jury was composed of famed artists: James Montgomery Flagg, C. Allan Gilbert, Clarence F. Underwood, Philip Boileau, Penrhyn Stanlaws, W. L. Jacobs and Ham­ilton King.

The New York Times, December 7, 1913, Christmas issue. Front Cover with the Girl of T-Day contest best voted.

Featured image above.
A splendid profile portrait of Miss Betty Skalnik, 118 West 57th Street, New York City. Photo by Mishkin.


The New York Times, December 7, 1913, Christmas issue.
This issue showcases the 29 most voted pictures. Apparently there was not an official winner, but Miss Helen McMahon, 507 West 171st, New York was placed in the cover.

It's interesting to note the soft-focus look of the image that was popular in those years.
The photograph is signed in the bottom left by Arnold Genthe.

Page Copy

The Girl of To-day Picture Section Part 2.
Christmas Number. Sunday December 7, 1913.

THE GIRL OF-TO-DAY. Miss Helen McMahon, 507 171st Street, New York.

The New York. Times asked its readers to submit photographs of the young women whom they con­sidered most typical of the American girl. Entries by hundreds had been received when the contest closed on the evening of November 1st.

Judges in the Contest were seven artists famous for their pictures of American girls: James Montgomery Flagg, C. Allan Gilbert, Clarence F. Underwood, Philip Boileau, Penrhyn Stanlaws, W. L. Jacobs and Ham­ilton King.

So many attractive photographs were received that the task of limiting the selections to twenty-nine was found too difficult. An additional rotogravure section next Sunday, Dec. 14th, will contain the remaining sixty-one selected by the Judges.

The New York Times, December 7, 1913, Christmas issue., page 2

The New York Times, December 7, 1913, Christmas issue. Page 2

Miss Eleanor Josephine Fales Coward, Bronxville. N.Y. Photo by Ambruster, Mt Vernon, N.Y.

Miss Betty Skalnik, 118 West 57th Street, New York City. Photo by Mishkin.

Miss Helen Henderson, 306 West 80th Street, New York City. Photo by Ira l. Hill.

Miss Enig Gregg, Regis Hotel, San Francisco, Cal. Photo by Arnold Genthe.

The New York Times, December 7, 1913, Christmas issue, page 3

The New York Times, December 7, 1913, Christmas issue. Page 3

Miss Helen Holden, 519 West Onondaga Street, Syracuse, N.Y. Photo by Dinturff Co.

Miss Blanche Geneva, 59 West 46th Street, New York City. Photo by Davis & Sanford Co.

Mrs. Henty Raleigh, 35 West 98th Street, New York City.  Photo by Davis & Sanford Co.

Mrs. Clarence Robbins, Douglaston, L.I. Photo by Ira Hill.

The New York Times, December 7, 1913, Christmas issue, page 4

The New York Times, December 7, 1913, Christmas issue. Page 4

Miss Vivian Rushmore. 9 West 46th Street, New York City. Photo by Ira Hill

Miss Jean Foster, 29 East 29th Street, New York City. Photo by Davis & Sanford Co.

Miss Leslie McCarten, 246 Sidney Ave., Mount Vernon, N.Y. Photo by A.D: Brittingham, Mt.Vernon.

Miss Maude Olive Minahan, Wellesley College, Wellesley, Mass. Photo by Champlain & Farrar, Boston.

The New York Times, December 7, 1913, Christmas issue, page 5

The New York Times, December 7, 1913, Christmas issue. Page 5

Miss J.H. McCluney, 4,421 McPherson Avenue, St. Louis, Mo. Photo by Mishkin.

Miss Evelyn Provost, 333 State Street, Brooklyn, N.Y. Photo by Polychromide Studios.

Miss Lottie Briscoe, 12th and Arch Streets, Philadelphia, Penn. Photo by Gilbert & Bacon, Philadelphia.

Miss Ruth Hobson, 3 Audubon Place, New Orleans, La. Photo by Mishkin.


Please compare the other three photographs on this page with the one of Miss Evelyn Provost. This last one is fresher and natural and seems to have been taken today.

A snapshot of the concept of beauty and aesthetic in photography.


These pictures are a unique catalog of the trends of the time in photography, ranging from a classic approach (soft focus, painted backgrounds, gaze not towards the camera) to a fresher modern look as, for instance, Miss Evelyn Provost on page 5.

The New York Times, December 7, 1913, Christmas issue, page 6

The New York Times, December 7, 1913, Christmas issue. Page 6

Miss Grace Brown, 1500 1,510 Broadway, New York City. Photo by A.F.Bradley, Jr.

Mrs. R.W. Otte, Elmer and Negley Avenues, Pittsburg, Penn.

Miss Eva Francis, 645 West End Avenue, New York, City, Photo by Pach Bros.

Mrs. Arthur Barnwell, Jr., 146 East 49th Street, New York City. Photo by the Misses Selby.

The New York Times, December 7, 1913, Christmas issue, page 7

The New York Times, December 7, 1913, Christmas issue. Page 7

Miss Gertrude Warren, 1,253 Washington Street, San Francisco, Cal. Photo by Arnold Genthe.

Miss Ray Gilmore, 317 East 197th Street, New York City. Photo by G.Dobkin.

Miss Ethel Pissis, 1,834 Gough Street, San Francisco, Cal. Photo by Arnold Genthe.

Miss Kathleen R. Lipscomb, 264 Riverside Drive, New York City. Photo by Hall.

The New York Times, December 7, 1913, Christmas issue, page 8

The New York Times, December 7, 1913, Christmas issue. Page 8

Mrs. Charles Dillingham, 8 West 40th Street, New York City, Photo by Mishkin Studio.

Miss Helen Chance, 3615 Hamilton Street, Philadelphia, Penn. Photo by Phillips Studio, Philadelphia.

Miss Louise Russel, 563 Palisade Avenue, Yonkers, N.Y. Photo by Brandeburg.

Miss Viola Fitzpatrick, 8422 10th Avenue, Brooklyn, N.Y. Photo by J. Kennedy, Toronto.


The splendid Portrait of Miss Louise Russel, completes the selection of the best 29 images published on the New Times Christmas Issue of Sunday December 7, 1913. The remaining 61 were published in the next Sunday Number. Stay in touch as we are going to publish them in the next post.

Ten Iconic Bburago Photographs by Roberto Bigano

Ten Iconic Bburago Photographs by Roberto Bigano

Stories

Jul 28, 2019

For this third post of the Bburago series, I selected ten photographs that become very popular among the boys who grew up with “Bburago and milk,” or I like a much. For any image, we show you the original slide on sheet film, some times uncropped and the published version. However, the featured photo opening this article tells a different story.

1992. The Heritage of Divina Bugatti


Mario Besana, the Boss of Bburago, wanted me as a photographer after seeing the photographs of "Divina Bugatti." That book was published by Franco Maria Ricci, probably the most refined publisher of art books.
The publisher was enthusiastic about my work except for an image of a Bugatti Atalante rejected as "nonobjective, " and the transparency remained in a drawer for 17 years before to become my best seller.

Well, that photograph summarized my way of conceiving the photography and lighting a subject.
For these reasons, when I started photographing "small cars," I used shooting solutions and lighting similar to those used for the Bugattis. When I photographed the model of the Ferrari F40 shown above, I used a light pattern similar to that of the Atalante.

Please notice that the Atalante slide in 1992 when I shot the F40, was still in the drawer, and I didn't know yet that it would become my trademark, my distinctive characteristic.

Bburago 3362 side showing interiors

The Bugatti Type 57SC Coupé Atalante, a 1938 dream car designed by Jean (Gianoberto) Bugatti. This image sold very well allowing me to pay my daughter's college tuition in the United States. Watch the photographs of Divina Bugatti.

Featured image above. Bburago 3032 Ferrari F40 (1987). It was never published. This photograph was too far ahead of its time. That style of silhouetted lighting was instead appreciated by Bburago in the following years.
You can buy the original 5x7", 13x18cm. film in the store.

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Per questo terzo post sulla Bburago, ho selezionato dieci fotografie , in genere tra le più popolari tra coloro che erano cresciuti a “pane e Bburago”. Ne ho aggiunte inoltre un paio di inedite. Oltre a mostrarvi l’originale, ho aggiunto anche l’utilizzo che ne è stato fatto.

1992 L’eredità di Divina Bugatti


Mario Besana, il presidente di Bburago mi aveva voluto come fotografo dopo aver visto le fotografie di "Divina Bugatti", un lavoro pubblicato da Franco Maria Ricci, probabilmente il più raffinato editore nel campo dei libri d'arte. L'editore fu entusiasta del mio lavoro eccetto che per una immagine di una Bugatti Atalante che rifiutò perchè "non oggettiva". Quella diapositiva finì in un cassetto dove rimase quindici anni, fino a quando non la riscoprii.

Bene quella fotografia, che riassumeva il mio modo di concepire la fotografia ed illuminare un soggetto, in pochi anni divenne il mio best seller.
Per queste ragioni, quando iniziai a fotografare "piccole auto" usai soluzioni di ripresa ed illuminazioni similari a quelle usate per le Bugatti e per questa Ferrari F40 usai uno schema luci simile a quello dell'Atalante.

Interessante notare che nel 1992, quando fotografai la F40 di Bburago, l’Atalante era ancora nel cassetto e non sapevo ancora che sarebbe diventato il mio marchio di fabbrica, in mio segno distintivo.


Qui sopra: la Bugatti Type 57SC Coupé Atalante del 1938, dream cat disegnata da Jean (Gianoberto) Bugatti. Questa immagine, la mia più venduta in assoluto mi ha permesso di far laureare mia figlia negli Stati Uniti.

In apertura: Bburago 3032 Ferrari F40 fotografata nel 1992. No fu mai utilizzata. Era troppo avanti per quei tempi. Quello stile di ripresa ed illuminazione fu invece apprezzato da Bburago negli anni successivi.
Puoi acquistare acquistare la diapositiva originale 13x18 cm. nello store.

Bburago 1532 Ferrari F40 Front View isolated

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Bburago puntava alla qualità. Sempre e comunque.


Permettetemi di iniziare con un’immagine secondaria. La ripresa frontale della Ferrari F40 1:24 usata in piccolo formato per le immagini laterali del packaging e per i fogli di istruzione delle scatole di montaggio. Questi erano fatti molto bene e le immagini erano perfette come ripresa ortogonale e controlla della luce.
Stavo ancora utilizzando schemi luci e modalità di ripresa utilizzati per fotografare le vere Bugatti.

Leggi come ho lavorato per Divina Bugatti."The Bugatti Sessions for Victor by Hasselblad".

Bburago 3532 Ferrari F40 Assembly Kit Instructions

Above. Bburago 5540 Ferrari F40 (1987 used for Assembly Kit Package.

Here the instruction sheet of the same model 1:18.
You can buy this slide with the sheet in the store.

Bburago 7014 Alfa Romeo 8C GP Monaco Assembly Kit

1992. One pick from the Assembly Kits


As I told you in the first post of the series, the work of the Assembly Kits was my first assignment by Bburago. In all, I made about sixty of them, so it was not easy to choose the best. This one is very beautiful, and I can show you a scarce original print sheet. Notice the dark corner, designed to add the product name in negative.

Bburago 7014 Alfa Romeo 8C GP Monaco Assembly Kit print sheet

Above Bburago 7014 Kit Alfa Romeo 8C GP Monaco. The original picture and a scarce print sheet.

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Sopra Bburago 7014 Kit Alfa Romeo 8C GP Monaco. La fotografia originale e  un raro foglio di stampa del coperchio delle scatole di montaggio.

Bburago 3025 color variant Dodge Viper RT10 slide

1992. One pick from the catalog


A typical example of a dedicated shot for the Bburago catalog in 13x18cm / 5x7 "transparency, uncropped and not retouched. A little at a time I developed a sophisticated technique to control lights and reflections, creating special supports, like this one in shaped black marble that did not generate glare that instead, I created at my will by adding white cardboard.

I can't find this item in the 1993 catalog, nor in the next ones, so I imagine it was one of those color variants that we photographed as a test.


You can buy the original 5x7", 13x18cm. slide  in the store.

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1992 per il catalogo generale


Questa è un tipico esempio di fotografia per il catalogo Bburago in diapositiva 13x18cm / 5x7" non ritoccata. Per Bburago, col tempo, ho sviluppato una tecnica sofisticata per controllare luci e riflessi, creando dei supporti particolari, come questo in marmo nero sagomato che non generava riflessi che invece creavo a mia volontà aggiungendo dei cartoncini bianchi.

Non trovo questa Viper gialla nel catalogo del 1993, e nemmeno nei successivi, per cui immagino che fosse una di quelle varianti colore che fotografavo come test.


Puoi acquistare questa diapositiva nello store.

1995. The "Tipo Topolino"


Topolino was the Italian edition of Mickey Mouse. Its circulation was several millions of copies, and Bburago frequently bought the back cover for which we took dedicated photographs that we called "Tipo Topolino".
Mr. Besana was not happy with the photos I took, because "they had white spaces". He always repeated: "I pay the whole page, including the blank part, and it's costly".

With this solution, I finally succeeded in creating a beautiful, impactful image that exploited all the available space.

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Le foto "Tipo Topolino.


Topolino tirava milioni di copie e Bburago di frequente acquistava l'ultima di copertina. Le fotografie dedicate erano perciò molto importanti. Mario Besana non era contento delle foto che facevo, non perchè non gli piacessero, ma perche "avevano spazi bianchi" e ripeteva sempre "io la pagina la paga tutta, anche gli spazi bianchi“. Con questa soluzione finalmente sono riuscito a realizzare una bella immagine, impattante e che sfruttava tutto lo spazio disponibile.


Sotto, la diapositiva originale 13x18cm. non ritagliata e l'utilizzo che ne è stato fatto nella retro-copertina di Topolino del 14 novembre 1995.
Puoi acquistare questo pezzo di storia, diapositiva originale e rivista nello store.

Bburago 3353 Ferrari F50 Hard-Top for Topolino Adv

The original uncropped 13x18cm / 5x7" slide for the advertisement and the back cover of Topolino of November 14, 1995.
Click on the small image to watch it in the lightbox.

Buy the original slide plus Topolino magazine


The original uncropped 13x18cm / 5x7" slide for the advertisement and the back cover of Topolino of November 14, 1995.
Buy the original slide plus Topolino magazine

Bburago Ferrari F50 Topolino 2085 Ad

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A lato il poster che mostra, con la stessa prospettiva e luce la vera Ferrari F40, il modello 1:18 ed ancora l'originale con sopra il modellino.
Sopra un suggestivo primo piano della terza immagine, che originariamente doveva essere utilizzato per il poster.

Acquista la diapositiva originale 13x18cm e Topolino con l'annuncio in retrocopertina

Bburago 3353 Ferrari F50 Hard-Top for Topolino Adv

Bburago 3030 Dodge Viper Coupé. An original uncropped slide with the orthogonal view from above. I like this version more than the published one with the purple background.
Below, the cover of the January 1996 number of "Bburago News" magazine.
Buy this original vintage 5x7" 13x18 cm slide in the store.

Bburago Ferrari F50 Topolino 2085 Ad

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Bburago 3030 Dodge Viper Coupé. Diapositiva originale 13x18 senza ritaglio, vista dall’alto. Preferisco questa versione a quella con il fondo porpora usata per la copertina del Bburago News di gennaio 1996.

Puoi acquistare questa diapositiva originale nello store.

1996 / 1999. The Bburago News Magazine


I selected two images taken for Bburago News, to which the company dedicated much care.
The first is the Viper taken from above, an image that I do love. The design of the magazine was often was not good, so sometimes Bburago asked us to work on the photographs and graphic design.
This Volkswagen New Beetle below is a splendid example of integrated photography and graphic design.

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1996/1999 La rivista Bburago News


Ho selezionato due immagini realizzate per il Bburago News, che veniva molto curato.
Il primo è la Viper presa dall'alto, un'immagine che adoro. Il design della rivista spesso non era un granché, quindi a volte Bburago ci chiedeva di lavorare su fotografie e grafica. Questo numero sulla Volkswagen New Beetle è uno splendido esempio di fotografia e graphic design integrati.

3302 Volkswagen New Beetle Bburago News open
Bburago News 53 February 1999 Two Pages Centerfold

Above, the 5x7”/13x18cm. original uncropped transparency. On the left the internal double page of the Bburago News magazine of February 1999.

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Sopra, la diapositiva originale 13x18 senza ritocchi. A lato la doppia pagina interna del Bburago News N. 53 di febbraio 1999.

Bburago 3352 side showing engine and interiors

1996 Double Page Spread Trends


With the '96 catalog, we began to use larger and more impactful images, often spreading in double-page. Perhaps the most appreciated was this double-exposed Ferrari F50, used for the cover. The print quality was impressive, with a 3D effect.

We didn't shoot in digital yet. To get this result I followed this procedure.
1. I worked on the standard side view (without transparency) until I got what I was looking for.
2. I exposed ten further slides without developing them.
3. I removed the bodywork, adapted the light, and shot in double exposure using the already exposed slides.
4. I checked the result, removed some pieces of the interior that created confusion, improved lighting, and shot again. And so on, until the perfect effect. I can assure you that It was a titanic task.


Bburago 3362 Ferrari F50 (1995) side view in double exposure and a close-up.
Below the cover of the 1996 catalog. If you notice the image was flipped horizontal to fit on the front cover. As a consequence we had to flip again the Ferrari Shield and the logo "pininfarina".

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Le nuove tendenze del '96 e le doppie pagine


 

Con il catalogo del ’96, Bburago iniziò ad apprezzare immagini più di impatto, che ove possibile venivano utilizzate in doppia pagina. La più apprezzata fu probabilmente questa della F50 realizzata in doppia esposizione per la copertina del catalogo. La qualità di stampa era impressionante, con un effetto ridimensionale.

Ancora non fotografavo in digitale. Per ottenere questo risultato ho usato questa procedura.
1. Ho lavorato sull’immagine base dell’auto laterale. Una volta ottenuto il risultato perfetto ho esposto dieci pellicole piane (13x18!!), che ho messo da parte.
2. Ho rimosso la carrozzeria ed adattato le luci esponendo il secondo scatto su una delle dia già esposte.
3. Valutato il risultato ho migliorato le luci, il registro ed eliminato alcune parti che generavano confusione. Dopo vari tentativi ed imprecazioni, ho ottenuto il risultato che cercavo.


Sopra: Vista laterale della Bburago 3362 Ferrari F40 in doppia esposizione ed un dettaglio.
Sotto l’immagine come utilizzata per il catalogo. Se notate l’immagine è stata specchiata orizzontalmente per adattarsi alla copertina. Di conseguenza abbiamo dovuto invertire, in fase di ritocco lo scudetto Ferrari ed il logo “pininfarina”.

Bburago 3362 side showing interiors close up
Bburago 3362 side showing interiors close up
3302 Volkswagen New Beetle Bburago News open
Bburago News 53 February 1999 Two Pages Centerfold

Another example of a double-page image.

Bburago 3358/GF Ferrari 360 Modena
Above, the original image. On the left the index double-page in 1999 Catalog.

You can buy this original 4x5 original vintage slide and 1999 catalog in the store.

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Un'altro bell'esempio di doppia pagina
Bburago 3358/GF Ferrari 360 Modena
Sopra, l'immagine originale. A sinistra la doppia pagina indice del catalogo 1999.

Puoi acquistare la diapositiva 4x5" / 10x12cm originale e il Catalogo 1999 nello store.

Original Double Exposure Slide for Bburago Pocket Catalog 1997

The Popular Bburago Pocket Catalog


The circulation of the pocket catalog ranged from 6 to 8 million copies, so this picture that I took for the 1997 catalog cover is undoubtedly one of the most popular ever. The idea was to get an impacting image exposing the three cars separately to blend them. I tried several solutions, and the top one was my preferred.

Unfortunately, the agency of Bburago decided to isolate the image adding and retouching the double-exposed parts. In my opinion, the final result was much less attractive.

You may wonder why there are two upside-down exposures in the same transparency. Well, film and development were expensive, and we used to try several versions. So, often, with slim horizontal images we exposed twice the film cutting a film holder slide in two parts, expose the top one, then go back in the darkroom, reverse up-down the sheet film and take the second version.

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Il popolare cataloghino Pocket

Visto che i cataloghini Bburago di quegli anni tiravano da 6 ad 8 milioni di copie, questa è senz'altro una delle mie immagini più popolari. L’idea era quella di realizzare tre scatti sovrapposti in modo da ottenere un’immagine intrigante. Tra le varie soluzioni, quella sopra è la mia preferita.
Purtroppo l’agenzia di Bburago decise di scontornare l’immagine e di ritoccare le parti con doppia esposizione. Secondo me, il risultato finale è molto meno interessante.

Vi chiederete il perché delle due esposizioni sottosopra sulla stessa pellicola piana. E’ semplice, pellicola e sviluppo erano costosi, così avevo tagliato un'antina protettiva dello chassis a metà orizzontalmente.
Scattavo perciò la prima versione proteggendo la parte sotto con la mezza anta, poi andavo in camera oscura, ruotavo sotto sopra la diapositiva ed effettuavo il secondo scatto.


Puoi acquistare la diapositiva 4x5 originale con il relativo cataloghino nello store.

The cover of the 1998 Bburago Pocket Catalog

Above the double-exposed original slide.
On the left the cover of the 1998 Pocket Catalog.

You can buy this original slide and the 1998 Pocket Catalog in the store.

Ten years with Bburago die cast models

Ten years with Bburago die cast models

Stories

by Roberto Bigano | Jun 29, 2018

Burago 3018 Lamborghini Metal Blue Diablo

From 1991 to 2000, I worked as a photographer for Bburago, the leading manufacturer of diecast model toy cars. In this post and subsequent ones, I will tell you the story of this fascinating work relationship. We will see the original photographs, taken in large format with the study variants, Polaroids, prints and a lot of exclusive vintage material, some of which can be purchased in our store.

Index for the Bburago posts
1. Ten years with Bburago die-cast models (current).
2. The MMonza Diorama Garages 1992
3. Ten Iconic Bburago Photographs by Roberto Bigano

Bugatti, Bburago and Me


It all started at the end of 1990. I worked for Bugatti Automobili and the owner, Romano Artioli, was a big fan of my work and proudly showed it to everyone. One day he introduced me to Mario Besana, the founder and CEO of Bburago, who told me: "Mr. Bigano, congratulations, you photograph automobiles like no one else. I wonder if you can get the same results with model cars. Come and visit me and we'll talk."

You should know that it was one one of the busiest times in my professional history and I had absolutely no available days. So I answered that, unfortunately it would not be possible as I was booked for the following year. I was not trying to make myself look important, I really had no free time. Mr. Besana's eyes widened and, from that moment, it became his seemingly sole objective to get me to work for him. He was extremely persistent and I eventually gave in and accepted his invitation.

The work that impressed Mr. Besana was "Divina Bugatti". 

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Per dieci anni, dal 1991 al 2000 ho lavorato come fotografo di Bburago Die Cast Models. In questo post e successivi vi racconto la storia di questo affascinante rapporto di lavoro. Vedremo le fotografie originali, realizzate in grande formato, con le varianti di studio, le Polaroid, materiale stampato anche in bozza ed un sacco di materiale esclusivo, in parte acquistabile nel nostro store.

Io, Bugatti e Bburago


Tutto cominciò alla fine del 1990. Lavoravo per Bugatti Automobili ed il boss, Romano Artioli apprezzava molto il mio lavoro che mostrava orgogliosamente a tutti. Un giorno mi fece chiamare per presentarmi Mario Besana, il fondatore e Deus Ex-Machina della Bburago, che esordì così: “sig. Bigano, complimenti, come fotografa le macchine lei non le fotografa nessuno. Chissà se è cosi bravo anche con le macchinine. Venga a trovarmi che ne parliamo”. Dovete sapere che stavo passando uno dei periodi di maggior successo della mia storia professionale e non avevo giornate libere.

Alla mia risposta “la ringrazio, però purtroppo non è possibile perchè ho tutto il prossimo anno impegnato”, Besana sgranò gli occhi e da quel momento diventai il suo “oggetto del desiderio”. Doveva assolutamente avermi e nei mesi successivi mi corteggiò assiduamente finche cedetti e passai a trovarlo.

Ferrari F40 with A Bburago Die Cast Model on the top for a poster.

Below, the poster showcasing the real Ferrari F40, the Bburago Model and the real one again with the model on the top.
Above, a detail of the third image that originally should have been the poster.

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Sotto, il poster che mostra, con la stessa prospettiva e luce la vera Ferrari F40, il modello 1:18 ed ancora l'originale con sopra il modellino.
Sopra un suggestivo primo piano della terza immagine, che originariamente doveva essere utilizzato per il poster.

Puoi acquistare il poster in versione locandina più le dia originali ne

001005 Bburago Poster Ferrari F40 May 1992

The poster showcasing the real Ferrari F40, the Bburago Model and the real one again with the model on the top.
Above, a detail of the third image that originally should have been the poster.

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A lato il poster che mostra, con la stessa prospettiva e luce la vera Ferrari F40, il modello 1:18 ed ancora l'originale con sopra il modellino.
Sopra un suggestivo primo piano della terza immagine, che originariamente doveva essere utilizzato per il poster.

The Assembly Kits and the Ferrari F40


For the first project, Mr. Besana explained that they needed fresh ideas to restyle the packaging of the assembly kits. Their goal was to raise the quality standards of their images. They basically gave me free rein. When I delivered the project, Mr. Besana approved it without even checking it. He was confident that I was the right man for the job and commissioned, on the spot, an order of 40 kit boxes. A huge task.

At 7:30 a.m. the next day, I received a phone call from Mr. Besana's secretary who asked me to come "immediately" for an urgent job. They needed to create an important poster showcasing the Ferrari F40 - the real one compared with the Bburago model.
A fun side note on the F40. Besana had proudly shown the F40 model to Enzo Ferrari, a close friend of his. Mr. Ferrari called a meeting with the production managers scolding them because "Bburago has the F40 ready before us."

In this post, you will find a selection of catching photographs made for the assembly kits, and those, used and not, of the F40 poster. Further posts will follow soon. Stay in touch!

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I kit e il poster della Ferrari F40


Come prima richiesta Besana mi spiegò che dovevano rinnovare il packaging delle scatole di montaggio e avevano bisogno di idee fresche e di migliorare lo standard qualitativo delle loro immagini. Mi davano sostanzialmente carta bianca.
Così realizzai una serie di fotografie che componevano la scatola e consegnai il mio progetto. Besana lo approvò senza nemmeno guardarlo. Era certo che fossi l’uomo giusto e mi commissionò, seduta stante un ordine per quaranta scatole di montaggio. Un lavoro enorme.

Alle 7.30 del mattino del giorno successivo, ricevo una telefonata dalla segretaria di Besana che mi chiede di passare “subito” per un lavoro urgente.
Si trattava di realizzare un importante poster sulla Ferrari F40, quella vera ed il modello Bburago a confronto. La F40 aveva riscosso un grande successo ed era in quel momento il modello di punta.

In questo post trovate una serie di fotografie realizzate per i packaging, e quelle, utilizzate e non della F40.
Presto seguiranno altri post. Rimanete in contatto.

Original 4x5" Dia for Porsche 356B Assembly Kit Bburago code 7021

Above the Porsche 356B original 4x5" dia (code 7021), chosen as the main image of the first assembly kit. My very first photos for Bburago. Below, the original print for the packaging.

You can buy the bundle of this print and original transparencies in the store.

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Da sopra,  la diapositiva 10x12 originale della Porsche 356B, scelta come immagine principale per la scatola di montaggio. La mia prima fotografia per Bburago.

Piu sotto, la prova di stampa della scatola.
Puoi acquistare il pacchetto prova di stampa/originale nello store.

Sotto, sei polaroid che mostrano il progresso affinamento di prospettiva ed illuminazione.
Vi chiederete perché siano in bianco e nero. Semplice, le Polacolor davano un risultato di colore e contrasto molto particolare (effetto Polaroid) non adatto per simulare contrasto, e toni della diapositiva. Il Polapan 54 era invece creato proprio per questo.
Puoi acquistare il set delle sei Polapan nello store.

My very first photos for Bburago. Porsche 356B for Assembly Kits

Above the Porsche 356B original 4x5" dia (Code 70121), chosen as the main image of the first assembly kit. My very first photos for Bburago

On the left, the original print for the packaging.
You can buy the bundle of this print and original transparencies in the store.

Below, six Polaroids showing the progressive refining of perspective and lighting.
You may wonder why the Polaroids are in black and white. The Polacolors delivered artificial colors, unsuitable for previewing the result; the Polapan 54 instead, was specifically designed to simulate the contrast of the color slide.
You can buy this set of six Polaroids in the store.

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Sopra, la diapositiva 10x12 originale della Porsche 356B, scelta come immagine principale per la scatola di montaggio. La mia prima fotografia per Bburago.

A sinistra, la prova di stampa della scatola.
Puoi acquistare il pacchetto prova di stampa/originale nello store.

Sotto, sei polaroid che mostrano il progresso affinamento di prospettiva ed illuminazione.
Vi chiederete perché siano in bianco e nero. Semplice, le Polacolor davano un risultato di colore e contrasto molto particolare (effetto Polaroid) non adatto per simulare contrasto, e toni della diapositiva. Il Polapan 54 era invece creato proprio per questo.

Puoi acquistare il set delle sei Polaroid originali nello store

Six Polaroids (Polapan 54) showing the progressive refining of perspective and lighting

Six Polaroids of the Porsche 356B, showing the progressive refining of perspective and lighting.
You may wonder why the Polaroids are in black and white. The Polacolors delivered artificial colors, unsuitable for previewing the result; the Polapan 54 instead, was specifically designed to simulate the contrast of the color slide.
You can buy this set of six in the store.

001008 Bburago Lamborghini Countach for Assembly Kit

Above the original 1992 Fuji 4x5 transparency for the Black Lamborghini Diablo used for the assembly kit packaging. Bburago Code: 7041.
You can buy the original slide in the store

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Sopra la diapositiva originale Kodak EPT 4x5", 1ox12cm della Lamborghini nera per il coperchio della scatola di montaggio. Codice Bburago 7041. Puoi acquistarla nello store.

Bugatti Posters

Bugatti Posters

Bugatti Posters

Cassandre, Dudovich, Vincent, Geo Ham — the finest graphic artists of the era, commissioned by Bugatti.

Bugatti commissioned its advertising posters from the finest graphic artists of the era — Cassandre, Marcello Dudovich, René Vincent, Geo Ham. The results are among the most celebrated works in automotive poster art. Cassandre's 1935 Le Pur-Sang des Automobiles remains the definitive image of the marque. Dudovich's 1922 C'è una Bugatti, non si passa is a masterpiece of symbolic compression.

The originals were held in the Campogalliano archive. Roberto Bigano borrowed and reproduced them in his studio — the same access that produced the factory drawings. The archive presents the most significant surviving examples, reproduced directly from the originals.

Bugatti Le Pur-Sang Des Automobiles. Art by Cassandre 1935

Obsessive attention to detail and hiring the best artists.


Ettore Bugatti designed many of his creations, as did his highly talented son Jean, who later took to the drawing board alone. This extraordinary man had attended the Brera School of Art as a youth, yielding an artistic streak.
He also demonstrated an astonishing ability for mechanical engineering and an amazingly eclectic mind in general. At the age of 20, he built his first car and personally designed everything from the “ergonomic” interiors of his company’s automobiles.
Consequently, Ettore and Jean designed and oversaw Bugatti’s literature (catalogs, advertisements, posters, and factory technical drawings).
The posters were created by great artists of the time, including Cassandre, Marcello Dudovitch, Renè Vincent, Geo Ham, and others.

C’è una Bugatti, non si passa (There's a Bugatti, you can't pass.) Poster by Marcello Dudovich 1922 Dimensions: 195x140 cm Printer: Edizioni STAR . Officine IGAP, Milano This masterpiece is rich in symbolism, beginning with the title that emphasizes Bugatti's legendary invincibility. The model portrayed is the Type 13 Brescia.

C’è una Bugatti, non si passa (There's a Bugatti, you can't pass.) 1922.
A Poster by Marcello Dudovich.

Dimensions: 195x140 cm
Printer: Edizioni STAR . Officine IGAP, Milan

This masterpiece is rich in symbolism, beginning with the title emphasizing Bugatti's legendary invincibility. The model portrayed is the Type 13 Brescia.

Apparently, there is a reference to Isadora Duncan, who died when her red scarf became entangled in the wheel of a Bugatti. But this is not possible, as this happened five years later.

1930 Bugatti Poster by René Vincent

Bugatti. 1930
A Poster by René Vincent

An impacting 1932 Bugatti Poster by Gerold

Bugatti Type 50 1932.
Artwork by Gerold.
Poster size: 51 x 35in / 129 x 90cm

Published by A.Trüb & Cie, Aarau, Switzerland

Le Pur-Sang Des Automobiles. Art by Cassandre 1935. An iconic 1935 Bugatti Poster by Cassandre, pseudonym of Adolphe Jean-Marie Mouron.

Le Pur-Sang Des Automobiles. 1935
An iconic 1935 Bugatti Poster by Cassandre, pseudonym of Adolphe Jean-Marie Mouron.

Bugatti Automobiles et Autorails. 1935 - Art by R.Geri

Bugatti Automobiles et Autorails. 1935.

Art by R.Geri
Poster size: 38 x 23in. / 97 x 59cm.

Bugatti Type 57 Modeles 1939

Bugatti Type 57 Modeles 1939.

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