London and North Eastern Railway | advertising


The LNER covered quite an extensive area of Britain, from London through East Anglia, the East Midlands and Yorkshire to the north east of England and Scotland. The 1923 grouping meant that former rivals within the LNER had to work together. The task of creating an instantly recognisable public image went to William M. Teasdale, the first advertising manager. Teasdale was influenced by the philosophies and policies of Frank Pick, who controlled the style and content of the London Underground's widely acclaimed poster advertising. Teasdale did not confine his artists within strict guidelines but allowed them a free hand. William Barribal designed a series of bold Art Deco posters in the 1920s and 1930s.[38] When Teasdale was promoted to Assistant General Manager, this philosophy was carried on by Cecil Dandridge who succeeded him and was the Advertising Manager until nationalisation in 1948. Dandridge was largely responsible for the adoption of the Gill Sans typeface, later adopted by British Railways.

The LNER was a very industrial company: hauling more than a third of Britain's coal, it derived two thirds of its income from freight. Despite this, the main image presented was one of glamour, of fast trains and sophisticated destinations. Advertising was highly sophisticated and advanced compared with those of its rivals. Teasdale and Dandridge commissioned top graphic designers and poster artists such as Tom Purvis to promote its services and encourage the public to visit the holiday destinations of the east coast in the summer.

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