National Parks Travel Poster: The Lure of the National Parks by Dorothy Waugh, 1930
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L’opera d’arte che stampiamo è fedelmente restaurata dalla fonte originale - solitamente un museo, una biblioteca o una collezione privata. Non sostituiamo mai, ridisegniamo o inventiamo l’opera dell’artista usando l’IA generativa.
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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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Scegli due opere idonee e ricevi il 25% di sconto su entrambe. Puoi abbinare liberamente mappe e opere d’arte.
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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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Dorothy Waugh’s The Lure of the National Parks, created in 1930, turns an outdoor expedition into a compact drama of colour, movement...
Continua a leggereDorothy Waugh’s The Lure of the National Parks, created in 1930, turns an outdoor expedition into a compact drama of colour, movement and modern typography. A procession of riders crosses an undulating landscape beneath sharp triangular forms suggestive of distant mountain peaks. Bright white and green silhouettes stand out against deep blue, while the simplified horses, rolling terrain and emphatic lettering give the poster an immediacy suited to being understood at a glance.
Waugh was known for her work with the National Park Service, bringing a sophisticated graphic sensibility to the promotion of America’s protected landscapes. She studied at the Chicago Institute of Art before moving to New York, where she later managed Alfred A. Knopf’s children’s book department. Here, the clear geometry and flattened colour associated with Art Deco design serve a distinctly public purpose: presenting the national parks as places of recreation, adventure and scenic escape at a time when they were being promoted to an expanding travelling public.
A closer look
The mounted figures occupy the centre of the composition, their staggered positions creating the impression of a group advancing across uneven ground. Waugh needs remarkably little detail to establish their character. Hats, upright torsos and the curved backs of the horses are reduced to economical shapes, yet remain immediately legible. Variations in height and colour distinguish one rider from the next, preventing the procession from becoming a single continuous silhouette.
Around them, the landscape is constructed through overlapping graphic bands rather than conventional perspective. Dark green curves form low hills just above the riders, while the ground beneath them carries a broken, textured pattern that adds visual rhythm and suggests rough terrain. At the top, pale triangular wedges puncture the dark blue field. They can be read as stylised peaks, but their crisp, pennant-like geometry also contributes to the poster’s decorative energy.
The lower third is dominated by the title, “THE LURE OF THE NATIONAL PARKS”, set in large geometric capitals. Its scale gives the words almost the same visual weight as the landscape above. The lettering is not merely explanatory: its block-like forms continue the angular language of the mountain shapes and provide a firm base for the more fluid movement of horses and hills. Waugh’s name appears in smaller lettering at the lower left, discreet but clearly integrated into the design.
Context and significance
Travel posters of this period had to communicate quickly, often in busy public settings. Waugh’s design answers that requirement through high contrast, an abbreviated landscape and a strong hierarchy between illustration and text. Rather than identify a particular park or landmark, it promotes the broader idea of the national parks. Horseback travel becomes a concise emblem of open country and active exploration, while the landscape remains general enough to evoke a whole network of destinations.
The poster’s enduring appeal lies in this balance between persuasion and visual economy. Every element has more than one task: the riders establish narrative, the patterned ground supplies movement, the peaks suggest scale, and the typography delivers the message while completing the composition. Waugh transforms a promotional invitation into a confident expression of 1930 graphic design—bold enough to command attention, yet disciplined in its use of line, shape and colour.
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 24x36in (60x90cm) 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.
Dorothy Waugh’s The Lure of the National Parks, created in 1930, turns an outdoor expedition into a compact drama of colour, movement and modern typography. A procession of riders crosses an undulating landscape beneath sharp triangular forms suggestive of distant mountain peaks. Bright white and green silhouettes stand out against deep blue, while the simplified horses, rolling terrain and emphatic lettering give the poster an immediacy suited to being understood at a glance.
Waugh was known for her work with the National Park Service, bringing a sophisticated graphic sensibility to the promotion of America’s protected landscapes. She studied at the Chicago Institute of Art before moving to New York, where she later managed Alfred A. Knopf’s children’s book department. Here, the clear geometry and flattened colour associated with Art Deco design serve a distinctly public purpose: presenting the national parks as places of recreation, adventure and scenic escape at a time when they were being promoted to an expanding travelling public.
A closer look
The mounted figures occupy the centre of the composition, their staggered positions creating the impression of a group advancing across uneven ground. Waugh needs remarkably little detail to establish their character. Hats, upright torsos and the curved backs of the horses are reduced to economical shapes, yet remain immediately legible. Variations in height and colour distinguish one rider from the next, preventing the procession from becoming a single continuous silhouette.
Around them, the landscape is constructed through overlapping graphic bands rather than conventional perspective. Dark green curves form low hills just above the riders, while the ground beneath them carries a broken, textured pattern that adds visual rhythm and suggests rough terrain. At the top, pale triangular wedges puncture the dark blue field. They can be read as stylised peaks, but their crisp, pennant-like geometry also contributes to the poster’s decorative energy.
The lower third is dominated by the title, “THE LURE OF THE NATIONAL PARKS”, set in large geometric capitals. Its scale gives the words almost the same visual weight as the landscape above. The lettering is not merely explanatory: its block-like forms continue the angular language of the mountain shapes and provide a firm base for the more fluid movement of horses and hills. Waugh’s name appears in smaller lettering at the lower left, discreet but clearly integrated into the design.
Context and significance
Travel posters of this period had to communicate quickly, often in busy public settings. Waugh’s design answers that requirement through high contrast, an abbreviated landscape and a strong hierarchy between illustration and text. Rather than identify a particular park or landmark, it promotes the broader idea of the national parks. Horseback travel becomes a concise emblem of open country and active exploration, while the landscape remains general enough to evoke a whole network of destinations.
The poster’s enduring appeal lies in this balance between persuasion and visual economy. Every element has more than one task: the riders establish narrative, the patterned ground supplies movement, the peaks suggest scale, and the typography delivers the message while completing the composition. Waugh transforms a promotional invitation into a confident expression of 1930 graphic design—bold enough to command attention, yet disciplined in its use of line, shape and colour.
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 24x36in (60x90cm) 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.
Personalised and customised pieces usually take an extra 1–2 working days, because we prepare your design and send it to you for approval before printing.
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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.
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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.
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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.
