Jaffa Oranges

A print by Frank Newbould captures a moment of vibrant trade and sun-drenched geometry along the Mediterranean coast. A caravan of camels, laden with wooden crates marked "Santa Oranges," winds along a pale beach with a walled city clustered behind. The image pulses with warmth—terracotta rooftops glow under turquoise skies, while the clean lines and bold colors lend it a graphic, timeless quality. It’s a scene that feels both cinematic and composed, balancing movement and stillness with elegant restraint.

Why We Picked It
Newbould’s command of shape and flat color makes this print a standout. The rhythmic spacing of the camels and their cargo forms a visual procession that guides the eye through the work. Color contrasts between aquamarine skies, coral architecture, and the pale sands feels modern yet rooted in early 20th-century aesthetics. The balance between stylization and detail—a hallmark of Newbould's work—adds both graphic punch and atmospheric depth.

Notable Context
This print is emblematic of early 20th-century British travel posters, many commissioned to promote overseas destinations of the British Empire. Jaffa, one of the world’s oldest port cities and now part of Tel Aviv, was a gateway for citrus exports—hence the depiction of “Santa” branded orange crates. The artwork’s composition and color blocking echo the style of interwar poster design, aligned with the visual clarity championed by the Poster Art Movement and institutions like the Empire Marketing Board and the London Underground. This piece also reflects the colonial gaze of the era—positioning the Middle Eastern landscape as picturesque, industrious, and ripe for European consumption—making it an artifact not only of visual culture but also of geopolitical history.

About the Artist
Frank Newbould (1887–1951) was a British poster artist renowned for his vivid, idealized depictions of travel and national pride. He worked alongside Edward McKnight Kauffer and others during the golden age of British poster design and was commissioned extensively by British railways and government entities. During World War II, he joined the War Office’s visual propaganda unit, contributing to the morale and messaging of the home front. His style—marked by crisp silhouettes, simplified forms, and controlled palettes—helped shape modern graphic communication and remains influential in design history.