Signed, Sealed, Delivered: Mexican Airmail Envelopes

An assortment of 1950s airmail envelopes from the Sidney Tillim papers recently crossed my desk, stirring up a bit of interest from my corner of the Library. These envelopes addressed to Sidney Tillim, an artist and art critic, were sent by American photographer and poet Goldian "Gogo" Nesbit who was living in Mexico City at the time. While the letters Gogo wrote are fascinating, the envelopes themselves are striking historical remnants in their own right. Two of my favorite airmail envelopes from this collection are presented here now in all their glory.

Observe a delightful detail in the checked envelope. Lifting of the flap reveals the symbol of the eagle hidden underneath. Like the playfulness of the printed pattern, this interactive design choice sets this airmail stationery apart from the pack. The symbolic eagle is likely a nod toward the one displayed on the Mexican flag, and alternating bands of red and green, the national colors of Mexico, are featured on both examples as well.

This set of examples also calls to mind the iconic opening sequence of North by Northwest (1959). The grid pattern from the checked envelope vaguely evokes the orthographic title card style and glen plaid suits donned by Cary Grant while the airplane-covered envelope actually showcases a sleek, modernist building on its face, the likes of which are elegantly featured in that same title card sequence. The similarity should come as no surprise, for, as with New York's bustling urban center shown in North by Northwest, the Mexican capital’s cityscape underwent its own modernist makeover during this period. The Hotel de Soto Arms was designed by acclaimed Mexican architect, Mario Panni, whose prolific designs were instrumental in establishing downtown Mexico City’s modernist feel.

Another detail present on each of these envelopes is the usage of a commemorative Mexican airmail stamp. The symbols used on the government-issued stamp touch on the topic of race as it relates to national identity in Mexico. The issue remains relevant today as postage stamps from Mexico have faced scrutiny as recently as 2005 for the use of racist stereotypes. 

Like the numerous converging lines of the plaid-patterned envelope, the forces of tradition and modernity seamlessly intersect on the surface of these printed objects—not only vessels for information but objects of interest in their own right.

To begin research on this or any other material at the Manuscripts, Archives, and Rare Books Division at the main branch of the Library on 42nd street, contact us directly at manuscripts@nypl.org.