Advertising Prints and Multiples

ENDLESS POWER PETROL PALACE (RED) screen print by Shepard Fairey with dimensions 18 inches by 24 inches. Edition 299 of 350, signed and numbered by Shepard Fairey. Energy awareness and renewable energy activism inspired collage style with beautiful red, black and cream block style with clean lines. A lot of shrewd advertising has been created to suggest that things we want are also good for us and society. Perfect examples are the ads celebrating the health benefits of liquor and cigarettes. My inclusion of the badge stating “with lung tonic” is a humorous nod to the absurd health claims historically made for harmful products. The claim that petrol provides an unlimited future is a snapshot of the overly-optimistic wish that oil is unlimited. Though oil is finite, our reliance on it is so extreme that the power wielded by those who control oil is virtually unlimited, a situation that inspired the title ‘Endless Power”. Oil and gas companies and the car manufacturers who profit heavily from gas powered engines used their power and influence to overturn a zero emissions law in the state of California, effectively delaying electric cars arriving on the market accessibly for ten plus years. It is dangerous for an industry to have that much power. Scientists hired by fossil fuels corporations represent the minority of the scientific community who claim oil stocks...

TWA (Trans World Airlines) was formed in 1924 as Transcontinental & Western Air. The airline's first route was New York to Los Angeles, soon followed by multiple National routes. The airline expanded to serve Europe, the Middle East and Asia after WWII when the company was under the control of Howard Hughes, owner from 1939 until 1961. Hughes was a dominant force in expanding and promoting the routes flown by his company. The economy was vastly improving, and travels through air for business and pleasure increased too. Posters were a key element to promoting this form of travel and TWA. The airline started a decline in the 1970s that ended up in a third bankruptcy that caused their acquisition by American Airlines in 2001. The airline operated in 132 destinations worldwide and had a fleet size of 190. This Rome poster...

Color screenprint on Lenox Museum Board. Hand signed and numbered by the artist. Artwork is in excellent condition. Certificate of Authenticity included. From the ADS Portfolio. Pub...

Lucian Bernhard was an award-winning graphic, interior, and typography designer and highly influential to the world of 20th century graphic and poster ...

The Waltham Manufacturing Company was co-founded in 1893 in New York by Charles Metz and three business partners. The company's designer, Metz, called his cycles “Orient racing bicycles,” named after the Orient Fire Insurance...

Alcazar d'Eté, Lidia (Plate 25) is an 1886 lithograph of Jules Chéret's poster, printed at Imprimerie Chaix by Jules Chéret and included in the famed collection of Belle Époque poste...

Little Man Big Man Putin / Trump, Cleon Peterson - Red. Silkscreen with dimensions 24 × 18 in from an Edition of 150. Cleon Peterson is an LA based artist whose chaotic and violent paintings...

Artist: (after) Karl Schmidt-Rottluff (German, 1884-1976) Title: "Kunsthandel Wolfgang Werner KG (Nudes)" Year: 1984 Medium: Original Offset-Lithograph, Exhibition Poster on yellow wove paper Limited edition: Unknown Printer: Unknown Publisher: Kunsthandel Wolfgang Werner KG, Bremen, Germany Framing: Recently framed in a contemporary black moulding with frame space Framed size: 29.25" x 19.5" Sheet size: 27.25" x 17.75" Image size: 9.5" x 12" Condition: In excellent condition Extremely rare Notes: Poster produced for a special posthumous exhibition of Rottluff's early watercolors and printmaking "Schmidt Rottluff" at Kunsthandel Wolfgang Werner KG, Bremen, Germany from March 8 - May 12, 1984, in tribute to the artist's, would have been, 100th birthday. GIA Gallery Poster Disclaimer: Not to be confused with thousands of contemporary inkjet/giclée/digital reproductions ignorantly or deliberately passed off as originals on the market today. The examples we offer here are the original period vintage (exhibition) posters, created and designed by, or under the supervision and authorization of the artist or their respective estate (posthumously), for various exhibitions and events in which they participated. If applicable, this poster is also fully documented within its respective artists' official catalogue raisonné of authentic graphic works, prints, and or posters. Biography: Karl Schmidt-Rottluff (born December 1, 1884, Rottluff, near Chemnitz, Germany—died August 9, 1976, West Berlin [now Berlin]), German painter and printmaker who was noted for his Expressionist landscapes and nudes. In 1905 Schmidt-Rottluff began to study architecture in Dresden, Germany, where he and his friend Erich Heckel met Ernst Ludwig Kirchner and Fritz Bleyl, two other architecture students who shared their passion for painting. Together they formed the organization of Expressionist artists known as Die Brücke...

TWA (Trans World Airlines) was formed in 1924 as Transcontinental & Western Air. The airline's first route was New York to Los Angeles, soon followed by multiple National routes. The airline expanded to serve Europe, the Middle East and Asia after WWII when the company was under the control of Howard Hughes, owner from 1939 until 1961. Hughes was a dominant force in expanding and promoting the routes flown by his company. The economy was vastly improving, and travels through air for business and pleasure increased too. Posters were a key element to promoting this form of travel and TWA. The airline started a decline in the 1970s that ended up in a third bankruptcy that caused their acquisition by American Airlines in 2001. The airline operated in 132 destinations worldwide and had a fleet size of 190. This Rome poster...

In this poster from the 1930 International Automobile and Motorcycle Exhibition, we see an automobile racing neck and neck with a motorcyclist below. This streamlined, stylized Art Deco design portrays the automobile speeding along a top track, while the motorcyclist keeps pace on a lower track. Hermann Kosel (1896-1983) was an Austrian poster...

Yvon TAILLANDIER The Catitipede's Journey Original screen print Handsigned in pencil Numbered / 30 copies On Canson paper 49.5 x 66 cm (c. 19.4 x 25.9 in) Very good condition, smal...

Obey Deco Flower (Blue, Black, Red). Screenprint on thick cream Speckle Tone Paper. 18 x 24 inches. Signed by Shepard Fairey. Numbered edition of 144/300. "The Obey Deco Flower is inspired by Constructivism...

Fiorino is a 1922 liquor advertisement by Jean D'Ylen for Asti Spumante. The artwork features a Frenchman dressed in stereotypical colonial-era clothing. He tickles the face of the S...

Original Mudd Club poster, New York 1979: A must have for any true Jean Michel Basquiat, Keith Haring collector - this piece is featured in the 2017 Jean-Michel Basquiat documentary, 'Boom For Real.' Promotional poster. 1979. Artwork Dimensions: 18x24 inches (19x25 inches). Very good overall vintage condition condition; some minor fading consistent with age. Provenance: Obtained directly from the original art designer. The Mudd Club was founded by filmmaker Steve Mass, art curator Diego Cortez, and downtown punk scene figure Anya Phillips...

This striking art deco style poster was printed C1930 as an advertisement for Vins Camp Romain. Vins Camp Romain, which translates to ‘Camp Roman Wine', was produced in Laudun, Franc...

Walter Schnackenberg’s style changed several times during his long and successful career. Having studied in Munich, the artist traveled often to Paris where he fell under the spell of the Henri de Toulouse-Lautrec’s colorful and sensuous posters depicting theatrical and decadent subjects. Schnackenberg became a regular contributor of similar compositions to the German magazines Jugend and Simplicissimus before devoting himself to the design of stage scenery and costumes. In the artist’s theatrical work, his mastery of form, ornamentation, and Orientalism became increasingly evident. He excelled at combining fluid Art Nouveau outlines, with spiky Expressionist passages, and the postures and patterns of the mysterious East. In his later years, Schnackenberg explored the unconscious, using surreal subject matter and paler colors that plainly portrayed dreams and visions, some imbued with political connotations. His drawings, illustrations, folio prints, and posters are highly sought today for their exceedingly imaginative qualities, enchanting subject matter, and arresting use of color. SCHNACKENBERG: KOSTUME, PLAKATE UND DEKORATIONEN, a cardboard bound art book consisting of 43 prints of work by Walter Schnackenberg, 30 of which are color lithographs that are signed and some are titled and dated in the plate, as well as black and white prints and photographs with accompanying text by Oskar Bie; lithographs printed at Kunstanstalt Oskar Consee in Munich, other images printed by Gesellschaft Pick & Co. in Munich, the text and cover with color images by Schnackenberg front and verso printed by R. Oldenbourg in Munich; published by Musarion Verlag, Munich, 1920. The majority of Walter Schnackenberg’s artistic output was destroyed by bomb attacks in Munich in 1944. The highly publicized 2013 auction in New York of the recovered pre-war poster collection once belonging to German poster aficionado, Hans Sachs has reintroduced the world to Walter Schnackenberg’s graphic genius and priceless ephemeral art from a lost era. Besides the museum world, designer Karl Lagerfeld is one of the most prodigious collectors of Schnackenberg. Flipping through the pages of Kostume, Plakate und Dekorationen, it becomes quite clear that Schnackenberg’s collection is ground zero at the crossroads of early modern fashion where the cult of celebrity meets up with dance, music, theater and cabaret, film and the graphic medium. Berlin and Munich under Germany’s Weimar Republic in the first quarter of the 20th century produced just the atmosphere to feed this burgeoning industry. Rising inflation sparked a recklessness to live large for the moment and heightened a desire for escapism. An influx of Indian and East Asian dancers and musicians added to the artsy bohemian cultural mix. A new decadence and tolerance resulted. Film boldly featured provocative subject matter. Cabarets became popular venues giving rise to the demi-monde in which people from all social stations mixed more freely in a thriving underground economy and culture where there was a blurring of boundaries and of social codes. Noted art historian and cultural doyen, Oskar Bie astutely observes in his introduction to Schnackenberg’s publication that what unites the images is fantasy and advertisement. Schnackenberg uses the eye as an instrument to brilliantly construct and convey this double message. His personages never directly confront the viewer. Their eyes gaze off in the distance like those of the screenplayer and film star Hedamaria Scholz in Schnackenberg’s “Die Rodelhexe” movie poster. Their eyes follow the path of a dance composition or become a transfixed and ogling male gaze such as the iconic 1911 Odeon Casino poster...

- Dans La Menagerie - is an original Modern Artwork realized in 1888. Original Lithograph on paper. Passepartout is included. Dimensions: 70 x 50 cm. ...

Gaston Briand (1880-1957) and his family were producers of cognacs in the Domaine La Voute since 1850 and they sold most of their production to the major regional houses of Remy Mart...

Manzu Collection is an original offset poster print realized in 1981 by Giacomo Manzu. The artwork was realized on the occasion of the exhibition In the National Gallery of Modern A...

A signed, limited edition silkscreen on canvas with diamond dust. Edition of 25 Part of the Playboy collection which sees iconic magazine covers g...

Original Andalusia, Spain. Iberia Airlines vintage travel poster. A flamingo dancer holds her hand up in the air as the Iberia Constellation plane flies overhead. Reddish-pink ca...

Original 1951 poster for Behave Yourself! starring Shelley Winters with art by pin-up master Alberto Vargas. This poster was acquired directly from th...

In 1975, Steven Spielberg changed cinema and film-loving audiences forever when he gave the world it's first summer blockbuster, JAWS, and nothing was ever the same again. Not only is JAWS an all-time film from an all-time filmmaker, an added feather to the hat is that it's got arguably the greatest one sheet in cinematic history. Originally painted by the great Roger Kastel, the artwork is immediately arresting and visceral. A huge great white lunging toward the surface at an unknowing swimmer, giant maw ready to strike. Working closely under Roger Kastel's supervision and approval, we enlisted the talents of several key artists and designers including Jason Edmiston...

The circa 1925 original advertising poster for Molinari et Vautrin, "Dattes Muscades," is a striking example of early 20th-century commercial art, combining vibrant colors and appeal...

large scale photograph from a series of conceptual motivational messages on classic Americana billboard signs in landscape of the American West BACK IN 10 by Frank Schott 58 x 77.3...

This is a unique silkscreen colour-way, original work on paper, with a spot diamond dust finish. Signed by Simon Claridge and emboss stamped by Playboy. ...

Original Vintage 1933 French Automobile Poster – Roby Ranty Marot Art Deco Calendar Art Print Classic Car Advertisement. Archival linen backed in...

A triumph of fin-de-siècle Parisian graphic art, this poster by Pierre Bonnard announces La Revue Blanche, one of the most influential avant-garde literary and arts journals of the 1...

Walter Schnackenberg’s style changed several times during his long and successful career. Having studied in Munich, the artist traveled often to Paris where he fell under the spell of the Henri de Toulouse-Lautrec’s colorful and sensuous posters depicting theatrical and decadent subjects. Schnackenberg became a regular contributor of similar compositions to the German magazines Jugend and Simplicissimus before devoting himself to the design of stage scenery and costumes. In the artist’s theatrical work, his mastery of form, ornamentation, and Orientalism became increasingly evident. He excelled at combining fluid Art Nouveau outlines, with spiky Expressionist passages, and the postures and patterns of the mysterious East. In his later years, Schnackenberg explored the unconscious, using surreal subject matter and paler colors that plainly portrayed dreams and visions, some imbued with political connotations. His drawings, illustrations, folio prints, and posters are highly sought today for their exceedingly imaginative qualities, enchanting subject matter, and arresting use of color. SCHNACKENBERG: KOSTUME, PLAKATE UND DEKORATIONEN, a cardboard bound art book consisting of 43 prints of work by Walter Schnackenberg, 30 of which are color lithographs that are signed and some are titled and dated in the plate, as well as black and white prints and photographs with accompanying text by Oskar Bie; lithographs printed at Kunstanstalt Oskar Consee in Munich, other images printed by Gesellschaft Pick & Co. in Munich, the text and cover with color images by Schnackenberg front and verso printed by R. Oldenbourg in Munich; published by Musarion Verlag, Munich, 1920. The majority of Walter Schnackenberg’s artistic output was destroyed by bomb attacks in Munich in 1944. The highly publicized 2013 auction in New York of the recovered pre-war poster collection once belonging to German poster aficionado, Hans Sachs has reintroduced the world to Walter Schnackenberg’s graphic genius and priceless ephemeral art from a lost era. Besides the museum world, designer Karl Lagerfeld is one of the most prodigious collectors of Schnackenberg. Flipping through the pages of Kostume, Plakate und Dekorationen, it becomes quite clear that Schnackenberg’s collection is ground zero at the crossroads of early modern fashion where the cult of celebrity meets up with dance, music, theater and cabaret, film and the graphic medium. Berlin and Munich under Germany’s Weimar Republic in the first quarter of the 20th century produced just the atmosphere to feed this burgeoning industry. Rising inflation sparked a recklessness to live large for the moment and heightened a desire for escapism. An influx of Indian and East Asian dancers and musicians added to the artsy bohemian cultural mix. A new decadence and tolerance resulted. Film boldly featured provocative subject matter. Cabarets became popular venues giving rise to the demi-monde in which people from all social stations mixed more freely in a thriving underground economy and culture where there was a blurring of boundaries and of social codes. Noted art historian and cultural doyen, Oskar Bie astutely observes in his introduction to Schnackenberg’s publication that what unites the images is fantasy and advertisement. Schnackenberg uses the eye as an instrument to brilliantly construct and convey this double message. His personages never directly confront the viewer. Their eyes gaze off in the distance like those of the screenplayer and film star Hedamaria Scholz in Schnackenberg’s “Die Rodelhexe” movie poster. Their eyes follow the path of a dance composition or become a transfixed and ogling male gaze such as the iconic 1911 Odeon Casino poster...

MORIN-JEAN (1877-1940) Poem : The Happiness of this World, 1929 Original woodcut Handsigned in pencil Numbered /160 On vellum 32.5 x 25.5 cm (c. 13 x 10 in) Bears the blind stamp of...

Ex Libris Aira Konu is an original Contemporary Artwork realized in the mid-20th Century. Original woodcut print on ivory-colored paper. On the upper side in inscripted in capital ...

Walter Schnackenberg’s style changed several times during his long and successful career. Having studied in Munich, the artist traveled often to Paris where he fell under the spell of the Henri de Toulouse-Lautrec’s colorful and sensuous posters depicting theatrical and decadent subjects. Schnackenberg became a regular contributor of similar compositions to the German magazines Jugend and Simplicissimus before devoting himself to the design of stage scenery and costumes. In the artist’s theatrical work, his mastery of form, ornamentation, and Orientalism became increasingly evident. He excelled at combining fluid Art Nouveau outlines, with spiky Expressionist passages, and the postures and patterns of the mysterious East. In his later years, Schnackenberg explored the unconscious, using surreal subject matter and paler colors that plainly portrayed dreams and visions, some imbued with political connotations. His drawings, illustrations, folio prints, and posters are highly sought today for their exceedingly imaginative qualities, enchanting subject matter, and arresting use of color. SCHNACKENBERG: KOSTUME, PLAKATE UND DEKORATIONEN, a cardboard bound art book consisting of 43 prints of work by Walter Schnackenberg, 30 of which are color lithographs that are signed and some are titled and dated in the plate, as well as black and white prints and photographs with accompanying text by Oskar Bie; lithographs printed at Kunstanstalt Oskar Consee in Munich, other images printed by Gesellschaft Pick & Co. in Munich, the text and cover with color images by Schnackenberg front and verso printed by R. Oldenbourg in Munich; published by Musarion Verlag, Munich, 1920. The majority of Walter Schnackenberg’s artistic output was destroyed by bomb attacks in Munich in 1944. The highly publicized 2013 auction in New York of the recovered pre-war poster collection once belonging to German poster aficionado, Hans Sachs has reintroduced the world to Walter Schnackenberg’s graphic genius and priceless ephemeral art from a lost era. Besides the museum world, designer Karl Lagerfeld is one of the most prodigious collectors of Schnackenberg. Flipping through the pages of Kostume, Plakate und Dekorationen, it becomes quite clear that Schnackenberg’s collection is ground zero at the crossroads of early modern fashion where the cult of celebrity meets up with dance, music, theater and cabaret, film and the graphic medium. Berlin and Munich under Germany’s Weimar Republic in the first quarter of the 20th century produced just the atmosphere to feed this burgeoning industry. Rising inflation sparked a recklessness to live large for the moment and heightened a desire for escapism. An influx of Indian and East Asian dancers and musicians added to the artsy bohemian cultural mix. A new decadence and tolerance resulted. Film boldly featured provocative subject matter. Cabarets became popular venues giving rise to the demi-monde in which people from all social stations mixed more freely in a thriving underground economy and culture where there was a blurring of boundaries and of social codes. Noted art historian and cultural doyen, Oskar Bie astutely observes in his introduction to Schnackenberg’s publication that what unites the images is fantasy and advertisement. Schnackenberg uses the eye as an instrument to brilliantly construct and convey this double message. His personages never directly confront the viewer. Their eyes gaze off in the distance like those of the screenplayer and film star Hedamaria Scholz in Schnackenberg’s “Die Rodelhexe” movie poster. Their eyes follow the path of a dance composition or become a transfixed and ogling male gaze such as the iconic 1911 Odeon Casino...

Walter Schnackenberg’s style changed several times during his long and successful career. Having studied in Munich, the artist traveled often to Paris where he fell under the spell of the Henri de Toulouse-Lautrec’s colorful and sensuous posters depicting theatrical and decadent subjects. Schnackenberg became a regular contributor of similar compositions to the German magazines Jugend and Simplicissimus before devoting himself to the design of stage scenery and costumes. In the artist’s theatrical work, his mastery of form, ornamentation, and Orientalism became increasingly evident. He excelled at combining fluid Art Nouveau outlines, with spiky Expressionist passages, and the postures and patterns of the mysterious East. In his later years, Schnackenberg explored the unconscious, using surreal subject matter and paler colors that plainly portrayed dreams and visions, some imbued with political connotations. His drawings, illustrations, folio prints, and posters are highly sought today for their exceedingly imaginative qualities, enchanting subject matter, and arresting use of color. SCHNACKENBERG: KOSTUME, PLAKATE UND DEKORATIONEN, a cardboard bound art book consisting of 43 prints of work by Walter Schnackenberg, 30 of which are color lithographs that are signed and some are titled and dated in the plate, as well as black and white prints and photographs with accompanying text by Oskar Bie; lithographs printed at Kunstanstalt Oskar Consee in Munich, other images printed by Gesellschaft Pick & Co. in Munich, the text and cover with color images by Schnackenberg front and verso printed by R. Oldenbourg in Munich; published by Musarion Verlag, Munich, 1920. The majority of Walter Schnackenberg’s artistic output was destroyed by bomb attacks in Munich in 1944. The highly publicized 2013 auction in New York of the recovered pre-war poster collection once belonging to German poster aficionado, Hans Sachs has reintroduced the world to Walter Schnackenberg’s graphic genius and priceless ephemeral art from a lost era. Besides the museum world, designer Karl Lagerfeld is one of the most prodigious collectors of Schnackenberg. Flipping through the pages of Kostume, Plakate und Dekorationen, it becomes quite clear that Schnackenberg’s collection is ground zero at the crossroads of early modern fashion where the cult of celebrity meets up with dance, music, theater and cabaret, film and the graphic medium. Berlin and Munich under Germany’s Weimar Republic in the first quarter of the 20th century produced just the atmosphere to feed this burgeoning industry. Rising inflation sparked a recklessness to live large for the moment and heightened a desire for escapism. An influx of Indian and East Asian dancers and musicians added to the artsy bohemian cultural mix. A new decadence and tolerance resulted. Film boldly featured provocative subject matter. Cabarets became popular venues giving rise to the demi-monde in which people from all social stations mixed more freely in a thriving underground economy and culture where there was a blurring of boundaries and of social codes. Noted art historian and cultural doyen, Oskar Bie astutely observes in his introduction to Schnackenberg’s publication that what unites the images is fantasy and advertisement. Schnackenberg uses the eye as an instrument to brilliantly construct and convey this double message. His personages never directly confront the viewer. Their eyes gaze off in the distance like those of the screenplayer and film star Hedamaria Scholz in Schnackenberg’s “Die Rodelhexe” movie poster. Their eyes follow the path of a dance composition or become a transfixed and ogling male gaze such as the iconic 1911 Odeon Casino poster...

Poster Adverting the Entertainer Simon Frevalles. 1923. Color lithograph. On Linen. An outstanding twentieth century painter, printmaker and illustrator, Marcel Vertes moved from his native Hungary to Paris during the First World War. The art of Marcel Vertes was at its peak during the vibrant and somewhat wild decade of the 1920’s. Concentrating upon scenes of Paris street life, portrayals of women and depictions of circus and cabaret acts, Vertes left a legacy of original lithographs and drawings that superbly capture the spirit of 1920’s Paris. Vertès is also responsible for the original murals in the Café Carlyle...

Vintage Poster for the Wilhelm/Mozer Delikatessen. Ref:Das fruhe Plakat 1357 Ludwig Holhwein.Plakate der Jahne 1906-40 Tavel VI Kat Nr. 23. Hohlwein began his career as graphic d...

Grassot Punch (Plate 5) is an 1896 lithograph of Jules Chéret's poster, printed at Imprimerie Chaix by Jules Chéret and included in the famed collection of Belle Époque posters 'Les ...

The 1935 original advertising poster for Dunlop introduces "Le pneu Roc," a tire engineered to excel in rugged terrain and challenging environments. Produced by J. Herbert & Cie in L...

The 1935 original advertising poster for Dunlop introduces "Le pneu agraire," a tire designed to enhance agricultural operations and productivity. Crafted by J. Herbert & Cie in Leva...

The 1935 original advertising poster for Dunlop introduces audiences to the innovative Tire Trakgrip, a groundbreaking tire designed to meet the diverse needs of drivers. Printed by ...

The 1935 original advertising poster for Dunlop introduces viewers to the versatile capabilities of the Dunlop Fort 90 tire, a testament to innovation and reliability in the automoti...

The circa 1950 original travel poster by Muhlemann Werner and Bocchetti Ernst for Berner Oberland Schweiz is an exquisite piece of mid-20th-century travel art that captures the pristine beauty and allure of the Bernese Oberland region in Switzerland. Created by the talented duo of Muhlemann Werner and Bocchetti Ernst, this poster invites viewers to experience the breathtaking landscapes and scenic wonders of one of Switzerland’s most iconic regions. In the 1950s, the Bernese Oberland was a premier destination for travelers seeking both adventure and tranquility amidst the Swiss Alps. This region, known for its majestic mountains, verdant valleys, and picturesque villages, offered a variety of outdoor activities including skiing, hiking, and mountaineering. The tourism boom of the post-war era saw an increased interest in travel, and posters like this one played a crucial role in promoting such destinations. Muhlemann Werner and Bocchetti Ernst were skilled in capturing the essence of their subjects, and their collaboration on this travel poster is a testament to their artistic synergy. Their design effectively highlights the grandeur and serene beauty of the Bernese Oberland, drawing potential visitors with the promise of an unforgettable experience amidst the natural splendor of the Swiss Alps. The poster’s design reflects the duo’s ability to evoke emotion and a sense of wanderlust, making it an enduring piece of travel art. The Bernese Oberland, with its famous peaks such as the Eiger, Mönch, and Jungfrau, as well as charming towns like Interlaken and Grindelwald, was depicted as a paradise for nature lovers and adventure seekers. The 1950s saw a surge in the popularity of alpine tourism, and this poster played a part in attracting international visitors to the region. The idyllic portrayal by Werner and Ernst showcased the region’s appeal, emphasizing both its rugged beauty and the tranquil, almost mystical atmosphere of the Swiss Alps. During this era, travel posters were more than just advertisements; they were works of art that captured the imagination and stirred a desire for exploration. The collaboration between Muhlemann Werner and Bocchetti Ernst exemplified this trend. Their poster for Berner Oberland Schweiz did not merely advertise a destination but celebrated the unparalleled beauty and grandeur of the Swiss landscape. The poster’s creation also reflects the broader cultural context of the time. The 1950s marked a period of recovery and renewed interest in international travel. As economies stabilized and people sought new experiences, Switzerland, with its reputation for safety, natural beauty, and hospitality, became a top destination. This poster contributed to the image of Switzerland as a premier travel destination, appealing to a post-war audience eager to rediscover the world. Tourism - Photography...

Walter Schnackenberg’s style changed several times during his long and successful career. Having studied in Munich, the artist traveled often to Paris where he fell under the spell o...

The 1955 original poster by Albert Brenet, created for the SNCF (Société Nationale des Chemins de fer Français), celebrates the electrification of the Valenciennes - Thionville railw...

This is an original lithographic print created in the late 1960's by an anonymous artist. It features two striking lions who were part of the exciting performance that year. This i...

CAPPIELLO, LEONETTO (1875 - 1942) "Katabexine" Lithograph in color, linen-backed c. 1903 Sheet size: 54.25” x 39” Cap./GP, 252; Cap/StV, 4.22; DFP-II, 118; Schardt, pp. 174-5; PAI-V...

Walter Schnackenberg’s style changed several times during his long and successful career. Having studied in Munich, the artist traveled often to Paris where he fell under the spell of the Henri de Toulouse-Lautrec’s colorful and sensuous posters depicting theatrical and decadent subjects. Schnackenberg became a regular contributor of similar compositions to the German magazines Jugend and Simplicissimus before devoting himself to the design of stage scenery and costumes. In the artist’s theatrical work, his mastery of form, ornamentation, and Orientalism became increasingly evident. He excelled at combining fluid Art Nouveau outlines, with spiky Expressionist passages, and the postures and patterns of the mysterious East. In his later years, Schnackenberg explored the unconscious, using surreal subject matter and paler colors that plainly portrayed dreams and visions, some imbued with political connotations. His drawings, illustrations, folio prints, and posters are highly sought today for their exceedingly imaginative qualities, enchanting subject matter, and arresting use of color. SCHNACKENBERG: KOSTUME, PLAKATE UND DEKORATIONEN, a cardboard bound art book consisting of 43 prints of work by Walter Schnackenberg, 30 of which are color lithographs that are signed and some are titled and dated in the plate, as well as black and white prints and photographs with accompanying text by Oskar Bie; lithographs printed at Kunstanstalt Oskar Consee in Munich, other images printed by Gesellschaft Pick & Co. in Munich, the text and cover with color images by Schnackenberg front and verso printed by R. Oldenbourg in Munich; published by Musarion Verlag, Munich, 1920. The majority of Walter Schnackenberg’s artistic output was destroyed by bomb attacks in Munich in 1944. The highly publicized 2013 auction in New York of the recovered pre-war poster collection once belonging to German poster aficionado, Hans Sachs has reintroduced the world to Walter Schnackenberg’s graphic genius and priceless ephemeral art from a lost era. Besides the museum world, designer Karl Lagerfeld is one of the most prodigious collectors of Schnackenberg. Flipping through the pages of Kostume, Plakate und Dekorationen, it becomes quite clear that Schnackenberg’s collection is ground zero at the crossroads of early modern fashion where the cult of celebrity meets up with dance, music, theater and cabaret, film and the graphic medium. Berlin and Munich under Germany’s Weimar Republic in the first quarter of the 20th century produced just the atmosphere to feed this burgeoning industry. Rising inflation sparked a recklessness to live large for the moment and heightened a desire for escapism. An influx of Indian and East Asian dancers and musicians added to the artsy bohemian cultural mix. A new decadence and tolerance resulted. Film boldly featured provocative subject matter. Cabarets became popular venues giving rise to the demi-monde in which people from all social stations mixed more freely in a thriving underground economy and culture where there was a blurring of boundaries and of social codes. Noted art historian and cultural doyen, Oskar Bie astutely observes in his introduction to Schnackenberg’s publication that what unites the images is fantasy and advertisement. Schnackenberg uses the eye as an instrument to brilliantly construct and convey this double message. His personages never directly confront the viewer. Their eyes gaze off in the distance like those of the screenplayer and film star Hedamaria Scholz in Schnackenberg’s “Die Rodelhexe” movie poster. Their eyes follow the path of a dance composition or become a transfixed and ogling male gaze such as the iconic 1911 Odeon Casino poster...

This is an original poster featuring a portrait of Frida Kahlo taken by her brother, Guillermo Kahlo, in 1932. The poster is part of the Ordrupgaard collection in Copenhagen and was ...

Walter Schnackenberg’s style changed several times during his long and successful career. Having studied in Munich, the artist traveled often to Paris where he fell under the spell o...

Walter Schnackenberg’s style changed several times during his long and successful career. Having studied in Munich, the artist traveled often to Paris where he fell under the spell of the Henri de Toulouse-Lautrec’s colorful and sensuous posters depicting theatrical and decadent subjects. Schnackenberg became a regular contributor of similar compositions to the German magazines Jugend and Simplicissimus before devoting himself to the design of stage scenery and costumes. In the artist’s theatrical work, his mastery of form, ornamentation, and Orientalism became increasingly evident. He excelled at combining fluid Art Nouveau outlines, with spiky Expressionist passages, and the postures and patterns of the mysterious East...

Damien Hirst, Where the Land Meets the Sea (Signed) (Set of 3), 2023 Offset Lithograph 3 x 60 x 84 cm Edition of 666 Hand-signed by the artist From Damien Hirst's latest exhibi...

Step back in time to the vibrant 1950s, where a captivating advertising poster titled "San Candido: Ricchi Premi al Consumatore Soluzione Saponosa" (San Candido: Rich Rewards for the...

Screenprint in black on wove paper, hand signed and inscribed 'to Camilla and Earl' by the artist. From the edition of 20. Sheet size 25.25 x 19.25 inches. Custom framed as pictu...

Walter Schnackenberg’s style changed several times during his long and successful career. Having studied in Munich, the artist traveled often to Paris where he fell under the spell of the Henri de Toulouse-Lautrec’s colorful and sensuous posters depicting theatrical and decadent subjects. Schnackenberg became a regular contributor of similar compositions to the German magazines Jugend and Simplicissimus before devoting himself to the design of stage scenery and costumes. In the artist’s theatrical work, his mastery of form, ornamentation, and Orientalism became increasingly evident. He excelled at combining fluid Art Nouveau outlines, with spiky Expressionist passages, and the postures and patterns of the mysterious East. In his later years, Schnackenberg explored the unconscious, using surreal subject matter and paler colors that plainly portrayed dreams and visions, some imbued with political connotations. His drawings, illustrations, folio prints, and posters are highly sought today for their exceedingly imaginative qualities, enchanting subject matter, and arresting use of color. SCHNACKENBERG: KOSTUME, PLAKATE UND DEKORATIONEN, a cardboard bound art book consisting of 43 prints of work by Walter Schnackenberg, 30 of which are color lithographs that are signed and some are titled and dated in the plate, as well as black and white prints and photographs with accompanying text by Oskar Bie; lithographs printed at Kunstanstalt Oskar Consee in Munich, other images printed by Gesellschaft Pick & Co. in Munich, the text and cover with color images by Schnackenberg front and verso printed by R. Oldenbourg in Munich; published by Musarion Verlag, Munich, 1920. The majority of Walter Schnackenberg’s artistic output was destroyed by bomb attacks in Munich in 1944. The highly publicized 2013 auction in New York of the recovered pre-war poster collection once belonging to German poster aficionado, Hans Sachs has reintroduced the world to Walter Schnackenberg’s graphic genius and priceless ephemeral art from a lost era. Besides the museum world, designer Karl Lagerfeld is one of the most prodigious collectors of Schnackenberg. Flipping through the pages of Kostume, Plakate und Dekorationen, it becomes quite clear that Schnackenberg’s collection is ground zero at the crossroads of early modern fashion where the cult of celebrity meets up with dance, music, theater and cabaret, film and the graphic medium. Berlin and Munich under Germany’s Weimar Republic in the first quarter of the 20th century produced just the atmosphere to feed this burgeoning industry. Rising inflation sparked a recklessness to live large for the moment and heightened a desire for escapism. An influx of Indian and East Asian dancers and musicians added to the artsy bohemian cultural mix. A new decadence and tolerance resulted. Film boldly featured provocative subject matter. Cabarets became popular venues giving rise to the demi-monde in which people from all social stations mixed more freely in a thriving underground economy and culture where there was a blurring of boundaries and of social codes. Noted art historian and cultural doyen, Oskar Bie astutely observes in his introduction to Schnackenberg’s publication that what unites the images is fantasy and advertisement. Schnackenberg uses the eye as an instrument to brilliantly construct and convey this double message. His personages never directly confront the viewer. Their eyes gaze off in the distance like those of the screenplayer and film star Hedamaria Scholz in Schnackenberg’s “Die Rodelhexe” movie poster. Their eyes follow the path of a dance composition or become a transfixed and ogling male gaze such as the iconic 1911 Odeon Casino...

This charming and vibrant original travel poster from around 1950, titled "Mexico, País de Maravillas" ("Mexico, Land of Wonders"), offers a delightful glimpse into Mexico’s rich and...

UNTITLED (INV# NP2231) Ken Price silkscreen on Arches 88 paper 14.875 x 12.375” 1981 edition of 150 stamped by Ken Price, SOMA Fine Art Press and Arabesque Books Ken Price (1935 - ...

IIIII Will Always Love You By The Connor Brother The Connor Brothers are a British artistic duo, originally known for presenting themselves as fictional American twins raised in a ...

This stunning 1965 original exhibition poster was created for Jean Cocteau et son Temps, a retrospective held at the Musée Jacquemart-André in Paris. The exhibition celebrated the li...

100 Affiches Pablo Picasso Lithograph Poster Pablo Picasso was a Spanish painter, sculptor, and co-founder of the Cubist movement, which revolutionized European painting and sculptu...

Futura 2000 NYC 1984: A rare 1980s Futura announcement card published on the occasion of: FUTURA 2000 at Pizza A Go-Go June 27, 1984; 121 W 31st, New York, NY. Offset printed annou...

Original poster made in 1974 for the XXV Anniversary of the accession of SAS Prince Rainier III 1949 - 1974. 🏁 The Monte Carlo Automobile Rally is a s...