Advertising Prints and Multiples

Christo and Jeanne-Claude Christo (Hand Signed by Christo), 1971 Offset lithograph Hand signed in pencil by the artist on the lower right front Published by Annely Juda Gallery, Lond...

Raymond Pettibon illustrated Black Flag flyer published on the occasion of: Black Flag at the Elite Club, Oct. 31 1981; with D.O.A., Saccharine Trust, & Overkill. A rare early Petti...

A team is hard at work riveting a hull of a warship in this American WWI poster. Building naval ships became one of the most important home front jobs in America during WWI. The reas...

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...

Size of sheet is ca. 21 x 29 cm (A4) Contemporary figurative giclee print by Polish artist Rafal Olbinski. Artwork depicts a personification of spring. Print is signed, numbered and...

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...

"Orient-Express" is a lithograph poster by Pierre Fix-Masseau. It depicts two people dining and being served drinks on a luxury train. The artist signed the artwork in the image lower right. There was a small tear on the margin that has been repaired. 38 5/8" x 24 1/4" art 40 1/2" x 26" frame French Poster...

This original exhibition poster was created for Alex Katz’s 1980 show at Marlborough Gallery, featuring one of his most iconic and enduring images: Aida with a Hat. Rendered in Katz’...

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...

This poster was created to celebrate 200 years of circus in America. It leaves a blank box on the bottom of the poster to allow them to fill in a local place and time where their cir...

Unique screenprint in colours, 1985, on Lenox Museum Board, signed in pencil, numbered and inscribed TP 12/30, a unique trial proof, aside from the standard edition of 40, printed by Rupert Jasen Smith, New York, published by George C. P. Mulder, Amsterdam, 100 x 80 cm. (39¼ x 31½ in.) Queen Ntombi...

This elegant original travel poster, created around 1930 by Suz. Musson, was produced for the Chemins de fer de l’Est to promote the town of Remiremont, nestled in the foothills of t...

This vintage exhibition poster reproduces Jim Dine’s 1970 lithograph Hammers, which is in the collection of the Museum of Contemporary Art, Chicago. It w...

This original 1928 advertising poster for Citroën promotes the brand's delivery vehicle, a symbol of France’s growing commercial dynamism in the interwar period. More than just an ad...

This striking original 1962 poster by Earle Duff was created for the Century 21 Exposition, more famously known as the Seattle World’s Fair. Held from April to October 1962, the fair...

This original promotional poster from the early 1950s celebrates the New Hillman Range, a flagship offering from the Rootes Group, one of Britain's most influential automotive manufa...

This original promotional poster, issued around 1950 by the Rootes Group, celebrated the launch of the Anniversary Hillman Minx Range, a pivotal moment for the British motor manufact...

This original 1934 travel poster, created by Swiss artist Bernhard Reber, was commissioned to promote tourism to Berne, the capital of Switzerland. Issued by the Swiss National Touri...

This 1958 original poster, designed by the renowned French illustrator Paul Ordner, was produced to promote the prestigious Concours Hippique (equestrian competition) held during the...

Berkley; University Art Museum; original exhibition poster by Richard Lindner. Size: 23.5" x 30" Exhibition year: 1969. Archival linen-backed original serigraph; excellent cond...

James McQueen, Protect me from what I want , 2024 Silkscreen and Archival Pigment in Colour on Deckled Edge Somerset Satin 410gsm Paper floated on a frame with 3mm Float Glass 112....

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...

Artist: (after) Roy Lichtenstein (American, 1923-1997) Title: "Palm Springs Desert Museum (Still Life with Longhorn Skull and Cactus)" Year: 1982 Medium: Original Offset-Lithograph, ...

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...

"Maeght Editeur" is a color lithograph poster. This poster was for an exhibit on Alexander Calder's work in Paris, France. It depicts a black tree with red fruits on the left side an...

Original vintage travel poster: HOLLAND AMERICA CRUISES. Artist: David Klein. This poster is printed on a thicker paperstock and doesn't require ...

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

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...

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...

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...

In 1974, the legendary Catalan artist Joan Miró was commissioned to create a commemorative poster for the 75th anniversary of Futbol Club Barcelona (1899-1974). The result was a stri...

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...

From Poor Richard's Almanac portfolio. Hand signed and numbered by the artist. Lithograph on arches. Sheet size 25.5 x 19.5 inches. Image size approx 16.75 x 13.5 inches. From t...

An exquisitely-dressed woman mixes her cocktail, immersed in the nightlife of Walter Schnakenberg’s poster promoting the decadent Odeon Casino in Munich. ...

Original vintage Cognac Pellisson poster by Leonetto Cappiello of figure carrying Pellison Pere & Co. Cognac barrel printed by Vercasson. Raised Maxmi...

Dow, Arthur Wesley. Modern Art, 1896. Color lithograph. Plate from Maitre de L’affiches. Arthur Wesley Dow, ( American painter, printmaker, photographer,...

Note: We highly recommend shipping through 1stDibs for its cost effectiveness, full insurance coverage, and reliable handling. While standard parcel services are an option, the defau...

Screenprint in colours, 1991, on wove paper, signed, titled and numbered from the edition of 95 in pencil, published by Waddington Graphics and Corianda Studios, 102.5 x 77 cm. (40.4...

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...

Original poster for the 1993 Multimedia Expo 93 at CNIT Paris La Défense, created by Apple, represents a pivotal moment in the history of technology and innovation. As the world ente...

Paper Size: 40 x 25 inches ( 101.6 x 63.5 cm ) Image Size: 38.5 x 24 inches ( 97.79 x 60.96 cm ) Framed: No Condition: A-: Near Mint, very light signs of handling Additional Details...

I See Static, Blue. 18 x 24 inches. Screen print on cream Speckle Tone paper. Signed by Shepard Fairey. Edition of 168/300. Contemporary street art print. Shepard Fairey is a major...

Pedro Friedeberg is an artist and designer from Mexico of Italian origin, known for his surreal work full of lines, colors, and ancient religious symbols. His best-known piece is the...

Paper Size: 18 x 14.75 inches ( 45.72 x 37.465 cm ) Image Size: 14 x 11 inches ( 35.56 x 27.94 cm ) Framed: Yes Frame Size: Condition: A-: Near Mint, very light signs of handling A...

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. ...

Next! 6th War Loan is a 1944 WWII American propaganda poster by James R. Bingham. The 6th War Loan emphasized a drive to target Japan in the South Pacific front. The image shows a ru...

Gemini is a screen print on grey paper realized by Sergio Barletta. In good conditions except for fairly consumed edges. The artwork represents the zodiac sign of scorpio through...

Very beautiful poster of A. Solon ( 1897 - 1973 ) on the airline Air France and its trips between Marseille, the Balearic Islands and Algiers in 5 hours. One of the first Air France...

This 1958 original exhibition poster, printed by the renowned Mourlot Studios, was created for the exhibition "Sculptures en Pierre" by Henri Laurens at the prestigious Galerie Louis...

This poster for Relsky Vodka is a particularly exciting poster by famed artist Leonetto Cappiello. It was produced and printed in 1925, and stands out in a realm of liquor posters fr...

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...

HOHENSTEIN Iris, Comic Opera, 1899 Original Lithograph Printed signature in the plate On vellum Size 39 x 29 cm (c. 15.3 x 11.4") INFORMATION : Plate 180 of "Les Maîtres de l'Affiche", Paris, 1899, printed by l'Imprimerie Chaix. Bears the blind stamp of the editor in the lower right corner . This image was created for the italian comic...

In America during WWII, every resource was poured into the war effort. With over 12 million Americans - 11% of the total population - serving in the armed forces, everything from food to labor was tight on the Home Front. This poster depicts those who weren't drafted - a young woman and two older men - hard at work on an airplane engine. The text encourages the viewer to pitch in however they can at home, from working in production plants to buying war bonds. The artwork includes a logo for the 6th War Loan, which is of a bomb dropping over the flag of Japan. The 6th War Loan began in November, 1944 with a goal of 16 billion dollars. The previous war bond drives raised in total 355 billion dollars, including 38 billion from individuals. Courtney Allen...

Lithograph hand watercolored. Belongs to the Series "Atlante di Botanica popolare ossia Illustrazione di Piante Notevoli di ogni famiglia" (Atlas of popular botany or illustration o...

Paris: Imprimerie Chaix, 1863. Stone lithograph in colors on light card stock, 15 1/2 x 11 1/4 inches (392 x 284 mm), full margins. Light mat tone and scattered edge wear, nicks and...

Les Invalides du Sentiment is a lithograph on ivory-colored paper, realized by the French draftsman Paul Gavarni (alias Guillaume Sulpice Chevalier Gavarni, 1804-1866) in the mid-19t...

Vintage Poster American Airlines Niagara Falls Edward McKnight Kauffer Good condition -- see all photos and video. This listing includes the frame (which is new). If you prefer to r...

Stone lithograph of Albert Morrow’s Illustrated Bits, printed by Imprimerie Chaix (Ateliers Chéret), Paris in 1897. This world-class example of lithography captures superior resoluti...