Advertising Prints and Multiples

Original travel poster "Egypt U.A.R." by M. Buthyne captures the allure and mystique of Egypt as a premier travel destination. The poster, designed to promote tourism to the United A...

David Shrigley Untitled (Toes Like Fingers, Fingers Like Toes), 2022 Off-set lithography printed on 200g Munken Lynx paper 70 x 50 cm

Garage Impo is a contemporary artwork realized by the artist Fifo Stricker in 1982. Mixed colored aquatint and etching.  Hand signed and dated by the artist on the lower right marg...

Medium: lithograph (after the original lithograph poster). During the late 1940's and throughout the 1950's, Picasso created a series of posters at the atelier of Mourlot Freres. The...

Paper Size: 40 x 30 inches ( 101.6 x 76.2 cm ) Image Size: 22.75 x 22.75 inches ( 57.785 x 57.785 cm ) Framed: No Condition: A-: Near Mint, very light signs of handling Additional D...

Frank Shepard Fairey was born February 15, 1970 in Charleston, South Carolina, USA. Fairey's adolescence was shaped by the influences of punk-rock and skateboarding. In his teens, he began creating his own bootlegged clothing and skateboard decals featuring bands and brands he liked. Fairey’s early bootlegs were created because his generally conservative parents would not purchase the clothing he wanted. In 1986, he stumbled upon the Andre the Giant image for which he has become famous for, in a local newspaper. The image was selected when Fairey demonstrated to a friend how to make a stencil; it was modified slightly to include the meaningless caption “Andre the Giant has a Posse” and made into a sticker. The sticker was reproduced en masse and began to appear around Charleston as it spread through the skateboarding community. While the sticker had no inherent meaning, the public response varied from disregard to curiosity to out-right fear. Civic groups editorialized and theorized that the Andre image was affiliated with everything from a band to a hate group. Nevertheless, the stickers were considered vandalism and in time, Fairey would face numerous charges for defacing public property. Fairey's record includes 15 arrests as of March 2009, for defacing property as a result of his so called bombing campaigns. Fairey affixed the stickers on municipal properties nearly everywhere he went, and the Andre sticker was being seen in Boston and New York City, soon others procured the image and were encouraged to spread the campaign worldwide in the form of stickers, stencils and wheat-paste posters. Following high school, Fairey was accepted to the Rhode Island School of Design (RISD), where, with an interest in screen printing, he majored in illustration. In 1992, while still attending RISD, Fairey started Alternate Graphics, a mail order catalog business through which he could merchandise his own t-shirts, skateboards, posters and stickers. He also took small commercial illustration jobs to help supplement his income. Shortly thereafter, the Andre the Giant Has a Posse logo was shortened simply to Obey Giant. The Obey, for which Fairey has also become synonymous, is derived from the 1988 John Carpenter film They Live. In the film, aliens who appear as human, rule the governments and economies of the world while the humans are reduced to an unwitting, hypnotized slave-class. Themes from the film continue to appear in Fairey’s work. Over time, the Andre the Giant face was modified into a more simplified and streamlined appearance, reminiscent of Russian Constructivist/Rodchenko style Soviet propaganda posters of the 20th Century. In 1994, filmmaker Helen Stickler featured Fairey and his sticker phenomenon in her documentary: Andre the Giant has a Posse. The following year, Fairey started Subliminal Projects with the late Blaize Blouin, his friend and pro-skateboarder. Subliminal Projects created and released several Obey-Giant themed posters and skateboard decks. Fairey directed a short skateboarding film featuring some of his friends through Subliminal Projects and Alternate Graphics titled A.D.D.(Attention Deficit Disorder). In 1996, Fairey moved to San Diego, California to create Giant Distribution with partner Andy Howell. Later, with Howell, Phillip De Wolff, Dave Kinsey, he formed First Bureau of Imagery (FBI), a branding, marketing and design firm established to focus on the increasingly lucrative sports market. FBI was closed in 1999 and Fairey, along with De Wolff and Kinsey created BLK/MRKT, similar to FBI. At this time, Fairey met and began working with Amanda Alaya, whom he would later marry. BLK/MRKT moved to Los Angeles in 2001. Here, they could expand and were able to incorporate a small gallery. Fairey and Kinsey eventually bought out De Wolff’s share of the partnership and by then had set up offices in the Pellissier Building (home of the historic Wiltern Theater), in the Koreatown section of Downtown Los Angeles. In December 2001, Fairey and Alaya were married in Charleston, South Carolina, Amanda has occasionally been the model for Fairey's prints (see: Commanda, 2007). Additionally, Amanda Fairey works in the capacity as publicist, agent and representative of her husband. In 2003, Kinsey and Fairey split. Kinsey retained the BLK/MRKT name and gallery, which he relocated to Culver City, California. Fairey retained the offices and most of the employees to create Studio Number One and the gallery was renamed Subliminal Projects. Studio No. 1 has since gone on to produce numerous memorable album covers, concert and film posters. In 2004, Fairey created the magazine Swindle with his old friend Roger Gastman. Swindle is a quarterly publication that features fashion, art, music and other pop-culture elements. During the 2004 presidential election, Fairey teamed up with artists Mear One and Robbie Conal to create a series of anti-Bush/anti-war posters for the street-art campaign: Be The Revolution. In 2005, Fairey accepted a residency at the Contemporary Museum in Honolulu, Hawaii, where he created murals and prints that reveal a dramatic combination of constructivist style with distinctly traditional Hawaiian themes and influences. Amanda Fairey gave birth to the couple’s first child, Vivienne in June 2005, she is the namesake of punk fashion legend Vivienne Westwood. Vivienne would be the model for Fairey’s “Vivi La Revolucion” print of 2008. Fairey's street-art, was featured with that of Dan Witz...

Crafted in 1918, the original poster "Pour le retour Souscrivez 4e Emprunt National Crédit Foncier d'Algérie et de Tunisie" encapsulates the spirit of patriotic duty and financial su...

Original travel poster promoting London by Royal Air Maroc embodies the spirit of adventure and the allure of international travel. With its captivating design and vibrant imagery, t...

The original travel poster created by Roland Hugon for the French National Railways (SNCF) promoting travel to the Côte Basque captures the allure and charm of this picturesque coast...

Dave & Tim Show Poster - Cancun Mexico 2/15/2020 Limited Edition show poster from Dave Matthews Band's show in Cancun Mexico on February 15, 2020. P...

"I’ve made several images over the years addressing police brutality, and I think humor and absurdity help make such a heavy topic more digestible. There is a violent history of poli...

Medium: lithograph (after the original lithograph poster). During the late 1940's and throughout the 1950's, Miro created a series of posters at the atelier of Mourlot Freres. The li...

Paper Size: 63 x 47.25 inches ( 160.02 x 120.015 cm ) Image Size: 63 x 47.25 inches ( 160.02 x 120.015 cm ) Framed: No Condition: B-: Good Condition, Signs of Handling and Age Supple...

The “Welcome Visitor” diptych is a thought-provoking exploration of the contradictions inherent in America's tourism industry and its immigration policies. Through this striking artwork, Shepard Fairey delves into the uncomfortable collision of economic opportunism and xenophobia. The piece reflects on the historical context of America as a melting pot, symbolized by the Ellis Island narrative and the hope of embracing diversity. However, it also draws attention to the contemporary climate of fear and scapegoating faced by Latino and Muslim communities. The diptych specifically highlights past events like the immigration ban and internment of Japanese individuals, including Japanese-American citizens during World War II, when unfounded fear led to prejudiced policies against them. Shepard Fairey skillfully uses this historical reference to shed light on the irrational and disproportionate fear. By contrasting the past with the present, Fairey aims to inspire contemplation and empathy, urging viewers to consider the humanity and dignity of all people as a paramount factor in shaping immigration and tourism policies. Shepard Fairey is a renowned contemporary artist and graphic designer whose work often explores political and social themes. Born on February 15, 1970, in Charleston, South Carolina, Fairey gained widespread recognition for his iconic "Hope" poster created during Barack Obama's 2008 presidential campaign. His art has since become synonymous with activism and social commentary. Fairey's unique style combines elements of street art, pop culture, and political messaging, earning him a prominent place in the world of contemporary art. In addition to his prolific career as a visual artist, Shepard Fairey co-founded the design studio Studio Number One and the art collective BLK/MRKT Inc. He has exhibited his work in galleries and museums around the globe, leaving a lasting impact on the art world and beyond. Fairey's art continues to inspire dialogue and challenge societal norms, urging viewers to question and engage with the issues he addresses. Shepard Fairey's art is influenced by various sources, including street art, punk rock aesthetics, propaganda imagery, and political movements. He credits the DIY ethos of punk culture and the rebellious spirit of street art for shaping his artistic vision. Fairey's fascination with propaganda and political art from historical movements, such as Soviet Constructivism and Chinese Cultural Revolution...

Year: 2020 Designer: Rob Corradetti (Killer Acid) Technique: Screen Print Colors: 7 Size: 18" x 24" (45.72 x 60.96 cm) Quantity: Limited edition of 1000 prints Paper: Neenah Stardream Onyx Pearlescent Stock Markings: Each print is personally signed and numbered by the artist. Dive into the mesmerizing world of Variant with this exclusive GID Edition band poster...

Medium: lithograph (after the original lithograph poster). During the late 1940's and throughout the 1950's, Marc Chagall created a series of posters at the atelier of Mourlot Freres...

Original KING of the CONGO vintage movie poster, US 1-sheet. (The Mighty THUNDA). 1952 Chap. US 1 sheet. Chapter 1 "Mission of Menace". Linen-backed one-sheet film poster. NSS: ...

A major figure of the contemporary street art movement, Shepard Fairey rose to prominence in the early 1990s with his “Andre the Giant Has a Posse” campaign, which distributed poster...

Medium: lithograph (after the original lithograph poster). During the late 1940's and throughout the 1950's, Marc Chagall created a series of posters at the atelier of Mourlot Freres...

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. Dimensions: 18x24 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 in 1978. Mudd Club featured an art gallery curated by Keith Haring on the upper floor. Live performances by New York No Wave bands such as, DNA, the Contortions, Talking Heads & Basquiat's band Gray. On the dance floor, DJs, Anita Sarko and Johnny Dynell played an eclectic mix of punk, funk and curiosities. From the start it functioned as an antidote to the uptown disco glitz of Studio 54. Six months after it opened, the Mudd Club was mentioned in People: "New York's fly-by-night crowd of punks, posers and the ultra-hip has discovered new turf on which to flaunt its manic chic. It is the Mudd Club ... . For sheer kinkiness, there has been nothing like it since the cabaret scene in 1920s Berlin". After its first few years, Studio 54 celebrities like Andy Warhol, Grace Jones and David Bowie began to show up. In 1981, the Mudd Club's Steve Mass began showing up at the more informal Club 57 on St. Mark's Place, and began hiring Club 57 regulars including Keith Haring to help attract the downtown art & music scene. The Mudd Club was frequented by many of Manhattan's emerging emerging cultural figures, such as, Lou Reed, Johnny Thunders, David Byrne, Debbie Harry, Arto Lindsay, John Lurie, Nico with Jim Tisdall, Lydia Lunch, X, the Cramps...

Rare original vintage poster for KLM Royal Dutch Airlines. This version has the Constellation flying in the sky behind an old sailing schooner. Great ...

Original linen backed one sheet "The Savage Guns". Nss: 62/298. Archivally linen backed with the original issued fold marks restored. Great color, no paper loss, Excellent condition. As close to mint as you will find. Because the original fold marks were restored, it can only be listed as good. Condition: A. The gunfighter and the spitfire meet and love in a wild wind-lashed land where the law ends ... And the one they thought was afraid surprised them the day the banditos came!. Metro Goldwyn Mayer. Starring: Richard Basehart; Don Taylor, Alex Nicol, Pacquita Rico. In Metrocolor and Metroscope. Western movie poster...

Crafted with a nostalgic touch, the original travel poster by C. Ravel showcasing the charms of Auvergne, Bourbonnais, and Velay offers a picturesque glimpse into the scenic beauty o...

Too Darn Hot combines a landmark moment for Tom Sachs’ practice with his continued investigations of the past, present and future of authentication. “The thing about faith is that i...

David Shrigley Animal Series (Set of 4 Prints), 2019 Consisting of: I Will Not Fight Some of My Best Friends Are Pigs You Are Too Close He Will Only Eat Squid Ink Pasta 80 x 60 cm (e...

Garage Impo is a contemporary artwork realized by the artist Fifo Stricker in 1982. Mixed colored aquatint and etching.  Hand signed and dated by the artist on the lower right marg...

The May 1968 political poster titled "La police s'affiche aux beaux arts, Les beaux arts affichent dans la rue" encapsulates the fervor and social upheaval of the iconic May 1968 pro...

Honeymoon Machine, original 1 sheet U. S. theater poster; acid-free archival linen backed; this poster is ready to frame. Very fine condition with original theater-issued fold mark...

Storiauno For Poem of "Inedita" by Giuseppe Ungaretti is a vintage poster on paper realized in the 1970s by Paolo Dorazio. The artwork was realized in the occasion of the exhibition...

The 1975 exhibition poster "Le labyrinthe collectif d'intervention poétique dans chut ! chut ! chut ! ou l'indicatif néant" by Roman Cieślewicz is a striking visual representation of...

In 1990, the celebrated artist Razzia crafted a captivating poster seamlessly blending classic automobiles, luxury fashion by Louis Vuitton, and the iconic Bugatti "Royale" cars. Thi...

Renowned American artist Robert Rauschenberg left an indelible mark on the art world, not only through his groundbreaking works but also through a distinctive poster created for the St. Louis Symphony Orchestra in 1968. Born on October 22, 1925, Rauschenberg was a pivotal figure in the transition from Abstract Expressionism to Pop Art. His interdisciplinary approach to art, incorporating elements of painting, sculpture, and graphic design, set him apart. The St. Louis Symphony Orchestra poster...

Original "The Virgin Queen" vintage movie poster. NSS: 55/302 Archival linen backed with original issued fold marks restored. Linen-backed and in excellent condition. No pape...

Paper Size: 23 x 28.75 inches Edition Size Unknown Near Mint, very light signs of handling Original Serigraph poster designed for an in-store advertising campaign printed in 1982. ...

French illustrator and graphic artist Richard Zielenkiewicz, known as Monsieur Z, crafted a striking poster in 2012 showcasing the Aiguille du Midi in Chamo...

Original “The 3rd Man”, 1949, linen-backed vintage one-sheet movie poster "The 3rd Man". NSS: # 49/452. Excellent condition with restored original fold m...

In 1957, the Maison de la Pensée Française proudly showcased the vibrant and evocative paintings of the esteemed Brazilian artist, Candido Portinari. The exhibition, titled "Peinture...

In the golden age of air travel, Air France soared to new heights as a symbol of elegance and adventure. The airline's promotional efforts were often complemented by captivating trav...

Original: "Save waste fats for explosives. Take them to your meat dealer" vintage poster—original World War II Acid-free, archival linen-backed, ready-to-frame. The Original "Save...

Fanakapan is a prolific street artist who creates 3D visuals of real life objects, most notably, helium balloons. His mind-bending, hyper-realistic artworks have earned him the monik...

Original “VILLA RIDES!”, US 1 sheet, 1969 original movie poster—art of Yul Brynner as Pancho & Robert Mitchum, Sam Peckinpah. Starring Yul Brynner as...

Original SHALAKO vintage movie poster, 1sheet, 1968 great art of Sean Connery as Shalako, sexy Brigitte Bardot! This collectible poster, printed in 1968 to promote the theatrical re...

The poster "L'Empire au Service de la France - Vision Saharienne," crafted by Albert Briol in 1939 under the direction of George Letourneur, stands as a poignant representation of the colonial aspirations and identity during a crucial period. Sponsored by the youth of the French Empire and its president, Jean Daladier, the poster is a visual narrative set against a tricolor backdrop. At the forefront is a compelling portrait of a Black soldier from the French colonial troops...

The vintage poster for "Cycles Clément Pneumatique Dunlop Clément, Gladiator & Humber Ltd" is a charming relic from the early 20th century, epitomizing the collaboration of renowned ...

In 1965, Soviet artist Victor Koretzky crafted a compelling propaganda poster titled Russian Youth, encapsulating the ideals and aspirations of the Soviet Union during the height of the Cold War. This piece reflects the Soviet regime's focus on fostering a sense of patriotism and socialist values among the younger generation. The poster features vibrant and dynamic imagery, portraying a diverse group of enthusiastic young people from different origins holding the same flag. Koretzky's artistic style, typical of Soviet propaganda art...

Paper Size: 22.75 x 29.5 inches ( 57.785 x 74.93 cm ) Image Size: 22.75 x 29.5 inches ( 57.785 x 74.93 cm ) Framed: No Condition: B: Very Good Condition, with signs of handling or a...

This poster transports us to the fascinating era of early Soviet space exploration. Created in the 1920s, this artwork captures the excitement and in...

Wind and Lightning (State I) is an aquatint etching with pochoir on paper, 22.75 x 39.75 inches, signed 'James Rosenquist' and dated 1978 lower right; numbered 19/78 and titled lowe...

In 1945, amidst the aftermath of World War II, the French artist Pierre Baudouin created a poignant victory poster that symbolized the triumph over the ...

Fernand Léger, a towering figure in 20th-century art, left an indelible mark through his diverse and dynamic body of work. Born on February 4, 1881, in Argentan, France, Léger's arti...

The original lithograph by Pablo Picasso, titled "Hommage à René Char," stands as a testament to the artist's enduring creativity and his homage to the esteemed French poet René Char...

Crafted during the height of the Cold War in 1971, the Soviet poster titled "Encore sur Mars! Vaisseaux spatiaux Mars-2 et Mars 3 en vol" (Still on Mars! Spacecraft Mars-2 and Mars 3...

Renowned French illustrator and graphic artist Richard Zielenkiewicz, famously known as Monsieur Z, created a captivating poster in 2012 for Mont-Blanc, fea...

In 1960, artist Gian Rusa poured his vibrant creativity into an advertising poster for Caffé Foschi, giving life to the tagline, "Il Caffé di oggi, bevuto da sempre!" ("Today's Coffe...

In 1953, the automotive world witnessed the introduction of "The New Sunbeam Alpine," a remarkable creation born from the ingenuity of the Rootes Group. This original poster serves a...

Step into the glamour of 1930s France with the enchanting poster created by René Ravo for the Loterie Nationale in 1935. Renowned for his captivating illustrations, Ravo brings to li...

Raymond Pettibon Punk Art 1981: Raymond Pettibon illustrated gig flyer / handbill for: The Subhumans, China White, Mad Society, Runns, Assassins at Polish Hall, Los Angeles 1981. Post marked 1981 on the verso; quite rare as such. Offset Print; 8.5 x 11 inches. Pettibon printed signature appears on the lower right. A RARE original example, mailed by SST Records in 1981. Condition: Staple on mid-left; fold-lines consistent with mailing; scattered signs of handling, fading and minor wear consistent with age and medium; otherwise good overall condition. Further History: Between the years 1978 and 1986 Raymond Pettibon (aka, Raymond Pettibone; St. Pettibone) produced a now historic amassment of graphic works for seminal Southern California punk bands such as Black Flag, the Dead Kennedys...

The original Soviet poster titled "Aujourd'hui le peuple français s'interroge Est-ce que les couronnes sont à la mode aujourd'hui car ceux qui l...