Franz Oswald Schiffers

Original Vintage Color World War II Propaganda Poster "Almost" Offset Lithograph

1946

DELAYED VD; 1946 military poster by Franz Oswald Schiffers. Delayed! VD, the 1946 U.S. World War II (WWII) health poster warning soldiers overseas of the consequences of venereal disease. He can see the bright lights big city in the distance but he is chained to the VD block... VD Almost! is a vintage 1946 public service announcement poster by Franz O. Schiffers (1902-1976). Schiffers was commissioned to create several posters warning against venereal disease for the U.S servicemen stationed overseas. The artwork is bold, clear and direct. In the post-World War II era, the piece sent a serious message to prevent contracting disease through relations with foreigners. In today's day and age, these pieces are quite humorous and decorative. Virile soldiers are shown to be up against the looming threat of venereal disease. The soldier standing on the pier watching his ship sail away would have to make a very embarrassing explanation to his wife or girlfriend as to why he was left behind. Franz Oswald Schiffers (born August 5, 1902 in Eilendorf in Aachen , February 12, 1976 in Berlin ) was a graphic artist and film poster artist . He was one of the first graphic artists of the 1930s to achieve photorealistic effects in their works. At his father's request, Schiffers initially trained as a teacher before moving to Berlin in 1925 and became a graphic designer at UFA (Universum Film AG). After designing a series of movie posters there, Schiffers became independent in 1932 as a commercial artist (now a graphic designer). In the 1930s, Schiffers specialized in advertising posters for beverage producers - especially beer advertising. The trademark of his beer posters is the meticulous design of beer glass with shiny drops of water that trickle down the misted glass. In this photorealistic context one also speaks of " veristic " graphics. After the seizure of power by the National SocialistsNazis , Schiffers temporarily worked for the Reich Propaganda Ministry. He designed u. a. the so-called "shadow man campaign" with the well-known slogan "enemy hears with!" - A German graphic artist who designed movie posters and advertisements in late-1920s and early 1930s Germany. During the Nazi era, Schiffers was commissioned by the Nazi propaganda office to create German propaganda...

This is a vintage 1946 public service announcement poster The artwork is bold, clear and direct. "it will look even bigger… after the war!" Girl looks on longingly at 10 dollar bill....

Antonio Frasconi (28 April 1919 in Montevideo, Uruguay – 8 January 2013 in Norwalk, CT, USA) was an Uruguayan - American visual artist, best known for his woodcuts. He was raised in ...

Johnny Friedlaender (26 December 1912 – 18 June 1992) was a leading 20th-century artist, whose works have been exhibited in Germany, France, Netherlands, Italy, Japan and the United States. He has been influential upon other notable artists, who were students in his Paris gallery. His preferred medium of aquatint etching is a technically difficult artistic process, of which Friedlaender has been a pioneer. Gotthard Johnny Friedlaender was born in Pless (Pszczyna), Prussian Silesia, as the son of a pharmacist. He was graduated from the Breslau (Wrocław) high school in 1922 and then attended the Academy of Arts (Akademie der Bildenden Kunste) in Breslau, where he studied under Otto Mueller. He graduated from the Academy as a master student in 1928. In 1930 he moved to Dresden where he held exhibitions at the J. Sandel Gallery and at the Dresden Art Museum. He was in Berlin for part of 1933, and then journeyed to Paris. After two years in a Nazi concentration camp, he emigrated to Czechoslovakia, where he settled in Ostrava, where he held the first one-man show of his etchings. In 1936 Friedlaender journeyed to Czechoslovakia, Switzerland, Austria, France and Belgium. At the Hague he held a successful exhibition of etchings and watercolours. He fled to Paris in 1937 as a political refugee of the Nazi regime with his young wife, who was an actress. In that year he held an exhibition of his etchings which included the works: L ‘Equipe and Matieres et Formes. From 1939 to 1943 he was interned in a series of concentration camps, but survived against poor odds. After freedom in 1944 Friedlaender began a series of twelve etchings entitled Images du Malheur with Sagile as his publisher. In the same year he received a commission to illustrate four books by Freres Tharaud of the French Academy. In 1945 he performed work for several newspapers including Cavalcade and Carrefour. In the year 1947 he produced the work Reves Cosmiques and in that same year he became a member of the Salon de Mai, which position he held until 1969. In the year 1948 he began a friendship with the painter Nicolas de Staël and held his first exhibition in Copenhagen at Galerie Birch. The following year he showed for the first time in Galerie La Hune in Paris. After living in Paris for 13 years, Friedlaender became a French citizen in 1950. Friedlaender expanded his geographic scope in 1951 and exhibited in Tokyo in a modern art show. In the same year he was a participant in the XI Trienale in Milan, Italy. By 1953 he had produced works for a one-man show at the Museum of Neuchâtel and exhibited at the Galerie Moers in Amsterdam, the II Camino Gallery in Rome, in São Paulo, Brazil and in Paris. He was a participant of the French Italian Art Conference in Turin, Italy that same year. Friedlaender accepted an international art award in 1957, becoming the recipient of the Biennial Kakamura Prize in Tokyo. In 1959 he received a teaching post awarded by UNESCO at the Museum of Modern Art in Rio de Janeiro. By 1968 Friedlaender was travelling to Puerto Rico, New York City and Washington, D.C. to hold exhibitions. That year he also purchased a home in the Burgundy region of France. 1971 was another year of diverse international travel including shows in Bern, Milan, Paris, Krefeld and again New York. In the latter city he exhibited paintings at the Far Gallery, a venue becoming well known for its patronage of important twentieth-century artists. From his atelier in Paris Friedlaender instructed younger artists who themselves went on to become noteworthy, among them Arthur Luiz Piza, Brigitte Coudrain...

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 foo...

Make Every Minute Count For Pershing. United States Shipping Board Emergency Fleet Corporation Original 1917 World War 1 vintage poster. Artist: Adolph Treidler Original linen backed World War I vintage poster. Tonnage built in American ship yards tripled after the U.S. entered the war. Poster shows a riveter using his wrench to bolt the steel plates of the hull of a ship together. Until the 1930s, when arc welding was introduced, bolts were secured by hand. Standardization speeded production. Make every minute count for Pershing. United States Shipping Board Emergency Fleet Corporation Artist: Adolph Treidler Dimensions: 27.75 x 22 in. Published: Philadelphia Linen backed, ready to frame. Remember Rosie the Riveter...

This original 1943 World War II poster, designed by Sloan Roberts, was part of the U.S. government’s War Bonds campaign, encouraging American citizens to financially support the war effort. During WWII, War Bonds were a crucial means of raising funds for military operations, and posters like this played a significant role in mobilizing patriotic sentiment across the nation. Roberts’ artwork for this poster is a striking example of wartime propaganda, using bold imagery and compelling text to inspire action. The composition typically features heroic figures—soldiers, civilians, or symbolic American icons—set against a powerful backdrop, reinforcing themes of duty, sacrifice, and national unity. The typography is strong and direct, emphasizing the message: "Buy War Bonds", a rallying cry repeated across numerous government-issued posters during the war. As a wartime artist, Sloan Roberts was known for his ability to evoke emotion and urgency through dynamic compositions and dramatic lighting. His work exemplifies the graphic design style of the era, which combined realistic illustration with bold, patriotic color schemes—often featuring reds, whites, and blues to reinforce national pride. These original 1943 posters were distributed widely across public spaces, factories, schools, and military recruitment centers, serving as a visual reminder of the home front’s responsibility in the war effort. Today, Sloan Roberts’ War Bonds poster is a highly collectible piece of WWII history, valued for its artistic, historical, and patriotic significance. This poster remains an iconic representation of American resilience and unity, making it a prized addition for collectors of vintage military propaganda, WWII memorabilia...

Original vintage World War Two poster - You Are On War Work - featuring the white text over an image of a military warship at sea in front the blue waves and blue sky shaded backgrou...