Document Art

Lithograph and silkscreen with grease crayon, lithographic tusche, lead pencil, charcoal on vélin d'Arches paper. Paper size: 12.8 x 9.84 inches. Inscription: Unsigned and unnumbered...

Lithograph and silkscreen with grease crayon, lithographic tusche, lead pencil, charcoal on vélin d'Arches paper. Paper size: 12.8 x 9.84 inches. Inscription: Unsigned and unnumbered...

Artist: Kees Van Dongen Medium: Lithographic Poster, 1964 Dimensions: 30.25 x 20.5 in

Artist: Gudmundur Erro, Icelandic (1932 - ) Title: The War of Stars Year: 2001 Medium: Serigraph, signed and numbered in pencil Edition: 199 Image Size: 24 x 18 inches Size: 30 x 22 ...

Lithograph and silkscreen with grease crayon, lithographic tusche, lead pencil, charcoal on vélin d'Arches paper. Paper size: 12.8 x 9.84 inches. Inscription: Unsigned and unnumbered...

Lithograph and silkscreen with grease crayon, lithographic tusche, lead pencil, charcoal on vélin d'Arches paper. Paper size: 12.8 x 9.84 inches. Inscription: Unsigned and unnumbered...

Lithograph and silkscreen with grease crayon, lithographic tusche, lead pencil, charcoal on vélin d'Arches paper. Paper size: 12.8 x 9.84 inches. Inscription: Unsigned and unnumbered...

Lithograph and silkscreen with grease crayon, lithographic tusche, lead pencil, charcoal on vélin d'Arches paper. Paper size: 12.8 x 9.84 inches. Inscription: Unsigned and unnumbered...

A crisp and well rendered copy of the famous poster design from 1894. The painting is unsigned. On canvas.

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...

Original Painting. Fortune Cover. Sept 1933 Illustration American Modern WPA Era Antonio Petruccelli (1907 - 1994) Wild Horses & Dynamo Fortune cover published, September 1933 13 X ...

Digital art on canvas, unique artwork Marco Santaniello is an Italian artist born in 1981 who lives & works in Cosenza, Calabria in Italy. He started his path doing Pop Portraits an...

This large-scale architectural photograph by German artist Reinhard Görner depicts the Library Hall at the Upper Lusatian Library of Sciences in Görlitz, Germany. Arches open like portals into the interior, bringing public cultural heritage into private space in the rich, glowing tones of brown wood. Reinhard Görner is known for invoking an atmosphere of awe, meditation and contemplation through crisp, richly detailed scenes of grand historical and cultural public narratives. This effect is enhanced through aesthetically striking compositions, which might include stunningly perfect (or interestingly-off) symmetry, portals through a series of doorways, and other careful choices of perspective and scale. Housing about 150,000 volumes, this library is not only the largest in Görlitz, but also the most significant regional library between Dresden and Wrocław. Rich in history, it stands at the crossroads of Germany, Poland, and the Czech Republic, serving as a beacon for historical research and knowledge transfer in the region. Lit by a warm, timeless glow, the scene leads you through multiple carved archways...

Artist: (after) Pablo Picasso (Spanish, 1881-1973) Title: "Galerie Louise Leiris (The Painter & His Model)" Year: 1972 Medium: Lithograph, Exhibition Poster on light wove paper Limit...

HUGNET, Georges. Huit jours a trebaumec [Paris]. Privately printed for the author, 1969. With 82 photogravures after photocollages by the author. Designed by Henri Mercher. Slim 4to, [92] pp; decorated two-color photogravure cover in imitation of a Michelin guide...

Publisher GKM. Edition of 150 ex. Unframed. Signed, dated and numbered. Free shipment worldwide. “I paint because painting is a private Utopia,” Erró writes of his art. The lan...

Original Painting New Yorker Mag Cover proposal. Army Wedding American Scene WPA Antonio Petruccelli (1907 – 1994) Army Wedding New Yorker cover proposal, c. 1939 11 1/2 X 8 inches ...

Vinyl Collection, vintage interior photograph from Richard Heeps series, Forward to the Past. Richard was commissioned by Preston Hall Museum in Stockton-on-Tees to document the Muse...

Lait Pur de la Vingeanne Stérilisé is an offset lithographic print reproduced after the original 1894-95 Belle Epoque advertising poster created by Théophile Steinlen, printed using 4-color offset lithography on heavyweight archival paper. Lait Pur de la Vingeanne Stérilisé depicts a seated rosy cheeked young girl (the artist's daughter) wearing a long red dress sipping milk from a bowl as a group of envious animal friends - 3 cats...

William Nelson’s latest body of work, titled Pretty, Desirable, Delightful, Dangerous, invites us into a dynamic world of glamour and mystery, rich with symbolism, history, and intri...

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...

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...

Conquest by Kris Kuksi - Signed Hardcover Edition Book Description: Immerse yourself in the captivating world of "Conquest" by Kris Kuksi, a stunning and evocative visual journey that transcends the boundaries of art. This limited signed hardcover edition is a testament to Kuksi's unparalleled talent in creating intricately detailed sculptures and artwork that intricately blend the realms of history, mythology, and the surreal. Bio of Kris Kuksi: Kris Kuksi stands as a visionary artist renowned for his extraordinary ability to craft awe-inspiring sculptures and artworks that enthrall audiences worldwide. With a career spanning decades, Kuksi's creations have been showcased in prestigious galleries, museums, and collections globally. His works seamlessly blend intricate details, historical symbolism, and a profound narrative depth that invites viewers into a world both hauntingly beautiful and thought-provoking. Content Summary: "Conquest" delves into Kuksi's unparalleled artistic vision, showcasing a curated collection of his most exquisite and thought-provoking sculptures and artworks. Each page reveals an intricate tapestry of details, inviting readers to explore the depths of Kuksi's imagination. Through a fusion of historical, mythological, and contemporary elements, Kuksi's pieces evoke a sense of wonder, prompting contemplation on the complexities of the human condition, society, and the passage of time. Within this signed hardcover edition, readers will discover: A comprehensive compilation of Kuksi's masterpieces, carefully curated to offer a glimpse into the artist's prolific and diverse body of work. Detailed imagery capturing the mesmerizing intricacies of Kuksi's sculptures, inviting readers to immerse themselves in the minute details and symbolism within each piece. Exclusive insights into Kuksi's creative process and the inspirations behind his unparalleled artworks, providing a deeper understanding of the artist's vision and craftsmanship. "Conquest" is more than a mere art...

Look Jane, ink, watercolor on archival paper. From the new series. Jane and Dick conversation. Keith Carrington’s experiences have led him to express his talents through the fluid &...

Publisher GKM. Unframed. Edition of 200 ex. Signed by the artist. Free shipment worldwide. Adami is the maestro of the unadulterated line,” writes the Swedish poet Lasse Söderberg i...

James McQueen, Oh bollocks, 2024 Silkscreen and Archival Pigment in Colour on Deckled Edge Somerset Satin 410gsm Paper floated on a frame with 3mm Float Glass 112.5 × 78.5 cm (44 3...

This Europe poster was created circa 1960 by the gifted American artist David Klein (1918 -2005) for TWA. Klein chose to depict some of the European highlights for this poster: The R...

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

Artist: Giancarlo Impiglia, Italian/American (1940 - ) Title: Grand Tier Year: 1984 Medium: Serigraph, signed and numbered in pencil Edition: 250, AP 11/40 Image Size: 25 x 19.5 inch...

Screen print in colors on 300gsm paper. Hand signed lower right by Mark Drew. Hand numbered 134/200 lower left. Sheet size 16.5 x 11.6 inches. Frame size 18 x 13 inches. Artwork...

Original Painting. Vanity Fair Illustration Proposal. Art Deco Modern 1930s Antonio Petruccelli (1907 - 1994) Vanity Fair Illustration proposal, c 1930’s 18 X 13 3/4 inches (sight) ...

Morgan Library New York 50 x 50 inches ed. of 10 $6,000 60 x 60 inches ed. of 7 $9,000 70 x 70 inches ed. of 5 $11,000 signed and numbered on label,...

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 o...

Reinhard Görner 'Study Center' Duchess Anna Amalia Library Weimar, Germany 2017 A luminous ode to architectural grandeur and intellectual heritage, Reinhard Görner’s masterful phot...

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...

Fantastic magazine cartoon illustration by American Artist, Leo Nowak (1907-2001). Ink, gouache and crayon in illustration paper, image measures 7.5 x 9.5 i...

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...

Salvador Dali - Flung out like a Fag-end by the Big- - Original Signed Engraving Handsigned in pencil and Numbered Edition: F195/195 - Printer: Atelier Rigal. - Paper: Rives vellum ...

Paper Size: 40.75 x 27 inches ( 103.505 x 68.58 cm ) Image Size: 38.75 x 25 inches ( 98.425 x 63.5 cm ) Framed: No Condition: C: Several Signs of use and handling, some visible ma...

Edition with a dust jacket, in very good condition. This 184-page volume, with text in German, provides an evocative glimpse into the culture, architecture, and artistic vibrancy of ...

Medium: original lithograph. This lithograph is from the rare 1953 "Improvisations" portfolio, published by the Artists Equity Association of New York on the occasion of the 1953 Spr...

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...

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...

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 o...

Using song lyrics combined with Penguin classic book covers, Don Pollack opens us up to a discussion of the current state of our environment in this oi...

Screen print in colours on wove paper Edition of 50 59.5 x 41.8 cm (23.4 x 16.5 in) Signed, numbered and dated on the front Mint Published by White Cube Images of edition numbering ...

Hergé (1907-1983) Red Rackham's Treasure (Le Trésor de Rackham le Rouge), 2024 Official poster On thick glossy paper 70 x 50 cm (c. 27.5 x 19.6 in) INFORMATION : Official and auth...

George Peabody Library Baltimore 62.5 x 50 inches ed. of 10 $6,000 74.9 x 60 inches ed. of 7 $9,000 87.3 x 70 inches ed. of 5 $11,000 signed...

This original vintage poster for Trans World Airlines (TWA) promotes travel to Rome with a captivating image of the Fountain of Neptune in Piazza Navona. The central focus is the statue of Poseidon, depicted in dynamic detail, surrounded by cascading water. Above the statue, a TWA Constellation...

There are certain poster images that transcend the medium in their beauty and importance; this is one such piece. Cacao Van Houten by Henri Privat-Livemont is acknowledged as one of ...

A breathtaking homage to the grandeur of knowledge, Reinhard Görner’s Shining Wall of Books captures the luminous beauty of one of the world’s most rever...

This original vintage poster, created around 1910 by the artist Coulange-Lautrec, was commissioned to promote Bonal Gentiane Quina, the iconic apéritif rooted in St. Laurent-du-Pont ...

Kino Plasticon. Ca 1920s. Budapest. Color lithograph The Hungarian artist and illustrator Geza Farago worked in Budapest as a cartoonist, theatrical costume designer and poster ar...

Poster of Sarah Bernhart Playing Hamlet. Paris. Mint condition. Linen-backed. Sarah Bernhardt's groundbreaking portrayal of Hamlet, performed in French, is masterfully captured in Alphonse Mucha's poster. Mucha emphasizes the play's themes of vengeance and mortality, depicting the ghost of Hamlet's murdered father haunting the ramparts of Elsinore in the background, while the tragic drowned Ophelia, adorned with flowers, rests in a coffin-like panel at Hamlet’s feet. This powerful image marks Mucha's final poster commission that depicts the celebrated French actress. The vintage poster is linen-backed and is in excellent condition. Bernhardt famously played Hamlet in 1899, becoming the first woman to embody the role on stage and later in a film adaptation. Her bold interpretation challenged conventional gender roles and pushed the boundaries of performance, establishing her as a pioneer in both theater and early cinema...

Francisque POULBOT (Saint-Denis, 1879 - Paris, 1946) Poster project for the Bal de la Mode - February 25, 1922 Charcoal and oil on canvas H. 99 cm; W. 91 cm Signed lower right In th...