A Jacus

Original vintage 1960's advertising poster, 'CAMPARI' by Piatti. Year 1966 Dimension: 90 x 128cm Condition Excellent Artist Piatti Format Linen-backed This poster is in excell...

Original 1930s French Art Deco poster, artwork by Fabrice Mory, published by Chaix, France, circa 1935. This is a vintage original on linen and has been professionally framed under g...

Great poster of the heavens. Original color. Good condition. Published by Alexander Gross Unframed.

Artist  Leonetto Cappiello Year 1930 Dimensions 100x140cm Condition Excellent    

This original and authentic Mid-Century Modern French stone lithograph designed by Jean Cocteau from the 1950s is for a ceramic exhibition of his pieces at Galerie Pont de Arts in th...

LOTERIE NATIONALE MERES FRANCAISES A lovely poster from 1940; a child presenting his mother with a ticket to the lottery to be drawn on the 23rd of February. This poser is linen ba...

Artist  Leonetto Cappiello Year 1930 Dimensions 137x198cm Condition Good    

Signed vintage Victor Moscoso exhibition poster Published in conjunction with 'Trippy World' - a 1999 exhibition held at Baron/Boisante gallery, New York. Off-set lithograph Measures: 16 x 20 inches Hand signed in pencil (lower right). Very good to excellent overall condition Signed First printing; 1999; acquired directly from Baron/Boisante. Victor Moscoso was among the most gifted and influential artists to emerge from the '60s counterculture, pioneering not only the psychedelic concert poster designs made famous during San Francisco's Summer of Love, but also making his mark in underground comix. Born in Spain and raised in Brooklyn, Moscoso attended Cooper Union Art School before studying at the Yale School of Art; he arrived on the west coast in 1959 to enroll at the San Francisco Art Institute, and after graduation remained at the school for another five years to teach lithography. Alongside Rick Griffin, Wes Wilson, Stanley Mouse, and Alton Kelley...

Original vintage midcentury French 'Campari Soda' poster by Mingozzi, 1950 This original vintage lithograph poster epitomizes the opulent 1950s era. Th...

The painter Guillermo Pérez Villalta was born in 1948 in Cadiz. He studied architecture but eventually moved on to study painting. He moved to...

He began painting and writing in 1947 in Madrid while suffering from tuberculosis, having already been confined to his bed for five years. In his beginnings he created numerous drawings and paintings with a dreamlike surrealist character that most often represented imaginary landscapes, employing a flat smooth treatment that offers a rich palette of colors. He claimed Hans Arp and Yves Tanguy as his artistic influences. He stayed in Paris in 1952 and in 1954–1955 during which he met Benjamin Péret and associated with the Surrealists, although he soon parted with the group, joining instead the company of his friend the painter Simon Hantaï. Using the technique of scraping, he adopted a gestural style and created an abstract type of painting, still very colorful with an organic, aleatory design. The first appearances in his work of forms that will soon become archetypes of the female body or the human figure occur in the mid-1950s. Starting in 1956 Saura tackled the register of what will prove to be his greatest works: women, nudes, self-portraits, shrouds and crucifixions, which he painted on both canvas and paper. In 1957 in Madrid he founded the El Paso Group and served as its director until it broke up in 1960. During this period Saura met Michel Tapié. During the 1950s he had his first solo exhibition at the Rodolphe Stadler Gallery in Paris, where he regularly exhibited throughout his life. Stadler introduced him to Otto van de Loo in Munich and Pierre Matisse in New York City, both of whom exhibited his work and represented him, and eventually his paintings were collected by major museums. Limiting his palette to blacks, grays and browns, Saura asserted a personal style that was independent of the movements and trends of his generation. His work followed in the tradition of Velasquez and Goya. Starting in 1959 he began creating a prolific body of works in print, illustrating numerous books including Cervantes's Don Quijote, Orwell's Nineteen Eighty-Four, Nöstlinger's adaptation of Pinocchio, Kafka’s Tagebücher, Quevedo’s Three Visions, and many others. In 1960 Saura began creating sculptures made of welded metal elements which represented the human figure, characters and crucifixions. In 1967 he settled permanently in Paris, and joined the opposition to Francoist Spain. In France he participated in numerous debates and controversies in the fields of politics, aesthetics and artistic creation. He also broadened his thematic and pictorial register. Along with his Femmefauteuil (literally "Womanarmchair"), he also worked on the series "Imaginary Portraits",and Goya’s Dog...

Bjørn Wiinblad designed this whimsical silkscreen poster for a 1957 performance of Molière's play "Le Bourgeois Gentilhomme" at the Det Ny Teater in Copenhagen. This original poster, showcasing Wiinblad's assured use of unexpected color, was printed by T.T. Serigrafi, Copenhagen. Framed; on Karlit wood fiber–based board...