Lacaze was a landscape painter who began designing posters for the French railway companies in 1910. His well-composed images are consistently colorful and detailed, often including local architectural or structural highlights, but rarely feature people. Here, we see his view of the Place de la Concorde, with the Obelisk of Luxor, and the Fontaine de Mers in the foreground and in the background the Madeleine, visible at the end of Rue Royale.Learn more ›
Luc takes a very straightforward approach that allows the fanciful nature and alien attraction to these aquatic creatures to speak for themselves. And by placing the viewer inside an underwater cave lined with luminescent coral, we’re given a nearly predatorial view of this trio of denizens from the deep-an angel fish pair and a single parrot fish-who frolic about in their watery surroundings utterly unaware that they have become the center of our attention.Learn more ›
From 1903 onward Cappiello began to change his approach to poster design. He began to invent characters, some of which (through repetition in advertisements) began to become associated with the products. The first, in 1903, was the green lady on a red horse advertising Chocolat Klaus; other classics include the 1910 Cinzano zebra and Chocolat Poulain’s foal. Fernet Branca belongs to the same group of early visual devices that Cappiello designed. This is the rare Italian version. Cappiello/Firenze p. 80, Menegazzi p. 164 no. 169.Learn more ›
John Pashe designed The Rolling Stones’ iconic “tongue and lip” logo in 1971, as well as four concert posters between 1970 and 1974. Each of his posters for the band is a paean to the Art Deco transportation designs of the 1920s and 30s, reinterpreted with a post-Haight Ashbury flourish.Learn more ›
Midsummer, 1910, and nothing is sexier than watching those Magnificent Men in their Flying Machines from the top of the Église St-Pierre, in Caen. Over 60,000 spectators a day took in the spectacle (though few, supposedly, from this vantage point), which included “competitive events between ‘civilians’ and ‘servicemen'” (Affiches d’Aviation, p. 57) in hot-air balloons and rudimentary flyers in the infancy of the aviators’ age.Learn more ›
Of all of Jean Carlu’s posters, Dentrifice Gelle is the most heavily influenced by Cubism. It is also among his very best, and was known to be his favorite. When I organized the retrospective of his work at the Musee de l’Affiche in Paris in 1980, Carlu told me that his dream would be to recreate a lithograph of the Gelle poster. Although the museum could not provide the funds necessary for the printing I was able to assemble the monies to help him realize this dream, and we met together at the Bedos printing house (which closed soon thereafter). For the printing, Carlu brought an outstanding maquette with him, proving that even at the age of 80 he was as good an artist as ever. He had improved upon the original 1927 image by exaggerating the white triangle of the teeth. Then, like in the good old days of lithography, we both worked closely with Mr. Raymond, the chief lithographer at Bedos, going color by color through the image. In all, 1000 copies were printed. In examining the final product, it became clear that while his art had remained as pure and strong as ever, his signature had changed over the years. This was Carlu’s last original poster. Weill no. 354, p. 206 (var), Carlu no. 15.Learn more ›
“To announce the launch of the Cunard White Star line’s biweekly luxury liner service between New York and Cherbourg, Roquin created this handsome composition, visually equating two behemoths of the sea . . . with one of the ultimate symbols of the Art Deco era, the Chrysler Building . . . the New York City skyline in the background creates the illusion of a giant anchor” (Crouse p. 239). Weallans p. 173, Crouse p. 239.Learn more ›
The Michelin Man, in his trademark orange boots, is happily puffing on a cigar and dispensing tires (Michelin, of course) to those in need; against a deep blue background, lettering in yellow and red. Left blank when the poster was printed, the text box at the bottom was filled in by different merchants with their names and addresses; in this case, Gabriel Mottin.Learn more ›
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