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 ›
An unexpectedly lyrical and artistic image promoting travel to New York City. The reflection of the city’s skyscrapers in the lake and the soft, pastel-like rendering of the image are both sophisticated and charming.Learn more ›
Founded in 1880, Spyker (originally spelled Spijker) was a Dutch carriage manufacturer that quickly entered the automobile business. This fashionable evening graphic perfectly embodies the height of elegance and refinement so essential to the brand’s image.Learn more ›
The resort of Trouville advertises its newest attraction, a large public swimming pool, complete with diving boards of various degrees of acrophobia attacks. The symphony of blues which Molusson chooses to dominate the design is resoundingly cool and calming.Learn more ›
A figure of much controversy, Joe Camel originally made headlines in January of 1980 when the Chambre Correctionelle de Paris ruled that the design violated French law, allowing only the package or its trademark to be shown but no one physically smoking. Years later, he would again figure in the news when a war was waged against his ability to specifically target children.Learn more ›
This is Savignac’s most celebrated poster; its importance to his career is made clear in the first words of his autobiography: “I was born as the age of 41, weaned on the udder of the Monsavon cow.” The design lets us know in no uncertain terms that this Procter & Gamble soap is made with milk. As an accurate picture of how that’s accomplished, it leaves something to be desired; as a delightful poster, nothing. Savignac was the enfant terrible of French poster art, who, along with Bernard Villemot, had more impact on that country’s graphics of the past forty years than any other artist. As for his style, there are no displays of technical virtuosity that might compete with the wit-only disarmingly simple, almost childish brushwork, basic colors and uncluttered design.
Bibliographie: “Savignac affichiste”, n°314a, p.299
Musée de l’Affiche – Exposition “trois siècles d’affiches françaises”, n°103
“Les réclames des années 50 “,p.54
“Savignac de A à Z “, p.21Learn more ›
In the period between the wars, Roger Broders was the finest designer of French travel posters. Many, including many of his best, were for the French railways-in fact, the majority of them were for a single company: the Paris-Lyon-Mediterranee. “Broders loved to include his family in little ways in certain posters” (Broders p. 11). The design on this luxurious beach-goer’s wrap was likely modeled after a textile design originally made by Broders’ wife, Marguerite.
Bibliographie: “Broders. Travel posters” p. 39
“Voyages. Les affiches de R.Broders” p.97
“Le train à l’affiche n°242 p.113Learn more ›
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