Clint Eastwood has a literal fistful of dollars on this vibrant Italian poster by noted Sicilian artist, Michelangelo Papuzza. This striking country of origin, from Sergio Leone’s ground-breaking spaghetti Western, was created to coincide with the 1968 70mm release of the film in Italy, after it attained classic status.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 ›
Josephine Baker in her Follies Bergeres “pearl and feather costume.”
A classic image of “la Josephine” in her famous Follies Bergeres pearls and feathers costume. This image was on the 1927 program for the Follies, and it is quite likely that she either posed for this or sketches were made from life for it.Learn more ›
Although this poster for a Carnival evening promotes an appearance by Edith Heinemann, the master violinist, artist Ernst Böhm instead chose to illustrate a stylized masked harlequin. Heinemann, more widely known by her maiden name Lorand, was a Berlin-based violin virtuoso whose 20-year career on the Viennese stage endeared her with the titles of “Queen of the Waltz” and the “Female John Strauss”.Learn more ›
Joseph Fenneker (1895-1956) was a well-known German born expressionist artist who began by designing film posters for the film theater Marmorhaus. He was prolific and created a specific look and feel that draws an audience. He began stage design at a young age and his popularity soared throughout the 1930s through the 1950s. This gorgeous poster was created for a young German dancer, Hilde Arndt, who would also star in several early silent films.Learn more ›
An elegant 1926 study in contrasting graphic styles. Charles Loupot’s nibbler– all geometric contours, smudged tones, and Modigliani neck– becomes a fantasy of taste above and beyond the chocolate bar wrapper.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 ›
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