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Publication Of The International Vintage Poster Dealers Association

Issue 1 ( 2019 )

Focus on Style

Art Deco Posters In the News Poster House Museum Opening / Focus on Style Art Deco Posters / Collector Profile Don Hastler & Dan Bergsvik / Focus on Designer Leonetto Cappiello / Collection of the London Transport Museum / General Dynamics Posters / IVPDA Directory


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Trusted source of original vintage posters International network of expert dealers that you can visit online or on your travels Knowledge and expertise on posters from around the world covering a wide variety of topics Looking for a specific poster? Easily contact all our members through the IVPDA website Vintage Poster

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Letter from the Editor Welcome to the first issue of Vintage Poster, a magazine purely devoted to the art, history and design of vintage posters. This publication is produced by the International Vintage Poster Dealer Association (IVPDA). Our association was created to inform, educate and promote the appreciation of the wide variety of antique and vintage posters from around the globe, and this publication was one of my initiatives when I became the President of the IVPDA. We aim for this magazine to become a platform for the exchange of information between collectors, dealers, museums and anyone interested in original vintage posters. I hope that it also finds a regular place on your coffee table or in your digital magazine rack. Kirill Kalinin President of the IVPDA AntikBar, London, UK

International Vintage Poster Dealer Association The International Vintage Poster Dealers Association (IVPDA) is a nonprofit association, founded in 1996 by a group of highly respected poster dealers from North America and Europe. The Association was created to inform and educate the public, collectors and other buyers and to help promote the appreciation of the wide variety of vintage posters from around the globe. The Association members have strict guidelines to ensure the authenticity of the posters they offer for sale and to promote ethical and fair business practices. Our members have many years of professional experience and are respected throughout the arts community for their knowledge and integrity. When buying an original vintage poster look for Members displaying the IVPDA logo and buy with confidence.

IVPDA Board of Directors President: Kirill Kalinin, AntikBar, UK Vice President: Lisa Tyler, Gallerie Rouge, USA Secretary: Karen Etingin, L’Affichiste, Canada Treasurer: Richard Kasvin, Chicago Center For The Print, USA Board Member: Chris Bailey, Picture This Collection, UK Board Member: Kirby McDaniel, MovieArt Original Film Posters, USA Board Member: Mark Weinbaum, Mark J. Weinbaum, USA Board Member: Jim Lapides, International Poster Gallery, USA

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Index

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Poster Exhibitions & Events

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Opening of the Poster House museum in New York City by Angelina M. Lippert

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Focus on Style Art Deco by Angelina M. Lippert

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Focus on Collector Don Hastler & Dan Bergsvik

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Focus on Designer Leonetto Cappiello by Jack Rennert

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Focus on Collection London Transport Museum by David Bownes

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Focus on Topic General Dynamics by Robert Garvin and Jean Daniel Clerc

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IVPDA Directory Vintage Poster

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Exhibitions & Events Exhibitions at Museums and other Institutions January 25, 2016 - December 31, 2019 Museum Gestaltung, Zurich, Switzerland The Poster Collection at Museum für Gestaltung in Zurich is one of the most extensive and important archives of its kind in the world. Over 350,000 posters, 120,000 of them researched and inventoried, document Swiss and international poster history— including political, commercial, and cultural posters— from its beginnings in the mid-nineteenth century to the present day. February 14, 2019 - July 7, 2019 Jan Tschichold and the New Typography: Graphic Design Between the World Wars Bard Graduate Center, New York, USA Tracing the revolution in graphic design in the 1920s, this exhibition at the Bard Graduate Center displays design work by many European artist-designers, including Kurt Schwitters, El Lissitzky, Laszlo Moholy-Nagy, Herbert Bayer, Piet Zwart, and Ladislav Sutnar and more, assembled by typographer and designer Jan Tschichold (1902–1974) in Weimar Germany. This exhibition includes a program of tours, film screenings, symposiums and other public events. April 6, 2019 - November 24, 2019 Art of Persuasion: Wartime Posters of Abram Games National Army Museum, London, UK Exhibition at the National Army Museum that explores the life and legacy of the iconic designer Abram Games, focusing on his time as ‘Official War Poster Artist’ during the Second World War. The exhibition examines the techniques Games used to communicate his messages effectively, and his legacy that continues to influence the art of persuasion employed by visual designers today. This exhibition includes a programme of talks, tours and other events.

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Exhibitions & Events

April 7, 2019 - August 4, 2019 Toulouse-Lautrec and the Stars of Paris Boston Museum of Fine Arts, Boston, USA Experience the celebrity culture of 19th century Paris made famous by Henri de Toulouse-Lautrec, who captured the spectacle of the fin de siècle in evocative posters, prints, and paintings. Exhibition in the Ann and Graham Gund Gallery (Gallery LG31) with lecture event and weekly tours. April 9, 2019 - August 18, 2019 Too Fast to Live, Too Young to Die: Punk Graphics 1976-1986 Museum of Arts and Design, New York, USA Exhibition at the Museum of Arts and Design (MAD) that explores the punk and post-punk movements through graphic design featuring punk’s most memorable graphics - flyers, posters, album covers, promotions, zines, and other ephemera - with public programs including punk’s iconic makers and agitators, a global punk cinema series, and a multimedia presentation that includes vintage interviews with never-before-seen photographs and ephemera. May 7, 2019 - August 4, 2019 Beggarstaffs: William Nicholson & James Pryde Fitzwilliam Museum, Cambridge, UK Exhibition at the Fitzwilliam Museum in Cambridge featuring the artistic partnership of James Pryde and William Nicholson, showcasing their novel collage technique that created the most innovative posters and graphics of the late early 1890s and early 20th century (under their pseudonym “Beggarstaffs”), to their later individual works as painters. This exhibition includes a programme of related events and guided tours.


May 18, 2019 - October 20, 2019 Food: Bigger than the Plate - A History of Food Posters V&A Museum, London, UK Part of the V&A’s exhibition on “every stage of the food system – from compost to table” featuring posters from the late 19th century to the present day, advertising an array of food and drink from sterilised milk (1894) and WWII public information messages to post-war political causes and new squeezable packaging (2006). A programme of events includes workshops, children’s performances and drop-in design sessions. May 25, 2019 - September 5, 2019 Everyone’s Art Gallery: Posters of the London Underground Art Institute of Chicago, Chicago, USA Exhibition at the Art Institute of Chicago showcasing 100 London Underground posters from their 19191939 collection “full of brilliant colors and innovative designs, [that] were part of an effort to encourage Londoners...to visit the city’s cultural attractions, go shopping, attend sporting events, and even venture into the countryside—all by taking Underground trains and buses...” Includes gallery tour and lectures.

IVPDA Member Fairs and Events Kiki Werth, London, UK June 2, 2019, The Ephemera Society, London, UK June 9, 2019, Etc. Summer Book Fair, London, UK Kiki Werth will be showcasing her collection of vintage posters at the Ephemera Fair and Summer Book Fair during the annual London Book Week. VintageAutoPosters, Carmel Valley CA, USA August 12, 2019 - August 14, 2019, Automobilia Monterey 2019, Monterey, USA Visit VintageAutoPosters at the 17th annual Automobilia Monterey, the largest automobilia show in America. More information at www.vintageautoposters.com/ shows_we_attend.php

June 14, 2019 - November 10, 2019 Keith Haring Tate Liverpool, Liverpool, UK An unmistakable style that has come to define an era: the first major UK exhibition of artist and activist Keith Haring (1958-1990) at the Tate Liverpool with related tours and talks, private views and other events. June 20 - October 6, 2019 Alphonse Mucha: Art Nouveau/Nouvelle Femme Poster House, New York, USA Inaugural exhibition at Poster House of Mucha’s Paris period and how his relationship with Sarah Bernhardt resulted in him changing the way women were presented in advertising. June 20 - October 6, 2019 Designing through the Wall: Cyan in the 1990s Poster House, New York, USA Inaugural exhibition at Poster House of Cyan, an East German collective, which was at the forefront of digital manipulation within posters.

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Interview

Poster House Opening by Angelina M. Lippert Chief Curator Poster House New York, USA

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Poster House


We are very much looking forward to the opening of Poster House, a new museum in New York dedicated exclusively to posters. Poster House opens to the public on June 20 and we conducted a brief interview with Angelina M. Lippert, Chief Curator of Poster House.

What is the focus of your collection? Our collection is as broad and expansive as the history of the poster. We define a poster as a public-facing notice that marries word and image. So, this means we have posters from the 1870s to the present day, from all around the world. As such, we have examples by iconic artists like Lautrec and Mucha, as well as contemporary advertising posters from agencies like Dentsu in Japan or McCann in Peru – and everything in between! What is the main aim of Poster House?

Oh we have so many! Right now, I’m particularly fascinated by a collection of six Croatian posters from the mid-1960s by Mihajlo Arsovski. They’re all for a series of B-level American Westerns starring Johnny Mack Brown. What’s interesting is that the movies themselves were released in the 1940s, but clearly re-released in Zagreb twenty-odd years later. So the posters are this combination of classic cowboy silhouettes in psychedelic colors. They’re incredibly rare, and just a really great glimpse at a unique moment in time.

J U N E 20 – O C TO B E R 6 , 20 19 | P O S T E R H O U S E | 1 19 W. 23 R D S T R E E T, N YC

Describe one of the most interesting posters in your collection.

PAPER : MOHAWK VIA BRIGHT WHITE VELLUM 65LB COVER ; INK S : 4CP PLUS M E TALLIC PM S ; 1ST EDITION

Poster House aims to educate visitors on the tremendous variety, vibrancy, and importance of posters as both art objects and historical documents. I often say that when you read a history book, you’re looking at history from the top-down: major events that impacted large amounts of people. When you look at ephemera – in our case, posters – you’re looking at history from the bottom-up: small but important things that shaped the average person’s daily experience. From products that were being used to performers that were in a small town for one night only, posters tell intimate stories about society, and those moments of discovery are absolutely fascinating.

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How will Poster House engage with its audience?

Please let us know your exhibition plans for this year.

Since posters are the people’s art, it’s very important to us that we speak to all audiences. As such, our opening show has three levels of wall text meant to engage everyone from the scholar to the friend that was brought along but didn’t really want to go to a museum. We have a robust educational department that offers school and group tours for all ages, with supplemental, free material in the galleries and online so that families can prepare for visits and continue talking about posters when they get home. We will be offering numerous public programs that allow for different levels of engagement with the posters. For example, with the Mucha show, we are hosting a drink and draw event with live models in period dress so that you can take your hand at being Mucha, as well as a flower crown making workshop so that you can become one of his muses. We also plan on hosting things like design trivia nights, talks with contemporary poster artists, book signings, etc. We’ve created a design game that teaches you a basic history of poster making, and why, for example, there’s a reason you never see a political poster in Comic Sans. There’s also a photo booth near our entrance where we’ve commissioned new technology to allow you to insert yourself into a classic poster – so you can become Rosie the Riveter. We are also working with Visions, a resource and residency for vision impaired and blind New Yorkers. They are located just a few doors down from the museum, and it’s important to us that we find ways to bring a two dimensional, highly visual medium to them – be it through descriptive tours of a show or workshops demonstrating how you can feel restoration on a linenbacked poster.

We are opening to the public on June 20 with two shows. The larger is titled Alphonse Mucha: Art Nouveau/ Nouvelle Femme, and it looks at Mucha’s Paris period and how his relationship with Sarah Bernhardt resulted in him changing the way women were presented in advertising. At the same time, in the smaller gallery, we are showcasing the early posters of Cyan, an East German collective which was at the forefront of digital manipulation within posters. In October, we will be switching to a large exhibition on the Gold Age of handpainted Ghanaian film posters, as well as a show about the posters of the 2017 Women’s March and how so much has changed in the messaging over the past three years. Finally, we will begin 2020 with an exhibition detailing 100 years of Chinese poster design, as well as a look at the iconic posters created for General Dynamics by Erik Nistche in the 1950s.

What is the biggest challenge you’ve faced since starting the project to open Poster House? One of our mandates is that every year we will feature at least one non-Western and one female-focused exhibition. The non-Western part hasn’t been that difficult since the entire world has had posters in its history. What has been a challenge is finding female poster artists or posters that speak directly to the female experience. So, if anyone reading this has suggestions, please email me immediately! How did the idea of opening a poster museum develop? There are a handful of poster museums around the world, but they are primarily in Europe and Asia. The fact that there isn’t one in the United States, let alone in the graphic design mecca that is New York City, seemed like a missed opportunity.

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Focus on Style

Art Deco by Angelina M. Lippert Chief Curator Poster House New York, USA

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Appearing just before World War I, Art Deco became the dominant artistic style of Europe and America up through the beginning of World War II. Devoted to the strong lines and geometric structures of the Machine Age, it was an aggressive departure from the sinuous, organic forms of its predecessor, Art Nouveau.

While Art Deco’s influence touched everything from architecture to fashion, its appearance in posters is especially striking. Suddenly, products and destinations were being advertised through the rhythmic repetition of bold shapes, brilliant colors, and a kinetic sense of accelerated movement and power. If Art Nouveau can be described as feminine, then Art Deco is pure machismo. The name itself derived from the famous Decorative Arts Exposition of Paris in 1925. A type of World’s Fair, its seven-month run helped establish the “style moderne” as a truly international movement, bringing together the best ideas of the European avant-garde alongside more traditionally commercial manufacturers. The original goal was to give a platform for the decorative arts, which had often been treated like the redheaded stepchild within the fine art family of painting and sculpture. In reality, the decorative arts influence our lives on a more regular and intimate basis than the fine arts, so elevating them to a place of artistic respect seems not only logical but necessary. Over 16 million people visited the fair (that’s 5 million more than the current population of Belgium), allowing the event’s influence to have a truly global impact. The hallmarks of Art Deco posters can best be described as sophisticated, streamlined, and sleek. Images like A.M. Cassandre’s Normandie (1935) or Robert MalletStevens’s St Jean de Luz (1928) are almost overwhelming in their presentation of scale – we feel dominated by the impressive architectural presence of both the ship and the building, respectively. Posters promoting more fashionable items, like any of Jacint Bofarull’s designs for Dunhill (1932) or Franco Barberis’s Candee (1929) speak to wealth and glamour expressed through a lens of removed, cool elegance. The same holds true for all of Paul Colin’s numerous posters for performances and parties, wherein he is selling more of an attitude than an event.

Jacint Borafull, Dunhill, Spain, 1932

Franco Barberis, Candee, Switzerland, 1929

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“... we feel dominated by the impressive architectural presence of both the ship and the building, respectively.�

Rob Mallet Stevens, St Jean De Luz, France, 1928

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A.M. Cassandre, Normandie, France, 1935


Joseph Binder, New York World’s Fair, USA, 1939 / 77x51cm / Source: AntikBar, UK

Unknown, Hettinger Linoleum Teppiche, Switzerland, 1925 / 127.5x88cm / Source: Artifiche, Switzerland

Benigni, Brides Les Bains, France, 1929 / 99x63.5cm / Source: Chicago Center for The Print, USA

Josep Renau, Las Arenas, Spain, 1932 / 99x69cm / Source: Chisholm Larsson Gallery, USA

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Monogram T, Andermatt – Gotthard – Schweiz, Switzerland, 1927 / 102x68cm / Source: PLACART, Switzerland.

Arthur, Peugeot, France, 1930s / 128.2x90.2cm / Source: The Ross Art Group, USA

Emilio Vila, Poudre Savon Creme Simon, France, 1920s / 160x119.5cm / Source: The Vintage Poster, USA

Otto Baumberger, Splendid, Switzerland, 1915 / 129x90cm / Source: Galerie Documents, France

Focus on Style


Even such banal consumer goods as light bulbs and newspapers are given a sense of extreme importance and dynamism through Art Deco design. For example, Pierre Andry-Farcy’s Le Petit Dauphinois (ca. 1925) makes the daily paper appear akin to a revolutionary dictator, aggressively gripping information as it filters through the wire, while Nicolay Diulgheroff’s Watt Radio (1933) is nothing short of a visual fire alarm, screaming into the passerby’s eyes.

Nicolay Diulgheroff, Watt Radio, Italy, 1933

Pierre Andry-Farcy, Le Petit Dauphinois, France, ca. 1925

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Gert Sellheim, Corroboree, Australia, 1935 / 100.4x62.4cm / Source: Josef Lebovic Gallery, Australia

Austin Cooper, Paris for the Weekend, UK, 1934 / 102x64cm / Source: Mark J. Weinbaum, USA

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Johannes Handschin, Grand Prix Montreux, Switzerland, 1934 / 128x77.5cm / Source: Classic Posters, Switzerland

Roger Broders, Monte Carlo, France, 1930 / 100x62cm / Source: Poster Team, Norway


“Today, the Art Deco period is looked at as one of the finest moments in design history.”

Today, the Art Deco period is looked at as one of the finest moments in design history. The lasting appeal is potentially because the International Style and other forms of Modernism which followed Deco and incorporate many of its cool lines and elegant shapes, are still popular in today’s decorative art scene. While updated and influenced by MidCentury furniture, our homes fit more readily with Deco’s crisp luxury than the overly ornamental frills of Art Nouveau. This aesthetic thread which ties us to the past makes posters by the likes of Cassandre, Colin, Loupot, Nizzoli, McKnight Kauffer, and countless other design masters still appear fresh, dynamic, and exciting over 80 years later.

Rene Vincent, Au Bon Marche, France, 1922 / 29x40.5cm / Source: I Desire Vintage Posters, Canada

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Don Hastler & Dan Bergsvik USA

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When did you start collecting posters and what was your inspiration? When Dan and I got together in 1979, Dan had two of the Maitres de L’Affiche prints that he had purchased in San Francisco in 1973. This became the starting point of our effort to collect more of the Maitres de L’Affiche plates. We would go to France usually twice a year and the search was one of our favorite things to do while there. We also purchased more of the plates from IVPDA dealers in the United States. We had collected about half of the 256 plates when a friend’s mother, who was a poster dealer, asked us why we were not collecting the originals. At that time we began to collect the original sized posters. We did however continue collecting the Maitres and now have the complete set.

Please describe your collecting interests. The main focus of our collection is French posters from the mid 1800’s to about 1910. This includes bicycle, theater, fair and product posters. We also have a large collection of World War I posters from France, Germany, Russia, Italy, Netherlands, Austria, UK as well as the US. One other collecting interest is US Literary posters from the 1890’s to the early 1900’s by artists such as Penfield, Gould, Potthast, Woodbury, and Parrish. Also, as with any collecting, sometimes a poster just catches your eye and you must have it!

Don (L) and Dan (R) at the Portland Art Museum with two of their Theophile Steinlen pieces: Theophile Steinlen, Chat Noir (small version) and A La Bodiniere, 1894

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Above bed from left to right: posters by Jules Cheret: Palais de Glace, 1895; Pippermint, 1899; Pastilles Geraudel, 1896; Palais de Glace, 1894, followed by two posters on one sheet of paper never cut by Gustave Marie, Edmond Sagot/ Etrennes aus Dames, 1897

From left to right: Henry Atwell Thomas, L’eclair/Journal Politique Independant Theophile Steinlen, Chat Noir, 1896 (in hallway) Henri de Toulouse-Lautrec, Revue Blanche, 1895 Alphonse Mucha, Job, 1898

From left to right: Leonetto Cappiello, Contratto, 1922 Louis Rhead, Morning Journal Lucien LeFevre, L’electricine, 1894 Alphonse Mucha, Lorenzaccio, 1896

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What is the most prized poster in your collection? This is a difficult question to answer since we prize all the posters in the collection but the Lautrec “Divan Japonais” is probably the most prized. Also, the two Mucha “Job” posters are high on the list as is the Livemont “Absinthe Robette”. I warned that this is a hard question to answer!

“... sometimes a poster just catches your eye and you must have it!”

What has been your most interesting purchase so far? The purchase of a dozen or so of the posters from the Hans Sachs collection at auction is the most interesting purchases to date. To actually have posters such as the Steinlen “Mothu et Doria” and others with his inventory labels is exciting. To think that he was collecting in Germany at the time the posters were printed adds to the drama. Mireille Romand of Galerie Documents in Paris once told us that her great-great grandfather’s (E. Sagot) records show purchases by Hans Sachs. That the family had to fight for the return of the posters that had been confiscated during WWII and their subsequent provenance makes them quite special.

From left to right: Theophile Steinlen, Paris Emile Zola, 1897 Jules Cheret, Saxoleine Edward Henry Potthast, July Century Edward Penfield, Harpers Feburary, 1895 Jules Cheret, two more Saxoleine posters Georges Redon, Moulin de la Galette, 1898

From left to right: Ludwig Hohlwein, Hacker Braeu, 1910s Ludwig Hohlwein, Berlin Zoo, 1930s

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On the opposite page. Top left, from left to right: Theophile Steinlen, Cycles Comiot (before letters), 1899 Henri de Toulouse-Lautrec, Babylone d’Allemagne, 1894 Top right: Alphonse Mucha, Monaco-Monte Carlo, 1897 Bottom left: Bonnard, Salon de Cent, 1896 Bottom right: Henri de Toulouse-Lautrec, Elles, 1896 Above: Burkhard Mangold, Hotel Baren, 1910 Burkhard Mangold, Eidg. Sangerfest Zurich, 1905

“Always buy what you love. Do not let price alone direct your purchases...” Vintage Poster

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Do you have a dream poster you’d love to add to your collection?

Are you still adding to your collection and what are your selection criteria?

Dan’s dream poster is the Orazi “Loie Fuller” and mine would have to be the Lautrec “Moulin Rouge.

We are continually adding to the collection. Our focus has been to “upgrade” the collection as much as possible since it is being left to the Portland Art Museum. We try to add only significant posters in very good condition.

Have you got any tips or advice for new poster collectors? Always buy what you love. Do not let price alone direct your purchases. It is much better to have one really fantastic poster rather than many lower priced ones. Try to stick to a cohesive theme like Bicycle, Fair, Automobile, etc. Much easier said than done in actual practice Do you display your posters around your house and/ or at work? Our posters are displayed in every room of the house. We have run out of wall space but that does not stop more acquisitions from appearing. We have loaned posters to the Portland Art Museum as well as the Hallie Ford Museum in Salem, Oregon. Our entire collection has been promised to the Portland Art Museum in our wills.

Please let us know if you have any amazing discovery stories to share. When visiting friends in Palm Desert California, we have had the good fortune to find some amazing posters in the many consignment shops there. We found a wonderful PAL “Dentifrice Orientale”. Classic car or latest model with all the technology? Classic car of course!!

From left to right: Edward Penfield, Harpers April Edward Penfield, Harpers February, 1895 Edward Henry Potthast, The Century (woman with book) Edward Penfield, Harpers June 1895 Others not clearly visible are by Gould/Woodbury/Carqueville

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Leonetto Cappiello by Jack Rennert Founder & President Rennert’s Gallery New York, USA

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Leonetto Cappiello (1872-1942) occupies a unique niche in poster lore: he virtually invented the modern advertising poster, and worked prolifically throughout his life.

and jump into the intended viewer’s line of vision; and from there, presumably, lodge itself somewhere in a subconscious level of perception. His work began with strictly Art Nouveau designs, albeit with a Cappiello twist: stark, saturated, and high-contrast colors made

During his time, posters were ubiquitously employed as the most effective weapon in any promotional arsenal. However, only the best posters managed to do what Cappiello accomplished routinely: they capture attention immediately, and associate themselves in our minds with an advertised product or service—even though that image may have little or nothing to do with the advertised item. Take, for instance, the 1903 Chocolat Klaus poster, which features a lady in all green riding a bright red horse—and absolutely no visual mention of chocolate, aside from the brand’s name. Our attention is arrested, our curiosity piqued, our questions left unanswered— which forces our brains to resolve the situation by attaching the image to the subject of the poster. This product identification is a vital tool in advertising: the red horse equals Chocolat Klaus instantly, and in fact, generations of young customers asked for “the green lady” chocolate. Cappiello understood that the world at the start of the twentieth century was rapidly changing; the great strides in industry and technology created an explosion of consumer demand that had never before existed, and the marketplace was becoming fiercely competitive. Thus, the sales message that previously could be discreetly whispered now needed to be vigorously shouted—especially to those traveling quickly in moving vehicles. Synthesizing the two previous masters of the trade—Chéret and Toulouse-Lautrec—Cappiello presented a new result in his own humorous style, tinged with caricature, as a visual punch that arrested the viewer’s attention with an unexpected or incongruous image. But he always managed to keep the product central to his objective. Most products he was asked to present seemed rather drab and mundane, so Cappiello strove to liberate them with brazen colors or outlandish forms, and to create a synthetic vision with a certain flair and rhythm. He sought an effect that would be shocking, novel, exhilarating—one that would detach itself from the surrounding posters on whatever wall the passerby saw

Chocolat Klaus, 1903 It is with this poster that Cappiello firmly established himself as the master of the modern poster—if not modern advertising itself. He begins to slowly distance himself from caricature, not only in preoccupation, but also in its form. With a newfound flamboyance of imagination, the artist pursued the posterist’s goal with a clarity and purpose that was to set him apart from all his colleagues. So powerful was this image that it became the trademark of the Chocolat Klaus company—and remains so to this date. With this poster, Cappiello declared—for all future posterists and commercial artists—a new freedom from the restrictions and limitations of the previous realist and idealized realist renderings.

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Le Frou Frou, 1899

Folies-Bergère / Spectacle Varié, 1900

Cappiello’s earliest poster is executed in his early magazine caricature style—which is only appropriate since it does advertise the humor periodical, Le Frou Frou—yet already his bold style shows: a flat-colored background spotlights the subject, and the pink pantaloons peeking from under the skirt create the perfect frivolous mood for the subject. “Frou Frou” after all, means “rustle,” and we are meant to hear the whir of the billowing petticoat in this design.

The mission of this orange-haired dancer was to attract visitors at the 1900 Paris World’s Fair to come to the Folies-Bergère. She—and Cappiello—succeeded admirably. Although all contemporary references make it clear that the Frou Frou poster was Cappiello’s first, a black-and-white flyer was issued which proclaimed this to be “The First Poster of Cappiello.” The text is full of praise, not only for this image but also for Cappiello’s career, prophetically declaring that “With Cappiello, the poster has become an object of decorative art and the first step towards an art which will become, in the near future, the public’s taste.”

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his images stand out. His forward-thinking treatment allowed his work to transition seamlessly into the Art Deco period. Today, Cappiello is in many ways the single most popular poster artist—his work is reproduced more often than even those by the more famous artists like Mucha and Toulouse-Lautrec, likely because he was a true posterist who never forgot that his purpose was

to sell a product. Though his output was prodigious, and his famous works are constantly more enthusiastically received at auction, collectors today seek out his rarer works and his maquettes, which reveal his train of thought and creative process. Throughout his work, there is always visual appeal—sometimes exaggerated to create a more potent effect—and a ubiquitous dedication to communicate directly and succinctly with the consumer.

La Caisse Simon / Huîtres Exquises, 1901 To advertise an oyster merchant, Cappiello chose a shellfish sampling seashore scene—an imaginative way to give the mundane product a bit more glamour. The company, founded in 1881, had its own store in Bordeaux but shipped its wares to many locations throughout Europe, hence the space at bottom to insert the local outlet’s name.

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Fleur des Neiges / Biscuits Pernot, 1905 Fleur des Neiges is one of the products of Biscuits Pernot; since it means “snow flowers,” Cappiello creates a verbal association by giving us two lovely ladies worthy of the name, their scarlet coats like blossoms in the vast whiteness. Their placement at the bottom of the vertical design with a snowy landscape allows the artist to create a brilliant impression reminiscent of classical Japanese prints of similar configuration.

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Automobiles Charron Ltd. / Puteaux, ca. 1906 Fernand Charron, who won the first Gordon Bennett cup in a car of his own design in 1900, eventually took over the Automobiles Charron firm and manufactured large, comfortable—and expensive—sedans. The closed cab shown in the poster was the natural automotive evolution from a carriage design—it was very popular with the aristocracy as it exuded elegance and luxury. All of this is reinforced in Cappiello’s design, showing an elegant lady giving directions to her driver before entering the cab. The frame around the image, including the title plate, suggests that the Charron automobile is a masterpiece.


“Today, Cappiello is in many ways the single most popular poster artist...”

Chaussures J. B. Torrilhon, 1906

Maurin Quina, 1906

Torrilhon started out manufacturing raincoats and waterproof rubber footwear, diversified into tire production, and then expanded massively during World War I as a a result of their rifle component output. This poster is surely one of Cappiello’s most irresistible displays of excess and amply demonstrates what can be accomplished once a vivid imagination applies itself to a marketing concept. If the amphibious leaper can improve on the quality of his already water-resilient nature with a pair of Torrilhon’s, then surely we’re convinced it would more than do the trick for our land-bound promenades.

There’s a little devilry in any alcoholic beverage, and Cappiello used infernal imagery in a number of liquor promotions. We here have one of the artist’s classics: a most unusual green demon having a devilishly good time with the Maurin aperitif, made by Maurin-Brenas of Le Puy. What makes the devil stand out so forcefully is the almost Day-Glo quality of the colors, sparse but ever so effective.

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Cinzano Vermouth, 1910

Oxo, 1911

What the red horse did for Chocolat Klaus, the zebra did for Cinzano—and for Cappiello. With a highly respected, long-established firm from his native country endorsing his unorthodox approach to advertising, he was now universally honored as a pioneer of the new bold wave of product publicists. Jacques Vienot declared it a revolutionary poster and announced that 1910 “was not only an important date in the career of Cappiello, but an important year in the history of the art of the poster.� This image for Cinzano created an instant image/product association with the public; shrewd enough to recognize that, the progressive firm used his talents again and again, and even twenty years down the road, when they merged with Florio, they called on him and used the association to their advantage with a second zebra.

Nothing but a sort of tomato-head wearing Oxo spectacles. This must have been an unsurpassed attention grabber for the bouillon brand. And never did Cappiello more thoroughly integrate lettering and art.

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Le Nil, 1912 Although the slogan reads “I only smoke Nil,” Nil isn’t actually a cigarette, but rather a brand of cigarette rolling paper. Nil claimed to be as “tough as an elephant’s hide,” which is how the company’s spokes-pachyderm came to be. So this was an easy marriage between product and posterist, seeing as the elephant was a favorite Cappiello attention-getter. The Joseph Bardou company introduced Nil to the public in 1887.

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“Throughout his work, there is always visual appeal...”

Cachou Lajaunie, 1920 In Cappiello’s later years, caricature, now more polished and refined, makes an appearance every now and again. This second poster for Cachou Lajaunie, a breath freshener to counteract the effects of her cigarette, gets our attention with a woman in a startling dress decorated with large sequins in shades reminiscent of autumn foliage. “The pharmacist, Léon Lajaunie, set up his pharmacy in Toulouse. After developing several invigorating elixirs, he turned to cachou, as an aromatic for perfuming the breath whose strong flavor covered smoker’s breath” (Health Posters, p. 169).

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La Baule les Pins, 1926

La Menthe-Pastille, 1929

To advertise the seaside resort of La Baule les Pins, Cappiello shows us a cluster of frolicking bathing beauties. The design contains a rather unusual element for Cappiello—a light paper background, against which the vividly colored bathers sprint to life. No doubt, the only appropriate shading for a beach, but unusual for Cappiello nonetheless.

In contrast to the deeply-colored, nearly mystical image Cappiello created for La Menthe-Pastille in 1906, the artist, 23 years later, takes a turn towards the light-hearted with this social scene. Deeply drawn into the refreshing drinks of white and green liqueurs, these two independent young women don’t even notice that the café employee is eyeing them suspiciously. Cappiello’s usual élan is articulated quite refinedly in this image with the windblown white scarf, especially in contrast to the legs pointing in the opposite direction, creating a wing-like effect.

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Kub, 1931 This Kub poster hits the bull’s eye in more ways than one. Even for an artist who makes a specialty of astonishing the public, this was a bold gamble, but it paid off in spades as it became one of the most spectacular and arresting posters of its day. A veritable milestone in graphic design. It’s interesting to compare this with an earlier Cappiello poster for the same product. It demonstrates that fifteen years later, Cappiello’s talents hadn’t diminished, but in fact, became even more sophisticated and effective.

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For the serious Cappiello collector, the artist’s grandson, Pierre Cappiello, maintains an online database of the artist’s posters and maquettes, which is available here: www.catalogue.cappiello.fr My book, The Posters of Leonetto Cappiello, a catalogue raisonné of the artist, is available from Posters Please, New York.


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Going Underground The London Transport Museum Poster Collection by David Bownes Twentieth Century Posters and former Head Curator, LTM London, UK

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London Transport Museum holds one of the world’s greatest, and most complete, poster collections. Over 5,500 different designs trace the story of the Capital’s Underground, bus and tram network from the 1860s to the present day With few exceptions, multiple copies of each poster were retained from about 1908 and are now kept at the museum’s purpose-built store in Acton, West London. But the resulting collection is far more than an institutional archive of urban transit. Thanks to a progressive and pioneering approach to publicity, London Transport achieved international acclaim for the vitality and modernism of its poster programme – a tradition that continues today. Collectively, these posters provide a comprehensive record of British poster design in the twentieth century and beyond.

transform the Tube into “London’s longest art gallery”, including Austin Cooper, Anna Zinkeisen, Rosemary & Clifford Ellis, Paul Nash, Edward Bawden, and Graham Sutherland. Their ranks were swollen in the 1930s by the arrival of progressive European-based designers fleeing Nazi oppression, who found a receptive commissioner in the Underground. In this way, the works of Man Ray, Laszlo Maholy Nagy, Julius Klinger and others were first seen in London on the Tube than in a gallery.

The origins of this remarkable collection can be traced to Frank Pick, a Lincolnshire railwaywan who became Traffic Manager of the ‘Underground Group’ in 1906. Lacking any formal training in advertising, Pick nonetheless grasped that existing publicity was uninspired and conservative, often the work of jobbing artists rather than specialists. By his own admission, Pick’s first attempts at publicity lacked a clear strategy other than to produce attractive, well-laid out, advertising promoting wider use of services outside peak hours. To do this, he commissioned established commercial artists, such as the ‘poster king’ John Hassall, as well as emerging designers to create a range of poster styles with broad appeal. Inspired, too, by the egalitarian philosophy of the Arts & Crafts movement, Pick was unusual among British advertisers in employing popular female illustrators, like Mabel Lucie Attwell, to lead campaigns. Soon Pick’s modern, colourful, posters were attracting considerable interest from the press and travelling public alike. In response to demand, the Underground began to sell duplicate copies and arranged poster exhibitions in London galleries from 1917. By now, a clear Underground poster style was beginning to emerge, dubbed ‘Tubist’ in the press and best reflected in the bold, flat-colour, work of Gregory Brown and the American-born Edward McKnight Kauffer – both of whom got their ‘big break’ with Pick. Of these, Kauffer was to become the most influential, but there were many others who helped

John Hassall , No need to ask a p’liceman !, 1908. This was one of first graphic posters commissioned by Frank Pick. At the time, passengers were still unsure how to use the Tube. The message reassures travellers that the system is easy to navigate, with frequent and fast trains.

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In the meantime, Pick had risen to become the manging director of London Transport (as the Underground was called from 1933) and forged a reputation for overseeing the highest standards of publicity and presentation. Under his leadership, the Underground commissioned its own unique typeface from Edward Johnston (still used today in a modified form), developed a distinctive ‘bullseye’ logo and employed leading architects to bring a visual unity to the company’s vast transport empire. Incredibly, given the range of his responsibilities, Pick continued to take a personal interest in the quality of the Underground’s printed publicity and chaired the fortnightly Publicity Department meetings to ensure that all submissions met his exacting standards. He also found time to advise other organisations and exerted a profound influence on the development of modern publicity in Britain.

“By now, a clear Underground poster style was beginning to emerge...”

Mabel Lucie Attwell , Hullo! Did you come by Underground?, 1913 Early Underground posters were often repurposed for other publicity uses, such as postcards and leaflets.

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Edward McKnight Kauffer, Power, 1931 Probably the greatest poster designer to work in Britain during the C20th, Kauffer received his very first commission from Frank Pick and London Underground. Power is widely considered to be one of his greatest works and shows the influence of contemporary art movements.

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F Gregory Brown, Hatfield, 1916 Brown was regarded as one of the foremost British poster artists of his age, famed for the bold use of flat (and often unreal) colourisation.

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Austin Cooper, Posters at the Victoria and Albert Museum, 1931 Frank Pick played an important part in establishing the poster collection at the Victoria & Albert Museum and in raising the profile of poster art generally. The latest London Underground designs were regularly sent to galleries for display and exhibition.


Clifford and Rosemary Ellis, It is better to return early, 1935 Pick commissioned a broad range of poster styles to suit all tastes. This superb modernist design, with its unusual representation of a crowded Tube carriage, is typical of the more daring approach taken by the Underground even when conveying mundane messages, such as encouraging off-peak travel.

Man Ray, London Transport keeps London going, 1938 By the late 1930s day-to-day commissioning was largely undertaken by Pick’s deputy, Christian Barman. An avowed modernist, Barman was instrumental in attracting avant-garde talent to the Underground hoardings, such as the American Man Ray.

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László Moholy-Nagy, Your fare from this station, 1936 Barman was probably also responsible for commissioning the Hungarian artist and Bauhaus professor Molohy-Nagy for a series of information posters in the mid-1930s. Pick, who’s personal tastes were more conservative, was unimpressed, later dismissing Molohy-Nagy as a ‘surrealist pasticheur’.

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Frank Pick (1878-1941) The architectural historian Nikolaus Pevsner regarded Pick as ‘a modern Medici’ for his outstanding patronage of the very best public art, architecture and design. He wrote that under Pick’s leadership, London Transport became a powerhouse of ‘civilised urbanity and humane common sense... the most efficacious centre of visual education in England’.


Tom Eckersley and Eric Lombers, By bus to the pictures tonight, 1935 Eckersley was another young designer who got his ‘big break’ via Frank Pick, before rising to greater acclaim. His first poster, designed with fellow Salford Art College graduate Eric Lombers, shows he influence of the Bauhaus and Dutch De Stijl movement and would have been regarded as very progressive at the time.

Pick’s legacy continued long after he left the Underground in 1940. Successive publicity officers developed the poster programme by commissioning outstanding designers in the post-war era, most notably FHK Henrion, Tom Eckersley and Abram Games. Requests for surplus posters continued too, with London Transport establishing retail outlets to meet demand, firstly at 55 Broadway and now via London Transport Museum shop.

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Gillian Ayres, Oranges and lemons, 1992 This poster was one of several commissioned from fine artists during the 1980s and 1990s as part of the Platform for Art programme.

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Hans Schleger, Thanks to the Underground, 1935 During the 1930s the Underground benefited from the talents of several prominent emigre artists fleeing Nazi oppression. Schleger was part of this group that bought a new, continental, aesthetic to Tube posters.

Henri Kay Henrion, Visitor’s London, 1956 Like Schleger, Henrion had relocated to London to escape persecution on the continent and quickly established a reputation for the quality of his wartime work for the British government. By the mid-50s Henrion was well established as a leading graphic designer and teacher.

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Abram Games, Zoo, 1976 Games received his first commission from the Underground in the 1930s and went on to become one of the company’s, and the country’s, most prolific and admired designers.

To find out more about LTM’s amazing poster collection, visit the museum in Covent Garden or view the entire collection online at https://www.ltmuseum.co.uk/ collections/collections-online/posters. Regular tours of the poster collection are held at Acton Depot, and a huge amount has been written on the subject. A full biobibliography can be viewed here: https://www. twentiethcenturyposters.com/pages/bibliography

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Esther Cox, London’s riverside, 2017 A recent graduate, Cox’s bold flat colour posters for Transport for London reflect the best traditions of the Underground’s commissioning policy.


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General Dynamics Posters by Robert Garvin and Jean Daniel Clerc Galerie 1 2 3 Geneva, Switzerland

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General Dynamics was founded in 1952 through the merger of Electric Boat and Canadair Ltd, and was at the forefront of scientific research including nuclear energy, electricity, electronics, aerodynamics and space dynamics. In 1953 the company’s future was decided by President Eisenhower’s historic “Atoms for Peace” speech at the United Nations General Assembly in New York in which he suggested the creation of an international atomic energy agency which, instead of using atomic energy exclusively for war, would also use it for peaceful means. General Dynamics asked its director of communications, Erik Nitsche, to produce a series of posters for the public to promote the numerous research branches related to peaceful nuclear technologies.

“... instead of using atomic energy exclusively for war, would also use it for peaceful means...”

Erik Nitsche (1908-1998) studied in Lausanne, Switzerland and moved to the United States at the age of 26, where he had a successful career as graphic designer and art director at General Dynamics. The first International Conference on the Peaceful Uses of Atomic Energy took place at the seat of the United Nations in Geneva from 8-25 August 1955. The result of this conference was the creation in 1956 of the International Atomic Energy Agency (IAEA), which was ratified by almost all states during the second conference in 1958.

The first poster of the series featured the flag pyramid symbolizing all the nations united under the atom. Three series of posters were printed between 1955 and 1960.

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1955 - 1956 Atoms for Peace

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The first series with the Atoms for Peace title consists of a first set of six posters printed in 1955 in six languages to promote the peaceful use of atomic energy on the occasion of the International Conference on the Peaceful Uses of Atomic Energy, and a second set of five posters in different languages printed in 1956. The most celebrated of the General Dynamics posters is the “Hydrodynamics” poster that depicts a nautilus shell with a terrestrial globe at its centre and the USS Nautilus (the first nuclear propelled submarine that was launched in 1954) emerging from its spiral.

With its title in German, the silhouetted planes shown in the “Aerodynamics” poster are B-36s put into service in 1954. Tentative measures were made during the Cold War to fly these modified nuclear propelled planes, which were capable of staying airborne for a week.

The “Astrodynamics” poster features Atoms for Peace in Russian and illustrates ballistic research and rockets being propelled into orbit.

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This “Electrodynamics” poster depicts nuclear electricity lighting up the world. At the centre of the light bulb is the symbol of the atom.

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The mosaic of concentric circles in “Solar Dynamics” represents the scientific study of the sun and the associated research for energy production using solar panelled mirrors.


The “Radiation Dynamics” poster depicts the latest research into the mutation and radiation of vegetables (a premonition of the genetic manipulations of today), with Atoms for Peace written in Arabic.

The more abstract “Nuclear Fusion” poster in French has multiple layers of colour to suggest the compression of matter. This compression effect is reinforced by two opposing arrows that heat the plutonium bar red hot.

“... to promote the peaceful use of atomic energy on the occasion of the International Conference on the Peaceful Uses of Atomic Energy...” Vintage Poster

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1957 - 1958 Exploring the Universe

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Exploring the Universe was the theme of the second series of posters designed between 1957 and 1958 to illustrate the research activities of the company for the second International Conference on the Peaceful Uses of Atomic Energy in Geneva in 1958. On this occasion, the atomic reactor TRIGA was presented to the public. “Exploring the Universe First Steps into Space” represents the wing of a plane in a wind tunnel with its graphic flux of air.

The text in “Exploring the Universe Weather Control” refers to the research undertaken to understand, control and modify the weather through chemical means, symbolized here by the beaker.

In “Exploring the Universe Worlds Without End” a small rocket is propelled into the enormity of galaxies and black holes.

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1958 - 1960 The GD Divisions

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A third series from 1958 to 1960 aimed to promote the different transportation, energy and industrial products divisions. TRIGA is an acronym for Training Research Isotopes General Atomics and is also the name of a small nuclear reactor.

Erik Nitsche superimposed portions of concentric circles that represent radio signals or radar emissions over the contours of a map. With incredible vision, it seems he might have designed the wifi logo years before its birth.

In “Convair 880 the World’s Fastest Jetliner,” the earth’s globe is lifted by the nations and their many colours that are crossed by the General Dynamics 880 plane.

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1961 Exhibition at the Rockefeller Plaza

A final series of six posters was published for the large General Dynamics retrospective exhibition at the Rockefeller Plaza in 1961. These are a unique series of posters that represent a time when the democratic nature of Modernist abstract art was diametrically opposed to the rigid Social Realism of the Soviet Union. Inside that political landscape, Nitsche’s Swiss design bonded perfectly with America’s economic power.

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