This is an ORIGINAL FIRST PRINTING of this poster by the artists Christo and Jeanne-Claude.
Back in the 1970s there was a proposed project that the artist wrap the Whitney Museum, as he had wrapped so many famous buildings before (and since). Although these posters were made to advertise the event from his sketches, the project was never realized.
This poster by Tomi Ungerer (creator of Schoolhouse Rock) showcasing the famous fairy tale Cinderella. This is the moment where the Fairy Godmother is about to turn the mice in to footmen and the pumpkin into a coach.
Over the course of a career that spanned more than 50 years, Fix-Masseau produced 150 posters, becoming most associated with the Art Deco visions of power he created for the French railways. Looking at him from that landbound perspective would be shortchanging the artist however, as his distinctive style was quite appealing to every client’s individual message. Take for example this more-recent creation commissioned by France's Generale Maritime Company, whose solid tradition and seaworthy stability is brought to colorform life by the posterist with confident sparkle austerity.
In addition to memorable series that were being shown for the first time, the 1981 anniversary season also included several outstanding repeats which Masterpiece Theater dubbed "Festival of Favorites." This poster makes use of Chermayeff's original 1972 design for a dramatization based on Honoré de Balzac's bitter tale of a spinster who deliberately destroys the romance between her young niece and a Polish sculptor, masking her jealous frustration behind a façade of good will. Four hearts—each ruined in a different way—evoke the emotional devastation.
Masterpiece Theater began its tenth anniversary season (see small logo at right) with a serialized dramatization of Crime and Punishment. Chermayeff communicates the anguish of Dostoevsky's masterwork with the image of a blood-spattered prison cell wall glimpsed through a small barred window with the title scrawled in chalk above. Playing the tortured Raskolnikov was John Hurt, who had appeared as an unforgettably decadent Caligula in the I, Claudius series three years earlier.
The centerpiece of Masterpiece Theater's tenth season was a 13-part drama titled UXB (unexploded bombs). Set in England during World War II, the gripping series gave us our first look at Anthony Andrews before he went on to make his career in another Masterpiece Theater presentation Brideshead Revisited. Chermayeff uses stencil-style lettering and spattered paint to create a graphic explosion.
A majority of Americans have either read about or seen the televised carnage in Darfur. Posters Please was looking for an opportunity to contribute to the alleviation of the suffering of the people in that region. To that end, we have commissioned a poster by one of the world’s most illustrious graphic artists, Dan Reisinger to help spread the word of the humaitarian aid so desperately needed in that region. 200 copies of the poster were printed in Israel. This design is a gift from the artist. Dan’s poster asks, “Who Cares?” The answer must be: “We all do.” This is a limited-edition poster.
We hope that you will help us to make a difference—-it’s a small step, but one that we should all take.
Even in this flattened front-facing perspective, Gerrit Thomas Rietveld's iconic chair is immediately recognizable. Originally designed with standard wood elements painted black, white, and gray, he was eventually swayed by the De Stijl movement's penchant for saturated colors (especially as seen in the paintings of Piet Mondrian); in 1923, Rietveld applied the colors we see depicted here. His conceptual design was one of the first three-dimensional works in this movement. Israeli curator Izika Gaon designed this aptly geometric promotion for an exhibition of De Stijl works at the Israel Museum in 1977. The poster also resides in the collections of the Museum of Modern Art and the Cooper Hewitt Smithsonian Design Museum in New York City.
For the Swiss minimalist, this expressive promotion is quite the stylistic departure—but the typography is undeniably Müller-Brockmann. Man of La Mancha debuted on Broadway in 1965; the "Don Quixote" spin-off was a huge success, and won five Tony Awards and inspired productions around the world. This poster was designed for a performance of the play at the Theater am Stadtgarten in Winterthur, Switzerland.
Printed in 1971, it promotes a revival of Wagner's opera Die Meistersinger von Nurnberg.
Prechtl is well known for his caricatures on the Op-Ed pages and in the Book Review of the New York Times. He fills his book illstrations and posters with visual quotes from the Old Masters, like Durer, intergrating them with a wicked wink.
Benjamin Disraeli (1804-1881) was an English statesman and novelist whose writing and speeches were marked equally by sharp wit, individual style and conservative convictions. As played by Ian McShane in the Masterpiece Theater series and captured here in an inimitable Davis portrait, you can almost hear him sounding forth on his trust of democratic Toryism, his belief in social reform and his pride in empire and crown.
For Evergreen's May 1967 issue, the counter culture journal came up with a poster within a poster, using Ivanov's festive 1920 May-Day image of a white-clad maiden scattering roses over the heads of the proletariat. The Cyrillic text above the design is explained below: "In Russia it means, Join The Underground!"
Grove Press publisher Barney Rosset began Evergreen Review in 1957 as a literary quarterly featuring the likes of Sartre, Camus and Beckett as well as American poets Lawrence Ferlinghetti and Jack Kerouac. By 1966, the publication had increased its frequency and become a voice of political iconoclasm, so graphic designer John Alcorn refreshed its look, dropping "review" from the title in the process. Heralding the redesign was a new advertising campaign : "Join The Underground." Here, a poster for the February 1967 number utilizes cover artwork by noted illustrator and satirist Tomi Ungerer: a coolie-hatted image of Uncle Sam, sunk in the quagmire of Vietnam and displeased with the face he presents to the mirror.
Printed in the mid-1980s, it advertises PBS's presentation of Everybody Rides the Carousel, "an animated look at the merry-go-round of life created by John and Faith Hubley, and based on the works of Erik Erikson."