Contemporary

Year: 1974

Size: 23 1/2 x 33 1/8 inches

Year: 1978.

Size: 30 x 45 inches

Printed in 1978, it advertises the PBS Masterpiece Theatre production of Charles Dickens's Our Mutual Friend.

Year: 1968.

Size: 29 1/2 x 45 inches

Decades before Jesse Jackson coined the phrase ‘rainbow coalition’ to express the idea of cultural pluralism, Miho visualized this redevelopment program with a series of rainbow-hued squares, each containing the symbol of a black/white handshake of mutual goals, respect, and action.

Year: 1994.

Size: 27 x 39 inches

In keeping with its aims of supporting and fostering the appreciation of contemporary graphics while celebrating the lithographic traditions from which these designs sprung, Poster Auctions International commissioned a series of original poster designs to commemorate their twice-yealy sales from 1992 through 1997, at which point economic realities prevailed over artistic sentiments. The participating graphic artists comprise a who's who of the world's most-distinguished posterists, and each poster is a limited-edition of 200 numbered copies-all hand-signed-on special stock. Note that the design was also printed in an edition on regular stock to be pasted on the walls of Manhattan prior to each sale. The fact that these posters were papered over or torn down only days after they went up is another reason why these are so rare. Sawka is one of the most talented products of the renowned Polish school of poster art. After initial studies in architecture, he started making posters and prints in the late 1960s. In 1971, as he began a celebrated, decade-long series for the Jazz Nad Odra festival, he was already established as one of the leading poster artists of his generation. His disagreements with the authorities in Communist Poland started during the student riots of 1968; by 1977, with his Polish passport revoked, he was in exile in Paris and New York. The following year, despite strong protest from the Communist Party, he won the prestigious Warsaw Poster Biennale's gold medal. In New York, he became a frequent editorial illustrator for The Times , and his 1982 poster for Poland's Solidarity movement helped to raise money for the fledgling cause. His exhibitions and awards are far too numerous to list, and he has continued creating posters, paintings, theater and concert sets, as well as multimedia pieces. Here, we see clearly the primacy he places on the beauty of free artistic vision and iconography that bears a striking resemblance-purely coincidental, of course-to Howard Stern.

Year: 1992.

Size: 27 x 39 inches

In keeping with its aims of supporting and fostering the appreciation of contemporary graphics while celebrating the lithographic traditions from which these designs sprung, Poster Auctions International commissioned a series of original poster designs to commemorate their twice-yealy sales from 1992 through 1997, at which point economic realities prevailed over artistic sentiments. The participating graphic artists comprise a who's who of the world's most-distinguished posterists, and each poster is a limited-edition of 200 numbered copies-all hand-signed-on special stock. Note that the design was also printed in an edition on regular stock to be pasted on the walls of Manhattan prior to each sale. The fact that these posters were papered over or torn down only days after they went up is another reason why these are so rare. Glaser focuses on the art of seeing with this design of a witty face in profile. The bright eye focuses our attention and suggests the visual treasures to be had.

Year: 1993.

Size: 27 x 39 inches

In keeping with its aims of supporting and fostering the appreciation of contemporary graphics while celebrating the lithographic traditions from which these designs sprung, Poster Auctions International commissioned a series of original poster designs to commemorate their twice-yealy sales from 1992 through 1997, at which point economic realities prevailed over artistic sentiments. The participating graphic artists comprise a who's who of the world's most-distinguished posterists, and each poster is a limited-edition of 200 numbered copies-all hand-signed-on special stock. Note that the design was also printed in an edition on regular stock to be pasted on the walls of Manhattan prior to each sale. The fact that these posters were papered over or torn down only days after they went up is another reason why these are so rare. In addition to promoting the yearly spring auction, Keiser's jaunty fellow-simultaneously seen in profile and full-face-was used to create the auction company's logo.

Year: 1994.

Size: 27 x 39 inches

In keeping with its aims of supporting and fostering the appreciation of contemporary graphics while celebrating the lithographic traditions from which these designs sprung, Poster Auctions International commissioned a series of original poster designs to commemorate their twice-yealy sales from 1992 through 1997, at which point economic realities prevailed over artistic sentiments. The participating graphic artists comprise a who's who of the world's most-distinguished posterists, and each poster is a limited-edition of 200 numbered copies-all hand-signed-on special stock. Note that the design was also printed in an edition on regular stock to be pasted on the walls of Manhattan prior to each sale. The fact that these posters were papered over or torn down only days after they went up is another reason why these are so rare. In creating the poster for PAI's 18th auction, Israel's premiere graphic artist makes extensive use of the 18th letter of the Hebrew alphabet (chai) to form the image of a tree of life. In Hebrew, the letter symbolizes life and good luck.

Year: 1995.

Size: 27 x 39 inches

In keeping with its aims of supporting and fostering the appreciation of contemporary graphics while celebrating the lithographic traditions from which these designs sprung, Poster Auctions International commissioned a series of original poster designs to commemorate their twice-yealy sales from 1992 through 1997, at which point economic realities prevailed over artistic sentiments. The participating graphic artists comprise a who's who of the world's most-distinguished posterists, and each poster is a limited-edition of 200 numbered copies-all hand-signed-on special stock. Note that the design was also printed in an edition on regular stock to be pasted on the walls of Manhattan prior to each sale. The fact that these posters were papered over or torn down only days after they went up is another reason why these are so rare. Niklaus Troxler is a phenomenon bridging two worlds: jazz and poster art. 1966, as a 19 year-old apprentice typesetter, he organized his first jazz concert in his home town of Willisau, Switzerland. The Willisau Festival, which the young commercial artist launched in 1975, has since become one of the world's great jazz events-and the 200-some posters Troxler has designed for it have earned the highest honors, dozens of exhibitions, permanent places in the collection of New York's Museum of Modern Art and top awards almost annually at major international poster competitions. Here, the artist deploys his characteristic flat, bright colors and jazzy geometry to create a cut-paper rooster crowing his auction news.

Year: 1995

Size: 27 x 39 inches

In keeping with its aims of supporting and fostering the appreciation of contemporary graphics while celebrating the lithographic traditions from which these designs sprung, Poster Auctions International commissioned a series of original poster designs to commemorate their twice-yealy sales from 1992 through 1997, at which point economic realities prevailed over artistic sentiments. The participating graphic artists comprise a who's who of the world's most-distinguished posterists, and each poster is a limited-edition of 200 numbered copies-all hand-signed-on special stock. Note that the design was also printed in an edition on regular stock to be pasted on the walls of Manhattan prior to each sale. The fact that these posters were papered over or torn down only days after they went up is another reason why these are so rare. Trained as a painter at the Ecole des Beaux-Arts in Paris, Michel Bouvet knew by the time he graduated in 1978 that an easel and palette were not for him.

Year: 1996

27 x 39 1/4 inches

In keeping with its aims of supporting and fostering the appreciation of contemporary graphics while celebrating the lithographic traditions from which these designs sprung, Poster Auctions International commissioned a series of original poster designs to commemorate their twice-yealy sales from 1992 through 1997, at which point economic realities prevailed over artistic sentiments. The participating graphic artists comprise a who's who of the world's most-distinguished posterists, and each poster is a limited-edition of 200 numbered copies-all hand-signed-on special stock. Note that the design was also printed in an edition on regular stock to be pasted on the walls of Manhattan prior to each sale. The fact that these posters were papered over or torn down only days after they went up is another reason why these are so rare.

Year: 1997

27 x 39 1/4 inches

In keeping with its aims of supporting and fostering the appreciation of contemporary graphics while celebrating the lithographic traditions from which these designs sprung, Poster Auctions International commissioned a series of original poster designs to commemorate their twice-yealy sales from 1992 through 1997, at which point economic realities prevailed over artistic sentiments. The participating graphic artists comprise a who's who of the world's most-distinguished posterists, and each poster is a limited-edition of 200 numbered copies-all hand-signed-on special stock. Note that the design was also printed in an edition on regular stock to be pasted on the walls of Manhattan prior to each sale. The fact that these posters were papered over or torn down only days after they went up is another reason why these are so rare.

Year: 1974

Size: 23 1/2 x 33 3/4 inches

Year: 1980.

Size: 30 x 46 inches

Instead of exploring the period aspects of this literary classic, Chermayeff's design takes an utterly modern tack, playing up the romance angle. The thigh-high image of a lady's white stocking superimposed on the photo of a riding boot against a scarlet background manages to suggest a delicious situation in a decorous manner that would surely bring a smile to Jane Austen's face. This multi-part performance was part of the Drawing Room Intrigue series and originally aired on October 26, 1980.

Year: 1971

Size: 25 x 38 inches

Year: 1969

Size: 30 x 45 inches

This poster advertises Risto Jarva's French Sci-Fi film Time of Roses.

Year: 1981

Size: 24 x 36 inches

The poster for the inaugural season of this event focuses on the opening work: the American premiere of Aribert Reimann's Lear directed by Jean-Pierre Ponnelle. Glaser's profile of the raging king is lit by the hellish fire in his eye—the face of his daughter Cordelia who he thinks has betrayed him. Type placed on the diagonal echoes the contours of the emotional design.

Year: 1981.

Size: 24 x 36 inches

To announce the company's 59th season, Glaser superimposes the head and torso of a sinuous Carmen on the erect back of the orchestra conductor. She's all flamboyant color, he's in tuxedo black, and the forms meld with electric results.