From the races at the Nürburgring to the JVC Jazz Festival and exhibitions of Keith Haring, these designs show progressive innovations with the art of lithography.
23 3/4 x 33 in./60.2 x 83.7 cm
Turner directs his speed-tweaked talents from the sunny Mediterranean climes of Monaco to Germany’s legendary Nürburgring race track for the 1968 German Grand Prix. Without missing a beat, he places the viewer directly in the path of oncoming competitors while perfectly capturing the tough, demanding character of the course. None of the drivers portrayed in the poster, however, would claim victory that day—that distinction belonged to Denny Hulme. Hulme won that year’s Monaco Grand Prix as well, a race for which Turner also created the publicity. Coincidence? It’s interesting to note that this race was the first in Formula One history to be broadcast in color television in Germany.
30 3/4 x 47 3/4 in./78 x 121 cm
The African Games were originally the brainchild of Pierre de Coubertin, the man responsible for the 1894 revival of the Olympic Games, and the founder of the International Olympic Committee. After several failed attempts to launch the Games, they finally began in 1965 in Brazzaville. This poster marks that first edition of the Games, as well as the event’s official film. The multisport competition continues to take place every four years across the African continent, and is recognized by the IOC.
Each: 19 1/2 x 29 5/8 in./49.5 x 75.2 cm
From 1984 to 2009, the JVC Jazz Festival, produced by George Wein, hosted worldwide events with over 50,000 musicians, many of which are leaders in jazz music. These three posters present the lineups and are hand-signed by participating musicians, including: Regina Belle, Ray Charles, Doc Cheatham, George Coleman, Paquito D’Rivera, Harry “Sweets” Edison, Jon Faddis, Benny Golson, Al Grey, Slide Hampton, Donald Harrison, Giovanni Hidalgo, Elvin Jones, Hank Jones, B. B. King, Lee Konitz, Wynton Marsalis, James Moody, Jimmy Owens, Nicholas Payton, Red Rodney, Renee Rosnes, Arvell Shaw, Lew Soloff, Steve Turre, McCoy Tyner, Bobby Watson, Phil Woods, and many more whose signatures have not been identified. Rare!! (3)
63 x 12 1/4 in./160 x 31 cm
“The club wanted something to represent the New York annual as the most desirable and enticing show to enter… Designer Tom Daly was picked to do the Call and came up with the idea of a skyline painted on a nude. His first idea for applying the design to human skin was tattooing but research led to experiments with various media. The best one turned out to be theatrical greasepaint and water soluble acrylics… Finding the right model was a major concern. Too sultry or voluptuous a model, it was felt, would cheapen the effect. She had to be enticing enough to symbolize a worthwhile prize that was not easily attainable…” (Art Direction Magazine, November 1966). Clearly, Daly’s dream was astutely executed, and the image has become an iconic representation of the cultural and advertising shift of the 1960s. This includes the original mailing envelope.
19 7/8 x 25 1/4 in./50.5 x 64.2 cm
Haring illustrated this exuberant book-lover’s poster for the New York Book Fair, which was held September 22, 1985 on the streets along 5th Avenue in Manhattan. The event was hosted by the New York Public Library, and a portion of funds were donated to support the Children’s Services department of the library. This poster is hand-signed by the artist.
45 3/4 x 63 1/4 in./116.2 x 160.7 cm
The two letters R and V symbolize roads and intersections on a map; this is the heart of the business for this company, Route et Ville, the largest advertising agency specializing in outdoor and highway billboards. Late in his career, Loupot became less spontaneous and more cerebral. He also played with typography in another poster, using the letters AL to signify the message for L’Air Liquide (see Loupot/Lyon, p. 100 and Loupot/Zagrodzki, 123). “Abstract painting will possibly become the poster style of the future,” surmised Loupot at the end of his career. The only other known copy of this poster is in the collection of the Musée des Arts Décoratifs in Paris.
45 1/4 x 63 in./115 x 160 cm
Although Morvan’s male Flamenco dancer for Gitanes is perhaps better known (see PAI-LXXIX, 384), this poster was his first stab at a design for the cigarette company. And what an initial triumph it is! The movement of our female dancer perfectly parallels the crisscross pattern of the cigarettes behind her. Conceptually, the design pairs M.C Escher’s infinite landscapes with Art Deco geometry and Morvan’s keen sense of line, form, and whimsy.
90 5/8 x 61 3/8 in./230.2 x 156 cm
Villemot famously conceived of the orange peel as an abstract symbol to represent the Orangina brand, and adapted the shape to fit a multitude of purposes. “Whether it’s the orange or its skin, we soon wind up with the woman… There is surely more than just a dash of sensuality in Villemot’s Orangina posters (you can say that again) but his images are controlled and never go as far as eroticism. Moreover, we have never been prudes at Orangina and we liked being associated with this atmosphere of summer, of the heat of bodies and of encounters… Villemot understood this in the 1950s, when the flaunting of sensuality wasn’t nearly what it would become later on” (Bon Salle, p. 190). This is a two-sheet poster and rare!