A noted California painter, Siegriest designed eight posters for the Indian Federal Court Building at the Golden Gate International Exposition in San Francisco in 1939.
The series highlights traditional arts from the Navajo, Pueblo, Haida, Plains, Chippewa, Seneca, Eskimo, and Apache tribal nations. This particular poster features Chippewa pictographs and a “false face” mask used in Seneca healing rituals.
This beautiful set of silkscreens is one of the most famous poster series of the WPA period, and we’re excited to include two of them in our summer travel show.
International Poster Gallery proudly presents our 18th annual summer poster show Pack Your Bags!, an exhibition of original travel and transportation posters from around the world. The exhibition features over 50 original vintage posters advertising exotic vacation destinations, luxurious rail and air travel packages, and modes of personal transport.
This exhibition presents a comprehensive overview of the diverse visual strategies employed to educate the public on the AIDS epidemic. The messages in Graphic Intervention champion issues such as disease research and eradication, world health, international relations, sexual education, and discrimination.
With over 3,000 posters to choose from, curators Elizabeth Resnick and Javier Cortes narrowed down the wealth of visual depictions to 153 examples from 44 countries. From Papua New Guinea to Denmark, Venezuela to Morocco, these posters demonstrate the remarkable diversity of visual solutions used to address a public health crisis.
The exhibit opened in Boston at the Massachusetts College of Art and Design in September 2010, followed by the Art Center College of Design in Pasadena, CA. in February 2011. It is now on display at the Art Directors Club in New York City through July 29th with sponsorship from the Kenneth Cole Foundation. Three additional venues are scheduled through 2012. A 96-page, full-color Catalog is available for purchase through mail order.
Raising money was a central challenge for all combatants in the World Wars, which were exhausting struggles of attrition. Bond drives became essential, and bond posters rapidly became the most common poster category of both wars.
This stirring image by famed illustrator N.C. Wyeth used loaded cultural symbols to stir emotions, from the billowing American flag to a determined Uncle Sam pointing the way to victory. Behind Uncle Sam is a never-ending phalanx of advancing B17s and infantrymen, formations that suggest a unity of purpose and collective strength. Author Jeffrey Schnapp coined this technique “The March” and it is seen in many of the best modern political posters.
This is the very rare and breathtaking large 40 x 60 inch format.
If you are in Boston this summer, check out the Grand Circle Gallery, an exhibition space featuring a spectacular selection of African travel posters from International Poster Gallery’s collection.
Tracking the development of the African tourist poster since the 1890s, Travels through Africa is on display through Labor Day. The Gallery is free and open to the public, and is located in Fort Point Channel at 347 Congress St.
The American Dream is aptly evoked in this uplifting poster by Charles Chambers. Printed in several languages to appeal to recent immigrants, the poster shows newcomers on a ship deck in New York Harbor, with the Statue of Liberty beneath a red, white and blue rainbow. Framing the scene is the New York skyline, glowing in the morning sun.
The poster was prophetic in its appeal: food would be a decisive factor in winning the war for the Allies. America produced half of the world’s corn and a quarter of its wheat in 1917, and Herbert Hoover, the head of the U.S. Food Administration, recognized that only America could overcome the severe food shortages in Europe. Hoover, an ardent free marketer, refused to resort to centralized policing and rationing, which was the norm in every other country. With an army of 750,000 volunteers and only 8,000 paid staff, the Food Administration was totally successful in its mission to feed the Allies.
This poster asked Americans to conserve wheat, the most critical food item. Several posters were devoted to substituting corn, barley and vegetables.
This design by famed German posterist Lucien Bernhard uses the power of Teutonic symbols to create one of the most visceral posters of World War I. The mailed fist of a German knight comprises the entire illustration – malevolent, depersonalized and full of anger. The rawness of the traditional Gothic text perfectly matches the emotional tenor of the fist above it.
Created towards the end of the war, this poster reflects not only the iron-willed resolve to fight to the finish but also conveys the national frustration with the endless deadlock of trench warfare — and a desire for peace.
World War I was the first conflict in which the illustrated color lithographic poster was available, and combatants struggled to make this instrument of mass persuasion effective. Enlistment was one of the key early areas of experimentation, and recruiting yield was carefully monitored.
Howard Chandler Christy’s famous recruiting posters took the approach of appealing to male pride, as seen in this sexy poster classic. It was so effective it would be reused in WWII– although the role of women would generally be portrayed less stereotypically in the later war, focusing on women’s roles in factories, relief efforts, and the armed forces.
See a variety of recruiting posters in our current gallery exhibition: Paper Wars.
International Poster Gallery proudly presents Paper Wars, an evocative exhibition of original propaganda posters of the First and Second World Wars. On display in the gallery through June 15, the exhibition features some of the most persuasive and galvanizing posters from two of the most significant military conflicts in world history. From enticing recruitment posters to pleas for the civilian purchase of war bonds, these posters were a driving force of patriotism and propaganda in their respective homelands.
The gallery is thrilled to have acquired a major collection of counterculture rock posters from the late Sixties and early Seventies. The “Summer of Love” in 1967 ushered in a brief but spectacular poster craze centered around San Francisco, recalling the floral excesses of Art Nouveau, the pulsating after-images of Op-Art, and the bizarre juxtapositions of Surrealism. In style, it was the exact opposite of the rational and legible Swiss Style that took hold in the corporate communication around the globe at the same time.
In addition, there is a fine selection of Family Dog posters from the Avalon Ballroom in San Francisco, as well as most of the posters from Victor Moscoso’s kaleidoscopic “Neon Rose“ series for the Marty Balin’s Matrix club.
Most of these are shockingly affordable and nearly all are in mint condition. Some of them are hand signed by the artist.