As we bid a belated farewell to 2023, Anthony and I met with fiends in NYC to visit the Poster House. And if you have never heard of this museum, neither had I. I was blown away by the display of original Art Deco posters.

There are two exhibits currently running. On the main floor is: Art Deco: Commercializing the Avant-Garde. On the lower level is: We Tried to Warn You! Environmental Crisis Posters, 1970-2020. Both run now through February 25, 2024.

This is a perfect adventure for those with a few hours to fill. They are open Thursday through Sunday with extremely affordable ticket fees. Under 18 is free, all others range from $8-$12.00.

It is a relatively small space: 2 floors, café, gift shop and a generous lounge area.  This show occupies the first-floor exhibition room.

The posters are a mix of international pieces and each distinctly show-cases that country’s take on what we now call Art Deco.

There were so many things to see, admire and learn about. Here is a small sampling.

On the left, Severo Pozzati’s (AKA: Sepo) 1932 Noveltex. The design is a combination of Cubism and Deco. Noveltex was a men’s French shirt company. Note the angled “s”, sometimes called the “escalator ‘s’. This is to provide visual motion as a counterpoint to the rest of the static font.

On the right, J.C. Leerdam, Jr.’s, Glaswerk Leerdam (date unknown). Leerdam was a Dutch glassworks factory producing items from the 1910s through the 1920s. They worked with various designers and artist to create and bring avant-garde products to the general population.

Unfortunately, their target audience didn’t need martini glasses and decanters. This poster features the relatively new airbrushing technique and considered one of the most luxurious of the company’s advertisement.

This 1929 poster is by Paul Colin and called, La Revue Black Birds. With the debut of Josephine Baker in 1925, Paris embraced the “Black Craze”. The 1928, Broadway musical comedy, Blackbirds of 1928, came to the Moulin Rouge in 1929. And note the red windmill that is a nod to the Moulin Rouge.

Colin incorporated caricatures of Bill “Bojangles” Robinson, Adelaide Hall, and Tim Moore, stars of the show. Patrons recognized his stylized forms that he used to represent all races.

This is a circa 1930s Fine Calvados poster by Noël Fontanet a prolific Art Deco designer. Here he uses a trio of upper-class gentlemen to publicize an “affordable” (read: low-grade) brandless product. Simple, triple  geometric forms is an oft used Art Deco motif. Fontanet reworked this design in a 1942 poster for Morgafarin seen on the left. But this image is a not part of the collection and  was included by them just for comparison.

Here is a trio on display. On the left from 1933 is Week End Cigarettes. This is another example by Paul Colin and commissioned by the French government’s cigarette monopoly started in 1932. Its mission was to compete, and in response to, the lighter tobacco brands called “gout anglaise” (English taste). The poster design incorporates three similar smokers sharing a pack as they lounge, enjoying their life of leisure.

In the upper right is the 1932 Beristain: Dunhill advertising poster by Jacint Bofarull. Spared a less catastrophic Depression than other countries allowed some Spanish luxury brands and stores such as Beristain to weather the storm. In all, Bofarull designed 4 posters featuring different accessories. Here he shows off the first lighter designed to use with one hand.

On the bottom left is M.J.B. Lyra Extra. This is a rare example of a 1929 German poster for Lyra cigarettes. The company was founded by Max Wagowski, a Jewish film producer. But the company was dissolved in 1931.  This design is influenced by the Expressionist movement often seen in German cinema. The Initials on this poster possibly stands for Martin Jacoby-Boy but doesn’t resemble his known signature.

Most tea drinkers are familiar Twining Tea. This poster is from 1930 and is by Charles Loupot. Twining Tea dates back to the early 1700s and opened it’s first shop in Paris, 1910.  Note the Kimono shaped “T” used to reinforce the product’s Asian origins. And the use of Cubism in the cup seen from both above and from the side.

Our friend Jonathan admires a trio of Travel related posters. On the right, and top are the 1936 Australia: Surf Club and the 1937 Australia: Great Barrier Reef. These are just 2 of Gert Sellheim’s series designed for the Australian National Travel Association. Sellheim deeply appreciated, and was the first artist to incorporate Aboriginal motifs in his designs.

On the right, Mar del Plata from 1930. The artist, Ernesto Scotti designed these during the brief popularity of Art Deco in Argentina. Other than some notable architecture, Fascist military rule squelched the widespread use of deco. This design features one of the attractions found in the resort town of Mar del Plata, the “greatest spa” in Argentina.

This famous 1932 Triptych, Dubo, Dubon, Dubonnet is a masterpiece of design. A.M. Cassandre uses bold simple graphics with humor. This innovative poster proved so effective, and popular, that various versions are reimagined and printed to this day. The original design was reprinted in 1956 for the Danish market.

If you follow the “story”: Du bo – pronounced Du beau (looks good), Du bon (tastes good) and Dubonnet the complete brand name.

Paul Colin’s 1938 Leroy is a departure from his usual works. He primarily designed theatre and cabaret themed works. He may have taken this commission as a favor for a friend who owned this business. Note that the lettering is slightly blurred to encourage the view to take a second glance. And in doing so, check that their eyesight is fine. A humorous take on a poster for glasses.

Personally, I want to know how he keeps the glasses on with no ears or nose!

On the right is a 1930s Bugatti poster by René Vincent and was created at the height of the Art Deco movement. The clever wheel design gives the impression of movement and speed. Better known for his depiction of fashionable ladies, he incorporates the use of female figures as both driver and passenger.  Vincent celebrated the newly found freedoms of the “New Woman” of the 1920s and 1930s.

Shown at the top center is Edward McKnight Kauffer’s 1931 Power: The Nerve Centre of London’s Underground. England was a bit apathetic to the Art Deco movement. However, London Transport used this style in several of its advertisements and buildings from the 1920s through the 1930s.  This powerful image combines man’s mastery over machine by  fusing the two as the arm reaches out to grasp and control electricity.

On the bottom center is Exactitude, by Pierre Félix-Masseau, 1932. Félix-Masseau apprenticed under Cassandre from 1926-1928 and adapted many of Cassandre’s motifs for himself. This example is one of his best and similar to Cassandre’s Nord Express. The main difference between the two is Félix-Masseau’s warm pallet and inclusion of a human figure. Here is a picture on the of Nord Express. It is not part of the collection but shown for comparison.

Olle Svanlund’s 1933 Trelleborg is advertising rubber tires. And note the details of the product while the actual vehicle fades into the background. A diagonal layout gives the feeling of motion and forces the eye across the page. The faceless man is common in deco advertising. And it allows the viewer to imaging themselves as the participant.

Giuseppe Riccobaldi del Bava (Gionata del Prodotto Italiano, 1930). The numbers under the 1930 indicate Mussolini’s 8^th year in power.  It advertises a festival of Italian products with emphasis on food, textiles, artisanal and industrial wares. The target audiences is communities with large Italian-speaking communities both in Italy and internationally.

Here are a few more shots of the exhibit.

I find the next couple of posters (below) a bit creepy!

This part of the exhibit is dedicated to the decline in the popularity of the Art Deco movement.

I don’t know how, but Anthony and I ended up on this vintage poster below. Its advertising St. Raphael Quinoina, an orange and chocolate aperitif.

And as we leave this exhibit, we wandered downstairs. A smaller show, it is well worth the visit. This poster is the one impacting me the most. A simple graphic design that speaks loudly and sadly of events already coming true.

The collection comprises of posters warning of the dangers of climate change. And human’s contribution to killing our planet by relentless war and pollution.

And there you have it. An enjoyable day in the city with friends. Both exhibits at the Poster House are well worth the time. And we hope you have a chance to experience it before its gone.

Thanks for joining us on our trip to the Poster House.

Chris & Anthony (The Freakin’ ‘tiquen Guys)