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The Jazz Festival Montreux 1967 Poster
From: 20,40 € The Jazz Festival Montreux 1967 Poster embodies the energy and vibrancy of the era, featuring dynamic illustrations of musicians in action. The warm color palette and skillful typography contribute to its captivating appeal. This iconic artwork remains a cherished symbol of the festival's rich history and enduring passion for jazz.
1977 Swedish Exhibition Poster
From: 20,40 € Striped bands drawn at precise angles, arranged so a flat sheet appears to contain a solid object floating in the middle of it, the lettering repeated and inverted until it reads as pattern. Scandinavian exhibition graphics of the post-war decades had a taste for optical games, borrowed from op art
The Flower Love Poster
From: 20,40 € A flower drawn as a single emblem, petals repeated around a centre, with a heart or a word set beneath it in a hand-lettered face, colour warm and flat. Emblematic flowers belong to a long tradition of printed love tokens, valentines, song sheets, small posters sold at fairs.
Stuart Davis Landscape Space No. 4 Poster
From: 20,40 € Three colours doing all the work, with heavy black lines weaving between them so no shape sits quietly, space flattened and rhythm set by intervals of colour. The reduction to a handful of tones and an insistent line came out of American painting between the wars, when structure was borrowed
St. Mary's Basilica Uwaga Inwazja Poster
From: 20,40 € A building drawn as flat geometry: towers, roofs and windows in a strong vertical composition, lettering set into the structure. Polish poster design after the war turned cityscape and infrastructure into graphic subjects, treating architecture as pattern without losing its identity. The drawing is simplified until the building can be
Port Cranes Uwaga Inwazja Poster
From: 20,40 € Cranes, masts and containers arranged in strong geometry, lettering set as part of the structure rather than on top of it, perspective flattened so the harbour reads as a pattern. Polish poster design had a habit of turning infrastructure into graphic art rather than reportage. What could have been reportage
The Crane Uwaga Inwazja Poster
From: 20,40 € A crane drawn as a construction rather than a machine: masts, cables and counterweights in a strict grid, lettering set into the structure, perspective flattened so the sheet reads as a diagram. Post-war Polish poster design treated infrastructure as a legitimate subject for graphic art rather than as reportage.
Hilma Af Klint Tree of Knowledge No. 7b Poster
From: 20,40 € Fine lines in symmetry, circles and arcs repeating around a central axis, colour in pale washes, closer to a diagram than to a scene. The abstract series behind it were kept out of public view for years and treat geometry as a language for things that cannot be shown directly.
Helene Schjerfbeck Girl from Eydtkuhnen poster
From: 20,40 € A girl seated with her hands in her lap, the face turned slightly away, the dress drawn with a few decisive lines, the background almost blank. Helene Schjerfbeck painted the same themes for decades and simplified each one further with every return, working in Finland while modernism was argued elsewhere.
Hilma Af Klint Tree of Knowledge No. 5 Poster
From: 20,40 € Hilma af Klint, Tree of Knowledge No. 5: a pale green petal shape opening inside two great wings, one black and one white, with a white circle below holding two more petals and a small figure at the base. Fine pencil line, soft washes, and a geometry that feels botanical
Hilma Af Klint Tree of Knowledge No. 2 Poster
From: 20,40 € Symmetrical forms around a vertical axis, fine lines, pale colour, no horizon and no perspective, the sheet reads as a diagram rather than a scene. Hilma af Klint treated geometry as a language for something that cannot be depicted directly and kept most of her series out of sight.
Hilma Af Klint Tree of Knowledge No. 1 Poster
From: 20,40 € Symmetrical forms around a central axis, delicate line work and pale colour on a light ground. Hilma af Klint made abstract compositions years before the artists usually credited with inventing abstraction and kept most of them private, this sheet looks closer to a chart or a botanical study than to
Female Seated Model Lundstrom Poster
From: 20,40 € A woman seated on a low stool, body turned away, head tilted down, the back drawn as one continuous curve, the colour warm and thin. Studio drawing was the foundation of artistic training and painters who kept that habit carried its economy, its drawn rather than described figure, into finished
Hilma Af Klint Tree of Knowledge No. 6 Poster
From: 20,40 € Fine lines arranged in a symmetrical structure, circles and arcs repeating around an axis, colour applied in pale washes that overlap where the shapes meet. The abstract series behind it treat geometry as a language for things that cannot be shown directly, with colour used as notation rather than decoration.
William Morris Pimpernel Poster
From: 20,40 € A pattern repeating in two directions: leaves and flowers interlaced so densely that the eye cannot find a centre, colour held to two or three flat tones, no top and no bottom. William Morris argued that decoration should be made by hand and understood by everyone and his patterns avoided
William Morris Blackthorn Poster
From: 20,40 € A pattern of blackthorn branches carrying small blossom and dark berries, drawn so stems curve and cross without ever meeting at a centre, the design repeating in both directions. Blackthorn is one of the repeating patterns designed by William Morris, who worked from plant studies rather than ornament books.
William Morris Snakeshead Poster
From: 20,40 € Sinuous stems carrying fritillary heads, the flowers at different heights so the pattern moves in a slow rhythm, line even and colour flat. Snakeshead was designed by William Morris in 1876, when his workshop argued that British decoration could be recovered by hand processes and close observation of plants.
Expo 78 Paris Berlin Poster
From: 20,40 € Overlapping forms in strong colour, lettering on two axes, a composition that refuses symmetry and looks constructed rather than drawn. In 1978 a major Paris exhibition examined the cultural relationship between Paris and Berlin in the early twentieth century and borrowed its graphics from the period it described.
Vintage Expo Paris Poster
From: 20,40 € Industry laid out as a composition: a central structure, figures in motion, lettering above and below like a fairground announcement. World fairs presented products, colonies and ideas of the future all in one park, and their posters had to work at the scale of a boulevard. Seen from a distance.
The Byrds Poster
From: 20,40 € Flat colour and hand-set lettering, the band name large and slightly irregular, the image simplified to a few shapes with text wrapping around it. Mid-1960s concert posters were printed cheaply for a single night; The Byrds stood at the folk-rock edge of that scene, and their posters became collectable.
Grateful Dead Poster
From: 20,40 € Lettering that behaves like an illustration, the band name drawn as a shape, curling around a central image, colour printed flat in overlapping areas. San Francisco in the late 1960s produced a poster style of its own and the Dead were at the centre of that scene. The lettering was
Bauhaus Ausstellung 1923
From: 20,40 € A composition on a strict grid with a strong vertical axis, geometric forms overlapping a central column, lettering drawn as one of the shapes. The school’s first public exhibition, held in Weimar in the summer of 1923, was designed as an argument in itself: buildings, products and printed matter obeying
Matisse Landscape Poster
From: 20,40 € A landscape reduced to overlapping fields of colour, hills as curves and trees as flat shapes, the sky one tone from edge to edge. The painting reproduced here was made by Henri Matisse in 1905 at Collioure, in the summer that gave the Fauves their name, with colour used as
Klee and Kandinsky Poster
From: 20,40 € Two graphic languages on one sheet: geometric forms held in strict relation on one side, softer drifting shapes on the other, flat colour throughout. Kandinsky and Klee taught side by side at the Bauhaus and their friendship shaped the school’s thinking about colour, form and the line as a record
Geneve Hippique Vintage Poster
From: 20,40 € A horse and rider drawn in profile, the neck arched and the rider leaning forward, ground suggested by a band of colour. The poster was made by the Swiss painter Maurice Barraud for the Concours Hippique in Geneva in 1943 and it carries his knowledge of the ring: the horse
Classic Cinema Icon Poster
From: 20,40 € A single object presented as a monument: a silhouette centred on a plain ground, lettering formal beneath it, no scene and no depth. Film advertising learned early that a symbol travelled further than a still, a hat, a profile, a gesture could sell a picture before anyone knew its title.
Basquiat Warrior Poster
From: 20,40 € Jean-Michel Basquiat, Warrior: a skeletal figure striding out of a blue and ochre field, a white sword raised in one hand, a halo of thorns scratched around its head, the ribs drawn in white sticks. Paint laid on in slabs, chalk lines over the top, nothing finished and nothing accidental. Pigment
Typographic Symphony Poster
From: 20,40 € Enormous lowercase letters stacked and overlapping across the sheet, printed in black over bands of blue diagonal stripes, with red letters and thin red rules cutting through. The text is unreadable on purpose — this is lettering treated as texture, rhythm and weight. Pigment print on 210 gsm Hahnemühle paper, sizes
Bauhaus Weimar Ausstellung Poster
From: 20,40 € The Bauhaus Weimar Ausstellung poster is a striking visual homage to the revolutionary 1923 design exhibition, showcasing the minimalist aesthetic and innovative spirit of the Bauhaus movement. With its sharp geometric forms and a bold, reductive color palette, this poster captures the essence of a transformative era in design and
Yayoi Kusama Fruits Poster
From: 20,40 € Fruit shapes drawn large and covered in dots, each set against a ground of a single colour that pushes the object forward, the pattern following the curve of the form so the fruit looks wrapped rather than decorated. The strategy takes something ordinary and makes it insistent: a fruit repeated
Charming Koala Poster
From: 20,40 € A koala with a soft, rounded outline on a curving branch, the colour flat, the shapes simplified until the animal reads as a symbol rather than a study. Contemporary work in a long tradition of illustrations made to be understood before they can be read. It sits well low on
Fusion Gallery Blue No 6 Poster
From: 20,40 € A blue field broken by a few darker shapes cutting diagonally across it, corners empty, centre unresolved, no subject and no horizon at all. A contemporary graphic in the tradition of mid-century abstract printing: flat colour, hard edges, no attempt to suggest depth, one hue at a time.