7847/internal/media/dispatcher/10715/full1 Dollar Will Buy 10,000 Matchesc. 1940Designer Unknown, National Safety CouncilDesigner UnknownThis is one of many posters produced during World War II by the National Safety Council (NSC), headquartered in Chicago. The council had been founded in 1913 with the aim of eliminating preventable accidents and deaths in the workplace and home, as well as on the roads and in communities, and it was to play a critical role in occupational safety during World War II. On August 18, 1940, long before the Japanese attack on Pearl Harbor, President Roosevelt directed the organization to lead a campaign against workplace accidents that might delay victory (the United States was supplying munitions to Britain to help in the fight against Germany). This simple, boldly colored composition with its blunt message about the economic cost of workplace fires was designed to attract the attention of workers.Posterhttps://posterhouse.emuseum.com/objects/6280/rdf/internal/media/dispatcher/11825/full1er Festival de Teatro de Ponce1967Lorenzo HomarLorenzo HomarPosterhttps://posterhouse.emuseum.com/objects/8772/rdf/internal/media/dispatcher/10676/full1er Festival Monidal des Artes Négres1966Ibrahima Diouf, L. Mandel, Imprimerie JeanbinIbrahima DioufPosterhttps://posterhouse.emuseum.com/objects/7873/rdf/internal/media/dispatcher/11942/full1ra Bienal del Grabado Latino-Americano en San Juan de Puerto Rico1970Lorenzo HomarLorenzo HomarPosterhttps://posterhouse.emuseum.com/objects/8908/rdf/internal/media/dispatcher/11891/full1ra Bienal del Grabado Latino-Americano en San Juan de Puerto Rico1970Lorenzo HomarLorenzo HomarPosterhttps://posterhouse.emuseum.com/objects/8909/rdf/internal/media/dispatcher/11943/full1ra Bienal del Grabado Latino-Americano en San Juan de Puerto Rico1970Lorenzo HomarLorenzo HomarPosterhttps://posterhouse.emuseum.com/objects/8910/rdf/internal/media/dispatcher/11951/full1ra Copa Puerto Rico/Gimnasia Internacional1985Lorenzo HomarLorenzo HomarPosterhttps://posterhouse.emuseum.com/objects/8826/rdf/internal/media/dispatcher/11892/full1ra Exposición de Carlos R. Rivera1956Lorenzo HomarLorenzo HomarPosterhttps://posterhouse.emuseum.com/objects/8918/rdf/internal/media/dispatcher/15193/full1ros Juegos Deportivos Panamericanos1951Posterhttps://posterhouse.emuseum.com/objects/8689/rdf/internal/media/dispatcher/10812/fullThe 1st Ever AIGA Triad Fellow Award2017Designer Unknown, American Institute of Graphic ArtsDesigner UnknownPosterhttps://posterhouse.emuseum.com/objects/7345/rdf/internal/media/dispatcher/13649/full1st International Tamatave Fair1963Designer UnknownDesigner UnknownPosterhttps://posterhouse.emuseum.com/objects/10406/rdf/internal/media/dispatcher/11876/full1st Panamerican Track and Field Masters Championships1980Lorenzo HomarLorenzo HomarPosterhttps://posterhouse.emuseum.com/objects/8823/rdf/internal/media/dispatcher/1208/full1st. Portugal2015Peter BankovPeter BankovSilkscreenPosterhttps://posterhouse.emuseum.com/objects/1157/rdf/internal/media/dispatcher/98/full2 Conferência Nacional da Associação dos Estudantes do Ensino Superior1986Designer Unknown, International Union of StudentsDesigner UnknownOffset LithographPosterhttps://posterhouse.emuseum.com/objects/398/rdf/internal/media/dispatcher/13355/full2do Congreso Nacional/Abdala1972Manuel LandroveManuel LandrovePosterhttps://posterhouse.emuseum.com/objects/8965/rdf/internal/media/dispatcher/204/full2e Emprunt de Défense Nationale1916Jules Abel Faivre, Imp. Devambez, Paris.Jules Abel FaivreThis simple poster encourages French civilians to invest in the second of four major national loan campaigns organized by the government during World War I and is probably the most famous French war poster of this era. Jules Abel Faivre focuses on a French “poilu” (infantryman) with a gun in one hand, the other raised as he looks back to urge his comrades on. “We’ll get them!” were the fighting words uttered by General Phillipe Pétain at the Battle of Verdun, a hard-won French victory achieved in 1916, the year the poster was issued. The soldier’s pose echoes that of François Rude’s “Victory” on the Arc de Triomphe in Paris, thus evoking past French military glories while asserting the military might of the ordinary fighting man. Faivre was one of the best-known cartoonists and war poster artists of his time, and like many of his contemporaries who had studied in traditional art schools like the École des Beaux-Arts in Paris, his compositions reflect a rigorous formal training in drawing the human figure. The soldier here is set against a blank ground as if he has been sketched in a drawing studio rather than on the battlefield. This image was reused in various guises in France, in Italy, and in the United States on a 1943 poster with the slogan “We have just begun to fight!”Posterhttps://posterhouse.emuseum.com/objects/155/rdf/internal/media/dispatcher/10741/full2e Exposition des Peintres Lithographes1898Fernand-Louis Gottlob, Imp. Lemercier ParisFernand-Louis GottlobLithographThis is one of numerous images produced during the 1890s showing women looking at prints in Paris. As the account books of print dealers like Edmond Sagot indicate, women were often customers, typically buying decorative prints and framed posters. The fashionably dressed woman here might even have been one of the many American women who frequented such shops on their European travels in search of culture and couture. The silhouetted figure of the woman and the shadowy interior serve to emphasize the lettering on the lighter areas of the windowpane and the curtains, promoting an exhibition of the work of painter lithographers to be held in the Salle de Figaro on the Rue Drouout. This was a compositional device often employed by Henri de Toulouse-Lautrec, one of the key figures in avant-garde poster design of the era.Posterhttps://posterhouse.emuseum.com/objects/350/rdf/internal/media/dispatcher/15561/full2 Gingers/Big Ginger2017VSA Partners, Chicago, Tohru Oyasu, Bob Winter, Rainer Schmidt, Vincent DixonVSA Partners, ChicagoPosterhttps://posterhouse.emuseum.com/objects/12719/rdf/internal/media/dispatcher/15563/full2 Gingers/Old Fashioned2017VSA Partners, Chicago, Tohru Oyasu, Bob Winter, Rainer Schmidt, Vincent DixonVSA Partners, ChicagoPosterhttps://posterhouse.emuseum.com/objects/12721/rdf/internal/media/dispatcher/15562/full2 Gingers/On the Rocks2017VSA Partners, Chicago, Tohru Oyasu, Bob Winter, Rainer Schmidt, Vincent DixonVSA Partners, ChicagoPosterhttps://posterhouse.emuseum.com/objects/12720/rdf/internal/media/dispatcher/11912/full2nd Bienal del Grabado Latinoamericano en San Juan de Puerto Rico1972Lorenzo HomarLorenzo HomarPosterhttps://posterhouse.emuseum.com/objects/8880/rdf/internal/media/dispatcher/11929/full2o Festival de Teatro Puertorriqueño1959Lorenzo HomarLorenzo HomarPosterhttps://posterhouse.emuseum.com/objects/8913/rdf/internal/media/dispatcher/11833/full2 Siglos De Pintura Puertorriqueña en el Museo Rodante Del Instituto De Cultura Puertorriqueña1964Lorenzo HomarLorenzo HomarOffset LithographPosterhttps://posterhouse.emuseum.com/objects/8780/rdf/internal/media/dispatcher/13074/full3B Tavern/Dragstrip Syndicated and the Last Vegas2003Art Chantry, Jason FrederickArt ChantryPosterhttps://posterhouse.emuseum.com/objects/10117/rdf/internal/media/dispatcher/82/full3e Emprunt de la Défense Nationale1917A. Lelong, Imp. DraegerA. LelongThis poster encourages French civilians to invest in the third of four major national loan campaigns organized by the government during World War I. Artist A. Lelong appeals to French national pride with a dramatic monochrome design centered on Marianne, the symbol of the French Republic and of the values of Liberty, Equality, and Fraternity championed by the French Revolutionaries of the late 18th century. She is shown here standing on a globe surrounded by raised banners. The neoclassicism of the illustration also evokes the favored style of French Revolutionary artists.Posterhttps://posterhouse.emuseum.com/objects/78/rdf/internal/media/dispatcher/205/full3e Emprunt de la Défense Nationale1917Auguste Leroux, Imp. Joseph Charles, ParisAuguste LerouxThis poster urges French civilians to invest in the third of four major national loan campaigns organized by the government during World War I. The image of the “poilu” (infantryman) kissing goodbye the little girl in his arms on his way to war is, like the slogan, sentimental in the manner of the day. It also reflects Leroux’s formal artistic training (he was a figurative painter and illustrator) and his role as a professor at the École des Beaux-Arts in Paris for some 30 years. The figure of the mother at lower right nursing her infant looks very much like a simple studio sketch. Leroux made several other posters promoting war loans.Posterhttps://posterhouse.emuseum.com/objects/156/rdf/internal/media/dispatcher/11863/full3er Festival de Teatro Puertorriqueño1960Lorenzo HomarLorenzo HomarPosterhttps://posterhouse.emuseum.com/objects/8810/rdf/internal/media/dispatcher/11636/full3 Leg Torso1996Mike KingMike KingSilkscreenPosterhttps://posterhouse.emuseum.com/objects/8612/rdf/internal/media/dispatcher/11644/full3 Leg Torso2000Mike KingMike KingSilkscreenPosterhttps://posterhouse.emuseum.com/objects/8637/rdf/internal/media/dispatcher/11647/full3 Leg Torso Sextet/Black Cat Orchestra2001Mike KingMike KingSilkscreenPosterhttps://posterhouse.emuseum.com/objects/8647/rdf/internal/media/dispatcher/11965/full3ra Bienal de Grabado Latinoamericano en San Juan de P.R.1974Lorenzo HomarLorenzo HomarPosterhttps://posterhouse.emuseum.com/objects/8841/rdf/internal/media/dispatcher/11978/full3ra Bienal del Grabado Latinamericano en San Juan de P.R.1974Lorenzo HomarLorenzo HomarPosterhttps://posterhouse.emuseum.com/objects/8875/rdf/internal/media/dispatcher/1207/full3rd. Portugal2015Peter BankovPeter BankovSilkscreenPosterhttps://posterhouse.emuseum.com/objects/1156/rdf/internal/media/dispatcher/11875/full3ros Campeonatos Nacionales de Gimnasia en Puerto Rico1982Lorenzo HomarLorenzo HomarPosterhttps://posterhouse.emuseum.com/objects/8822/rdf/internal/media/dispatcher/10691/full4th World Conference on Women-Beijing '951995Zaius Shams, Creative HandsZaius ShamsPosterhttps://posterhouse.emuseum.com/objects/7935/rdf/internal/media/dispatcher/10593/full4x3 Poster Project2014Xavier MeadeXavier MeadePosterhttps://posterhouse.emuseum.com/objects/7558/rdf/internal/media/dispatcher/13842/full5. Internationales Nico Feuerwerk-Festival1998Designer UnknownDesigner UnknownPosterhttps://posterhouse.emuseum.com/objects/10473/rdf/internal/media/dispatcher/12967/full5th Annual Lake Placid Film Festival2004Keith Goddard Studioworks, Alex McKeithen, Innovation Printing & Lithography, Inc.Keith Goddard StudioworksOffset LithographPosterhttps://posterhouse.emuseum.com/objects/10014/rdf/internal/media/dispatcher/11851/full5to Festival De Teatro Puertorriqueño1962Lorenzo HomarLorenzo HomarPosterhttps://posterhouse.emuseum.com/objects/8798/rdf/internal/media/dispatcher/11854/full5to Festival De Teatro Puertorriqueño1962Lorenzo HomarLorenzo HomarPosterhttps://posterhouse.emuseum.com/objects/8801/rdf/internal/media/dispatcher/13494/full6 in '971997Rick GriffithRick GriffithOffset LithographPosterhttps://posterhouse.emuseum.com/objects/8539/rdf/internal/media/dispatcher/11838/full6 Pintores Argentinos1966Lorenzo HomarLorenzo HomarPosterhttps://posterhouse.emuseum.com/objects/8785/rdf/internal/media/dispatcher/11090/full6ta Feria de Artesanías de Barranquitas1967Lorenzo HomarLorenzo HomarSilkscreenThis poster promotes the annual Puerto Rican crafts fair that helped reinforce both local traditions and national identity. This was achieved by creating a viable market supported by the Institute of Puerto Rican Culture and through the teaching of these craft techniques from one generation to the next. Created by the layering of five colors through silkscreen, the composition features a field of paper flowers—a common heritage craft in Puerto Rico. The advertising text echoes the shape of the various petals, while in the upper left, Lorenzo Homar’s signature is hidden within the folds of a flower. Posterhttps://posterhouse.emuseum.com/objects/8263/rdf/internal/media/dispatcher/13356/full6to Congreso Internacional/Abdala1976Manuel LandroveManuel LandrovePosterhttps://posterhouse.emuseum.com/objects/8966/rdf/internal/media/dispatcher/11849/full6to Festival de Teatro Puertorriqueño1963Lorenzo HomarLorenzo HomarPosterhttps://posterhouse.emuseum.com/objects/8796/rdf/internal/media/dispatcher/8945/full7-Up/Uncanny In Cans1969John AlcornJohn AlcornOn the verge of bankruptcy in 1968, the 7Up Company hired the advertising agency J. Walter Thompson to revamp its public image. Focusing on the youth market, the agency dubbed the brand the “Uncola” (in reference to the fact that the counterculture was often described as “un-American”) and put out an open call to illustrators to submit designs. John Alcorn and a handful of other designers from Push Pin designed billboards for the campaign throughout the late 1960s and early ’70s. The images were also promoted to students in magazines as book wrappers or dorm-room decor, available in four different sizes. While this design was used as a billboard, this size was specifically created as merchandise. This image, one of the most popular designs in the series, was turned into a seven-foot-long illuminated sign that was used in bars and snack shops around the country to attract customers. It also made a brief cameo in the cult film Vanishing Point (1971).Posterhttps://posterhouse.emuseum.com/objects/6796/rdf/internal/media/dispatcher/13883/full7 Yr. Bitch2016Art ChantryArt ChantryPosterhttps://posterhouse.emuseum.com/objects/10783/rdf/internal/media/dispatcher/16030/full8 Años Ayotzinapa2022Gran OM & Co., KloerGran OM & Co.Offset LithographyPosterhttps://posterhouse.emuseum.com/objects/12562/rdf/internal/media/dispatcher/11839/full8mo Festival de Teatro Puertorriqueño/Los Ballets de San Juan1965Lorenzo HomarLorenzo HomarOffset LithographPosterhttps://posterhouse.emuseum.com/objects/8786/rdf/internal/media/dispatcher/11827/full10mo Festival De Teatro1967Lorenzo HomarLorenzo HomarPosterhttps://posterhouse.emuseum.com/objects/8774/rdf/internal/media/dispatcher/15259/full10th Anniversary Invitational Poster Design Exhibition2019Designer UnknownDesigner UnknownPosterhttps://posterhouse.emuseum.com/objects/12510/rdf/internal/media/dispatcher/16123/full10th Writers' Week Listowel1980Designer UnknownDesigner UnknownPosterhttps://posterhouse.emuseum.com/objects/13314/rdf/internal/media/dispatcher/11235/full11ème Coupe D'Europe de Gymnastique Masculine1957Marie-Claire Lefort, Marie-Francine OppeneauMarie-Claire LefortOffset LithographAfter winning the poster competition to promote the Concours Lépine in 1955, Lefor-Openo received a few noteworthy commissions for other Parisian events, including this design for the Second European Men’s Artistic Gymnastics Championship. The image is representative of most generic poster design of the period, with simple, sans-serif text (sharp typography without flourishes) and a nondescript composition that could advertise any number of sporting events. It bears very little resemblance to the style for which Lefor-Openo would become known within a year, and was most likely produced with strong direction from the sponsoring organization, allowing the designers little room for creativity. Posterhttps://posterhouse.emuseum.com/objects/8088/rdf/internal/media/dispatcher/13630/fullThe 11th Annual Broadway Flea Market and Grand Auction1997Designer UnknownDesigner UnknownHeld annually in Shubert Alley—a narrow pedestrian passage tucked between 44th and 45th Streets in the heart of New York’s Theater District—the Broadway Flea Market & Grand Auction began in 1987 as a grassroots fundraiser for Broadway Cares/Equity Fights AIDS (BC/EFA). Cast and crew members of Broadway shows donated costumes, props, posters, and personal memorabilia, while fans browsed, bid, and mingled—all in support of people living with HIV/AIDS. Over the years, it grew into one of Broadway’s most beloved and enduring charitable traditions. By 1997, the Flea Market had expanded dramatically, attracting thousands of attendees and major corporate sponsors, including Continental Airlines, the New York Times, and the Times Square Business Improvement District. These partnerships helped extend the event’s reach while preserving its grassroots spirit of generosity and community. This poster for the 11th installment of the event was designed by Serino Coyne, one of Broadway’s foremost theatrical advertising firms. Its involvement reflects the degree to which the Broadway industry—at every level—mobilized to support the AIDS response.Posterhttps://posterhouse.emuseum.com/objects/10403/rdf/internal/media/dispatcher/6119/full12 Cosas Que Podemos Hacer En Lugar De Fumar Cigarrillo1976Seymour ChwastSeymour ChwastLithographChwast’s 1976 Spanish-language poster featuring a grid, each cell suggesting one of 12 everyday alternatives to cigarette-smoking, was one of several he designed for the American Cancer Society that year. In this composition, he uses his typically humorous comic-book style in pastel colors with bright-red lettering to engage viewers with a very serious subject. This was a big year for the American Cancer Society: on November 18, its California division had introduced its Great American Smokeout, helping nearly one million people to stop smoking for a day. The Smokeout became a national, annual event the following year, gradually leading to significant changes in behavior and the establishment of lifesaving legislation. (In 1983, Chwast was also commissioned to design a poster for the event.)Posterhttps://posterhouse.emuseum.com/objects/4482/rdf/internal/media/dispatcher/11112/full12mo Festival de Teatro Puertorriqueño1969Lorenzo HomarLorenzo HomarSilkscreenFounded in 1950, the Puerto Rican Theater Festival exclusively presented Puerto Rican plays, folk dances, and ballets. In this design, the lettering serves as a graphic element—an approach to advertising that Lorenzo Homar frequently explored and that demonstrates his devotion to the art of calligraphy. Posterhttps://posterhouse.emuseum.com/objects/8280/rdf/internal/media/dispatcher/426/full12th World Festival of Youth and Students1985Designer Unknown, International Union of StudentsDesigner UnknownOffset LithographPosterhttps://posterhouse.emuseum.com/objects/374/rdf/internal/media/dispatcher/433/full12th World Festival of Youth and Students1985Designer Unknown, International Union of StudentsDesigner UnknownOffset LithographPosterhttps://posterhouse.emuseum.com/objects/381/rdf/internal/media/dispatcher/13383/full13 Cats1997Art Chantry, LeroyArt ChantryScreen PrintPosterhttps://posterhouse.emuseum.com/objects/10319/rdf/internal/media/dispatcher/9980/full13th Annual Pow-Wow1984American Indian Student Association, University of WashingtonAmerican Indian Student Association, University of Washington Posterhttps://posterhouse.emuseum.com/objects/7834/rdf/internal/media/dispatcher/9318/fullThe 13th Biennial of Industrial Design1991Radovan Jenko, Visual Communications, Radovan JenkoRadovan JenkoSilkscreenPosterhttps://posterhouse.emuseum.com/objects/7078/rdf/internal/media/dispatcher/9319/fullThe 13th Biennial of Industrial Design1991Radovan Jenko, Visual Communications, Radovan JenkoRadovan JenkoSilkscreenPosterhttps://posterhouse.emuseum.com/objects/7079/rdf/internal/media/dispatcher/9320/fullThe 13th Biennial of Industrial Design1991Radovan Jenko, Visual Communications, Radovan JenkoRadovan JenkoSilkscreenPosterhttps://posterhouse.emuseum.com/objects/7080/rdf/internal/media/dispatcher/12035/full13th Floor Elevators/Great Society1966Wes WilsonWes WilsonPosterhttps://posterhouse.emuseum.com/objects/9003/rdf/internal/media/dispatcher/6829/full14 Numara1985Designer Unknown, Mimeray AfisleriDesigner UnknownOffset LithographPosterhttps://posterhouse.emuseum.com/objects/5760/rdf/internal/media/dispatcher/14469/full15 Fucking Years!!/Double Down Saloon2007Art ChantryArt ChantryPosterhttps://posterhouse.emuseum.com/objects/10634/rdf/internal/media/dispatcher/13654/full16e Foire Commerciale Bruxelles1936Designer UnknownDesigner UnknownPosterhttps://posterhouse.emuseum.com/objects/10411/rdf/internal/media/dispatcher/13964/fullThe 16th Anniversary Weekend/The Double Down Saloon2008Art Chantry, Jason FrederickArt ChantryPosterhttps://posterhouse.emuseum.com/objects/10844/rdf/internal/media/dispatcher/311/full18/XX Rocznica Odparcia Najazdu Rosji Sowieckiej1930Tadeusz Gronowski, Graf. E. i Dr. K. Kozianskich, WarszawaTadeusz GronowskiThis ambitious poster celebrates the tenth anniversary of the Polish victory over the Soviet invaders in the Polish-Soviet War of 1919–1921. It shows the silhouetted figures of the Polish heroes of various historic fights against Soviet Russia, with the city of Warsaw in the background. At the center is Józef Piłsudski, the first chief of state of the newly independent Poland established after World War I and a hero of the Polish-Soviet War; behind him is Prince Józef Poniatowski, who played a key role in Napoleon’s Russian campaign of 1812; and Tadeusz Kościuszko, a Polish army officer and statesman who fought with the colonists in the American Revolution and was later involved in an uprising in Poland against the Russian occupiers. Here, image and text are harmoniously integrated in a composition that reflects the art deco influences on the major Polish graphic designer Tadeusz Gronowski. He studied and worked in both his native country and in Paris, producing magazine and book illustrations, postage stamps, and a wide range of commercial and political posters. Posterhttps://posterhouse.emuseum.com/objects/259/rdf/internal/media/dispatcher/13129/full19 Taller Nacional de la Crítica Cinematográfica2013Michele Miyares HollandsMichele Miyares HollandsSilkscreenPosterhttps://posterhouse.emuseum.com/objects/10171/rdf/internal/media/dispatcher/467/full19th European Student Meeting1982Designer Unknown, International Union of StudentsDesigner UnknownOffset LithographPosterhttps://posterhouse.emuseum.com/objects/459/rdf/internal/media/dispatcher/611/full20 Aniversario del Restablecimiento de Relaciones Cuba-URSS1980Designer UnknownDesigner UnknownSilkscreenThis rather simple poster, incorporating the blue-and-white stripes and white star on a red ground of the Cuban national flag, was issued by the Communist Party of Cuba to commemorate 20 years since the formal restoration of diplomatic ties between Cuba and the Soviet Union in 1960–61. This was engineered by the revolutionary leader Fidel Castro soon after he took power in Cuba in January 1959 as he sought to establish the country’s position in the Communist world through connection to Russia’s equally charismatic leader, Nikita Khruschev. These efforts coincided with an increasing split between Washington and Havana, marking a critical period in the history of the Cold War in the years immediately before the Cuban Missile Crisis of October 1962. By 1980, Cuba had become increasingly dependent on Russian investment in its industry and military infrastructure, presumably the reason for the commemoration advertised in this poster.Posterhttps://posterhouse.emuseum.com/objects/602/rdf/internal/media/dispatcher/11944/full20 Artistas Jóvenes Italianos1959Lorenzo HomarLorenzo HomarPosterhttps://posterhouse.emuseum.com/objects/8911/rdf/internal/media/dispatcher/9321/full20e Fête de la Musique2021Anette LenzAnette LenzPosterhttps://posterhouse.emuseum.com/objects/7081/rdf/internal/media/dispatcher/8462/full20 Graphic Designers of the World1995Designer UnknownDesigner UnknownOffset LithographPosterhttps://posterhouse.emuseum.com/objects/6424/rdf/internal/media/dispatcher/13451/full20 Years at the Double Down Saloonc. 2000Art ChantryArt ChantryPosterhttps://posterhouse.emuseum.com/objects/10294/rdf/internal/media/dispatcher/12270/full25 Gewinnerinnen/Anfachen Award V2021Anfachen Award, Designer UnknownAnfachen AwardPosterhttps://posterhouse.emuseum.com/objects/9326/rdf/internal/media/dispatcher/13815/full25 Jahre Postsparkasse1964Roberto PatelliRoberto PatelliRoberto Patelli designed several posters for the Postsparkasse or Postal Savings Bank of Germany early in his career. While the others incorporate humorous figures and motifs, this one, celebrating 25 years of the savings bank, reflects a cleaner, more typographic style. Patelli went on to establish his name with record covers for the German release of singles and albums by singers like Stevie Wonder and Freddie Mercury.Posterhttps://posterhouse.emuseum.com/objects/10437/rdf/internal/media/dispatcher/27/full25 Rocznica Wypadkow Poznanskich1981Krzysztof BaranKrzysztof BaranAnother early Solidarity poster by Polish painter and graphic designer Krzysztof Baran commemorates the 25th anniversary of the large-scale Poznań protest of June 28, 1956 (known as “Poznań June”). It began at Poznań’s Cegielski Factories where the workers demanded better working conditions and was violently suppressed by the regime, resulting in numerous deaths and injuries. This was the first of a series of such protests by the Polish people against the Communist government of the People’s Republic of Poland. Baran was one of several artists to commemorate this milestone event in Polish history, seen as the first serious strike against the Communist regime; his design here shows a huge crevasse opening up in a block of red. Posterhttps://posterhouse.emuseum.com/objects/23/rdf/internal/media/dispatcher/459/full25th Conference of NUJS in Czechoslovakiac. 1978Designer Unknown, International Union of StudentsDesigner UnknownOffset LithographPosterhttps://posterhouse.emuseum.com/objects/451/rdf/internal/media/dispatcher/6112/full25th Telluride Film Festival1998Seymour ChwastSeymour ChwastLithographThe Telluride Film Festival, founded in 1974, typically commissions major graphic designers to create its annual posters. Chwast’s illustration for the festival’s 25th anniversary is charmingly nostalgic, showing a tiny cinema in the mountain town of Telluride (perhaps a cartoon version of the town’s Nugget Theatre, founded in 1892), surrounded by vintage vehicles and enthusiastic-looking people.Posterhttps://posterhouse.emuseum.com/objects/4475/rdf/internal/media/dispatcher/108/full25 Years of Solidarity and Struggle Against Imperialism1971Designer Unknown, International Union of StudentsDesigner UnknownOffset LithographPosterhttps://posterhouse.emuseum.com/objects/408/rdf/internal/media/dispatcher/106/full25 Years of Struggle Against Apartheid and Colonialism1971Designer Unknown, International Union of StudentsDesigner UnknownOffset LithographPosterhttps://posterhouse.emuseum.com/objects/406/rdf/internal/media/dispatcher/107/full25 Years of Struggle for a Democratic University Reform1971Designer Unknown, International Union of StudentsDesigner UnknownOffset LithographPosterhttps://posterhouse.emuseum.com/objects/407/rdf/internal/media/dispatcher/109/full25 Years of Struggle for Peace1971Designer Unknown, International Union of StudentsDesigner UnknownOffset LithographPosterhttps://posterhouse.emuseum.com/objects/409/rdf/internal/media/dispatcher/13762/full26 Bis/Impasse du Colonel Foisy1986LumbagoLumbagoThe poster advertises a production of 26 bis, impasse du Colonel Poisy (26a, Colonel Poisy’s Dead End), an avant-garde play from 1983 by Québecois writer René-Daniel Dubois; it premiered at the Café de la Place des Arts in Montreal in 1986. It was designed by Lumbago of Montreal, a graphic design studio founded by François Picard that won many awards during the 1980s and ’90s for its work for such cultural institutions as the Musée d’art contemporain de Montreal.Posterhttps://posterhouse.emuseum.com/objects/10730/rdf/internal/media/dispatcher/16036/full27 Años de la Fundación del Congreso Nacional Indígena2023Gran OM & Co.Gran OM & Co.Offset LithographyPosterhttps://posterhouse.emuseum.com/objects/12568/rdf/internal/media/dispatcher/14517/full27 Million Americans Can't Read This Poster1989Julius FriedmanJulius FriedmanPosterhttps://posterhouse.emuseum.com/objects/11440/rdf/internal/media/dispatcher/607/full30 Aniversario de la Revolución Egipcia1982Rafael Morante, OSPAAALRafael MoranteOffset LithographPosterhttps://posterhouse.emuseum.com/objects/598/rdf/internal/media/dispatcher/4900/full30¢ Plz2017Designer UnknownDesigner UnknownMixed MediaPosterhttps://posterhouse.emuseum.com/objects/3642/rdf/internal/media/dispatcher/8782/fullThe 33rd Toyota Monterey Grand Prix1990LeRoy NeimanLeRoy NeimanOffset LithographPosterhttps://posterhouse.emuseum.com/objects/6652/rdf/internal/media/dispatcher/14152/fullThe 35th Annual New York LGBTQ+ Film Festival2023Designer UnknownDesigner UnknownPosterhttps://posterhouse.emuseum.com/objects/11008/rdf/internal/media/dispatcher/8721/full37th Ryder Cup Valhalla Golf Club2008LeRoy NeimanLeRoy NeimanOffset LithographPosterhttps://posterhouse.emuseum.com/objects/6596/rdf/internal/media/dispatcher/8722/full39th Ryder Cup Matches/Medinah Country Club2012LeRoy NeimanLeRoy NeimanOffset LithographPosterhttps://posterhouse.emuseum.com/objects/6597/rdf/internal/media/dispatcher/7392/full41st Annual Inter-tribal Indian Ceremonial1962Louie EwingLouie EwingSilkscreenPosterhttps://posterhouse.emuseum.com/objects/5872/rdf/internal/media/dispatcher/7393/full42nd Inter-tribal Indian Ceremonial1963Louie Ewing, Frank VigilLouie EwingSilkscreenLouie Ewing's silkscreen posters for the annual Inter-Tribal Indian Ceremonial in Gallup, New Mexico, embody the contradictions of appreciation without equity. Ewing was a pioneer of serigraphy (silkscreen printing) in the Southwest who had trained with the Works Progress Administration (WPA), a Depression-era federal program that funded the arts and employed millions of Americans to build infrastructure. He was commissioned by the government to create these posters—yet the designs are not entirely his own. Ewing notes in the margin of each poster the names of the Native artists whose work he has adapted in the composition: Frank Vigil (Jicarilla Apache), Jim Redcorn (Osage), and Raymond Chavez (Zuni Pueblo). These artists did not directly collaborate with Ewing on these images nor were they compensated for the use of their motifs. Founded in 1922 by Gallup’s coal-mining citizens, this annual event promised to present "the Indian in his true nature" while promoting tourism to their isolated frontier town. The organizers urged the public to "appreciate" and "perpetuate" Native cultures that they themselves were not a part of, reinforcing the idea of the white savior as the best and only means of preserving a heritage. Posterhttps://posterhouse.emuseum.com/objects/5873/rdf/internal/media/dispatcher/12547/full43o Anuário do Clube de Criação de São Paulo2018FCB, São Paulo, Saulo Vinheiro, Gabriel Barrea, Renato Pícolo, Black Madre Atelier, Kayran Moroni, Ricardo Wouters, Gabriel BarbérioFCB, São PauloPosterhttps://posterhouse.emuseum.com/objects/9592/rdf/internal/media/dispatcher/12548/full43o Anuário do Clube de Criação de São Paulo2018FCB, São Paulo, Renato Pícolo, Gabriel Barrea, Saulo Vinheiro, Ricardo Wouters, Gabriel Barbério, Kayran Moroni, Black Madre AtelierFCB, São PauloPosterhttps://posterhouse.emuseum.com/objects/9593/rdf/internal/media/dispatcher/7390/full44th Annual Inter-tribal Indian Ceremonial1965Louie Ewing, Jim RedcornLouie EwingSilkscreenLouie Ewing's silkscreen posters for the annual Inter-Tribal Indian Ceremonial in Gallup, New Mexico, embody the contradictions of appreciation without equity. Ewing was a pioneer of serigraphy (silkscreen printing) in the Southwest who had trained with the Works Progress Administration (WPA), a Depression-era federal program that funded the arts and employed millions of Americans to build infrastructure. He was commissioned by the government to create these posters—yet the designs are not entirely his own. Ewing notes in the margin of each poster the names of the Native artists whose work he has adapted in the composition: Frank Vigil (Jicarilla Apache), Jim Redcorn (Osage), and Raymond Chavez (Zuni Pueblo). These artists did not directly collaborate with Ewing on these images nor were they compensated for the use of their motifs. Founded in 1922 by Gallup’s coal-mining citizens, this annual event promised to present "the Indian in his true nature" while promoting tourism to their isolated frontier town. The organizers urged the public to "appreciate" and "perpetuate" Native cultures that they themselves were not a part of, reinforcing the idea of the white savior as the best and only means of preserving a heritage. Posterhttps://posterhouse.emuseum.com/objects/5870/rdf/internal/media/dispatcher/9253/full50 Invitations1997Marc Antonie Mathieu, Atelier Lucie LomMarc Antonie MathieuPosterhttps://posterhouse.emuseum.com/objects/7044/rdf