Posters and prints enjoy a number of obvious similarities. For example, both are multiples, which simply means that more than one version of the image exists, and posters and prints are often produced using the exact same techniques. In the case of a poster, though, the edition size is not necessarily fixed or even documented. To make matters more complicated, some of the earliest fine-art etchings and woodblock prints were produced in what are sometimes called “open editions.” Today, however, prints are typically signed and numbered, which is the main reason why prints tend to be more highly valued than posters.

One important difference between the two categories is that many printmaking techniques go back much further than poster technologies such as lithography, which only dates to the late 18th century. Historians believe that woodcutting probably originated in China around the early 9th century. By the 15th century the German engraver Albrecht Dürer was using this ancient technique to create prints of incredible detail.

The rise in advertising during the Victorian Era spurred inventions such as the four-color lithograph, which was used to produce, among other things, appealing images for advertisers. In 1867, Jules Cheret, inspired—perhaps ironically—by Japanese woodcuts, used the newly-developed system to combine text and images into a poster. Soon, European artists like Alphonse Mucha and Henri Toulouse-Lautrec were creating posters combining Art Nouveau aesthetics with easily understandable sales pitches.

American artist Maxfield Parrish used printing techniques to create multiples of his paintings, including “Dreaming,” “Stars,” and “New Moon.” His work was sought out by the fine-art crowd as well as advertisers, who used his blue-hued imagery of beautiful female figures posed in romantic landscapes to sell everything from soap to soda pop.

Throughout the 20th century, fine artists produced limited-edition prints that were often variations of subject matter they focused on in their paintings. The great prewar narrative painter Thomas Hart Benton made both paintings of rural American life as well as lithographs of the same. By the 1960s, artists such as Andy Warhol and Roy Lichtenstein were giving equal attention to their prints, if not more.

In parallel, advertisers were producing some of the most sought-after posters of the century, from James Montgomery Flagg’s recruiting lithographs printed in 1917 or Universal Studios’s horror-movie posters from the 1930s. Other collectible posters from the century include political, sports, circus, aviation, and railroad posters.

By the 1960s, music posters were becoming an international phenomenon. In London, Michael English and Nigel Waymouth, working as Hapshash and the Coloured Coat, produced psychedelic updates of Art Nouveau posters for Pink Floyd, Jimi Hendrix, and The Who. In Boston, the owners of a club called Boston Tea Party tended to take a clean, graphic approach to publicize concerts by everyone from local heroes J. Geils Band to New York’s Velvet Underground. Detroit had the Grande Ballroom, whose resident poster artist was Gary Grimshaw and house band was the MC5. Meanwhile in Los Angeles, Dahlgren made posters for a club called the Kaleidoscope, whose posters were always circular...

The U.S. city that’s best known for vintage rock posters, though, is San Francisco. A combination of multiple music venues and lots of talented artists was the catalyst for the vibrant scene. Over at the Avalon Ballroom, Chet Helms hired Wes Wilson, followed by Stanley Mouse and Alton Kelley, to make posters for shows featuring The Blues Project, Captain Beefheart, Big Brother and the Holding Company, and the Grateful Dead.

Over at Bill Graham’s Fillmore Auditorium, artist Wes Wilson created posters that helped define the psychedelic lettering style of the day. Another influential artist associated with the San Francisco scene was Rick Griffin, whose February 1968 "Flying Eyeball" poster (BG105) for Jimi Hendrix, John Mayall, and Albert King is an icon of the art form.

What makes music posters so interesting to collectors today is that they have once again blurred the line between posters and prints. Many contemporary music posters, particularly those created for rock bands such as Phish, Pearl Jam, and Dave Matthews, are produced in signed and numbered editions, just like a fine-art print. Some artists such as Jim Pollock, Emek, and Chuck Sperry will see posters they have created for a particular concert appear on eBay the morning after the show for double or triple the price.

This trend continues even with artists whose poster-like prints don’t advertise anything at all. For example, Shepard Fairey, who gained widespread acclaim for the poster he created for Barack Obama’s 2008 presidential campaign, recently produced a limited-edition print of Muhammad Ali that has proven to be quite popular with collectors.

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Recent News: Posters and Prints

Source: Google News

'All I Want for Christmas Is You':
EBONY.com, December 22nd

On the right wall hung a large vintage poster of the famed Blue Comet train that the bar swiped its name from. We ordered doubles of Jack Daniel's. “Merry Christmas,” Lesley and I toasted one another, clicking our glasses. For the next couple of hours...Read more

The Surprising Ways That Chickens Changed the World
National Geographic, December 21st

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Flamingo Eventz Assumes Management of Poster Fairs and Changes Location ...
Maine Antique Digest, December 20th

Flamingo Eventz, LLC, a show management company based in Rochester, New Hampshire, has assumed management of the New York, Chicago, and San Francisco International Vintage Poster Fairs, previously managed by David Pollack and Gail ...Read more

We Took a Tour of Oasis, San Francisco's New Drag Club
SF Weekly, December 17th

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A hidden French Quarter landmark opens its doors for holiday home tour: House ...
NOLA.com, December 17th

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Check out this map of Philly's tech scene in 1999 (you can win it, too)
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Flamingo Eventz Announces Book Fair Schedule Changes
Fine Books & Collections Magazine, December 2nd

According to Company President, Tina Bruno: “We're starting our 21st year in show promotion and are entering a new phase of the business—promotion of Vintage Poster, Print & Photography Fairs. This is the natural evolution of our shows which have gone ...Read more

Vintage Poster Company
Irish Times, November 19th

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