Original Polish theatre poster designed by Jerzy Czerniawski for Luigi Pirandello’s Six Characters Looking For an Author / Szesc postaci szuka autora, 2007 

Original Polish theatre poster designed by Jerzy Czerniawski for Luigi Pirandello’s Six Characters Looking For an Author / Szesc postaci szuka autora, 2007 




calyx, the-seed-of-europe:

Berlin cabaret poster, 1920s.
“The idyllic gay portrait of dapper German officers in capes and peaked caps transfixed by demure Line-Boys (teenage male prostitutes that worked Berlin’s fancy hotel lobbies, gay clubs, and bars in the Tiergarten in gangs of 4 or 5) on Tiergarten benches disappeared from view in 1919. It was beggars who retained the combat dress of the defeated army. Berlin’s gay community at the beginning of Weimar adopted a different wardrobe, the sailor’s blouse and cap (alongside the tailored morning-coat of the perfumed dandy). In homosexual Dielen, middle-aged Sugar-Lickers (nighttime gay patrons), Coolies (older Gymnasium or university students who hired Line-Boys and frequently claimed to be straight), Doll-Boys (youngest and penniless gay hustlers that worked solely for food, lodging and cigarettes), even crotchety waiters wore the crisp blue-and-white insignia of jaunty marines on shore leave. The change of uniform had various meanings. Partly, it was a matter of identification - straights didn’t wear them - and they were a Wilhelmian echo of adolescent androgyny. More significantly, Berlin’s core homosexual community had expanded beyond the units of the Potsdam garrison.”
-Mel Gordon, Voluptuous Panic: The Erotic World of Weimar Berlin.

calyxthe-seed-of-europe:

Berlin cabaret poster, 1920s.

“The idyllic gay portrait of dapper German officers in capes and peaked caps transfixed by demure Line-Boys (teenage male prostitutes that worked Berlin’s fancy hotel lobbies, gay clubs, and bars in the Tiergarten in gangs of 4 or 5) on Tiergarten benches disappeared from view in 1919. It was beggars who retained the combat dress of the defeated army. Berlin’s gay community at the beginning of Weimar adopted a different wardrobe, the sailor’s blouse and cap (alongside the tailored morning-coat of the perfumed dandy). In homosexual Dielen, middle-aged Sugar-Lickers (nighttime gay patrons), Coolies (older Gymnasium or university students who hired Line-Boys and frequently claimed to be straight), Doll-Boys (youngest and penniless gay hustlers that worked solely for food, lodging and cigarettes), even crotchety waiters wore the crisp blue-and-white insignia of jaunty marines on shore leave. The change of uniform had various meanings. Partly, it was a matter of identification - straights didn’t wear them - and they were a Wilhelmian echo of adolescent androgyny. More significantly, Berlin’s core homosexual community had expanded beyond the units of the Potsdam garrison.”

-Mel Gordon, Voluptuous Panic: The Erotic World of Weimar Berlin.




hoodoothatvoodoo, robotcosmonaut:

La Sorciere

hoodoothatvoodoorobotcosmonaut:

La Sorciere




Poster by Jan Lenica for Friedrich Dürrenmatt’s play Wizyta Starszej Pani (The Visit), 1958

Poster by Jan Lenica for Friedrich Dürrenmatt’s play Wizyta Starszej Pani (The Visit), 1958




kirgiakos:
Rene Magritte - Norine Advertisement Poster , c.1926

Magritte began designing posters and ads for Norine in 1924. Norine was run by a charismatic couple: the cultural and intellectual Paul-Gustave Van Hecke, who became a patron of Magritte’s art, and the grande couturière Honorine “Norine” Deschrijver. They established their couture business during World War I.

kirgiakos:

Rene Magritte - Norine Advertisement Poster , c.1926

Magritte began designing posters and ads for Norine in 1924. Norine was run by a charismatic couple: the cultural and intellectual Paul-Gustave Van Hecke, who became a patron of Magritte’s art, and the grande couturière Honorine “Norine” Deschrijver. They established their couture business during World War I.




Theatre poster for Jean Genet’s Die Zofen / The Maids designed by Franciszek Starowieyski, 1987

Theatre poster for Jean Genet’s Die Zofen / The Maids designed by Franciszek Starowieyski, 1987




Original Polish theatrical poster for Rozewicz’s Biale Malzenstwo (The White Marriage) designed by Wieslaw Walkuski, 2002

Original Polish theatrical poster for Rozewicz’s Biale Malzenstwo (The White Marriage) designed by Wieslaw Walkuski, 2002




50watts:

Kenji Ito, 1973

50watts:

Kenji Ito, 1973




queering:

Poster for Grand Guignol exhibition
thanks to drakecaperton

queering:

Poster for Grand Guignol exhibition

thanks to drakecaperton




Polish theatrical poster for Rozewicz’s Biale Malzenstwo (The White Marriage), designed by Franciszek Starowieyski, 1978

Polish theatrical poster for Rozewicz’s Biale Malzenstwo (The White Marriage), designed by Franciszek Starowieyski, 1978




ajourneyroundmyskull, iconoclassic:

Surrealistyczne (by Eric Carl)

ajourneyroundmyskull, iconoclassic:

Surrealistyczne (by Eric Carl)




throwherinthewater:

Do not rush onto the train.

…pithier than my “Cautioning nun anathema to hastening shoe” ersatz interpretation
Vintage Tokyo subway manner poster, April 1979

throwherinthewater:

Do not rush onto the train.

…pithier than my “Cautioning nun anathema to hastening shoe” ersatz interpretation

Vintage Tokyo subway manner poster, April 1979




billyjane:

Franciszek Starowieyski 
via Erotic Art 

billyjane:

Franciszek Starowieyski

via Erotic Art