L’Affichiste Gallery, nestled in the vibrant heart of Montréal, is a captivating haven for vintage poster enthusiasts, offering a diverse and eclectic collection that captures the essence of a bygone era. Interview with its owner, Karen Etingin.
I grew up in a house where my mother and grandmother were both artists. My grandmother was so talented that she could make little animals out of aluminum foil as well as sculpt marble and make bronze sculptures as well. My mother paints and used to make etchings … our house was full of art
Later on, when I worked in New York City I used to pass a vintage poster gallery that was very much like my own gallery, L’Affichiste. The owner of that gallery was a kind woman who was passionate both about posters and about educating her customers (much like I am now). I credit her with instilling in me a love for posters that turned me first into a collector and later into a gallerist.
World’s Fairs or expositions were often used as a way of introducing the public to new ideas or people from foreign lands. Cheret, who is often called the Father of the Modern Poster, was one of the first artists to introduce advertising into posters: previously posters had been used primarily to advertise events or theater productions but in this poster (and others he produced), Cheret used the upcoming exhibition at the Musée Grevin to show people from Asia – who most Parisians had never seen in real life.
Cycling, a sport that we now take for granted and which even children take up, was one of the first sports that women could do in public. It was considered a form of liberation – an excuse for women to go out in public (alone or in pairs) and experience life on their own. The Gladiator poster was designed to show the public all the different kinds of people who could use and enjoy their product.
Magazines, like posters, were used to publicize political events and bring public attention to newsworthy occasions, like this large parade in Montreal. Other political posters were used during wartime to get people to contribute to the war effort or to change public opinion.
Posters can fit into any decor. Modern trends, like the renewed interest in Scandinavian design, can be accented with any of our contemporary or vintage Danish or Swedish posters. Some of them are in the $100 range (so affordable for just about anyone from students to first-time collectors) while others are investments that will appreciate over time.
I am fortunate enough to be able to sell posters that I love. When I am buying posters or accepting them on consignment, I only take posters that appeal to me personally. For instance, I am very conscious of not wanting to sell racist or anti-semitic posters – I don’t want to propagate or sell posters that fall within those categories.
Posters from gold star artists like Leonetto Cappiello or Julius Klinger (about whom I wrote a book) will not only keep their value but appreciate over time. That’s why I sell not only to private collectors but also to corporate entities and museums around the world.
Vittorio Fiorucci is a Quebec artist who was not only prolific but also had a particular worldview – male-centric and politically incorrect in today’s view, but very much of-the-moment in the 1970s and 1980s. There have been many museum shows of his work, both here and abroad. Also, because Vittorio (everyone called him by his first name) was often short of money, he paid many of his bills with posters. When he died in 2008, many collectors brought his posters to the gallery for me to sell on consignment. I’ve been fortunate enough to sell some of those posters to the BANQ (the BIBLIOTHEQUE ET ARCHIVES NATIONALES DU QUÉBEC), another one of my regular clients.
I think that really depends on the individual collectors. One person might be more drawn to the solid colours and straight lines of the Art Deco period, while another might like the flowing lines and softer colours of the Art Nouveau period. Others might like contemporary posters like those of our friend Pascal Blanchet – posters that are contemporary but very much influenced by previous artistic influences. They are affordable and can fit into almost any environment.
If you are visiting the Old Port of Montréal, be sure to stop by the gallery located at: 461 rue Saint-Francois-Xavier and follow them on Instagram.
The post L’Affichiste: A Unique Vintage Posters Gallery in Montréal appeared first on Damask & Dentelle.
Can you share the story behind how you became passionate about vintage posters, and what inspired you to open a gallery specializing in them?
I grew up in a house where my mother and grandmother were both artists. My grandmother was so talented that she could make little animals out of aluminum foil as well as sculpt marble and make bronze sculptures as well. My mother paints and used to make etchings … our house was full of art
Later on, when I worked in New York City I used to pass a vintage poster gallery that was very much like my own gallery, L’Affichiste. The owner of that gallery was a kind woman who was passionate both about posters and about educating her customers (much like I am now). I credit her with instilling in me a love for posters that turned me first into a collector and later into a gallerist.
Vintage posters often carry historical and cultural significance. Could you highlight a few posters in your collection that you believe encapsulate a particular era or moment in history exceptionally well?
World’s Fairs or expositions were often used as a way of introducing the public to new ideas or people from foreign lands. Cheret, who is often called the Father of the Modern Poster, was one of the first artists to introduce advertising into posters: previously posters had been used primarily to advertise events or theater productions but in this poster (and others he produced), Cheret used the upcoming exhibition at the Musée Grevin to show people from Asia – who most Parisians had never seen in real life.
Cycling, a sport that we now take for granted and which even children take up, was one of the first sports that women could do in public. It was considered a form of liberation – an excuse for women to go out in public (alone or in pairs) and experience life on their own. The Gladiator poster was designed to show the public all the different kinds of people who could use and enjoy their product.
Magazines, like posters, were used to publicize political events and bring public attention to newsworthy occasions, like this large parade in Montreal. Other political posters were used during wartime to get people to contribute to the war effort or to change public opinion.
Vintage posters have gained popularity in interior design in recent years. How do you see posters as fitting into modern interior design trends, and do you have any favourite examples of how they’ve been incorporated into home decor?
Posters can fit into any decor. Modern trends, like the renewed interest in Scandinavian design, can be accented with any of our contemporary or vintage Danish or Swedish posters. Some of them are in the $100 range (so affordable for just about anyone from students to first-time collectors) while others are investments that will appreciate over time.
When selecting posters for your gallery, what criteria do you use to determine their value and desirability, both from an artistic and collectible perspective?
I am fortunate enough to be able to sell posters that I love. When I am buying posters or accepting them on consignment, I only take posters that appeal to me personally. For instance, I am very conscious of not wanting to sell racist or anti-semitic posters – I don’t want to propagate or sell posters that fall within those categories.
Posters from gold star artists like Leonetto Cappiello or Julius Klinger (about whom I wrote a book) will not only keep their value but appreciate over time. That’s why I sell not only to private collectors but also to corporate entities and museums around the world.
Are there any Canadian poster artists or specific Canadian poster designs that have made a significant impact in the world of vintage posters?
Vittorio Fiorucci is a Quebec artist who was not only prolific but also had a particular worldview – male-centric and politically incorrect in today’s view, but very much of-the-moment in the 1970s and 1980s. There have been many museum shows of his work, both here and abroad. Also, because Vittorio (everyone called him by his first name) was often short of money, he paid many of his bills with posters. When he died in 2008, many collectors brought his posters to the gallery for me to sell on consignment. I’ve been fortunate enough to sell some of those posters to the BANQ (the BIBLIOTHEQUE ET ARCHIVES NATIONALES DU QUÉBEC), another one of my regular clients.
Many collectors are drawn to the aesthetics of vintage posters. Are there particular design elements or artistic techniques that you believe make some posters stand out more than others?
I think that really depends on the individual collectors. One person might be more drawn to the solid colours and straight lines of the Art Deco period, while another might like the flowing lines and softer colours of the Art Nouveau period. Others might like contemporary posters like those of our friend Pascal Blanchet – posters that are contemporary but very much influenced by previous artistic influences. They are affordable and can fit into almost any environment.
If you are visiting the Old Port of Montréal, be sure to stop by the gallery located at: 461 rue Saint-Francois-Xavier and follow them on Instagram.
The post L’Affichiste: A Unique Vintage Posters Gallery in Montréal appeared first on Damask & Dentelle.