A wall of posters looks intentional when the pieces share a thread — one artist, one subject, one place, one palette, or one era. A theme turns a collection of images into a statement and makes select

Steinlen’s 1895 poster for Lait pur Stérilisé de la Vingeanne — a small girl drinking milk while three cats wait eagerly at her feet — is one of the most beloved images in all of poster art. It advert

The practical sizes to know are the ones with off-the-shelf frames: 11×14, 16×20, 18×24 and 24×36 inches (and A-sizes A3, A2, A1 in metric countries). Original Belle Époque posters were often far larg

Jules Chéret’s 1895 poster for Quinquina Dubonnet is the father of the poster selling the apéritif that would become a French icon. All of Chéret’s gifts are here — the joyful figure, the glowing thre

Framed posters look their best under even, warm, glare-free light aimed to wash the wall rather than bounce off the glass. The practical tools are picture lights, adjustable track or wall-washers, and

Bradley: His Book (1896) was Will Bradley’s own magazine — written, designed, illustrated and printed by him at his Wayside Press. Its covers are among the purest expressions of American Art Nouveau,

The file details that matter for printing a poster are simple once explained: resolution (aim for ~300 DPI at your print size), format (a high-quality JPEG or a print-ready PDF both work), and colour

Leonetto Cappiello’s 1907 poster for Cognac Gautier Frères is the mature master at work — the figure-on-dark method he pioneered in 1900, now applied with total confidence to a spirits brand. By 1907

An archival print and a cheap mass-market poster of the same image are not the same object. The archival version uses stable pigment inks on acid-free paper and holds its colour for decades; the cheap

Edward Penfield’s 1895 poster for the book About Paris shows the other half of his output — the book poster, alongside the Harper’s magazine covers that made his name. Made to advertise Richard Hardin