It is important to remember that you are buying an original vintage fine art poster an not a reproduction of any kind. We do not use terms like “mint” or “near mint” condition, as they are highly subjective. Each of our pieces is photographed in high quality so you can zoom in and view the poster in greater detail. In addition we use the following IVPDA (International Vintage Poster Dealers Association) approved condition rating system:
"A" Condition: the poster is in fine condition. The colours are fresh and there is no paper loss. If there is a slight tear, or folds, it is very unobtrusive.
"B" Condition: the poster is in good condition. The colours are acceptable. While slight paper loss maybe evident, it does not distract from the image. Restoration, if any, is not immediately apparent.
"C" Condition: the poster is in fair condition. Colours are faded, and there are signs of more extensive restoration. Existing folds are more visible, and possibly minor paper loss.
We further use '+' or '-' to more precisely describe the condition of a particular item (e.g.: B+). On top of this, we describe any “condition particularities” for individual pieces on its product page.
We apply the above condition rating system to all our posters and prints. If you have additional questions regarding our piece’s condition, we invite you to submit any inquiries.
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This is a cover illustration for the 1913 edition of the Monaco-Sports Magazine. It was designed by artist Umberto Brunelleschi.
Umberto Brunelleschi (1879 - 1949) was an Italian artist. He moved to Paris in 1900 where he soon established himself as a printer, book illustrator, set and costume designer. He worked for Le Rire as a caricaturist (often under the pseudonym's Aroun-al-Raxid or Aron-al-Rascid) and was a contributor to many of the deluxe French fashion publications including Journal des Dames et Des Modes, La Vie Parisienne, Gazette du Bon Ton and Les Feuillets d'Art. He also worked as a book illustrator.
After serving in the Italian Army during the First World War, he returned to Paris. In the 1920s he diversified into set and costume designs for the Folies Bergère, the Casino de Paris, the Théâtre du Châtelet and theaters in New York, Germany, and in his native country. In Italy, he worked for Opera Houses such as La Scala in Milan, and the Maggio Musicale Fiorentino in Florence.
Particulars: This lithographic print is from an original vintage magazine
It has been professionally conserved and backed on acid-free linen paper. Find out more about what this means and why it's important: poster and print conservation and restoration.