In the morning: Odol, in the evening: Odol - Odol toothpaste and mouthwash Lithography Rare and 100% Original Vintage poster about a dentistry brand of Budapest. No other item like this is available worldwide. That a guarantee and a fact! Put on cardboard 2nd item : 30x23,5cm Lengyel Sándor 1930 - 1988 Lengyel was an important poster artist with a unique tone. Despite posters having a humorous style was a common thing in the 1950s and 60s, Lengyel still managed to create a playful style of his own. Lengyel studied at the University of Applied Arts. From 1949 he had been working as an independent designer. In the 1960s, he was a highly wanted commercial poster and advertising artist. The majority of his designs was commercial posters, however, other thees can be found in his ouvre, such as circus, road safety, etc. Besides working a lot on posters, he also designed several slide films. The slowly growing economy of the 1960s gave most of the comissions for Sándor Lengyel: he worked for big companies, well known brands, and state owned department stores. The most typical element on Lengyel’s posters is that they display cartoon-like, attractive and charming figures: smiling little girls and boys, fashionable men and women. These cheerful figures emphasized the advantages of the product by creating a joyful and carefree atmosphere. Lengyel had a clear, simple, yet very elegant and effortless drawing style that originates in cartoon design. He also liked to use papercut techniques thus creating vivid, colourful shapes. For fashion brands, he used a less humorous and playful style, which was more elegant. He built up his compositions from black silhouettes, surfaces of raster dots or other patterns, and colourful shapes. Lengyel also worked for bars, cafes, pubs and circus shows. — D. Szabó István Hungarian-American painter, graphic artist, set designer, industrial artist, and teacher, D. István Szabó [D. Sabo] (Debrecen, August 3, 1905 – New York, December 28, 1990) studied at the Budapest School of Applied Arts from 1924 to 1930 with a scholarship from Debrecen. He designed sets for Csokonai Theatre's production of "The Tragedy of Man" in 1937. Living in Budapest from 1930 to 1947, he served as the artistic director for the Mauthner company. His journey continued through Paris (1948-1951), Canada (1951-1954), and the USA (1954 onwards), with periods in Paris-Zurich-Lugano (1965-1969) before settling back in New York from 1969. Szabó taught at the Commercial Art Institute of Chicago in 1964. He was a director of the New York Nest Club, part of the global organization of American-Hungarian visual artists. Szabó received numerous awards in graphic competitions and actively engaged in applied graphics for various brands. Awards and Recognitions: 1937: Gold medal at the Paris World Exhibition. 1940: Gold medal at the Milan Triennial Exhibition. 1947: Gold Medal of the Hungarian Republic's Merit. Solo Exhibitions: 1954: Chicago 1967, 1968: Zurich 1972, 1975: New York Selected Group Exhibitions: 1948: National Salon Poster Exhibition, Budapest 1949-50: Toronto 1954, 1957, 1963: Chicago From 1972 onwards, group exhibitions of American-Hungarian artists in New York. 1982: "Respect for the Homeland." Exhibition of Hungarian artists living abroad, Műcsarnok, Budapest. Legacy: D. István Szabó's legacy, including 80 paintings, hundreds of drawings, posters, publication plans, albums, slides, and diplomas, is housed in the Déri Museum in Debrecen. Literature: Mentions in "News in Advertising Life" between 1932-38. Reviews of "The Tragedy of Man" in local newspapers in May 1937. "Respect for the Homeland" catalog, Budapest, 1982. SZ. KÜRTI KATALIN: "Fine Arts Exhibitions Between the Two World Wars," Déri Museum Yearbook 1994. Painter, graphic artist, set designer. Graduated from the Budapest School of Applied Arts in 1930 with a scholarship from Debrecen. Worked in Budapest as the artistic director of the Mauthner company from 1930 to 1947. From 1948 onwards, operated in Paris, Canada, the United States, and returned to Europe. Settled permanently in New York in 1969. Taught in Chicago from 1954, working as an illustrator for the Chicago Daily News. Held a leadership position in the global organization of American-Hungarian visual artists. Awarded a gold medal at the 1937 Paris World Exhibition and the 1940 Milan Triennial. In 1947, received the Gold Medal of the Hungarian Republic's Merit. An exhibiting artist since 1936, participating in significant exhibitions in Budapest until 1942 and later in major cities worldwide post-World War II. In 1982, participated in the 2nd exhibition of Hungarian artists living abroad at the Műcsarnok in Budapest. — Tram poster is a rarity genre in the devlopment of poster art. It was mostly wide spread in Hungary and also, but less frequently, in other Center/Easter European countries before the collapse of the Soviet Union where tram as public transport was commonly used by citizens in cities. The tram posters are true personalities: sort of English ladies among the advertising spaces. This small advertising type spread from Germany in the 1920s and soon became a constant feature on Budapest trams as well. Inspired by a German example, a separate space was created inside the tram cars for their placement, on the inclined surfaces between the windows and the ceiling. Last Picture: The appearance of tram posters coincided with the golden age of Hungarian poster art: the interior of trams featured works by numerous renowned artists. Alongside various commercial messages, educational topics often found their place, drawing attention to civilized or safe travel practices, especially needed in the post-war period due to overcrowded, poorly maintained trains, and undisciplined passengers leading to many accidents. Providing high visibility, tram posters were excellent for spreading propaganda messages from the beginning. In the 1950s and 60s, following the spirit of Soviet cultural policy, numerous posters were created, but commercial messages gradually displaced them from passenger spaces. — About Hungarian Poster Art Hungarian poster art has long been celebrated for its unique and captivating style, making it a significant cultural and artistic movement in the world. From the late 19th century to the present day, Hungarian poster art has left an indelible mark on the global art scene, with its innovative techniques, bold designs, and powerful messages. One of the highlights of Hungarian poster art is its ability to seamlessly blend various artistic styles and influences. The movement drew inspiration from a wide range of sources, including Art Nouveau, Constructivism, and Surrealism, resulting in a diverse and eclectic body of work. Artists such as Mihály Bíró, József Bottlik, and István Irsai pushed the boundaries of traditional poster design, experimenting with typography, color, and composition to create visually striking and thought-provoking pieces. Another notable aspect of Hungarian poster art is its emphasis on storytelling and narrative. Unlike many other countries' posters, which primarily served as advertising tools, Hungarian posters often conveyed a deeper meaning or social commentary. They were not just meant to sell products but also to engage viewers intellectually and emotionally. This storytelling approach allowed Hungarian poster art to transcend its commercial purpose and become a powerful medium for social and political expression. The importance of Hungarian poster art in the world cannot be overstated. During the early 20th century, Hungary was at the forefront of graphic design, and its posters gained international recognition and acclaim. The Budapest School, a group of Hungarian artists, revolutionized the field with their avant-garde approach, influencing poster art movements across Europe and beyond. Their innovative techniques and artistic vision set new standards for poster design, inspiring generations of artists worldwide. Furthermore, Hungarian poster art played a crucial role in shaping public opinion and mobilizing society. In times of political turmoil and social change, posters became a powerful tool for propaganda and activism. During World War II and the Hungarian Revolution of 1956, posters were used to rally support, convey messages of resistance, and document historical events. The ability of Hungarian artists to capture the spirit of the times and communicate complex ideas through visual imagery made their posters an integral part of the nation's cultural and political identity. Today, Hungarian poster art continues to thrive, with contemporary artists carrying on the legacy of their predecessors. The Hungarian Poster Museum in Budapest showcases the rich history and evolution of this art form, attracting visitors from around the world. The enduring appeal and influence of Hungarian poster art can be seen in the works of renowned artists like Tibor Helényi and István Orosz, who have successfully merged traditional techniques with modern aesthetics. In conclusion, Hungarian poster art stands as a testament to the country's artistic prowess and cultural heritage. Its unique style, emphasis on storytelling, and ability to provoke thought and emotion have made it an important and influential movement in the world. From its early beginnings to the present day, Hungarian poster art continues to captivate audiences and inspire artists, leaving an indelible mark on the global art scene. — Please note that our company was founded in 1994 and it is internationally trackable. Invoice is available upon request. Our team consists of members with university degree of art, painting valuation experts and experienced art&antique dealers Feel free to ask as much as you want. Lifetime warranty is available for all items originality. Shipping is with insurance.