Question:  I won several auctions: 

How do I pay.  You can delay payment until you have finished bidding on as many auctions as you want to bid on.  Then make 1 payment.   You can pay using, Paypal or send your personal Check.

Questions:  If you have a question, please Ask. 

 Errors & Omissions:   Just as most books contain errors and omissions, so can an auction, if you see that we have made an error, please let us know.

Insurance, and damage.   We can insure against the delivery system.  Insurance is always available, the cost for domestic is about $1.50 for the first $50 and $1 per Hundred there after.  International insurance is not always available, it depends on your country. There may be limits. 

Condition:  Generally the condition of posters is near Mint.  However it is common to have edge ware, foxing and a worm hole or 2, even minor repair on the reverse side, this is a by product of storage in Cuba.  If a poster has a major defect, missing section, heavy crease, large tare. excessive foxing, we will point this out.

CUBAN FILM POSTERS have been admired since the day they came on the scene in 1960. The first Cuban film poster was for a semi-documentary directed by Tomas Gutierrez Alea, "Historias de la Revolución," and since then, until his untimely death in 2002, Bachs alone produced 2000 designs for ICAIC, the Cuban Film Institute. Cuban posters in the revolutionary period made a complete break with what came before 1959, in large part because the posters were not considered advertising, a means of persuasion to get the public into the theaters. Instead, both the institutions sponsoring the posters and the artists themselves thought of what they were doing as a new art form, one which contributed additional information and ideas and, especially, a new graphic form. The new graphics were used in entirely new ways: the political posters (many of which were shown in our "Solidarity" exhibit in 2003 and in our Rostgaard retrospective in 2001) of course WERE "selling" the revolution and solidarity with revolutionary movements, as well as a "new" set of values, but they were certainly not advertising in the traditional sense. Posters were used to organize block committees, to urge people to get vaccination shots, to persuade people to come to hear political speeches ("Todos a la plaza!" became a rallying cry to meet in Revolution Square, the Plaza de la Revolucion),  to get people to stop smoking, have check-ups, learn to read and much more.
But people didn't have to be convinced to go to the movies. Cubans love movies and ICAIC opened a network of  theaters to everyone at almost no cost, and took mobile cinema to the countryside where there were no theaters, on fishing boats without television or movies,  into schools and workplaces. The Cubans began to make movies about everything and import movies from all over the world, including the U.S. (pirated, of course). So the posters were simply an artistic adjunct to the cinema arts, they didn't have to show the actors or mention the names of all the actors, producers, writers, etc. The age of commercialism was waning, so instead the ICAIC artists produced posters that showed whatever they thought appropriate. They constructed graphics that at their best speak to the essence of the movie, and the graphic artists who worked regularly for ICAIC were the best at this: when, on occasion, well-known Cuban painters lent their talents to ICAIC for posters, the posters were often wonderful, but many had little to do with the essence of the movies. Not so the posters of Azcuy, Bachs, Ñiko, Julioeloy and Reboiro, whose daily work was tied into the movies themselves.And Rostgaard, although not an ICAIC artist, is such a superb graphic designer that he always gets to the essence of the idea, whether doing a poster for OSPAAAL or UNEAC or ICAIC