The visual foundation of Israeli identity.

In the 1930s, with the wave of Central European immigration and the growth of the Zionist enterprise, the Israeli advertising industry began to take shape. In 1935, the “Painters Association for Useful Graphics, “Israel’s first graphic design association, was founded.

Until then, local advertising relied heavily on imported designs, borrowed magazine illustrations, or motifs drawn from Jewish tradition, Eastern art, and Art Deco. Lacking resources, trained professionals, and technical know-how, original Israeli design was rare.

The association’s founding members—Rudi Dagan, Franz Kraus, David Shanor, the Shamir brothers, and others were trained graphic artists who championed the recognition of graphic design as a profession in Israel. Their work laid the foundation for the visual language of modern Israeli cultural identity. During WWII, the association supported the war effort, producing propaganda and organizing a 1943 exhibition titled Useful Graphics in Times of Peace and War.

After independence, Richard Levy became the government’s chief graphic advisor, overseeing national projects including the state emblem (designed by the Shamir brothers), the national flag, and military symbols.In 1966, the association became a founding member of Icograda, the international council of graphic design associations.

We’re excited to present a special selection from our collection of vintage travel and tourism posters to and from Israel.Drawn from a wide-ranging archive, this curated display shines a light on rare and iconic graphic works that once invited the world to experience the land, spirit, and imagination of Israel.Among the highlights, we’re proud to feature a truly remarkable piece:

The First Air France Poster to Israel, 1949

This historic poster, printed in France in 1949, became a powerful symbol within the global Jewish community. It marked one of the earliest acknowledgments by a European nation—and the international world at large—of the newly established, sovereign State of Israel.

Depicting an Israeli girl holding the national flag in front of the ancient walls of Jerusalem, the poster served not only as a travel advertisement but also as a declaration of Israel’s presence on the global stage. Through this image, Air France invited travelers to discover the reborn nation and helped announce its founding to the world.

Designed by Renluc

The poster was created by Renluc, one of the most celebrated French illustrators of the 1950s. Known for his stunning work with Air France, Renluc’s elegant and dreamlike graphic style left a lasting mark on the history of design. His compositions are distinguished by their refined use of color, clarity, and ability to inspire wanderlust in viewers across the globe.

The Farkash Gallery is proud to present two original works by the world-renowned Israeli artist Yaacov Agam, created for the 1983 Independence Day poster competition.

Yaacov Agam (b. 1928) is one of the most internationally acclaimed Israeli artists, a pioneer of kinetic and optical art whose work redefined the relationship between viewer, artwork, and time. Deeply rooted in both Jewish mysticism and avant-garde experimentation, Agam’s work invites participation, challenges perception, and seeks to express dimensions that cannot be captured in static form.

Extremely Rare Yaacov Agam Designs for the 1983 Israeli Independence Day poster

In these rare works—designs for the 1983 Israeli Independence Day competition—Agam channels his lifelong artistic mission into a national symbol. These works merge geometric abstraction with layers of spiritual and cultural significance. The vibrant color fields and structured motion speak to Israel’s complexity: a young state shaped by history, driven by ideals, and always in flux.

Since the founding of the State of Israel, the Ministry of Education has held an annual design competition to create the official poster commemorating Israel’s Independence Day. This tradition has brought together the country’s most prominent artists to visually express the spirit of the nation. The winning design becomes iconic, widely distributed, and symbolically resonant—reflecting not only a moment in time but the evolving identity of the state itself.

This selection of Israeli posters from our collection is a playful blend of charm, humor, and meaningful historical representation. They vividly reflect the Jewish and Israeli story through key events and symbols. Their captivating design effortlessly grabs children’s attention, making it easy to share essential knowledge about the Hebrew language and Israel’s rich heritage.

Having showcased these posters in exhibitions around the world, we’ve seen firsthand the profound impact of introducing Israel’s story to the next generation of Jewish children. The magic of these posters lies in how they spark curiosity and inspire conversations, creating a deeper, more personal connection to Israel itself

Israeli Summer: 1960s Campaign Posters for Water Conservation – Environmental Posters from Israel’s Early Years

In the 1960s, Israel’s government and public information offices launched nationwide campaigns to promote water conservation, responding to recurring droughts and the country’s heavy reliance on limited natural resources.

These efforts laid the foundation for a cultural shift: saving water wasn’t just for times of crisis, but a daily habit. Posters and slogans appeared in the streets, schools, newspapers, and public institutions, with powerful messages, iconic design, and a simple, everyday approach—including the later iconic slogan, “Israel is drying up.”

Alongside these public campaigns, Israel developed breakthrough technologies like drip irrigation and large-scale desalination. Together, these early efforts reshaped the country’s unique environmental efforts and its relationship with water innovation, positioning Israel as a global leader in the field.

Today, Israel stands at the forefront of sustainable water solutions worldwide—a testament to decades of vision, resilience, and creativity. These posters remind us of the importance of continuing to support and celebrate Israeli innovation and ingenuity.

The Farkash Gallery wishes you a refreshing and cool summer!

The Israeli Air Force has long stood as one of the country’s most important shields, defending Israel’s skies with unmatched precision. From the Iron Dome to elite pilots, the Israeli AF embodies national pride and unwavering readiness. This collection of vintage Israeli Air Force posters pays tribute to their mission and the countless sacrifices made in their service.

“The Best Ones for the Pilot Course” 1961 | Designed by the Shamir Brothers | For Israel’s 14th Independence Day

One of the most iconic slogans in Israeli military history, “The Best Ones for the Pilot Course” was coined in 1960 by Air Force publicist Moshe (Fumi) Hadar. At the time, few aspired to become pilots. Then-IAF Commander Ezer Weizman took the slogan to heart—personally visiting schools to persuade young recruits to join and stay.

The slogan marked a cultural shift, elevating the pilot’s role from technician to national hero—from a function to a calling.

Commissioned for Israel’s 14th Independence Day (May 1962), the recruitment poster was created by the Shamir Brothers, icons of early Israeli graphic design. Their bold, modernist aesthetic helped define the young state’s visual identity. At its center is a powerful photograph by Shabtai Gilboa, showing four pilots gazing skyward—symbols of determination, courage, and pride.

The impact was immediate. Inspired by the message, young Israelis rushed to apply. The pilot course became the IDF’s most prestigious and competitive track—and remains so today. The slogan itself entered the national lexicon.

We salute the Israeli Air Force—and send strength, safety, and clear skies to all who serve.

As Israel faces another security challenge, we look back on a moment of effort, resilience, and national purpose. We salute our soldiers and wish them and all Israeli citizens safety and strength

In the lead-up to the 1956 Sinai War, Israel found itself under growing military and diplomatic pressure. By 1955, reports surfaced of a major arms deal between Czechoslovakia and Egypt, and the urgent need to arm the Israel Defense Forces grew. With traditional arms suppliers closing their doors, Israel turned inward to its people and collective resources.

In an extraordinary call to action, the government appealed to citizens to help fund the arming. Thus was born Keren HaMagen (the Defense Fund war bond), mobilizing communities across the country to raise money for national defense.

Keren HaMagen had its roots in earlier fundraising efforts from the pre-state Yishuv period. These included the Kofer HaYishuv, a security tax created during the Arab Revolt of 1936–1939, and the Mobilization Campaign, launched during World War II to support enlistment and defense efforts.

Keren HaMagen (The Defense Fund) received broad public support. Its fundraising activities not only provided financial resources but also significantly boosted national morale and fostered a powerful sense of unity in the face of existential threats. Social organizations, municipalities, and institutions actively participated in the campaign.

Though Keren HaMagen ceased operations after the 1956 Sinai War, its legacy remains a powerful reminder: in moments of national need, the Israeli spirit rises together. We salute our soldiers and wish safety and strength to all Israeli citizens.

Related Posters

“The British Mandate – From Beginning to End”

On May 15, 1948—the very day the British Mandate officially ended—a remarkable and extremely rare edition of Yediot Maariv was published. This four-page special issue captures three formative decades and key moments in the Jewish people’s struggle for sovereignty and the birth of the State of Israel.

“They Promised – We Held – They Violated – They were expelled in Disgrace”

This powerful sequence of headlines, appearing throughout the issue, reflects the charged emotions of the time and the collective memory of the Jewish people emerging from Mandate rule to an independent state

Originally published as Yediot Maariv, this issue marked a brief transitional moment in Israeli journalism. It was produced by a group of editors who split from Yediot Aharonot, led by Dr. Azriel Carlebach and Ezra Danin, founding figures in modern Israeli media. Shortly after, the paper would take on its new and enduring name: Maariv.

Today, this historic May 15, 1948 issue stands as a rare and significant document—a testament to both the Zionist vision and the critical role of the Hebrew press in shaping Israel’s story.

As we celebrate Shavuot this week—one of the biblically ordained Three Pilgrimage Festivals—we’ve curated a collection of vintage Shavuot posters and advertisements revolving around beloved Shavuot traditions: dairy products, fruit, and agriculture.

Known by various names, including Shavuot, Bikurim (First Fruits), and Matan Torah (the Giving of the Torah), this festival holds a unique place in the Jewish calendar. It marked the culmination of the grain harvest and the ceremonial bringing of first fruits to the Temple in Jerusalem.

In the first formative decades of the Jewish state, Shavuot became a powerful symbol of national rebirth. The holiday was celebrated with decorative parades and displays of freshly harvested crops. Children dressed in white carried baskets of fruits and flowers, reenacting the ancient offering of bikurim. These celebrations were a statement of the revival of the land.

Dairy products also took center stage, echoing the biblical phrase describing Israel as a “Land flowing with milk and honey.” Posters from the era proudly promoted Israeli products—part of a broader effort to build a self-sufficient agricultural economy and culture.

Shavuot during these decades became a civic celebration of revival, labor, land, and Israeli Jewish identity.

Wishing you a joyful and meaningful Shavuot!