The Finish Line by Oliver C. Ressler A.W.S. Philadelphia Art Expo Poster

This item is a large-format offset lithographic commemorative art poster titled "The Finish Line" by artist Oliver C. Ressler, A.W.S. The primary image depicts a scenic watercolor style painting of rowers in scull boats on a river, likely the Schuylkill River in Philadelphia, passing under a massive stone masonry arched railway bridge. A freight train with blue and red shipping containers is seen crossing the bridge. The bridge features numbered arches, a signature architectural detail. The color palette consists of muted blues, purples, greys, and earthy tones, characteristic of Ressler's watercolor technique. Below the artwork, modern typography mentions a 'DELPHIA ART EXPO' and references the 'Hospital for Children', dated '1985, Adam's Mark'. The poster is professionally mounted behind glass in a dark metallic green or grey frame with a white border integrated into the print design. It signifies a specific regional artistic event from the mid-1980s. The condition appears fair with some slight rippling visible in the center of the print under the glass, suggesting possible humidity expansion or mounting issues. There are no obvious sharp tears or significant fading visible from this angle. The piece represents a fusion of sporting art, urban transport scenery, and local Philadelphia history.

I have examined the digital representation of the 1985 Philadelphia Art Expo commemorative poster titled 'The Finish Line' by Oliver C. Ressler. This lithographic print portrays a classic Boathouse Row scene under the Columbia Railroad Bridge. Based on visual inspection, the piece is in fair condition. I observe noticeable rippling or 'cockling' of the paper substrate center-left, which suggests moisture absorption or stress from a tight mounting process. While the colors appear stable, this structural distortion negatively impacts the secondary market value. Authenticity is assessed as a mass-produced offset lithograph; the typography and credits confirm its origin as a commercial event poster rather than a fine art limited edition. The market for mid-1980s regional exhibition posters is currently soft, primarily driven by decorative local interest rather than investment-grade collecting. Comparable examples of Ressler’s Philadelphia-themed prints typically sell within the double-digit to low triple-digit range depending on frame quality. The dark metallic frame adds some utility value, though the condition of the paper remains the primary detractor. Limitations: This appraisal is based solely on digital images. A physical inspection is required to check for hidden foxing, acid damage from the backing board, or adhesive staining. Verification of whether the artist’s signature is plate-signed or hand-signed would also require close-up examination under magnification to determine if a premium is warranted. Provenance documentation or a gallery receipt from 1985 would further solidify its history but likely not significantly alter the valuation of this specific medium.