The Origin of Posterally
Our story began in the early ’90s with a deep admiration for Indian cinema and its forgotten poster artists. In 2001, that passion took shape as Heritage India — a small venture collecting original Bollywood posters from across India’s towns and forgotten cinemas. By 2019, to meet growing global demand and reach art lovers beyond borders, we rebranded as Posterally Studio — a new name, but the same commitment to authenticity, preservation, and storytelling.
Our Purpose
We exist to revive and protect the dying art form of Bollywood poster-making, once celebrated on walls across Indian cities, now a rare collectible treasure. Each poster we offer is a piece of India’s cinematic and artistic history, crafted by hand, often one-of-a-kind, and increasingly impossible to replace.
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Late Navin Anand: A Guardian of Bollywood’s Visual Heritage
The legacy of Late Navin Anand lives on through one of the most remarkable private collections of vintage Bollywood posters ever assembled. A passionate collector, historian at heart, and quiet custodian of Indian cinema’s visual identity, Navin Anand
dedicated over two decades of his life to preserving an art form that was fading from public memory — the hand-painted Bollywood poster.
What began nearly 20 years ago with his first acquisitions — Fearless Nadia, Hunterwali, and Atom Bomb — soon became a lifelong mission. With deep respect for the artists,
printmakers, and stories behind each poster, Anand built a collection of over 2,000 rare, original posters, spanning decades of Indian cinematic history.
Among the crown jewels of his collection were posters of iconic films such as Mughal-e-Azam, Barsaat Ki Raat, Mother India, Sahib Bibi Aur Ghulam, Dahej, Guide, and Bahu Begum — many of which are now nearly impossible to find. His love for Raj
Kapoor, in particular, was evident in his cherished set of hand-painted Kapoor posters.
“I only collect posters till the late 70s — that’s
when the art was dying,” he once said. For him, these posters were more than memorabilia. They were artefacts of a cultural era, preserved not for sale but for sentiment. Despite soaring market values and increasing demand, he chose to part with only those duplicates he owned — keeping the rest like one would keep family.
To him, every poster was personal. Once a month, he would take them out, study them, and reflect — like a proud parent revisiting old memories.
Late Navin Anand’s collection is not just about cinema. It is about India’s changing aesthetics, lost artistry, and the power of nostalgia. His devotion ensured that this piece of history was not forgotten, but treasured — by current generations and those to come.
He may no longer be with us, but through every poster he preserved, his passion continues to inspire.
