PRESENTS
AUCTION: SUNDAY, MARCH 14, 2021 AT 11 AM VIEWING: FEB 26 - MARCH 13 (DAILY 11 - 6 ) TO BE HELD LIVE AND ONLINE AT
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Jack Rennert - License 0797440 ISBN 978-1-929530-68-7
OUR NEXT SALE We are pleased to announce that the PAI-LXXXIV sale will be held on Tuesday, July 20, 2021. Consignments are accepted until April 1, 2021.
©2021 Poster Auctions International, Inc. All rights reserved. Printed in the United States of America.
TABLE OF CONTENTS WINTER SPORTS.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1-30
MELE & ITALY
.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
31-45
WAR & PROPAGANDA . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 46A-63
SHIPS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 64-80
ANONYMOUS
LOT 118
HAM
LOT 153
COUDON
LOT 300
AVIATION . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 81-105
AIR INDIA / INDIA . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 106-117
BICYCLES . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 118-146
AUTOMOBILES . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 147-161
CIRCUS & WILD WEST . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 162-172
SALON DES CENT . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 173-178
JOSEPHINE BAKER . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 179-181
INTERNATIONAL POSTERS A-Z . . . . . . . . . . . 182-493
TABLE OF CONTENTS CONTINUED
LEONETTO CAPPIELLO.. . . . . . . . . . 10, 34, 152, 237-273
A.M. CASSANDRE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 278-281
JULES CHÉRET . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 282-288
PAUL COLIN . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 180, 293-299
HOHLWEIN
LOT 352 ALPHONSE MUCHA.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 383-406
HENRI DE TOULOUSE-LAUTREC . . . . . . . . . . . . . . . . . 463-474
BOOKS & PERIODICALS . . . . . . . . . . . . . . . . . . . . . . . . . . . . 494-497
SELECTED INDEX.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . PAGE 207
BIBLIOGRAPHY . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . PAGE 208 RAGAN
LOT 441
CONDITIONS OF SALE . . . . . . . . . . . . . . . . . . . . . . . . . . . . PAGE 213
ABSENTEE BID FORM . . . . . . . . . . . . . . . . . . . . . . . . . . . . . PAGE 215
BIDDING TIPS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . PAGE 216
The front cover is a detail of lot 6, Winter Sports in the French Alps by Roger Broders. Page 1 is a detail of lot 403, Sixth Sokol Festival by Alphonse Mucha.
TOUSSAINT
LOT 475
Page 216 is a detail of lot 447, Idene by Viktor Rutz.
WINTER SPORTS
1 1. Palace Hotel / St. Moritz. 1920. Artist: Emil Cardinaux (1877-1936) 35 3⁄4 x 50 in./90.8 x 127 cm Wolfsberg, Zürich Cond A. Ref: Cardinaux, 68; Schweizer Hotel, 57; Wobmann, 43; Margadant, 250; Plakat Schweiz, p. 34; Timeless Images, 149; Voyage, p. 58; PAI-LXIX, 279 This is one of Cardinaux’s best and most evocative posters. It recalls childhood memories of snowy escapes and family photographs from vacations past. The main purpose of the poster—the promotion of St. Moritz as a winter sports hot spot—is left to the background. Instead, an elegantly bundled lady is the focus, her party deep in lazy chitchat while skaters glide by their chairs. Cardinaux doesn’t need to overstate the Alps’ ideal climate for wintry sports—instead, he allows us to luxuriate in a relaxing getaway. Est: $8,000-$10,000.
WINTER SPORTS
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2. Klosters / 14. Grosses Ski-Rennen. 1919. Artist: Carl Moos (1878-1959)
3. Kemm & Cie. 1916. Artist: Carl Moos (1878-1959)
35 x 49 5⁄8 in./89 x 126 cm Gebr. Fretz, Zürich Cond A-/Unobtrusive fold. Framed. Ref: Swiss Winter Posters, 50 (var); Affiches Sports d’Hiver, p. 79
34 3⁄4 x 50 1⁄ 8 in./88.3 x 127.3 cm Fretz Frères, Zürich Cond B+/Slight tears near top and bottom edges. Ref: Affiches Sports d’Hiver p. 198; Art/Skiing p. 80; Swiss Winter Posters, 19; Margadant, 330; Masters 1900, p. 190; PAI-LXXV, 157
“This dynamic and vivid poster, designed in architectural style, plunges the viewer into the midst of the race. Not only did it contribute towards the recognition of Alpine skiing, which had been gradually evolving over the years, but it depicted this type of sportsman—sometimes portrayed as being a little stiff—in a new light” (Swiss Winter Posters, p. 41). Est: $2,500-$3,000.
If it’s warm and fit for the skiing competitor, it’ll most certainly do for the businessman-in-town: the Swiss clothier wraps this ad up in sport, as the Alps surround and protect the country from the crucible of World War I raging without. Est: $2,500-$3,000.
WINTER SPORTS
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4. Adelboden. 1928. Artist: Willy Trapp (1905-1984)
5. Engelberg Wintersport. 1905. Artist: Wilhelm Amrhein (1873-1926)
24 7⁄8 x 39 7⁄8 in./63.2 x 101.2 cm Wolfsberg, Zürich Cond A. Framed. Ref: Swiss Sport, 93; PAI-LIX, 636
28 1⁄4 x 40 3⁄4 in./71.7 x 103.4 cm Polyg Institute, Zürich Cond B+/Slight tears at edges. Ref: Swiss Winter Posters, 75; Plakat Schweiz, p. 177; PAI-XXI, 47 (var)
Trapp created a set of promotional posters for Adelboden: one celebrates its summer tennis scene, while this one showcases its wonderful skiing. The village of Adelboden dates back to the 15th century; today, it’s well known for the ski resort Adelboden-Lenk, which also serves as the host of the FIS Ski World Cup.
This railway poster advertises the wintry attractions of this central Swiss village. Although the trip from Luzern took 2.5 hours in 1899, travelers can now arrive in less than half the time—but the pleasures remain much the same. If bobsledding makes you as grim as these visitors, try one of the funiculars or cable cars that crisscross the fine selection of slopes. The mini-Matterhorn towering over the town is the permanently snow-covered peak of Mount Titlis. At 10,500 feet, it’s one of the region’s highest and most sensational ascents. Rare!
Est: $2,500-$3,000.
Est: $1,700-$2,000.
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WINTER SPORTS
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6. Winter Sports in the French Alps. ca. 1929. Artist: Roger Broders (1883-1953)
7. Val d’Aosta. 1927. Artist: Franz Lenhart (1898-1992)
8. Davos Parsenn-Bahn. ca. 1930. Artist: Willy Trapp (1905-1984)
25 x 39 7⁄8 in./63.5 x 101.2 cm Imp. L. Serre, Paris Cond A. Framed. Ref: Broders, p. 73 (var); Broders Travel, p. 73; Montagne, p. 224 (var); Affiches Sports d’Hiver, p. 98; Sportissimo, p. 159 (var); PAI-XLI, 121
23 3⁄8 x 39 in./59.5 x 99.2 cm Pizzi & Pizio, Milano Cond B+/Slight tears at edges. Framed. Ref: Art/Skiing, p. 73; Alps, p. 149; Publicità Montagna, p. 32; Affiches Sports d’Hiver, p. 120
24 3⁄4 x 39 3⁄4 in./62.8 x 101 cm Wolfsberg, Zürich Cond A. Framed.
The French-text version of this image reads “To the Col de Voza via St. Gervais, Mont-Blanc Railroad.” This was evidently a day trip: the chic-looking skiers are coming off the train at this “station” of snow at the very foot of the slopes, toting the only required luggage for the outing: a pair of skis. The colorful sweaters against the white landscape evoke a crisp and exhilarating Alpine day. Est: $5,000-$6,000.
Exhibiting an enormous jump into midair, this skier appears more grandiose than the iconic Matterhorn mountain, which rises up to 14,692 feet at its highest point. This iconic peak is located in the southern Aosta Valley, which straddles the border between Switzerland and Italy. “Within reasonable reach of Turin, the Aosta Valley is the main route from Italy through to Switzerland. Branching off this are many resorts, with varied levels of skiing, in areas of outstanding natural beauty” (Art/Skiing, p. 71). Est: $800-$1,000.
In Switzerland’s “cradle of skiing,” a cherry red trolley connects Davos to the more remote Alpine region of Parsenn. Trapp envisions the two destinations as the natural essences most key to the sport: sun, snow, and slopes. The geometric sun, pulsating in deep orange and lemon yellow, provides a hypnotic focal point to this graphic image. Est: $1,200-$1,500.
WINTER SPORTS
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9. Iradia. Artist: Anonymous
10. Superbagnères-Luchon. 1929. Artist: Leonetto Cappiello (1875-1942)
30 1⁄2 x 46 in./77.5 x 116.8 cm Imp. de la Méditerranée Cond A. Ref: PAI-XL, 74
24 1⁄2 x 39 1⁄4 in./62 x 99.6 cm Imp. Devambez, Paris Cond A-/Slight stains at edges. Ref: Cappiello/Rennert, 472; Chemins de Fer, 67; Montagne, p. 43; Alpes II, p. 62; PAI-LXXXI, 238
Though the notion may seem a bit absurd to the contemporary mind, it’s important to remember that until the end of the 1930s, radioactivity was seen as a miracle panacea. Thermal spas praised the radioactivity of their water and the pharmaceutical industry had products on the market containing radium to combat bronchitis, ease digestion, and stave off fatigue. So why not harness the power of the atom to heat things up in the thermal underwear department? And seeing as the Radioactive Undergarments of the dubious Doctor Bauray no longer are available to the consumer, it’s impossible to say with what the Iradia product was, well, irradiated with. The promotion, however, is fantastic, with just the right combination of sci-fi chutzpah blended with promotional overstatement. Est: $1,400-$1,700.
“Bagnères-de-Luchon is a year-round resort in the Pyrenées, and the high-altitude Superbagnères is where serious skiers converge. To entice winter throngs, Cappiello gives the public a picture of young skiers having fun on the slopes. Their colorful attire adds to the wholesome interest that the area evokes” (Cappiello/Rennert, p. 292). Est: $5,000-$6,000.
WINTER SPORTS
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11. Mont-Genevre / Sports d’Hiver. ca. 1930. Artist: Paul Brusset (1914-1985)
12. Parsenn Klosters. 1934. Artist: Hugo Laubi (1888-1959)
24 1⁄2 x 39 in./62.3 x 99 cm Impressions France, Paris Cond A. Ref: Montagne, p. 165; Alpes II, p. 56; Affiches Sports d’Hiver, p. 151; PAI-LI, 138
25 x 39 7⁄ 8 in./63.5 x 101.2 cm Gebr. Fretz, Zürich Cond A. Framed.
Separating France from Italy, the village of Mont-Genevre boasts half a year of snow, as noted at the bottom of this poster. Claiming to be one of France’s first ski resorts, it has a rich history of top-of-the-line winter activities, and at one point was a fortified area before becoming more welcoming of tourists. Est: $1,200-$1,500.
Nestled between Davos and Klosters, Parsenn is home to wide slopes with long descents, stylish mountain lodges, and the oldest ski race in Switzerland. Here, three skiers whoosh down the perfectly snow covered slopes as they approach the next Alpine town. Est: $1,200-$1,500.
13. Olympic Winter Games / GarmischPartenkirchen. 1936. Artist: Ludwig Hohlwein (1874-1949) 24 3⁄4 x 39 3⁄8 in./63 x 100 cm Cond A. Framed. Ref (all var but PAI): Olympics, p. 49; Hohlwein/Stuttgart, 411; Hohlwein, p. 256; PAI-XLI, 451 This poster for the 1936 Winter Games, held at Garmisch-Partenkirchen, was designed by Hohlwein in 1934 and distributed throughout the world the following year in 13 languages (this is the English version). Deceptively simple, the image shows a skier hailing an unseen friend. The gesture makes a forceful statement and the Olympics emblem does the rest. Est: $2,000-$2,500.
WINTER SPORTS
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16 14. Flexible Flyer / Snowhaven Altamont, N.Y. Artist: Sascha Maurer (1897-1961) 23 3⁄4 x 37 1⁄4 in./60.3 x 94.7 cm Cond A. Maurer’s gleeful skier promotes Snowhaven in Altamont, New York—a village whose name appropriately means “high mountain.” This 1940s resort was one of the earliest in the state. Est: $1,200-$1,500.
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15. Flexible Flyer / Snowhaven. Artist: Sascha Maurer (1897-1961)
16. Flexible Flyer / Splitkein. Artist: Sascha Maurer (1897-1961)
17. Ski Lake Placid. Artist: Sascha Maurer (1897-1961)
21 1⁄4 x 37 1⁄4 in./54 x 94.7 cm Cond A. Ref (both var): Art/Skiing, p. 121; PAI-LXV, 387
23 1⁄8 x 36 3⁄4 in./58.7 x 93.3 cm Cond A-/Slight tear in upper left corner. Framed. Ref: Art/Skiing, p. 111; Alpes, p. 97; Alpes II, p. 20; PAI-LXXVI, 339
17 x 25 3⁄8 in./43.2 x 64.3 cm Ullman Co. Cond A-/Slight tears at edges. Ref: Art/Skiing, p. 109; Weill/Art Deco, p. 115; Voyage, p. 62
A brand of ski equipment is advertised with a well-conceived design which uses the sleek, Hollywood-influenced style of enhanced realism that came into vogue during the 1940s. Maurer was best known for a series of posters he created for the New Haven Railroad and other New England clients.
Maurer brilliantly combines the thrill of whooshing down a snowy slope with the graphic form of ski trails that form the word “Ski.” It’s simple, concise, and a persuasive invitation to visit New York’s Lake Placid in the wintertime.
Maurer once again advertises the New York ski resort of Snowhaven with a grinning blonde hitting the slopes; she was so endearing that she was used for various wintry destinations. Very little information exists on this resort, leading us to believe that these posters are about the only evidence of its previous existence. Est: $1,200-$1,500.
Est: $1,400-$1,700.
Est: $1,700-$2,000.
WINTER SPORTS
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18. New Haven R.R. / Ski. ca. 1940. Artist: Sascha Maurer (1897-1961)
20. Braunwald. ca. 1942. Artist: Herbert Leupin (1916-1999)
27 5⁄8 x 41 3⁄8 in./70 x 105 cm Plampin Litho. Cond A. Framed. Ref: Affiches Sports d’Hiver, p. 171; PAI-XXXIII, 440
35 3⁄8 x 50 1⁄8 in./89.8 x 127.2 cm Ringier, Zofingen Cond A. Framed. Ref: Leupin, p. 79
In its heyday, the New York, New Haven, & Hartford Railroad’s main line sizzled with famous trains shuttling tycoons and business leaders between Boston’s South Station and New York City’s Grand Central Terminal. In the 1930s, the New Haven ordered a fleet of steam locomotives of the Hudson type (four lead wheels, six drivers, and four trailing wheels). These massive engines took advantage of the latest in steam technology, providing increased tractive effort and horsepower for more rapid acceleration and faster speed. Not that any of this would have mattered to this courteously overjoyed lad making his way towards the slopes, but he certainly would have appreciated the fairly instant gratification the fleet provided.
Leupin employs a clever bit of visually trickery: a pair of skis act as an easel to support a lithographic painting of Braunwald, a car-free resort village in Switzerland’s Glarus Süd municipality. Access to the town is only accessible by a funicular railway from the village of Linthal in the valley below. But as the municipality with the highest annual snowfall in the country, skiers are well rewarded after an unconventional journey.
Est: $1,400-$1,700.
19. Plaisirs de Neige / P.O. Midi. 1936. Artist: Roland Hugon (1911-?) 24 x 38 5⁄ 8 in./61 x 98 cm Editions Paul Martial, Paris Cond A. Framed. Ref: Montagne, p. 71; PAI-VII, 490 Hugon creates a novel and imaginative approach to railroad poster art with a few simple elements: the green side of a train car, a pair of skis, and a reflection of the crisp winter landscape in the window. Est: $1,000-$1,200.
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Est: $1,200-$1,500.
21. Südbahn Hotel. Artist: Hermann Kosel (1896-1985) 23 3⁄4 x 36 3⁄4 in./60.4 x 93.2 cm Christoph Reisser’s Sohn, Wien Cond A. Ref: PAI-XLII, 337 The flattened perspective and isolated chill of Kosel’s winter revelry lends additional grandeur to the already resplendent Südbahn Hotel and its shimmering Semmering environs. This romantic pass, with its steep limestone cliffs, craggy rocks, broad ridges, and wide valleys gained significance through the centuries as a first-class place to spend the night, even though it remained a difficult destination to reach, due primarily to the gradients of the old pass road. However, the construction of the railroad created an explosive influx of tourism that changed the face of the region forever. The daring pioneer of all mountain railways, the Semmering Railway still enjoys the admiration of the world. With sixteen several-story viaducts, fifteen tunnels, 142 vertical structures, 129 bridges, artificial rock faces, and supporting walls, it was amazingly built over a construction period of only six years. In 1882, the luxurious Südbahnhotel was built, and though it saw some rough transitions during the World Wars, the hotel reopened with all the amenities of its former magnificence in 1948. Kosel also created a design for the summer pleasures of this hotel; see Voyages, p. 63. Est: $1,200-$1,500.
WINTER SPORTS
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22 22. Sun Valley. ca. 1940. Artist: Dwight Clark Shepler (1905-1974)
23. Dartmouth Carnival / “Schneeweissen.” 1942. Artist: Anonymous
24 7⁄8 x 37 1⁄4 in./63.2 x 94.5 cm Cond A. Framed. Ref: Art/Skiing, p. 124; PAI-LXXXVI, 417
24 x 38 1⁄8 in./61 x 96.8 cm Buck Printing, Boston Cond A. Ref: PAI-XXXIX, 260
Skiers take a breather at the Round House atop Baldy Mountain in Idaho’s world famous Sun Valley. With little wind and an elevation of 5,750 feet, it quickly became a haven for skiers of all difficulty levels. The lifts were opened in the 1939-1940 season. Est: $2,500-$3,000.
Dubbed in 1919 as “the Mardi Gras of the North” by National Geographic magazine, the Dartmouth Winter Carnival is the oldest collegiate winter festival in the United States. Founded in 1910 by members of the Dartmouth Outing Club who wished to promote the then-fledgling pastime of recreational skiing, participants from nearby colleges trekked to Hanover, New Hampshire, attempting to defeat Dartmouth men at skiing and snow-shoeing events. It didn’t take long for the Dartmouth event to develop into the most celebrated college weekend in the nation. This airborne picture of Ice Capades loveliness proves that the appreciation of beauty in the wintertime chill was just as important to the event’s organizers as its competitive edge. This “Crystal Fairyland” production of “Snow White”—
24 created by the initially-identified “D. S.”—gracefully informs the public that fireworks, ice sculptures, and music will also be part of a spectacular evening of entertainment—all for the admission price of one dollar. Est: $1,200-$1,500.
24. Löw / Spini Vorlage. ca. 1945. Artist: Anonymous 35 1⁄4 x 49 7⁄8 in./89.5 x 126.6 cm Gebr. Fretz A.G., Zürich Cond A-/Slight tears at top edge. Framed. This anonymous artist promotes a crucial element of the skier’s wardrobe: practical boots. Seen in still life and in action are the latest offerings from Oberaach’s Löw shoe factory, which emerged in 1904 out of a tannery founded in 1823. The company was well-known throughout Switzerland and heralded for its high-quality workmanship and elegant design. Est: $1,200-$1,500.
WINTER SPORTS
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25. Switzerland Invites You. 1948. Artist: Alois Carigiet (1902-1985)
26. Mariazell. Artist: L. Mitschek
27. Sports d’Hiver / France. 1954. Artist: Bernard Villemot (1911-1989)
24 3⁄4 x 40 1⁄2 in./62.6 x 102.8 cm Eidenbenz-Seitz, Gall Cond A. Ref (all var): Olympics, p. 57; Swiss Winter Posters, 69; PAI-LXX, 270
24 3⁄8 x 36 3⁄4 in./62 x 93.5 cm Christoph Reissers, Sohne, Wien Cond A. Framed.
23 7⁄8 x 38 1⁄2 in./60.6 x 97.8 cm Imp. S. A. Courbet, Paris Cond A. Framed. Ref: Bon Salle, 260; Art/Skiing, p. 15; Villemot, p. 58; Voyage, p. 13; Montagne, p. 13; Affiches Sports d’Hiver, p. 212; PAI-LXXX, 511
Originally designed for the 1948 Winter Olympics in St. Moritz, this joyous image resounds just as well in a more generalized invitation to enjoy Switzerland’s winter sports. The skier, rendered in bold crayon strokes, invokes victory beneath the Swiss flag from atop a mountain in the Alps. Est: $1,700-$2,000.
Located in the southeastern state of Styria, Mariazell is an Austrian hub for skiers. The Bürgeralpe ski resort tops out at 1,267 meters above sea level; eight different runs offer plenty of difficulty levels to choose from. And what better way to take it all in than by cable car? This stylish trio exemplifies the joy of soaring up high to take in the ethereal Alpine views. Est: $1,000-$1,200.
A cross-hatching of skiers against a glacier-blue wintery landscape is so inviting that the promotional text in this poster almost seems superfluous. Of course we want to go to the French Alps for skiing this winter! Est: $2,000-$2,500.
WINTER SPORTS
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28. Ski Colorado. ca. 1957. Artist: Red Gates 28 1⁄8 x 41 1⁄4 in./71.4 x 105 cm Cond A. Ref: PAI-XLVII, 259 In the contiguous lower-forty-eight United States, there’s no place like Colorado when it comes to skiing. As of today, the state boasts thirteen world-class resorts, a total of 41,648 feet of vertical rise, 29,460 acres of skiable terrain, 4,241 inches of annual snowfall and nearly 4,000 exclusive lodging options. It’s literally a winter wonderland for ski enthusiasts. And that’s not even taking into consideration the magnificent Rocky Mountains, which provide some of the most breathtaking scenery in the West. Gates’ stained-glass skier— seriously, wouldn’t you feel sanctified if you could do what you love best in one of the most magnificent settings possible?—hot-dogs his way through a Rocky Mountain high in a poster published by the Colorado Winter Sports Committee. And the poster wasn’t a singlepurpose design either—as much as it promoted skiing, it also publicized a Gates book of the same name that artistically celebrated Colorado’s on-ski lifestyle as well. Est: $1,400-$1,700.
29. Ski Colorado. ca. 1955. Artist: Red Gates 28 x 41 5⁄8 in./71.4 x 105.7 cm Cond A. Gates gives us a whopping dose of color in this Mid-century Modern image to advertise skiing in Colorado. The fuchsia puffer, rendered as an abstract stencil-like design, provides all the gusto and glee we need. Est: $1,200-$1,500.
30. Sun Valley Idaho. Artist: C. Peet 25 x 38 in./63.3 x 96.5 cm Cond A. Ref: Art/Skiing, p. 136 “All that Sun Valley had to offer is shown in this montage. The ‘Valley’ attracted legendary ice-skater Sonja Henje of Norway, winner of 10 world championships and three Olympic titles. She became a star in Hollywood, and filmed ‘Sun Valley Serenade’ in 1941. Her ice spectaculars increased the popularity of skating” (Art/Skiing, p. 137). Est: $1,000-$1,200.
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MELE & ITALY
31 In 1875, brothers Emiddio and Alfredo Mele opened a small clothing store in Naples. With hard work and a policy of selling practical clothes at reasonable prices, their enterprise prospered, and in 1889 they opened a huge block-wide emporium patterned after American department stores. The Meles, particularly Emiddio, introduced modern merchandising techniques, and the store became a model for other enterprises. In their quest to make the average Neopolitan citizen fashion conscious, they launched an all-out publicity campaign which was centered on the most effective medium of communication at the time: the poster. They secured, first of all, the services of the finest Italian printing and lithography shop, Ricordi of Milan, which attracted their attention after scoring spectacularly well at the first International
Poster Biennale in Venice in 1895. Starting the following year, Ricordi printed virtually all Mele posters for the next two decades. Next, the Meles hired the top posterists active in Italy at the time: Dudovich, Villa, Metlicovitz, Laskoff, Terzi, Mauzan, Malerbe, and Sacchetti, among others; they even went out of their way to get Cappiello, an expatriate working in Paris, to contribute at least a handful of his brilliant designs from abroad. The message they were asked to convey was that the Mele clothes, although affordable for everyone, could be worn with pride in any circumstances. The artists responded magnificently. The elegant people who inhabit all Mele posters, with their seductive looks, well matched and delicately colored outfits, and an overall poise normally associated with the upper class,
32 became the role models of a new bourgeois awareness. Placed carefully in suitable ambiences—the salon, the terrazzo, the exquisitely maintained garden, the yacht, or the country club—these figures convinced the ordinary Italian housewife that she, too, can enjoy the good life, starting at the very least with the latest fashions from Mele. Unfortunately, Italy was among the most negligent countries when it comes to preserving poster art, and the Mele oeuvre, so important in channeling Italian popular tastes toward appreciation of fashions, is today unbelievably rare. The same could be said for posters from the other giants of Italian Art Nouveau. But the designs that have withstood the test of time remain beacons of this era.
MELE & ITALY
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31. Mele & Ci. / Abiti per Uomo. 1899. Artist: Aleardo Villa (1865-1906)
33. Mele & Ci. / Abiti per Bambini. 1900. Artist: Aleardo Villa (1865-1906)
58 5⁄8 x 98 1⁄ 8 in./149 x 249.7 cm G. Ricordi, Milano Cond B-/Tears at folds. Ref: Bolaffi/Mele, M32; Mele, 69
49 1⁄4 x 103 1⁄8 in./125.7 x 262 cm G. Ricordi, Milano Cond B/Tears at folds. Ref: Bolaffi/Mele, M19; Mele, cat. 5; Manifesti Italiani, p. 2; PAI-LII, 351
“The advertising of men’s clothes is rather difficult, and therefore the designer had to use all his imaginative skills. Here it is the ‘nocturnal’ effect that attracts, together with the sensation of an exquisitely metropolitan crowd. The chiaroscuro is made essential and almost nonexistent; the evidence of the figures is entrusted to the luminous profiles against the light” (Mele, p. 212). Notice the painterly expressions of rain puddles shimmering in the city lights and Villa’s incorporation of the Mele logo in the street lamps. This is a three-sheet poster—and rare!
Although easily confused for a bicycle poster, this image is actually promoting Mele’s children’s clothing department—and the two models could not be more lovable. While unsigned, we know that this three-sheet poster is by Villa, who joined Ricordi in 1895 and contributed many fine designs for Mele.
Est: $2,500-$3,000.
34. Mele / Novità per Signora. 1903. Artist: Leonetto Cappiello (1875-1942)
32. Mele / Massimo Buon Mercato. 1899. Artist: Aleardo Villa (1865-1906) 44 1⁄4 x 63 5⁄8 in./112.3 x 161.8 cm G. Ricordi, Milano Cond B+/Slight tears at folds. Ref: Bolaffi/Mele, M43; Mele, p. 36; Ricordi, 4; Masters 1900, p. 132 The posters for Mele often featured a central figure with a hypnotizing gaze; in this case, it is a dapper dandy who beckons our attention. In 1899, Il Mattino ran an article called “Egli vi guarda” (He Looks at You) that wrote: “Know well that ‘that man,’ sitting quietly on a wooden bench, leaning against a wall... this handsome young man with one leg leaning on the other, black mustache, ‘he’ has the air of doing nothing, of seeing nothing, of giving himself good weather, waiting for I don’t know who and I don’t know what, perhaps letting himself live, certainly. Do not trust me, you travelers! Well on your guard!... Wherever you stand, ‘that gentleman will guard you’” (Mele, p. 35). Est: $2,500-$3,000.
Est: $3,000-$4,000.
59 1⁄2 x 80 5⁄8 in./151 x 204.7 cm G. Ricordi, Milano Cond B/Slight tears at folds. Ref: Cappiello/Rennert, 28; Mele, 21; Bolaffi/Mele, M56; PAI-LIII, 343 One of the main selling points of the Mele department store was that the average woman could obtain high-fashion style for a relatively low dollar figure. Coined “bourgeois realism,” posters like this splendid two-sheet design by Cappiello showcase attainable glamour and elegance without making it seem pedestrian or cheap. Rare! Est: $8,000-$10,000.
MELE & ITALY
35. Mele & Ci. / Confezioni per Uomo. 1904. Artist: Leopoldo Metlicovitz (1868-1944) 58 3⁄4 x 81 1⁄8 in./149.2 x 206.6 cm G. Ricordi, Milano Cond B/Slight tears at folds. Ref: Bolaffi/Mele, M42; Mele, 9; Ricordi, 30; Masters 1900, p. 132; PAI-LIII, 347
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Aided by a short yet eager valet, the quintessential Mele gentleman is seen putting on his overcoat. Fully embodying all the ideals of middleclass snobbery, he appears confident and powerful, polished and pressed. Moreover, “The work presents elements of Modernism that contrast with the works of Metlicovitz both immediately before and after this date. In fact, the poster [already] demonstrates mature values of... flat decoration. The colors are used in an extremely new way, without intermediate shadings... The placement of all the lettering at the bottom is original, and except for the word Mele, its character is unique” (Mele, p.197). This is a two-sheet poster. Est: $4,000-$5,000.
36. Mele & Ci. / Cappelli Paglie. 1902. Artist: Franz Laskoff (François Laskowski, 1869-1921) 59 1⁄ 2 x 80 5⁄ 8 in./151.2 x 204.8 cm G. Ricordi, Milano Cond B/Tears at folds. Ref: Bolaffi/Mele, M39; Mele, 39; Masters 1900, p. 132; PAI-LIII, 352 Laskoff’s last poster for Mele advertises straw hats. His penchant for caricature is evident in the slightly exaggerated awestruck way in which the man regards the item of his choosing, while the text below emphasizes the value of shopping at the store. It is interesting to note that the only color used in this two-sheet poster is the yellow in the hat, making it the natural center of attention. Est: $4,000-$5,000.
37. Mele & Ci. / Mode Novità. 1910. Artist: Gian Emilio Malerba (1880-1926) 55 3⁄4 x 80 3⁄8 in./141.6 x 204.2 cm G. Ricordi, Milano Cond A-/Unobtrusive folds. Framed. Ref: Mele, 44; Manifesti Posters/Advertising, p. 126; PAI-LXXXII, 347 Three elegant creatures take a two-sheet stroll—two of them showing off their latest finery from the Mele department store, the third equally well coifed and wearing fur. Malerba designed a number of posters for Ricordi, including at least three for Mele. “This poster of 1910 is the best bearing the painter Malerba’s signature and certainly among the most interesting of the Mele posters” (Mele, p. 206).
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Est: $6,000-$8,000.
MELE & ITALY
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MELE & ITALY
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MELE & ITALY
41 38. Fleurs de Mousse. 1898. Artist: Leopoldo Metlicovitz (1868-1944) 31 x 43 in./78.7 x 109 cm Moullot, Marseille Cond B+/Slight tears at folds. Ref: Metlicovitz e Dudovich, 2; Ferrarotti, 71; Gold, 8; Masters 1900, p. 120; Ricordi, 154; PAI-LXXXI, 365 In one of the finest works by the prolific Metlicovitz, a French perfume is advertised with a nude sylph in a reverent pose, enraptured with the fragrance from a small vial which “is so potent that the artist imagines it attracts even butterflies” (Gold, p. 7). Est: $3,000-$3,500.
39. Iris. 1898. Artist: Adolfo Hohenstein (1854-1928) 37 3⁄8 x 108 3⁄4 in./94.8 x 275.6 cm G. Ricordi, Milano Cond B/Slight tears at folds. Ref: Weill, 138; Wember, 403; La Dolcissima, 40; Italia che Cambia, 307; Theaterplakate, 57; PAI-IV, 30 The Mascagni opera “Iris” takes place in Japan. Iris—the daughter of a blind man—is desired by two suitors, Osaka and Kyoto. Hohenstein depicts a scene at the end of the first act: Osaka, the wealthy man, arrives to court Iris by singing her a ballad. She listens, enraptured, and is covered with veils by three geisha fairies representing Beauty, Death, and the Vampire as seen here in the upper right corner. Under the cover of these veils, she is abducted by Osaka, who sets her up in a house of illicit pleasures, resulting in much drama and tragedy that ends with Iris throwing herself down a shaft and ultimately dying in a dreamlike, flower enshrouded state. “The theatrical
illusionism of the mature Hohenstein, his prestigious virtues in the manipulation of line and color, stand out fully in this poster, which for the artistic director of Casa Ricordi marks a decisive leap forward... a leap into the light: the sparkling and overwhelming light of the spotlighted scene, which here envelops Iris in a red glare, staining her fluctuating dress, in an omen of a bloody epilogue. Hohenstein... transforms the wavy and transverse lines of Iris’s dress and hair into a salient feature of the poster. It should be remembered that for Mascagni, Hohenstein also created four scenographic sketches in tempera or oil, 40 fashion sketches in tempera or watercolor, and nine tooling tables: all of which were used both for the Roman ‘prima’ and for the subsequent revival of the Scala, of which Hohenstein personally supervised the scenic realization” (La Dolcissima, p. 73). This is a two-sheet poster. Est: $3,500-$4,000.
40. P. Adamoli. ca. 1900. Artist: Amedeo Minardi 53 1⁄2 x 77 1⁄4 in./136 x 196 cm A. Marzi, Roma Cond B+/Slight tears, largely at seams. From a little-known artist and an obscure woodworking manufacturer comes this intense and evocative design recalling mythic legends and Bernini sculptures. Our goddess accompanies the artisan to promote P. Adamoli’s furniture, wood-turned sculpture, common and luxury fixtures, and complete apartment furnishings. It would appear that the designer of this poster was also the director of the company. This is a four-sheet poster —and rare! Est: $4,000-$5,000.
41. Prima Esposizione Internazionale d’Arte. 1902. Artist: Leonardo Bistolfi (1859-1933) 57 1⁄2 x 41 in./146 x 104 cm Lith. Doyen, Torino Cond A-/Unobtrusive folds. Ref: Livre de l’Affiche, 114; Menegazzi, 129; Wember, 136; Masters 1900, p. 125; Graphic Design/Taschen, p. 109; PAI-XIII, 100 This successful sculptor, who produced many public monuments—including one of Garibaldi—unfortunately created few posters. But when he did, it was a sight to behold. Here, in a decorative style clearly influenced by Metlicovitz and Hohenstein, Garibaldi presents angelic maidens frolicking in the fields, their diaphanous white gowns twirling around them. The reason for their celebration? The first International Exhibition of Modern and Decorative Arts held in Turin. Rare! Est: $8,000-$10,000.
MELE & ITALY
42 42. Wien-Venezia. Artist: Mario Borgoni (1869-1936) 55 3⁄4 x 38 1⁄2 in./141.7 x 98 cm Richter & C., Napoli Cond B+/Unobtrusive folds. Ref: PAI-XLII, 131 After attending Naples’ Institute of Fine Arts, Borgoni dedicated himself to lithographic production, collaborating with the Richter firm to create a remarkable number of posters. Working in many styles yet specializing in tourism posters, Borgoni frequently used the feminine figure to lure the viewer’s eyes to his designs. Another element to be found in his works is the use of a frame to open a window onto voluptuous landscapes. This is precisely the approach he takes to promote the Italian State Railway’s Pullman service from Vienna to Palermo and every stop in between. It’s certainly nice to know the train’s schedule, which is displayed at lower right, but all the knowledge in the world doesn’t hold a tourism candle to the buxom gypsy at center or the spectacular Italian panorama laid out just beyond her. Est: $2,000-$2,500.
43. Martini Vermouth. ca. 1955. Artist: Marcello Dudovich (1878-1962) 27 1⁄4 x 38 3⁄4 in./69 x 98.3 cm Tipografia Teatrale Torinese, Torino Cond A. Ref: Manifesti Posters/Eat & Drink, p. 202; Fête, p. 81; Martini & Rossi, p. 11 While lacking Dudovich’s characteristic signature, this design is most likely by that master of Italian Art Nouveau; he designed at least two posters for Martini & Rossi, both featuring an alluring leading lady. “Dudovich, a master of immediate and pleasant communication, almost always used the woman as a subject, aware of the attraction exercised by the female figure: his women were elegant, clean, with simple gestures, so as to arouse the attention of the female audience” (Martini & Rossi, p. 8). The original 1920 poster had the same image and text, but was a larger format (39 3⁄8 x 55 1⁄8 in./100 x 140 cm) than this ca. 1955 second edition. Est: $2,000-$2,500.
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MELE & ITALY
44 44. Italian Line Cruises. Artist: Marcello Dudovich (1878-1962)
45. Formitrol : 4 Drawings. 1932-1941. Artist: Aleardo Terzi (1870-1943)
25 3⁄8 x 39 in./64.5 x 99 cm F. Lli Pirovano, Milano Cond A-/Slight creases at edges.
Each approx.: 10 3⁄4 x 14 1⁄2 in./27.3 x 36.8 cm Ink drawings.
Dudovich has refined his classic aesthetic approach to create a sleek and clean Art Deco design for Italian Line Cruises. Using sculptural shadows, modeled forms, and luxurious Jazz Age apparel, his seafaring blonde evidences the delight of standing on the deck with the ocean breeze in your hair. Est: $1,700-$2,000.
Terzi elevates the cough lozenge advertisement out of the sphere of the mundane and into the realm of elegance. A colleague of such Italian masters as Dudovich and Hohenstein, Terzi also worked at Ricordi where he created a number of luscious Art Nouveau posters for brands like Mele. In these four ink drawings, we see his ornate aesthetic become both more refined and more Modern as the Jazz Age draws to a close. Est: $1,700-$2,000. (4)
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WAR & PROPAGANDA
46A
WAR & PROPAGANDA
46B
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46A. I Want You for U.S. Army. 1917. Artist: James Montgomery Flagg (1870-1960)
47. Help the Horse. 1918. Artist: Fortunino Matania (1881-1963)
30 x 40 1⁄8 in./76.2 x 102 cm Leslie-Judge Co., New York Cond A-/Slight creases in bottom text. Ref: Rawls, p. 13; Theofiles, 11; Darracott, p. 13; Le Coultre, p. 208; Flagg, p. 80; Imperial War Museum I, p. 27; PAI-LXXXII, 27
20 3⁄8 x 30 1⁄4 in./51.8 x 77 cm W.F. Powers Co., New York Cond A-/Unobtrusive folds. Ref: Rawls, 238; Theofiles, 288
Although Flagg was already a successful and prolific illustrator by the time World War I started, this poster was to become “his greatest public triumph.” He used himself as a model, and the work was “originally used on a Leslie’s Magazine cover in late 1916, and was quickly adopted by the Army when the war broke out. All told nearly 5 million were printed in both world wars” (Theofiles, p. 9). Est: $7,000-$9,000.
46B. You are Wanted by US Army. ca. 1917. Artist: K.M. Bara 27 7⁄8 x 41 7⁄8 in./71 x 106.2 cm Schmidt Litho., San Francisco Cond B+/Tears at edges. Ref: PAI-LXXII, 134 Adventure, pride, desire, and the power of a noble cause are evoked in this rare West Coast take on World War I recruitment. The demanding officer atop the white stallion may be Gen. John J. “Black Jack” Pershing, commander of the American Expeditionary Force. Est: $2,500-$3,000.
“World War I saw the collision of conventional nineteenth-century warfare with modern twenty-century military inventions; horses and bayonets were used alongside tanks and mustard gas. Horses were widely employed by both sides for cavalry as well as transport of soldiers, supplies, ambulances, and artillery. Animals fared no better than humans when exposed to artillery shells, bombs, and poisonous gases. The average horse survived only twenty days on the front. Britain supplied 1.2 million horses and mules to the war effort out of which 484,000 were killed. The American equine population suffered similar causalities, and in 1916 the American Humane Association formed the American Red Star Animal Relief to provide staff, medical equipment, and supplies to veterinary hospitals on the front. In May of 1918, the Relief published this poster as a fund-raiser. Based on a painting commissioned by the British horse relief organization, the Blue Cross Fund, the image was widely reproduced in Great Britain and America” (Boston Athenaeum Digital Collections). Est: $1,200-$1,500.
WAR & PROPAGANDA
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48 48. Warning! 1917. Artist: L. N. Britton (1858-1934)
49. Victory is a Question of Stamina. 1917. Artist: Harvey Dunn (1884-1952)
28 1⁄8 x 40 5⁄ 8 in./71.5 x 103.4 cm Latham, Long Island City, New York Cond B+/Slight tears at folds. Framed. Ref: Rawls, p. 180; Theofiles, C4; Looping the Loop, 75; PAI-XXI, 462
21 x 29 1⁄8 in./53.5 x 74 cm Latham Litho., Brooklyn Cond A-/Unobtrusive folds. Ref: Theofiles, 84; Rawls, p. 168
With the mastery of new technologies centering in Europe during the war, American aviation was not well-equipped to produce the enormous number of fighter planes the French were seeking. This made the production of each plane crucial, and vigilance in the workplace was vital. Britton’s depiction of the consequences is graphically powerful—and extremely rare. This is one of only five known copies. Est: $5,000-$6,000.
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“The War Department asked the Division [of Pictorial Publicity] to recommend eight artists to accompany the Army to Europe to document the fighting and the sacrifices of America’s doughboys. Among those chosen were Wallace Morgan and Harvey Dunn, whose work from the front was often used in the posters... This was the first time in any American war that colorful, patriotic posters were used to help win it, or that the fine arts were officially recognized for a role in achieving victory” (Rawls, p. 167-168). Here, Dunn’s experience on the front lines adds a palpable intensity to the message of providing “fuel” for fighters. Est: $1,000-$1,200.
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WAR & PROPAGANDA
50. Order Coal Now. 1917. Artist: Joseph C. Leyendecker (1874-1951) 20 x 29 3⁄8 in./50.8 x 74.7 cm Edwards & Deutsch, Chicago Cond A-/Slight stains at edges. Ref: Theofiles, 109; Darracott, 29; Leyendecker, p. 76; Cutler, p. 226; Rawls, p. 8 This coal poster was “one of many done for the Division of Pictorial Publicity, which supplied designs free to government departments. The Poster commented: ‘This virile poster, which aids the work of the United States Fuel Administration, is one of the best that have had their origin in the war. ...The original [was] done in oils. The lithograph... faithfully discloses every detail of the artist’s work’” (Darracott, 29). Est: $1,200-$1,500.
51. Clear-The-Way-!! 1918. Artist: Howard Chandler Christy (1873-1952) 20 1⁄8 x 29 7⁄8 in./51 x 75.8 cm Forbes, Boston Cond A-/Slight tears at edges. Ref: Rawls, 223; PAI-LXXVI, 88 A beautiful and desirable Columbia, laurels upon her temples, appears as the guiding spirit over marines manning one of the guns on the deck of a destroyer. The veracity of this picture is notable; Christy was one of the U.S.’s best war artists, and he produced illustrations to accompany the articles of war correspondent Richard Harding Davis. Est: $800-$1,000.
52. Join the Black Toms. 1918. Artist: W. F. Hoffman
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19 x 25 1⁄4 in./48.2 x 64.2 cm Cond A. Ref: Rawls, p. 261 Long before the organization of the Black Panthers, America had another panther mascot for the Tank Corps of the American Expeditionary Forces (AEF). In 1918, the Corps was established to assist the Allies fighting in Europe, and the National Army was authorized to recruit troops stateside. Though they achieved some success overseas, the branch was disbanded in 1920. Here, Hoffman provides an intimidating leaping panther to prove that the tanks “treat ‘em rough.” The poster served to promote various recruitment offices around the country; this one calls recruits to Old City Hall in Pittsburgh. Est: $1,700-$2,000.
53. Colored Man is No Slacker. 1918. Artist: Anonymous 15 1⁄ 2 x 19 3⁄8 in./39.3 x 49 cm E. G. Renesch, Chicago Cond A. Framed. Ref: PAI-LXXX, 15 “Colored Man is No Slacker”—or rather, he’s no draft-dodger. For this World War I enlistment ad, an African American infantry unit marches with the American flag held aloft as a couple tenderly says goodbye. Patriotism is both literally illustrated and subtly implied with notes of red and white punctuating the flowers around the woman’s blue dress; “these are good people who serve their country,” the poster intones. In fact, more than 350,000 black men, trained and deployed in segregated units, served in the U.S. military during World War I, and 42,000 of them saw action in Europe. There’s no denying the conflation of American ideals at this time: Americans were encouraged to enlist, to form a strong united front, to fight the evils of Europe together—and yet the troops were segregated, and black men were usually given burdensome non-combat shifts. The Peters Sisters astutely highlighted this oxymoronic ideology in their 1919 poem, “The Slacker:” So when the Victory is won / And the world is at peace / When the shedding of blood is done / And mankind again is free / Uncle Sam, if giving up life / For the deliverance of men / Does not give all, equal rights / Who will be, the slacker then? Est: $2,500-$3,000.
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WAR & PROPAGANDA
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56 54. Enlist. 1915. Artist: Fred Spear 22 1⁄2 x 31 5⁄8 in./57.2 x 80.4 cm Tudor Press, Boston Cond B-/Restored tears. Framed. Ref: Darracott, 43; Rickards, 159; Rawls, p. 68; Theophiles, p. 21; Graphic Design/New History, 3.14; PAI-LXXXII, 30 (var) This is the original half-sheet version of Spear’s haunting image. Rickards calls this “perhaps the most powerful of all war posters” (p. 21); Theophiles declares it “without a doubt the rarest and most elusive of war posters produced in the United States” (p. 21). Commissioned by the Boston Committee of Public Safety in 1915, it depicts the sinking of the Lusitania, which cost over a thousand civilian lives, many of which were women and children. Spear represents the tragic event with a mother and child embracing as they sink into the ocean’s depths, their love immortalized—their lives taken far too soon. “Like the occasion that produced it, it was unforgettable” (Rickards, p. 22). Rare! Est: $5,000-$6,000.
55. Opfert zum Kampf Gegen Hunger und Kälte. 1933. Artist: Ludwig Hohlwein (1874-1949) 33 1⁄4 x 45 1⁄ 2 in./84.4 x 115.7 cm F.J.M. Rehse, München Cond B/Slight tears at horizontal fold and edges. Ref: V & A, 106; Hohlwein/Stuttgart, 354
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“Propaganda became a major feature of state activity after March 1933 when Joseph Goebbels formed the Reichsministerium für Volksaufklärung und Propaganda (Ministry for People’s Enlightenment and Propaganda). Its chief agency, the Reichskulturkammer (National Chamber of Culture)... extended total state control over the public media... and [made] unequivocal use of the poster and cinema. A number of highly skilled and renowned designers quickly offered their skills to the Nazi cause. [Hohlwein’s] sophisticated if inflated treatment of the body in Give, in the Struggle against Hunger and Cold... was produced to procure charitable aid during the regime’s first winter (when Germany was in the pit of economic depression). Nevertheless, the Nazi body is now Aryan, a mythical, racial ‘ideal.’ This German’s musculature is not a sign of labour but of breeding. Even in a poster calling for charity one can detect a reference to the Nazi’s spurious and vicious claim of German racial supremacy” (V & A, p. 122). Est: $1,700-$2,000.
WAR & PROPAGANDA
57 56. Und Du? 1929. Artist: Ludwig Hohlwein (1874-1949)
57. Million Workers. 1930. Artist: Gustav G. Klutsis (1895-1938)
33 1⁄8 x 47 in./84.2 x 119.2 cm Sonntag, München Cond A-/Slight tears. Framed. Ref: Persuasive Images, 156; Hohlwein/Stuttgart, 282; Modern Poster, p. 180
28 7⁄ 8 x 41 1⁄4 in./73.3 x 104.7 cm Cond B+/Slight tears at edges; horizontal fold. Framed. Ref: PAI-LXXVII, 84
Using the refined form of a helmeted soldier in shadow and just two words—And you?—Hohlwein creates a chilling image calling Germans to vote for the Nazi party. “Hohlwein’s stunning poster, used with different texts by both the Steel Helmet and the German National People’s Party in the elections of 1932 and 1933, transforms man and helmet into an inhuman sculptural mass imposed on a schematic imperial German flag” (Persuasive Images, 156). Est: $2,500-$3,000.
“A Latvian subject of the Russian empire, Gustav Klutsis came to Russia proper during the 1917 Revolution as part of a volunteer machine-gunner unit that helped to topple the czar and safeguard the new Soviet leaders, including Vladimir Lenin. Klutsis had studied painting at home and continued in art schools during and after his military service, ending up at the radically progressive Higher State Artistic and Technical Workshops (VKhUTEMAS)—the cradle of Constructivism. By the early 1920s, Klutsis had worked his way through the rigorous exploration of elemental shapes and basic materials called for by that movement and began to put
the Constructivist ethos of honesty and utility to use in agitational propaganda... Klutsis brought photomontage to its peak of expression in posters from 1930 and after that blended workers’ bodies (in some cases his own) and their machines with the heads of leaders of the Soviet state to forge a collective juggernaut for modernization. These posters, printed in the tens of thousands, helped transform the Soviet visual landscape in the early Stalinist era. Nevertheless, Klutsis was killed along with scores of other Latvians on Stalin’s orders during purges later in the decade” (Art Institute of Chicago). The text here reads, “With the efforts of millions of workers involved in the socialist competition, we will convert the five-year plan into a four-year plan.” Please note: all known copies are trimmed at the top and left edges. Rare! Est: $8,000-$10,000.
WAR & PROPAGANDA
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60 58. Equal Rights for Negroes / Vote Communist. 1932. Artist: Anonymous
59. Jeune Français / Pilotes. ca. 1940. Artist: Roger de Valerio (1896-1951)
60. Theirs is the Glory. 1946. Artist: Anonymous
18 5⁄8 x 26 1⁄4 in./47.4 x 67 cm Cond B/Slight tears at folds. Framed.
22 3⁄8 x 31 3⁄8 in./57.5 x 79.7 cm Imp. Devambez, Paris Cond B/Slight tears at folds. Ref: Toujours Plus Haut, p. 39; PAI-XLIII, 57
40 x 30 in./101.7 x 76.2 cm W. E. Berry, Bradford Cond B+/Unobtrusive folds.
“In the early 1930s, as economic depression overtook the country, traditional party politics and calls for civic engagement reflected the anger and despair that permeated black communities. Radical groups and leftwing groups, including the Communist Party, supported candidates who promised opportunities for change. Mass meetings, hunger marches, and demonstrations became effective tools for the support of candidates who appeared to be sympathetic to demands for local and national government relief. For the first time since the end of Reconstruction, black participation in electoral politics surged” (Art as Activism by Merrill C. Berman, p. 4). This image heralds another important historical moment: James W. Ford was the first African American to run on a presidential ticket in the 20th century. Est: $1,200-$1,500.
The French Ministry of War in charge of Military Aviation asks the youth of France this simple question: “How will you become pilots without it costing you anything while profiting from numerous advantages?” It’s a good bet that they can find out the answer by sending away to the address given. De Valerio’s recruitment poster succeeds simply by not trying too hard, presenting a trio of planes that compose the French tricolors and an heroic bust of an aviator in profile. With those essentials provided, the rest of the message falls into place. Est: $1,700-$2,000.
This fancy-free floating image belies a much more somber tale. “Theirs is the Glory” was a 1946 film that recreated the 1944 Battle of Arnhem in World War II using actual 1st Airborne Division soldiers who participated in the encounter. To boot, real footage of the battle was spliced into the film, which lent a harrowing realism to the tale. It was the highest grossing British war film for almost a decade. Rare! Est: $2,000-$2,500.
WAR & PROPAGANDA
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61. Save Wells. ca. 1953. Artist: Anonymous
62. Nie! 1952. Artist: Tadeusz Trepkowski (1914-1954)
63. N = Nie. 1978. Artist: Jan Kotarbinski (1947-?)
17 x 22 1⁄8 in./43.3 x 56.2 cm Cond A/P.
26 1⁄4 x 37 1⁄2 in./66.7 x 95.3 cm Cond A/P. Ref: Design Literacy, p. 11; Le Coultre, p. 314; Graphic Design/Taschen, p. 402
26 1⁄2 x 38 1⁄2 in./67.2 x 97.7 cm WDA Offset, Zam Cond A/P.
In 1928, Wesley Robert Wells was arrested in Los Angeles for wearing a stolen suit; after his arrival at San Quentin, he was convicted of manslaughter after the death of a fellow inmate. In 1947, he threw a cuspidor at a security guard, which resulted in his death sentence. His case drew attention nationwide; the Civil Rights Congress came to his aid along with Charles Garry, the future chief counsel of the Black Panthers. When the U.S. Supreme Court denied Wells’ appeal in 1953, the Civil Rights Congress organized widespread protests and media coverage in favor of Wells’ freedom; this poster is one such example of their efforts. And the people were on board: 50,000 civilians signed a petition for his release and many wrote to the state warden and governor. Finally, these massive campaigns led to Wells’ freedom in 1974; sadly, he died just 18 months later. Est: $800-$1,000.
Following the destruction of World War II, Warsaw was absolutely devastated. In the face of further international conflict, Polish artists generated images such as these to promote peace while the Communist central state focused on rebuilding the capital. “[Trepkowski’s Nie] (Polish for ‘no’) was the first Polish poster to make an impact on American designers. The ruins of a devastated city framed within the silhouette of a falling bomb, in its graphic way, was as expressive of the horrors of World War II as the numbing photographs of carnage published in Life and other American magazines. Anyone who saw multiples of this poster hanging in rows on what remained of Warsaw’s streets understood that Nie was more than an antiwar image, it was a testament to the redemptive power of art” (Design Literacy, p. 11). Est: $1,000-$1,200.
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Clearly inspired by Trepkowski’s 1952 design (see previous lot), Kotarbinski continues the plea against nuclear disarmament with an equally compelling—and equally refined—graphic composition. 26 years after the first poster was designed, this issue was clearly still a vital topic for Polish graphic designers. Est: $800-$1,000.
SHIPS
64 64. Voyage Autour du Monde / Round the World. 1891. Artist: A. Schindeler
66. Red Star Line / Antwerpen-New York. ca. 1908. Artist: Henri Cassiers (1858-1944)
49 3⁄4 x 37 in./126.4 x 94 cm Schmidt Litho., San Francisco Cond A-/Slight tears at edges. Framed. Ref: Affiches Evasion, p. 8-9; Golden Age of Travel, p. 15; Voyage, p. 94-95; PAI-LXXIX, 131
59 3⁄4 x 43 3⁄ 8 in./152 x 110.2 cm O. de Rycker, Bruxelles Cond B-/Slight tears at folds and edges. Ref: DFP-II, 1006; Masters 1900, p. 99; Cassiers, p. 91; PAI-XI, 158
This detailed design promotes round-the-world travel in style via ship and rail. The globe gives us part of the itinerary: from the right, the ship comes through the Red Sea and the Mediterranean, then by railway from Marseille to Le Havre, by ship again to New York, where the railroad—shown at the bottom of the design—takes you to San Francisco either by way of Chicago or New Orleans, and finally by ship again across the Pacific. It’s one of the most magnificent travel posters ever created.
Here, Cassiers employs his characteristic local perspective to show two sailors looking on in anticipation as the Lapland makes her way into port after one of her Antwerp to New York journeys. Built for the Red Star Line in Ireland in 1908, the Lapland carried some 2,500 passengers on this transatlantic run. She remained in service there until 1930; afterwards she served the more leisurely cruises, and was retired in 1934. Est: $2,000-$2,500.
Est: $17,000-$20,000.
65. Red Star Line / New York-Antwerp. ca. 1899. Artist: Henri Cassiers (1858-1944) 32 1⁄8 x 21 7⁄8 in./81.7 x 55.5 cm Sackett & Wilhelms, New York Cond A. Ref: DFP-II, 997; Affiches Belges, 14; Duchesne, 61; Compagnies Maritimes, p. 24; Cassiers, 70; Takashimaya, 52; Masters 1900, p. 66; Le Coultre, p. 139; PAI-LXI, 198 The hallmark of Cassiers’ style is the sympathetic and colorful rendering of native people—usually farmers and fishermen—seeing a product from their perspective. In this poster for the Red Star Line, we are given the poignant contrast between the charmingly posed and brightly dressed peasants lining the shore and the sleek ship streaming its way from Antwerp to America. This is the smaller format. Est: $2,000-$2,500.
67. Rainbow Packing / Peerless Rubber. ca. 1910. Artist: Anonymous 24 7⁄8 x 18 3⁄8 in./63.2 x 46.6 cm American Colortype Co., New York City Cond A-/Unobtrusive folds. Ref: PAI-LXI, 64 This remarkably detailed poster promotes a rubber company based in New York. Shown is a painterly panorama of the Manhattan skyline from the North River (known today as the Hudson River), with each building and ship identified below. The massive White Star Line’s RMS Oceanic is seen departing the harbor on a return trip to Liverpool and Southampton; she was the largest ship in the world until 1901. Est: $1,000-$1,200.
SHIPS
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SHIPS
69 68. Marseille / Metropole Industrielle. ca. 1923. Artist: Roger Broders (1883-1953)
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30 1⁄8 x 42 7⁄8 in./76.6 x 109 cm Cornille & Serre, Paris Cond A-/Slight creases in bottom text. Ref: Broders, p. 80 (var); Broders/Travel, p. 18; Suez, p. 39; Mer s’Affiche, p. 167; PAI-LXXIV, 211 Today, the harbor of Marseille is mainly home to pleasure craft, but in 1923, the city was “The Great Industrial and Commercial Metropolis” of the Côte d’Azur. Broders illustrates it as such: the busy harbor, its water reflecting a startling yellow sky, with ships and longshoremen in the foreground, the colorful town behind, and the church of Notre Dame de la Garde in the distance. The arched frame gives us a window-seat and the colors act as spotlights. A prior version of the poster had the bottom text line promoting the 1922 National Colonial Exposition (see PAI-LXII, 101). Est: $1,700-$2,000.
69. Compagnie Générale Transatlantique. ca. 1925. Artist: Albert Sebille (1874-1953) 44 3⁄8 x 31 in./112.7 x 78.8 cm Societé d’Impression, Paris Cond B+/Slight tears at edges. Framed. Ref: Transatlantiques, p. 61 Sebille created a number of designs for shipping companies, including several for the French Line. They all share an exquisite painterly expertise that shows the ship in its most stately and magnificent form. This design is no exception: the S.S. Rochambeau appears rightfully aristocratic—she was named for the French aristocrat and marshal Comte de Rochambeau—as she cuts across the aquamarine waves. The Rochambeau left Le Havre on her maiden voyage to New York in the fall of 1911, boasting four screws, a capacity of 2,000 passengers, and a speed of 17 knots. Est: $1,200-$1,500.
70. French Line / S. S. “Paris.” ca. 1939. Artist: Albert Sebille (1874-1953) 28 1⁄2 x 40 3⁄4 in./72.3 x 103.4 cm Maquet, Paris Cond A-/Unobtrusive folds. Ref: Mer s’Affiche, p. 138; Transatlantiques, p. 35; Compagnies Maritimes, p. 82; Image de Mer, p. 19; PAI-LII, 172 In this rare poster by the master maritime painter Sebille, the S.S. Paris is seen leaving New York Harbor, aglow in the evening’s sunset. The Paris was “a favourite to the many who sailed her, [and] she was a paragon of French elegance and stately design” (Passenger Liner, p. 87).
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Est: $2,500-$3,000.
SHIPS
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71. Aberdeen & Commonwealth. ca. 1933. Artist: Kealy 25 x 40 in./63.5 x 101.5 cm Gibbs & Gibbs Lith., London Cond A-/Slight loss at lower right corner. Ref: PAI-LII, 161 This shipping company was a 1933 incorporation of two disparate companies: the Aberdeen Line, founded in 1825, and the Australian Commonwealth line, founded in 1916. In 1933, the two were purchased by the Shaw, Savill & Albion Line and merged into one. Here, we catch a glimpse of tropical palm trees as one of their steamships cruises through the Suez Canal. Est: $1,400-$1,700.
72. United States Lines. Artist: R. S. Pike 23 7⁄8 x 35 in./60.8 x 88.8 cm Cond B/Slight tears at folds and edges. Framed. Ref: PAI-XLVI, 487 While an elegant American makes her way up the gangplank—most likely as she boards the Manhattan en route to Paris, capital of the Roaring ’20s —we can’t help but notice an entirely different US Lines ship in the background: the SS Leviathan. Est: $2,500-$3,000.
73. P & O to Australia. 1928. Artist: Charles Dixon (1872-1934) 24 3⁄4 x 39 in./63 x 99 cm Cond B/Slight tears. Ref: PAI-LIII, 225 By the mid-1910s, the Peninsular & Oriental Steam Navigation Company was one of the largest passenger lines in the world with around 500 ships in its fleet. Christened on the same day, the RMS Mooltan (shown in this poster) and her sister ship the RMS Maloja were not only the largest two boats owned by P&O, but also the largest ships that could pass through the Suez Canal. Both of their routes took them from England to Australia via Colombo, though as this poster points out, other destinations as exotic as Egypt and Japan were also possible. Est: $2,000-$2,500.
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SHIPS
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74. Paris-Alger. ca. 1935. Artist: Robert Falcucci (1900-1989)
76. Europe-Canada Line. ca. 1955. Artist: Reyn Dirksen (1924-1999)
24 1⁄2 x 38 7⁄8 in./62.2 x 98.8 cm Imp. M. Dechaux, Paris Cond A-/Slight tears at right edge. P. Ref: PAI-LXII, 20
24 7⁄8 x 37 5⁄ 8 in./63.3 x 95.6 cm N. V. Eindhovensche Drukkerij, Endhoven Cond B+/Slight tears at top edges.
Falcucci gives us a dark and bold image which superimposes the various routes between Paris and North Africa over grayscale renderings of the train and ship which will take you there. Est: $1,700-$2,000.
75. Shaw Savill Lines. ca. 1948. Artist: William McDowell (1888-1950) 25 x 39 3⁄8 in./63.6 x 100 cm Cond A. Ref: Compagnies Maritimes, 176 Founded in 1882, the Shaw, Savill & Albion Line was a British shipping company that operated between the United Kingdom, Australia, New Zealand, and South Africa. In 1939, they introduced their new flagship, QSMV (“Quadruple Screw Motor Vessel”) Dominion Monarch, pictured here. She was a successful troop ship in World War Two and was eventually retired in 1962. Est: $1,000-$1,200.
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Dirksen transforms Canada’s iconic maple leaf into an aquamarine sea that hosts the MS Seven Seas as she glides on by. The large cruise ship presented stylishly decorated public rooms and a high-end penthousestyle first class section. She traveled from Bremen to Montreal and New York with stops along the way including Rotterdam, Southampton, and Quebec. Est: $800-$1,000.
77. Royal Mail Lines / Mala Real Inglesa. 1956. Artist: Jarvis 25 x 40 in./63.3 x 101.6 cm Lloyd & Co., London Cond A-/Slight tears at edges. The Andes cruises across a crystal clear blue sea in promotion of Royal Mail Lines, known as Mala Real Inglesa in Spain. The Andes was the Lines’ largest ship: a 25,895 GRT turbine steamship which was designed as an ocean liner but then immediately fitted out as a troopship. In 1948, she entered civilian service and became a full-time cruise ship in 1960. Est: $800-$1,000.
SHIPS
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78. S.S. Jerusalem. ca. 1957. Artist: Otte Wallish (1903-1977) 24 7⁄8 x 37 1⁄2 in./63.2 x 95.3 cm Lit. Grebel Cond A. Ref: PAI-LXXX, 129 The second S.S. Jerusalem sails across a graphic collage as she begins her itinerary: Haifa, Limassol, Malta, Cannes, Halifax, and New York. Unlike her predecessor, she had only one funnel. She and her sister ship, the M.S. Theodor Herzl, began their service for ZIM in 1957 and from 1965 they served exclusively as cruise ships. Est: $1,000-$1,200.
79. Furness Liv-Aboard Bermuda Cruises. Artist: Adolf Treidler (1886-1981) 30 x 40 in./76.2 x 101.5 cm Cond A. Ref: PAI-LI, 529 Located a mere 600 miles from the Carolina coast, the Bermuda harbor town of Hamilton is an elegant citadel of old world splendor where British colonial influences provide an unmistakable character. For those not interested in making additional reservations on shore, Furness’s Queen of Bermuda and Ocean Monarch offer a “LivAboard” option, essentially providing an in-port floating hotel. Despite their popularity, by the mid-1960s a new generation of ocean liners and stricter safety regulations by the US Coast Guard meant that both these ships would need very expensive refits to pass inspection. Therefore, abruptly in August of 1966, the Furness Line terminated Bermuda cruising completely and sold off both the Queen of Bermuda and Ocean Monarch to foreign interests. This is a silkscreen print. Est: $1,700-$2,000.
80. New York : Maquette. Artist: Anonymous 24 1⁄4 x 39 1⁄ 2 in./61.7 x 100.2 cm Gouache and ink maquette. The gateway to the United States is guarded by Lady Liberty who waves an ocean liner into her urban domain. The unconventional landscape is certainly intriguing, but we unfortunately know nothing of the artist or his purpose in creating this—the only hint to an identity is the name Gruslin on verso. It’s simply a visual New York minute. Est: $1,700-$2,000.
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AVIATION
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AVIATION
82 81. Grande Semaine d’Aviation. 1910. Artist: Charles Rambert (1867-1932)
82. Panama and the Canal from an Aeroplane. 1912. Artist: Anonymous
33 1⁄2 x 48 3⁄8 in./85.2 x 123 cm Imp. Girieud, Rouen Cond B+/Slight tear at bottom edge. Ref: Affiches d’Aviation, p. 56; Looping the Loop. 37; Toujours Plus Haut, p. 93; Perier, 97; Handlebars/Joystick p. 149; PAI-LXXIV, 37
82 1⁄4 x 82 1⁄4 in./209 x 209 cm Schmidt Litho., San Francisco Cond B+/Slight tears and stains at folds and seams. Ref: Affiches d’Aviation, p. 77; PAI-XLI, 70
A triumphant airman takes his gull-winged monoplane soaring above the medieval spires and towers of Rouen. It’s a euphoric image of bright 20th century futurism, bursting through the golden sunlight of 1910. “Fifty thousand spectators attended the Great Aviation Week of Rouen, with its two-mile circuit, to watch a dozen monoplanes and as many biplanes compete in the now classic disciplines: speed, altitude, and flight duration... The air show was dominated by a talented young man, Léon Morane, who won all of the events, while Marcel Hanriot, Europe’s youngest aviator, was making his debut” (Affiches d’Aviation, p. 33). Est: $6,000-$7,000.
This lovingly executed, beautifully designed 6-sheet poster for an early “feature-length” (6-reel) documentary film is a rare collector’s item for both film and aviation buffs alike. The “daring flight,” just before President Wilson’s closing of the canal to such ventures, resulting in “a notable achievement in motion photography,” is fully described in the promotional copy at the bottom, with the cameos of the pilot, Bob Fowler, and photographer, Ray Durem. This is a six-sheet poster. Est: $6,000-$8,000.
AVIATION
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83. Prinz Heinrich Flug. 1913. Artist: Ernst Riess (1884-1962) 31 1⁄2 x 43 1⁄2 in./80 x 110.6 cm H. M. Poppen u. Sohn, Freiburg Cond A. Ref: Gagel, 55 From 1911 to 1914, this reliability flight on the Upper Rhine tested the finesse of the latest German flight models, which were largely military. In 1913, the race became known as the Prinz-Heinrich-Flug in honor of Prince Heinrich of Prussia who took over patronage that year. The multi-stage flight ran from Wiesbaden to Strasbourg with a reconnaissance flight back. Lieutenant Ferdinand von Hiddessen won the reliability test with a Mars monoplane. Riess presents us with an intimidating participant in this incredibly rare and early aviation poster. Est: $6,000-$8,000.
84. Udet u. Greim Fliegen. 1919. Artist: Julius Ussy Engelhard (1883-1964) 34 3⁄8 x 47 1⁄4 in./87.3 x 120 cm Oscar Consée, München Cond A. Framed. Engelhard takes a break from his charming Art Deco imagery to create a compelling and dynamic design: the unsettling perspective, the dash lines of movement, and the gray abstracted plane beneath a bold red model form a gripping scene. The event depicted is an aerobatic show performed by Ernst Udet and Robert Ritter von Greim, both German aviation pilots in World War I who became national heroes for their triumphant military work. After the war, they continued practicing their passions by putting on top-of-the-line air shows with dangerous maneuvers and awe-inspiring feats. In World War II, both men were recruited for the Luftwaffe; Udet played a key role in reorganizing the German Air Force and organizing the Battle of Britain. Sadly, both men also died from suicide. Rare!
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Est: $5,000-$6,000.
AVIATION
85 85. International Air-Traffic Exhibition. 1927. Artist: Valdemar Andersen (1875-1928) 24 1⁄2 x 33 in./62.3 x 83.8 cm Chr. Cato, Copenhagen Cond A-/Slight tear at bottom edge. Ref (both var): Danish Posters/Privatbanken, 8; PAI-XVI, 27
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Significantly, there are no continental outlines on this globe, making tiny Denmark in the North at once isolated and a central focus. This exhibition showed “the most up to date, modern aeronautical equipment, including planes, parachutes, flight instruments and the like. Everything was arranged for public enjoyment, including parachute jumping demonstrations, skywriting and mechanical displays” (Danish Posters/Privatbanken, 8). Though the monoplanes and biplanes shown here appear antiquated to us today, there’s nothing old-fashioned about the clever design concept by Denmark’s preeminent poster artist. Rare. Est: $1,500-$2,000.
86. Le Linee Aeree d’Italia. 1927. Artist: Mario Borgoni (1869-1936) 27 3⁄8 x 40 in./69.6 x 101.5 cm Richter & C., Napoli Cond B/Restored tears. Ref: Oggi, p. 223; Menegazzi-IV, 147 Borgoni most famously created intoxicating designs for hotels and tourism; here he promotes his native country’s airlines on behalf of the ENIT tourism board. Over a map of Italy and its many possible destinations, Borgoni depicts a soaring SavoiaMarchetti Flying Boat whose contrails swirl into the expressive text above. Est: $1,700-$2,000.
87. The Development of Ukrainian Aviation. 1931. Artist: Vasilii Federovich Mironenko (1910-1964) 19 1⁄2 x 29 1⁄4 in./49.6 x 74.2 cm Cond B/Slight tears, largely at edges. Ref: PAI-LIII, 24 In a poster that hints at elements of Constructivism, the Ukrainian proletariat is reminded that it is their duty to avidly support the country’s increased aircraft production as it serves to strengthen their cause. The initials KIM in the upper left stand for “Kommunistichesky Internatsional Molodyozhi” or “Youth Communist International,” a parallel international youth organization affiliated with the Communist International in the early years of the Soviet Union. Est: $2,000-$2,500.
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AVIATION
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91 88. Deutsche Luft Hansa. 1930. Artist: Werner Beucke (1903-1940)
89. Italian Aerial Lines. ca. 1933. Artist: Umberto Di Lazzaro (1898-1968)
18 1⁄8 x 25 3⁄4 in./46.2 x 65.5 cm Cond A.
24 1⁄4 x 39 3⁄8 in./61.6 x 100 cm Cond B+/Slight tears. Framed. Ref: Affiche Art Deco, p. 95; Crouse/Deco, p. 17; Modern Poster, 174; Graphic Design/Taschen, p. 229; PAI-XXIV, 353
Against a subdued sunset, a Junkers G 24 glides against the tarmac. Flown by Luft Hansa, the three-engine, allmetal low-wing monoplane was the first aircraft to fly passengers at night. The text below advertises heated cabins and heavily discounted winter prices. Est: $1,400-$1,700.
One of the finest Italian aviation posters ever produced, this bold design cuts through Futurist color planes to express the pure mass and swift movement of Italian Airlines’ fleet. This is the English-language version of the image. Est: $3,000-$4,000.
90. Deutsche Zeppelin / 2 Days Across the Atlantic. ca. 1936. Artist: Ottomar Anton (1895-1976) 23 1⁄8 x 32 1⁄4 in./59 x 82 cm Cond A-/Slight tears in bottom text. Ref: Airlines, p. 37; PAI-XX, 6 One of Anton’s sleekest designs, this is a paean to the great zeppelin: its aluminum hull gleams in the golden early morning sunlight while the ocean, still swathed in a blue mist, obliterates the horizon. Anton took his apprenticeship at the Arno Kypke poster agency in Hamburg, went independent in 1921, and eventually taught at the Bremen High School of Art. Est: $2,000-$2,500.
AVIATION
92 91. Deutsche Zeppelin. 1936. Artist: W. Merker
92. Deutsche Zeppelin-Reederei. 1936. Artist: Jupp Wiertz (1881-1939)
45 5⁄8 x 30 3⁄4 in./116 x 78.2 cm Wachsmuth, Leipzig Cond B/Slight tears. Framed.
22 7⁄8 x 32 7⁄8 in./58.2 x 83.6 cm Eschebach & Schaefer, Leipzig Cond A-/Slight scratches at top right. Framed. Ref: Fly Now, p. 49; PAI-LXXIV, 65 (var)
This impressive image provides details on the construction and amenities available both within and without the Deutsche Zeppelin’s LZ 129 Hindenburg. The text below tells us that it is “a commercial airship of the rigid type for passengers, mail and freight service over long distances, built for the transatlantic service of the Deutsche ZeppelinReederei. The streamlined 36 cornered hull is made up of duraluminum structure with a weatherproof outer cover treated with aluminum dope. Within the hull there are 16 gas cells. The airship is equipped with 4 Daimler Diesel engines each of 1100 h.p. mounted in the engine cars. The passenger rooms accommodate 50 passengers. A crew of 45 officers and men operates the ship.” And below that, you’ll find all sorts of details about dimensions, cruising speeds, and a key to the craft’s various parts. Most impressive of all, perhaps, is the interior glimpse of automobile cargo, the control car, and passenger and crew quarters detailing everything from the pantry to the smoking room and bar. The poster has metal strips at top and bottom within the frame. Rare! Est: $3,000-$4,000.
This haunting poster for the Deutsche Zeppelin-Reederei advertises two-day travel from Germany to New York City. Emerging through a classic foggy New York-in-the-’30s morning, blue sky opens up around the Zeppelin as a shaft of golden light strikes the spire of the Empire State Building, in an imagining of its intended use as a dirigible mooring station—though it was ultimately never used for that purpose. Rare! Est: $10,000-$12,000.
AVIATION
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93 93. Imperial Airways. ca. 1935. Artist: Albert Brenet (1903-2005)
95. Air France / Réseau Aérien Mondial. 1948. Artist: Plaquet
24 5⁄8 x 39 5⁄8 in./62.4 x 100.4 cm Haycock Press, London Cond A-/Slight tears at edges. Framed. Ref: PAI-LXXVII, 44 (var)
24 3⁄4 x 39 in./63 x 99 cm Perceval, Paris Cond A. Ref: Air France, p. 46; PAI-LXXII, 53
The Scylla airliner certainly appears to be grandiose from this perspective—its 113-foot wingspan dominates the scene. This “most luxurious plane in the world” was developed by the Short Brothers for Imperial Airways in 1934, and boasted an onboard restaurant, 40 travel destinations, and 4 motors. Here, Brenet captures the buzz with passengers and crew workers flooding the tarmac below the plane’s departure to the next destination. This version, without text at top, allows us to better admire the aircraft’s engineering.
This beautiful evocation of Air France’s Global Aerial Network nearly vibrates with the spinning energy of the Atomic Age.
Est: $2,000-$2,500.
94. Journée National de L’Air. 1940. Artist: Anonymous 23 ⁄2 x 31 ⁄8 in./59.5 x 79.7 cm I.F.R., Paris Cond A-/Unobtrusive folds. Ref: Toujours Plus Haut, p. 112; PAI-LXXI, 196 1
7
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Est: $1,000-$1,200.
96. Air France / Canada. 1951. Artist: Jean Doré 24 1⁄2 x 39 in./62.3 x 99 cm Hubert Baille, Paris Cond A. Ref: Air France/Dream, p. 55; Air France, p. 92; Air France/Fraile, p. 39; PAI-LXXVIII, 97 In this rustic cross-hatched poster connecting Old and New Frances, a logger rolls his lumber raft downstream, dwarfed by trees and mountains—and high up above, an Air France plane glides past. Est: $800-$1,000.
This superb example of Art Deco design announces the National Air Day of France, an air show and day of appreciation for aviators, and asks the reader to be generous with contributions for wounded airmen. Est: $800-$1,000.
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AVIATION
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99 97. Air France. 1951. Artist: Renluc
98. American Airlines / Washington. 1948. Artist: E. McKnight Kauffer (1890-1954)
99. Air France / Super Constellation. 1953. Artist: Anonymous
24 1⁄2 x 39 3⁄8 in./62.3 x 100 cm Hubert Baille, Paris Cond A. Ref: Air France, p. 58; PAI-LXVIII, 34
30 1⁄8 x 39 7⁄ 8 in./76.5 x 101.3 cm Cond A. Ref: Affiches d’Aviation, p. 158; Kauffer, p. 134 (checklist); PAI-LXXVII, 60
39 5⁄8 x 25 3⁄4 in./100.7 x 65.3 cm Perceval, Paris Cond A-/Slight creases in upper right corner. Ref: Air France/Fraile, p. 75; PAI-LXXIV, 102
Renluc shows that Air France’s planes make the world go ’round—or, rather, that passengers may travel all around the world. In any case, it’s a strong case for sparse imagery and sharp details: a logo and some aircraft are the only symbols needed to convey the airline’s opportunities. The blank space, at center, was left for travel agencies to insert their information.
A pleasant view of the Capitol at night, with flag-like stars raining down, enticingly announces Washington, D.C. for American Airlines. It was 1948, when “Dewey Defeats Truman” became the headline of the year—most historians still consider it to have been the greatest presidential election upset in American history. But in Kauffer’s glowing scene, D.C. is a prime example of America’s allure.
Air France created this masterpiece to celebrate the first civilian deployments of the L-1049C, the first true transcontinental airliner. This poster illustrates virtually all of the great landmarks the world over beneath a nighttime sky studded with mythological constellations.
Est: $800-$1,000.
Est: $1,000-$1,200.
Est: $1,200-$1,500.
AVIATION
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100. Pan American / Clipper Service. 1949. Artist: E. McKnight Kauffer (1890-1954)
101. Qantas / Australia. ca. 1950. Artist: Frank Nanninga (1920-1999)
102. TWA / Greece. 1955. Artist: David Klein (1918-2005)
28 1⁄4 x 41 3⁄4 in./71.8 x 106.2 cm Cond B+/Slight tears at folds.
29 7⁄8 x 39 3⁄4 in./76 x 101 cm Posters Pty Ltd., Sydney Cond A-/Slight stains at edges. P.
25 1⁄2 x 40 in./63.5 x 101.7 cm Cond A/P. Ref: PAI-LX, 319
For Australia’s flag carrier, Nanninga focuses on bringing travelers to the land down under with a welcoming beach scene and vibrant umbrellas that nearly hover above the hot sand.
With a tableaux of the tale of Hercules and the Centaur etched into his helmet, this ancient warrior promotes all aspects of myth in this promotion of Greece.
This very unconventional design for Kauffer advertises not only Pan Am’s Clipper Service, but also their shirts with the “airplane cloth” collar, using “super-strong fabric that guards the control surfaces of Pan-American clippers.” We’re not entirely sure why one would want to wear protective airplane material on their lapels, but who are we to question the motives of this iconic airline? Est: $1,200-$1,500.
Est: $1,400-$1,700.
Est: $800-$1,000.
AVIATION
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103. Swissair / Metropolitan. 1956. Artist: Kurt Wirth (1917-1986)
104. Pan Am / New York. ca. 1970. Artist: Anonymous
35 1⁄2 x 50 7⁄8 in./90.2 x 128 cm Hallwag, Berne Cond A/P. Ref: Paradis, p. 87; Swiss Posters, p. 116; Swiss Skies, 137; Plakat Schweiz, p. 266; PAI-XXXV, 103
28 x 42 1⁄8 in./71.2 x 107 cm Cond A/P. Ref: PAI-LXXXII, 98
Wirth gives us effective in-your-face graphics for the recently reorganized Swiss airline. The nose-on view of the Metropolitan craft—seen here in its premiere year of service—is impressive in the extreme, but the recreation of the radarequipped “Newest Airliner in European Service” as it bullets the blue skies with its technological prowess is inspirational as well. The Convair plane was the most efficient final piston-powered aircraft of its time, staying in production until 1976. Though its navigational features are the focal point here, it also featured a pressurized passenger cabin that was touted as the plane “that won‘t hurt your ears.” Est: $1,200-$1,500.
This anonymous designer gives us a glimpse of New York frozen in time; the original World Trade Center towers are preserved in amber, glowing amidst the blue light of a Manhattan summer sunset. As Joan Didion poignantly wrote, “Blue nights are the opposite of the dying of the brightness, but they are also its warning.” The towers—ever symbols of a distant New York, of loss, of evolution —will always remain a part of the collective conscious as they’re guided by Lady Liberty into the night. Est: $2,000-$2,500.
105. Lufthansa / New York. ca. 1970. Artist: Anonymous 23 3⁄8 x 33 1⁄8 in./59.5 x 84 cm Cond A/P. Ref: PAI-LXXXII, 99 For international travelers in the late 20th century, these glimmering city lights sufficed to immediately evoke New York City. The iconic Twin Towers at the center draw us straight into lower Manhattan, where the lights of the Financial District capture and reflect the brilliant sunset. This poster by an anonymous designer is a dazzling testament to a New York that was. Est: $1,200-$1,500.
AIR INDIA / INDIA Whether created by Tomi Ungerer or an anonymous artist, posters for Air India generally embrace a level of humor and wit that most other airlines would shy away from. The airline’s lovable Maharaja mascot, created in 1946, certainly adds a sense of levity. And while the general travel designs for India are not quite as comical, they bear a certain visual intoxication that is unique to this country’s vivid culture and history.
106
107
106. Air India / Paris. 1969. Artist: Tomi Ungerer (1931-2019)
107. Air India / Rome. 1969. Artist: Tomi Ungerer (1931-2019)
25 3⁄4 x 40 in./65.4 x 101.5 cm Prasad Process, Madras Cond A-/Slight creases at edges. P. Ref: Ungerer Posters, 357
25 3⁄4 x 40 in./65.4 x 101.6 cm Prasad Process, Madras Cond A-/Slight tears at edges. Ref: Ungerer Posters, 361
In 1969, Tomi Ungerer created a series of destination images for Air India, each displaying a bit of the wry, whimsical humor so common in his other illustrations. Of all the wonders to behold in Paris, Ungerer zeroes in on its rich art history—specifically, the history of painted nudes. But Ungerer adds his characteristic comedic flair by having the muse reach right out of the painting to tap the gentleman viewer on his shoulder.
We’ve always wondered what happens to the coins that are tossed into fountains. For flights to Rome, Ungerer imagines a sly Indian man retrieving the silver from a marble fountain while distracted tourists add to his bounty. It’s not the most conventional means of advertising to travelers, but then again, we wouldn’t expect anything less from this whimsical designer. Est: $1,000-$1,200.
Est: $1,000-$1,200.
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AIR INDIA / INDIA
109
108 108. Air India / Frankfurt. 1969. Artist: Tomi Ungerer (1931-2019) 25 3⁄8 x 39 7⁄8 in./64.5 x 101.2 cm Prasad Process, Madras Cond A/P. Ref: Ungerer Posters, 360 Ungerer has nailed Frankfurt in a nutshell: castles, Oom-pah bands, beer, and bratwurst. What more could you ask for? Est: $1,000-$1,200.
109. Air India / London. 1969. Artist: Tomi Ungerer (1931-2019) 25 3⁄4 x 40 in./65.2 x 101.5 cm Prasad Process, Madras Cond A/P. Ref: Ungerer Posters, 359; PAI-LXV, 510 A bobby conducts an orchestra of drivers around Big Ben, forming a musical composition of the city’s daily traffic dance. Est: $1,000-$1,200.
110. Air India / India. 1969. Artist: Tomi Ungerer (1931-2019) 25 x 39 7⁄8 in./63.4 x 101.2 cm Prasad Process, Madras Cond A/P. Ref: Ungerer Posters, 362 For Air India’s home base, Ungerer created a lovely design to entice travelers: majestic architecture forms the backdrop for a musician who serenades us with an explosion of fresh floral notes. Est: $1,000-$1,200.
110
AIR INDIA / INDIA
112
111 111. See India. ca. 1930. Artist: Shep (Charles Shepherd, 1892-?)
113. Air India. ca. 1968. Artist: Anonymous
24 1⁄2 x 39 3⁄8 in./62 x 100 cm Bolton Fine Art Litho., Bombay Cond A-/Slight tear at lower right edge. P.
25 1⁄8 x 39 7⁄8 in./64 x 101.3 cm Prasad Process, Madras Cond A-/Slight stains at edges. P. Ref: PAI-LXXV, 96
Shep gives us a picturesque view of the Indian city Varanasi, also known as Benares. Situated along the Ganges river, it is the holiest of the seven sacred cities in Hinduism and Jainism. Additionally, it’s believed that Buddhism was founded here when Buddha gave his first sermon in 528 BCE. It’s not only a melting pot of religions, but also a vibrant center for the arts, music, poetry, and philosophy. Atop the many buildings cascading upwards, the spires of the Gyanvapi Mosque are visible; it was constructed by the Mughal Emperor Aurangzeb in 1696. Est: $1,400-$1,700.
112. See India. ca. 1930. Artist: Leonard Cusden (1898-1979) 25 1⁄8 x 40 in./64 x 102 cm British India Press Offset, Bombay Cond A-/Slight tears at edges. Using flat, broad swaths of color, Cusden delivers the vibrancy and allure of Fatehpur Sikri, the capital of the Mughal Empire from 1571-1585. Known as the City of Victory, it was made a UNESCO World Heritage Site in 1986. As the first planned city of the Mughals, it boasts excellently preserved examples of palaces, public buildings, and mosques constructed in red sandstone and reflecting an amalgamation of indigenous and Persian style. Here, we catch a glimpse of the Jama Masjid, one of the largest mosques in India. Among its many wonderful architectural features, it can host an astounding 25,000 people in its courtyard. Est: $1,200-$1,500.
Air India’s icon, a whimsical whiskered Maharaja, rides into the sky atop his bejeweled elephant, along with the rest of his illustriously illustrated entourage.
113
Est: $1,200-$1,500.
114. Air India / Moscow. ca. 1960. Artist: J. B. Cowasji 25 x 39 3⁄4 in./63.6 x 101 cm Prasad Process, Madras Cond B+/Slight stains at edges. P. For Air India flights to Moscow, Cowasji transports the airline’s mascot Maharajah to the Red Square, where we find him Cossack dancing in three different outfits. Behind him, Saint Basil’s Cathedral churns up towards the painterly blue sky. It’s an altogether joyous and playful design from an otherwise little known Indian designer. Est: $1,000-$1,200.
114
AIR INDIA / INDIA
116
115
117
115. TWA / India. ca. 1960. Artist: David Klein (1918-2005)
116. Fly TWA / India. ca. 1960. Artist: David Klein (1918-2005)
117. Air India / Bangkok. ca. 1965. Artist: Anonymous
25 1⁄8 x 40 in./64 x 101.5 cm Cond A.
24 7⁄ 8 x 40 1⁄4 in./63.2 x 102.3 cm Cond A. Ref: PAI-LXXV, 105
25 x 39 1⁄2 in./63.5 x 100.3 cm Prasad Process, Madras Cond B+/Slight stains at edges. P.
Rather than focus on the landscape of the country or a famous monument, Klein instead creates the allure of the exotic with a bejeweled relief sculpture of an elephant, outfitted for a traditional wedding ceremony.
Air India’s endearing Maharaja leads us to Bangkok to engage in traditional Thai dancing. The wash of abstract colors in the background allows us to focus on the intricate costuming and the joyous postures of the dancers.
Klein created at least two designs for TWA’s route to India; both posters that we’ve seen favor the Hindu symbol of luck, the elephant, over the country’s landscape or architecture. And it’s no wonder why he would choose this magnificent creature as his subject: the elephant is associated with Ganesha, one of the most worshipped and highly revered deities in Hinduism. And in Indian weddings, it’s common for grooms to ride atop an elephant in the procession. Klein adopts the latter tradition as his focus and adorns the animal in typical jewels and vibrant fabrics. Est: $1,400-$1,700.
Est: $1,000-$1,200.
Est: $1,000-$1,200.
BICYCLES
118 118. Cycles Gladiator. ca. 1895. Artist: Anonymous 53 x 37 3⁄4 in./134.5 x 96 cm Imp. G. Massias, Paris Cond A-/Unobtrusive folds. Framed. Ref: Bicycle Posters, 42; Petite Reine, 47; Posters of Paris, 104; Ailes, p. 11; Musée d’Affiche, 22; Reims, 154; PAI-LXXX, 131 A lithographic masterpiece. Acclaimed as one of the world’s greatest posters, this image of a flame-tressed sylph, propelled among the stars by the Gladiator and its winged pedals, has been appropriated throughout culture ever since its debut in 1895. Shockingly, it remains anonymous, despite the presence of the faint initials LW in the lower right corner. Even in the famed 1896 Reims exhibition, it was attributed to “Anonyme.” Est: $25,000-$30,000.
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BICYCLES
119
121
120 119. Cycles Gladiator. ca. 1890. Artist: Anonymous
120. Les Cycles Gladiator. Artist: Anonymous
121. Clément. ca. 1889. Artist: Anonymous
36 1⁄4 x 50 3⁄4 in./92 x 129 cm Affiches V. Palyart, Paris Cond A. Ref: Petite Reine, 30
40 7⁄8 x 28 3⁄4 in./103.8 x 73 cm Imp. E. Bougard, Paris Cond A-/Unobtrusive folds. Ref: PAI-XXIX, 48
35 1⁄2 x 49 1⁄4 in./90.2 x 125.3 cm Imp. Edw. Ancourt, Paris Cond B/Slight tears at folds and edges. Ref: PAI-LXXII, 3 (var)
Though this cyclist is definitely out of place on the field of a polo match, the meaning is clear: no matter the speed of the horses behind him, he’ll be able to escape just fine on his Gladiator bicycle. In fact, this man appears to almost welcome the challenge!
Next to Clément, Gladiator was the bicycle firm that made the most use of posters during the 1890s. This cycling family, decked out in their Sunday best, have decided to pay a visit to the originating factory of the bikes which have served them so well. Most surprisingly, perhaps, the factory resembles a royal palace, forming an elegant backdrop to the group cruising uphill on their “effortless” bicycles.
This somewhat subdued Clément poster is actually of great historical interest, for this is the moment that the safety bicycle finally arrives as the definitive shape of two-wheeled locomotion (boneshakers and penny-farthings be gone!). And it all has to do with the perfection of the pneumatic tire. As you can see, each of the three riders is captioned: “Caoutchoucs pleins, -creux, -pneumatiques.” Caoutchouc was the catchall generic word for rubber in its undifferentiated state, and each of the three riders has a tire in a different stage of advancement. Only in 1888 was the air-filled tire invented, and it looked unseemly: fat, bulbous, not at all as chic as the svelte, solid, or hollow sort. But it didn’t shatter your teeth, and it was faster. This gentlemanrider at front is seeing the future of personal transport. This is a two-sheet poster.
Est: $1,400-$1,700.
Est: $1,700-$2,000.
Est: $1,400-$1,700.
BICYCLES
123
122 122. Columbia Bicycles. ca. 1884. Artist: Anonymous
123. Zim Strock. ca. 1890. Artist: Wilhio
12 x 15 3⁄4 in./30.3 x 40 cm Forbes, Boston Cond A. Framed. Ref: Color Explosion, p. 79; American Advertising, cover & p. 29; Dodge, p. 62
48 1⁄4 x 62 3⁄4 in./122.5 x 159.4 cm Imp. Paul Dupont, Paris Cond B+/Slight tears at folds. Ref: Petite Reine, 68; Ailes, p. 86; PAI-LXXXI, 60
This Columbia high-wheeler was the vision and product of Colonel Albert A. Pope, whose first business endeavor was manufacturing shoe supplies in Boston; in 1877, he founded the Pope Manufacturing Company to fabricate air pistols. But he was still obsessed with bicycles, and specifically the high-wheeler. He began by importing English models to sell in Boston, then studied a British prototype before releasing his Columbia. A savvy business man, he secured American and foreign patents for every component of production. This poster announces seven feats of the sport achieved by riders of the Columbia—but the most entertaining tidbit might be this endorsement: “an ever-saddled horse that eats nothing and requires no care.” Pope was later heralded as the “founder of the American bicycle industry” and “the father of good roads” (Dodge, p. 62). Est: $3,000-$4,000.
124
Founded by its titular owner in 1884, Strock was a boutique bicycle manufacturer. This is arguably the best poster created for the brand: a two-sheet design equating its agility to that of a tiger. Est: $1,400-$1,700.
124. Rouxel & Dubois. ca. 1894. Artist: Misti (Ferdinand Mifiliez, 1865-1923) 36 5⁄ 8 x 51 5⁄8 in./93 x 131 cm G. Bataille, Paris Cond A. Ref: Reims, 884; Ailes, p. 86; PAI-LXXXII, 59 All sorts of women flock to see the sensational Rouxel & Dubois bicycle in this charming design by Misti. After his hectic two decades of poster designing in the early part of the century, Misti went on to open his own printing plant. Est: $1,200-$1,500.
125
BICYCLES
125. Velodrome de l’Est. Artist: Misti (Ferdinand Mifiliez, 1865-1923) 36 3⁄8 x 51 1⁄8 in./92.5 x 129.7 cm G. Bataille, Paris Cond A. Ref: Petite Reine, 94 “It was at the Velodrome de l’Est in Charenton that the first Grand Prix of Paris was contested, won by the American Geo-A. Banker. The following year, the ‘Municipal Track,’ built in the Bois de Vincennes, hosted the event: the ‘Cipale’ still exists today. Misti treated, with his usual talent, a fairly classic theme at the time: the eternal feminine encouraging the spectator to go to the velodrome” (Petite Reine, 94).
126
Est: $1,700-$2,000.
126. Cycles Aluminium. 1895. Artist: Maurice Deville (1860-?) 34 x 48 in./86.3 x 122 cm Imp. Chaix, Paris Cond A. Ref: Bicycle Posters, 22; Petite Reine, 7; Dodge, p. 117; Takashimaya, 26; PAI-LXXVIII, 5 This aluminum bicycle’s lightness is made evident by the ease with which the young lady lifts it. If her colleague looks astonished, it should be remembered that although there were racing models manufactured under thirty pounds, bicycles at the time weighed as much as sixty pounds, and so lightness became a competitive edge in a highly competitive business. This one weighed in at about twenty pounds— that’s light even by present-day standards. Look ma, one hand! Est: $1,700-$2,000.
127. Clément. 1891. Artist: Lucien Baylac (1851-1913) 36 x 51 1⁄4 in./91.5 x 130 cm Imp. Kossuth, Paris Cond A. Ref: Petite Reine, p. 87; PAI-LXXVII, 1 As our competitors speed ahead, Clément advertises itself (more or less accurately) as “The Biggest and Oldest Manufacturer in France,” and as “hors-concours”—selected for jury—in the 1889 races held at the World’s Fair. “The Clément firm—one of those which determined that advertising would play a major role in the battle for fame and sales— entrusted Baylac with the task of illustrating the firm’s merits: [we see] the competitors—their calves freed of the leggings of yesteryear— rounding the turn before the attentive eyes of the spectators up in the stands and the élegants standing down on the grass” (Sport a l’Affiche, p. 91). Baylac worked under and was heavily influenced by Chéret. Though he produced only some dozen posters, they were distinguished enough to give his name cachet among collectors of the day. Est: $2,000-$2,500.
127
BICYCLES
128
131
129
128. Acatène “Métropole.” ca. 1893. Artist: Lucien Baylac (1851-1913)
130. Cycles Pinède. ca. 1897. Artist: Anonymous
35 1⁄4 x 51 1⁄8 in./89.3 x 129.8 cm Imp. Kossuth, Paris Cond B-/Restored tears, largely at folds. Ref: Reims, 223 (var); Maindron 1896, p. 120 (var); PAI-LXXXI, 61
25 3⁄4 x 37 1⁄8 in./65.5 x 94.5 cm Imp. Charles Dupont, Paris Cond B/Slight tears at folds and edges. Ref: PAI-LIX, 51
With the subtle addition of the French national tricolor as the background palette, this Chéret-like design promotes the new chainless model of Métropole bicycles—which is perfect for the lady rider wishing to not have her long skirts caught in the gears.
While little remains known about the Pinède brand, Misti is credited with creating a design for the company promoting its tandem bicycles. Here, the North Star hovers above a winged herald, aloft on top of a Pinède tire. Est: $1,000-$1,200.
Est: $1,200-$1,500.
129. Griffon. Artist: Anonymous 30 1⁄ 2 x 45 5⁄ 8 in./77.5 x 115.8 cm Publicité L. Arnault, Neully-sur-Seine Cond A-/Slight tear in bottom text. Ref: PAI-LXXVIII, 31 Backed by a stylized image of the rising sun, the griffon digs his talons into the frame of the vignette, where we find a couple out for a carefree pedal through sleepy towns and byways, completely unaware of any bestial presence. Both are atop Griffon bicycles, of course. The unusual feature here is the contrast between the mean-spirited ghoulish griffon—the monster of Greek mythology with the head and wings of an eagle and the body of a lion, and the namesake and symbol of the company—and the tranquil scene of the couple on the village road below. Whether the creature represents strength or foreboding danger, we may never know.
130
Est: $1,200-$1,500.
131. Les Fils de Peugeot Frères. ca. 1892. Artist: Anonymous 25 3⁄ 8 x 19 in./64.4 x 48 cm A. Chapuisat, Delle Cond B/Slight tears at vertical fold. Penny-farthings, bicycles, and tricycles are on display in this Victorian advertisement for Peugeot bicycles. Armand Peugeot and his cousin Eugène began manufacturing cycles in 1882; a decade later, the company name became Les Fils de Peugeot Frères, at which point they also started to manufacture cars with Daimler engines. Rare! Est: $1,200-$1,500.
BICYCLES
132
133
134 132. Cycles Omnium. ca. 1896. Artist: F. Capelli
133. Racer / Manufacture Français. Artist: Coulet
134. Georges Richard. 1896. Artist: Fernand Fernel (1872-1934)
27 1⁄8 x 40 in./69 x 101.5 cm Imp. N. Weill, Paris Cond B/Slight tears at fold. Ref: PAI-LXXXI, 66
14 1⁄2 x 21 7⁄ 8 in./36.8 x 55.6 cm Imp. A. Pomeon, St. Chamond, Loire Cond A-/Slight stains at edges. P. Ref: PAI-LXXX, 138
An “omnium” was a bicycle endurance race, which was quite popular in the 1890s. Here, a little-known brand of cycle takes it name from the event, bringing forth notions of strength and reliability.
Several posters make use of a bold femme cyclist guiding the way with a piercing ray of light, and Coulet’s interpretation is no less alluring. To demonstrate the efficiency and superiority of the Racer company’s spare bicycle parts, he imagines our dame effortlessly supercycling up towards the heavens.
54 7⁄ 8 x 39 3⁄4 in./139.5 x 101 cm Imp. J. van Gindertaele, Paris Cond A-/Slight stains at edges. Ref: DFP-II, 341; Petite Reine, 29; Weill/Art Nouveau, p. 60; Masters 1900, p. 214; PAI-LXXXI, 72
Est: $1,200-$1,500.
Est: $800-$1,000.
This charming design has us imagine that we’re trailing this stylish family of four on their bicycles and tandem bike. Though Fernel includes the word “automobiles,” the design is devoid of them; Georges Richard was just gearing up automotive production at this point. Est: $3,000-$4,000.
BICYCLES
135
137
136 135. Centaur Cycles. ca. 1898. Artist: Charles Tichon
136. Pneu Michelin. 1895. Artist: Édouard Michelin (1859-1940)
37 1⁄4 x 46 1⁄ 2 in./94.6 x 118.2 cm Imp. L. Pochy, Paris Cond A-/Unobtrusive folds. Ref: PAI-LIX, 63
42 x 57 1⁄2 in./106.5 x 146.2 cm Imp. Moderne M. de Brunoff, Paris Cond A-/Slight tears in bottom text. Ref: Livre de l’Affiche, p. 30; Discount, p. 93; Bicycle Posters, 60; Collectionneur, p. 242; Automobile/Lopez, p. 164; PAI-LXXIX, 91
Like the Greek mythological beast, this lady merges with her “steed” when atop a Centaur cycle. Est: $1,400-$1,700.
138
Fortuna, Roman goddess of good and bad luck, embodies the capriciousness of destiny—but with a Michelin tire underfoot, she is bestowed with reliable security. The text at bottom announces that it is the only brand which adapts itself to the wheel of fortune, and Fortuna underscores this point with a palm leaf in her hand: a symbol of victory. And clearly, those without Michelin tires are destined to a much more dour fate, as exemplified in the forlorn and wistful look of the nymph with the non-Michelin tire. It’s a compelling use of allegory for advertising purposes. Zagrodzki attributes this unsigned poster to Édouard Michelin, an established painter of the period—and co-director of the Michelin company with his brother, André (Livre de l’Affiche, p. 30). Est: $3,500-$4,000.
BICYCLES
139
140
137. Snell American Cycles. ca. 1897. Artist: Eugene Ogé (1869-1936)
139. Kaufmann. ca. 1900. Artist: Anonymous
30 3⁄4 x 45 1⁄2 in./78.3 x 115.6 cm Imp. Charles Verneau, Paris Cond A-/Unobtrusive folds. Ref: Ogé, 242; Bicycle Posters, 23; PAI-LXXX, 143
19 x 28 7⁄8 in./48.5 x 73.3 cm Mackenzie & Co. Litho., Glasgow Cond B/Restored tears at folds and edges.
“With Spaulding and Pope leading the way, the American bicycle market became saturated in the 1890s, and in 1896 and 1897 American brands began to flood the European market. This invasion is depicted in this poster by Ogé, a designer and lithographer who had attached himself to one of France’s leading poster printers, Charles Verneau, best known for printing almost all of Steinlen’s masterpieces. Maindron is full of praise for Verneau and ‘collaborateur habituel’ Ogé. Ogé, he states, ‘est certainement un lithographe de premier ordre, un artiste de grand valeur.’ His skill as a lithographer is seen in the way he can express his message although limited to two colors: black and red... with the coachman being understandably disturbed by this new device which threatens his livelihood” (Bicycle Posters, p. 5). Est: $1,000-$1,200.
138. Cycles L’Indienne. Artist: Anonymous 37 1⁄2 x 48 5⁄8 in./95.2 x 123.6 cm Imp. Seulin & Dehan, Valenciennes Cond B+/Slight tears at folds and edges. Ref: PAI-LXXIII, 5 It’s a fascinating oddity: the “Indian” woman escaping from her pursuing tribesmen appears distinctively African American. She’s wearing a Stars-and-Stripes dress, and the look she’s giving as she outpaces her pursuers on horseback—pure sass and shade—is priceless in its own right. Est: $1,000-$1,200.
With the grace of a ballerina and the athleticism of a racing cyclist, Nicholas Edward Kaufmann elevated the sport of trick riding and also invented cycle-ball, a game akin to football but played on two wheels. Born in Rochester, New York in 1861, Kaufmann soon participated in cycling races across Europe; breaks in the events allowed him to practice his acrobatic trickery. In 1888, he became the World Champion in Professional Cycle Trick Riding. Presumably this Scottish design was meant to promote his awe-inspiring feats on tour. Est: $1,700-$2,000.
140. Rudge / La Déesse. ca. 1900. Artist: Peter Alfred Gross (1849-1914) 30 x 41 5⁄8 in./76.2 x 105.7 cm P. A. Gross, Paris Cond B+/Slight tears at folds. Ref: Ailes, p. 29; PAI-LV, 36 One of Rudge’s best known models was La Déesse, or “the Goddess,” personified here by a golden-clad, Pre-Raphaelite damsel bidding farewell to an unseen party. Below, Gross—an American landscape artist who lived in France from 1874 to 1914—is noted as the “artistic painter” of this fine poster. Est: $1,700-$2,000.
BICYCLES
142
141 141. Griffon. ca. 1905. Artist: Walter Thor (1870-1929)
143. Pneu Vélo Michelin. 1912. Artist: H. L. Roowy (Stanley Charles Roowles)
31 1⁄2 x 47 5⁄ 8 in./80 x 121 cm Imp. G. Elleaume, Paris Cond A-/Unobtrusive folds. Ref: Handlebars/Joystick, p. 117
29 3⁄4 x 46 3⁄4 in./75.5 x 119 cm Imp. Chaix, Paris Cond A-/Slight tears in bottom text. Ref (both var): Discount, p. 125; PAI-LXVII, 51
“Just as it had for cycling, Griffon, once it had started manufacturing motorcycles, took an interest in competitions, because success on the race track... was one of the strongest sales pitches. Apparently in the thick of a contest, driving up one of the twisting roads of Mont Ventoux, in pursuit of the best possible time, this soberlydressed motorcyclist is making the most of his bravery, his aerodynamics, and the humorous style of Walter Thor, which is always perfectly in tune with his sporting subject” (Handlebars/Joystick, p. 116).
Not much different in style from O’Galop’s vision of Bibendum (see PAI-LXII 218 and 219), Roowy shows the same cigar-smoking mascot flinging his spare tires toward lucky consumers in need of the “best and cheapest” brand on the market. This particular variant is for the Belorgey dealership in Vandenesse-en-Auxois.
Est: $1,700-$2,000.
142. Cycles Humber. ca. 1906. Artist: Henriette Bressler 43 x 59 1⁄4 in./109.3 x 150.5 cm Imp. Caby & Chardin, Paris Cond A-/Unobtrusive folds. Ref: Ailes, p. 120; Weill/Art Nouveau, p. 61; PAI-LXXVIII, 29 Formed in England by Thomas Humber in 1869, Humber Cycles would eventually, like so many bicycle companies, become dominated by its automobile division. At the turn of the century, though, bicycles were still all the rage, as can be seen in this dreamy design which gives a heavy nod to Mucha’s poster for Cycles Perfecta. In both, only a hint of the bicycle is shown, while the heavenly muse grabs our attention. Est: $1,400-$1,700.
143
Est: $1,700-$2,000.
144. Cycles Tigra. ca. 1925. Artist: Martin Dupin 15 3⁄8 x 23 1⁄ 2 in./39 x 59.5 cm Publicité Martin-Dupin, St. Etienne Cond A-/Slight creases. Ref: Le Tennis, unnumbered Established in 1923, this Aubervilliers bicycle brand seems to not have gained a lot of traction, as very little information on the company exists. But this design is a fierce testament to Cycles Tigra: a dapper tennis player puffs on his cigar while effortlessly gliding to the courts. Meanwhile, the brand mascot appears in exaggerated proportion, but based on the cyclist’s bemused reaction, we need not be afraid of this gentle beast. Est: $1,200-$1,500.
144
BICYCLES
145
146
145. Bayerische Motoren Werke / BMW. ca. 1925. Artist: Anonymous
146. Preis von Nürnberg / Motorrad Rennen. 1938. Artist: Anonymous
30 x 47 1⁄8 in./76.2 x 119.7 cm Kunst im Druck, München Cond A.
23 1⁄4 x 33 3⁄ 8 in./59 x 85 cm Zerreis, Nürnberg Cond A-/Unobtrusive folds.
If you’ve ever been to the mountainous regions of Bavaria, you’ve likely seen motorcyclists zooming around the ice-capped peaks on winding rural roads. This anonymous artist (whose initials are H. W.) presents us with a perfectly crisp outing to promote BMW’s newest model, which is likely an R42, produced between 1925-1928. If anyone happens to know the artist’s name, please do share. Rare!
In July 1938 and June 1939, the Preis von Nürnberg motorcycle race coincided with the annual Reich Party Convention. The race traced a 6.56 km circuit near the Steintribüne, southeast of the city center. By prewar standards, the course was rather quick: a simple circuit consisting of only long straights connected with four right-hand curves. This year’s winner was Georg Meier, who clocked the fastest lap at 145.8 km/hour.
Est: $2,500-$3,000.
Est: $2,000-$2,500.
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AUTOMOBILES
147
148
147. Autosoap Chambat. Artist: Maurie
148. Winged Auto : Maquette. 1910. Artist: Baldo
35 5⁄8 x 57 5⁄8 in./90.5 x 146.5 cm G. Mont-Louis, Clermont Cond B/Slight tears at folds. Ref: PAI-XXX, 270
11 x 15 3⁄8 in./28 x 39 cm Signed gouache and ink maquette. Framed. Ref: PAI-LXXX, 180
For the most part, it’s more common to come across a poster that indulges in the thrill of being behind the wheel of an early automobile than to find one that addresses what a filthy affair the trip could be. With the amount of messy mechanical calamities still plaguing today’s motorists, one can only imagine the goop and grime that went along with the original driving experience. Fortunately, Chambat Autosoap was there to help the emerging gearhead through any greasy situation. And what a stroke of luck for this duster-wearing couple that a good Samaritan just happened to be in the vicinity with a bar of the non-caustic soap and a jug of water to offer a post-breakdown wash-up. Est: $1,700-$2,000.
These intrepid drivers are zooming across the atmosphere to deliver a tank of gas to a driver in need. The bold colors, cherry red automobile, and graphic shapes feel like they’d be right at home in an early Fiat advertisement, but sadly, a finalized poster of this design has not been found. Provenance: The archives of Imprimeries Courmont, Paris (indicated verso). Est: $1,700-$2,000.
AUTOMOBILES
149
150 149. Automobiles Barré. ca. 1902. Artist: Walter Thor (1870-1929)
150. Peugeot. ca. 1925. Artist: René Vincent (1879-1936)
61 1⁄2 x 43 3⁄4 in./156.2 x 111 cm Lithographie Parisienne, Paris Cond A. Ref: Khachadourian, p. 12; Poitou-Charentes, p. 87; PAI-LXXIII, 30
61 7⁄8 x 46 1⁄4 in./157.2 x 117.5 cm Imp. Draeger, Paris Cond B+/Unobtrusive folds. Ref: Affiches Automobiles, p. 37; Auto s’Affiche, 1; Graphicar, 312; PAI-LXXIX, 105
When seen on a road sign, “barré” means “Do Not Enter.” This could have been a problem for the Barré automotive company. Walter Thor, however, decided to drive right through this potential marketing barrier, and as a result produced an advertising coup. This unruly rabble in the rumble seat doesn’t give a fig for unfinished roadworks, and even thumb their noses at the gendarme as they fly past. So many auto ads of the period emphasize elegance and luxury, but this is truly a car for the people: one that states unequivocally to those who seek to bar access, or progress, or entry, that they can go stuff it.
We’re not sure when luxury automobiles began to be referred to as “exotic cars,” but it’s not impossible that René Vincent “coined the phrase” with this ad. Two native Africans, in their turbans and patterned clothes, stare at this new Peugeot with the precise mixture of curiosity and awe that must have greeted them on the streets of 1920s Paris. After all, Vincent virtually invented auto advertising for the moneyed elite with an elegant and precise line extending from the machinery to the women he drew.
Est: $1,700-$2,000.
Est: $2,000-$2,500.
AUTOMOBILES
151
152
151. J. Petitjean Basel. 1925. Artist: Niklaus Stoecklin (1896-1982)
153. Monaco Grand Prix 1935. 1935. Artist: Geo Ham (Georges Hamel, 1900-1972)
36 x 50 in./91.8 x 127 cm Wassermann, Basel Cond A. Ref: Affiches Suisse, 21 (var); Margadant, p. 141 (var); Weill, 440; Stoecklin/Plakate, 28; Stoecklin, p. 27; Plakat Schweiz, p. 41
31 x 46 1⁄2 in./78.8 x 118.2 cm Imp. Monégasque, Monte-Carlo Cond A. Framed. Ref: Monaco, p. 29; Affiches Riviera, 260; PAI-LVII, 5
Stoecklin’s design for an automotive tire is a quintessential example of Neue Sachlichkeit, or New Objectivity. There is absolutely nothing extraneous, except for Stoecklin’s impressive photographic precision: each joint, angle, and texture of the tire is meticulously rendered with disciplined accuracy. After all, our attention should be focused on the engineering feat of J. Petitjean, and that is precisely what Stoecklin delivers. Est: $1,700-$2,000.
152. “Ca-bloc.” 1931. Artist: Leonetto Cappiello (1875-1942) 30 3⁄4 x 46 1⁄2 in./78 x 118.2 cm Imp. Devambez, Paris Cond B/Slight tears, largely in bottom text area. Ref: Cappiello/Rennert, 489; Khachadourian, p. 81 (var); PAI-LXXX, 286 “Ca-bloc” was an automotive brake that claimed it virtually nailed the car to the road—so, naturally, Cappiello takes the promise extremely literally. His exaggerated depiction is both reflective of the component’s power and incredibly, hilariously, impractical. Est: $4,000-$5,000.
With the Nazi regime fully in control of Germany, the Mercedes-Benz team arrived with the most powerful cars ever used in Grand Prix history, easily winning first prize. With Italian driver Luigi Fazioli at the wheel, the 3.99-liter Mercedes W25 model led from start to finish, never seriously challenged by the three Alfa Romeos and the Maserati that took the next four spots. In the poster, Ham puts us right in the action, against the glittering background of sun-drenched Monte-Carlo. Est: $17,000-$20,000.
AUTOMOBILES
153
AUTOMOBILES
155 154
154. Automobil- und Motorrad-Ausstellung. 1937. Artist: Jaddatz 33 1⁄4 x 46 3⁄4 in./84.4 x 118.8 cm Elsnerdruck, Berlin Cond A-/Slight tears in top border. Framed. Ref: PAI-X, 46 This poster for the car and motorcycle show in Berlin in 1938 features the golden front of a car traveling down one of the brand new autobahns to the distant exhibition hall and tower in Berlin, seen in the blue mist of the driver’s imagination. Rare! Est: $2,000-$2,500.
155. Nouvelles Huiles Shell. Artist: M. Pecnard 35 3⁄4 x 46 1⁄2 in./90.8 x 118.2 cm Cond A. Ref: PAI-XVIII, 38 Compared to most Shell posters—which use a softer and more expressionistic aesthetic—this futuristic bit of Surrealist Chinoserie really stands on its own. The apple blossoms, at top, give a distinctly Chinese feel, yet are painted to simulate photographic depth of field. Below, the car is rendered with an unnatural realism; its driver is Shell’s mechano-man symbol, but he’s taken on a fully three-dimensional bionic form. Equally lovely and unsettling, this is one of the rarest of all Shell posters. Est: $1,400-$1,700.
156. Grand Prix des Nations. 1946. Artist: Noel Fontanet (1898-1982) 25 1⁄2 x 38 7⁄8 in./64.7 x 98.8 cm Altar, Genève Cond A-/Slight tear at top edge. Framed. Ref: Plakat Schweiz, p. 141; Sportissimo, p. 174; Affiche Miroir, 23; Swiss Sport, 30; PAI-XVII, 275 In this rip-roaring design, the red race car seemingly rattles right out of the frame. “The number on the radiator betokens more than the order of starting positions. It is a symbol of the coming of age of the sport... a child of the technical-industrial age” (Plakat Schweiz, p. 140). Fontanet produced a number of Grand Prix posters (including one for the Grand Prix de Suisse motorcycle race the same year). This may be the most vivid of them all.
156
Est: $2,000-$2,500.
AUTOMOBILES
157 157. Grosser Bergpreis v. Deutschland / Freiburg. ca. 1936. Artist: Caspary-Blu 23 1⁄8 x 32 1⁄ 2 in./58.8 x 82.7 cm Poppen & Ortman, Freiburg Cond A-/Unobtrusive folds. Ref: PAI-LXII, 401 Supportive of anything which showcased German excellence, the Nazi Party financed all Mercedes-Benz and Auto Union racing programs, including the annual Grosser Bergpreis von Deutschland. Here, a host of international flags—Germany’s obviously being the largest—flank a race car as it speeds up one of the course’s mountains. Est: $5,000-$6,000.
AUTOMOBILES - CIRCUS & WILD WEST
159 158
160
161
158. GPO / Use Extra Care. 1948. Artist: John Barker
159. Grand Prix / Reims. 1961. Artist: Jean des Gachons (1944-?)
160. Grosser Preis von Europa. 1968. Artist: Michael Turner (1934- )
19 x 29 1⁄4 in./48.2 x 74.3 cm Fosh & Cross, London Cond A. Ref: PAI-XXXIII, 193
19 1⁄4 x 26 5⁄8 in./48.8 x 67.5 cm Imp. Debar, Paris Cond A-/Unobtrusive fold.
23 3⁄4 x 33 in./60.2 x 83.7 cm Druckerie Will und Rothe, Mainz Cond A. Ref: PAI-XLIV, 36
The British General Post Office reminds drivers everywhere to keep an eye on the road by having John Barker keep an eye directly on them. This somewhat surreal, quasi-Constructivist public service announcement most effectively eliminates all but the driver’s hands upon a steering wheel—thereby making the viewer an auto-free motorist—and allowing us to gaze deep into a pupil’s worth of winter driving hazards. It’s a hypnotic obstacle course designed in the name of safety. Est: $1,200-$1,500.
Blue and red Ferraris zoom across the page to represent the Formula I and Formula Jr. races held in Reims. The five mile race was one by Giancarlo Baghetti, who thereby became the first and only driver to win the World Championship Grand Prix debut against a field of non-debutant drivers. Est: $800-$1,000.
Turner directs his speed-tweaked talents from the sunny Mediterranean climes of Monaco to Germany’s legendary Nürburgring race track for the 1967 German Grand Prix. Without missing a beat, he places the viewer directly in the path of oncoming competitors while perfectly capturing the tough, demanding character of the course. None of the drivers portrayed in the poster, however, would claim victory that day—that distinction belonged to Denny Hulme. Hulme won that year’s Monaco Grand Prix as well, a race for which Turner also created the publicity. Coincidence? It’s interesting to note that this race was the first in Formula One history to be broadcast in color television in Germany. Est: $1,200-$1,500.
161. Grosser Preis von Deutschland. 1969. Artist: Michael Turner (1934- ) 23 1⁄4 x 33 1⁄ 2 in./59 x 85 cm Druckerie Will und Rothe, Mainz Cond A. Turner revisits the 1968 race with a more Impressionist bent to promote the 1969 edition of this German Formula One race on the Nürburgring. Zooming towards us in the red Ferrari is the winner of the 1968 race, John Surtees; behind him, we can see the famous Dunlop scoring tower keeping an eye on the race. The 1969 race was ultimately won by Jacky Ickx of Belgium. Est: $1,000-$1,200.
CIRCUS & WILD WEST
162
163 162. P.T. Barnum / Brute Sioux Indians. ca. 1880. Artist: Anonymous 36 3⁄4 x 27 1⁄8 in./93.2 x 68.8 cm Strobridge Litho., Cincinnati Cond B/Slight tears at folds and edges. Thanks to Buffalo Bill’s Wild West Shows, Native Americans became popular features of circuses and sideshows. P.T. Barnum, in combination with the Great London Circus, promotes his three-ring circus with a hippodrome, a museum of living curiosities, menageries in two tents, Olympian games, and an ethnological congress of savage tribes making nine united monster shows—better known today as freak shows. Here, we see his “brute” Sioux Indians in a performance of the Custer Massacre. Est: $2,000-$2,500.
163. Barnum & Bailey / Race Between Runner and Thorough-Bred. Artist: Anonymous 37 5⁄ 8 x 29 1⁄2 in./95.8 x 75 cm Strobridge Litho., Cincinnati Cond B/Stains at vertical fold. With cameos of Barnum & Bailey’s founders, this design advertises an “earnestly contested race between the swiftest runner and the fleetest thorouhgh-bred (sic), ridden by an expert jockey.” Typos aside, it’s a strangely alluring promotion for an unconventional event. Est: $1,200-$1,500.
164 164. Trianon Kook. ca. 1898. Artist: Candido Aragonese de Faria (1849-1911) 34 x 49 1⁄ 8 in./86.5 x 124.7 cm Imp. Formstecher, Paris Cond B+/Slight tears at folds. Ref: PAI-LXXXI, 281 The legendary Trianon concert hall brought a bit of the Wild West to Paris with Kook, the blindfolded shooter and Miss Mimosa, the living target. Despite his “high precision shooting” in this “bold and sensational novelty,” it sounds like an incredibly dangerous act, which is perhaps why we haven’t found any information on Kook. De Faria gives us an explosive scene with two perspectives of the cowboy shooter and text in English and French. Est: $1,400-$1,700.
CIRCUS & WILD WEST
165
168
166
165. Folies-Bergère / Dompteur Seeth. 1900. Artist: Louis Lemoine-Maudet
167. Neil O’Brien’s Super-Minstrels. 1904. Artist: Anonymous
35 1⁄ 2 x 48 in./90.4 x 122 cm Imp. Chaix, Paris Cond B+/Unobtrusive folds. Ref: PAI-LXXXI, 339
13 3⁄8 x 21 3⁄8 in./34 x 54.2 cm Cond A-/Slight stains at bottom edge. Framed. Ref: PAI-XXXIX, 41
German lion tamer Julius Seeth (1863-1939) was renowned for his control of the wild beasts—just look at how calmly they sit as if posing for a photograph. Acts like these were very popular at the Folies-Bergère, and we can only imagine the excitement rippling through the crowds as they looked on in awe. According to an 1898 segment in The Homiletic Review, “Herr Seeth was at the court of King Menelik, in Abysinnia; the king had heard, through his minister, of Seeth’s prowess, and wanted to see proof of it. He had twenty-eight Abyssinian lions caught especially, Seeth began his task of training them, and in a short time was able to produce them before the monarch perfectly trained. Menelik was so amazed and delighted at the performance that he immediately made a present of the twenty-eight lions to Seeth.” Est: $1,400-$1,700.
166. Ambassadeurs / Les Minstrels Parisiens. Artist: Anonymous 35 1⁄8 x 48 in./89.2 x 122.5 cm Ch. Levy, Paris Cond B+/Slight tears at folds. Though minstrelsy in France dates back to 1672, the Belle Époque saw a resurgence of street singers performing at cabarets like the Ambassadeurs. Here, in humorous caricature, Les Minstrels Parisiens tout their upcoming burlesque performances. The British PickMe-Up magazine gave them a favorable review for their show at the Palace, writing, “They describe themselves as street-singers, but they have certainly elevated street-singing into a fine art. Their voices are delightfully melodious, and they never, as in this kind of work they so easily might do, indulge in undue exaggeration... It is to be hoped that the stay of these delightful artists in this country will be prolonged as long as possible.”
167
Est: $1,200-$1,500.
This altogether stupefying display of attention-seizing promotional moxie is far less than politically correct, and far more memorable because of the brash, unapologetic approach taken. And though words fail to truly describe this spectacular window card that takes the O’Brien claim of being “The Mouth-Piece of Mirth and Melody” to a super-literal extreme, its visceral impact is astonishing. Est: $1,400-$1,700.
168. Primrose & West’s Minstrels. Artist: Anonymous 39 7⁄ 8 x 30 1⁄4 in./101.2 x 76.8 cm Strobridge Litho., Cincinnati Cond B/Slight tears at folds and edges. For a troupe that was praised for its high class and refined performances, this poster sure is a shocker of massively offensive proportions. George Primrose and Billy West concentrated on “refined singing and dancing and inoffensive material” and “focused on lavish productions of current fads... This approach brought Primrose and West such success that they were known as ‘The Millionaires of Minstrelsy’” (Blacking Up, p. 154). Est: $1,700-$2,000.
CIRCUS & WILD WEST
169
170
169. Buffalo Bill’s Wild West / “Arrow-head.” 1908. Artist: Anonymous
170. Houdini / Bradford Empire Theatre. 1913. Artist: Anonymous
18 3⁄4 x 29 1⁄2 in./47.6 x 75 cm Strobridge Litho., Cincinnati Cond B+/Slight tears at edges. Framed. Ref: Buffalo Bill, 79
11 1⁄8 x 35 in./28.3 x 89 cm Cond B+/Slight tears and creases. Framed.
A reproduction of this poster appeared in a 1909 courier with text describing the important role of women in Buffalo Bill’s troupe: “The women of the Wild West and Great Far East comprise representatives of many nations; but little ‘Arrow-Head’ is the belle of the lot... [in illustrating] tribes and customs of both sides of the earth, the women of these races play an important and essential part in our grand and inspiring panorama of civilization.” Indeed, “She is quite a beauty and the same might be said for Strobridge’s lithography, for the sensitivity of ‘Arrow-Head’s’ face is matched by the sensitivity of the lithographer’s crayon. There is also the irony of the juxtaposition of hard-edged arrow head, a weapon used for killing men and animals, with ‘Arrow-Head,’ that soft and beguiling Indian maiden. From the standpoint of either looks or lithography—it’s gorgeous!” (Buffalo Bill, p. 12). Rare! Est: $6,000-$8,000.
West Yorkshire’s Bradford Empire Theatre was lucky to host the great Houdini a number of times in the early 20th century. In this handbill, the text tells us what to expect from the world-famous self-liberator: “Presenting the greatest performance of his strenuous career, liberating himself after being locked in a water torture cell (Houdini’s own invention), whilst standing on his head, his ankles clamped and locked above in the centre of the massive cover. A feat which borders on the supernatural. £200: Houdini offers this sum to anyone proving that it is possible to obtain air in the upside down position in which he releases himself from this water filled torture cell.” Rare! Est: $3,000-$4,000.
CIRCUS & WILD WEST - SALON DES CENT
171
172
171. George / The Supreme Master of Magic. ca. 1929. Artist: Anonymous
172. George : Two Posters. ca. 1929. Artist: Anonymous
26 3⁄4 in. x 40 1⁄2 in./68 x 102.7 cm Otis Lithographic Co., Cleveland Cond A. Ref: PAI-LXXVII, 112
Each: 20 x 26 1⁄2 in./51 x 67.3 cm Otis Litho., Cleveland Cond B+/Slight tears and stains at edges.
Grover George (1887-1958), an Ohio native, began performing as a magician when he was only 10. He continued to perform at small theaters across the United States, then left with his company of 18 for a five-year tour of Central and South America. He returned to the States in 1929 flushed with success, and expected to storm the theaters of his own country. This spectacular poster is one of the designs created for that “triumphant American tour.” But that triumph was out of reach—the magician Howard Thurston was intent on maintaining his territory, and brought suits against George whenever he attempted to book a venue of any distinction. Although these suits were, in fact, frivolous, George did not have the necessary funds, and was relegated to playing second-rate stages. He returned to South America, making occasional minor trips back to the U.S., and died in São Paolo, Brazil, where he had retired. The uncredited artist pulls out all the stops to seduce the viewer with exotic and otherworldly affiliations: from demonic intervention to Oriental mysticism, the magician’s credentials are graphically laid out. Unfortunately, due to George’s legal woes, the poster may never have reached its intended audience. Est: $1,200-$1,500.
Both of these anonymous designs draw on the mysticism of the Far East to advertise Grover George in his “triumphant” American tour. In the first, George scales a deck of cards across a placid Buddha while red devils frolic about; in the second, a more sinister looking Buddha sits on his perch surrounded by pseudo-Oriental men for an act called “the celebrated Hong Kong Mysteries.” As with the previous lot, we’re afraid that these flights of fancy never reached the audiences that George longed to perform for. Both posters are in the half-sheet size. Est: $1,500-$2,000. (2)
SALON DES CENT
173 173. Salon des Cent. 1896. Artist: Pierre Bonnard (1867-1947) 17 5⁄8 x 23 3⁄4 in./44.7 x 60.5 cm Imp. Chaix, Paris Cond A. Framed. Ref: DFP-II, 79; Salon des Cent, p. 53; Salon des Cent/Neumann, p. 35; Marx, 45; Bouvet, 39; Ives, illus. 19; Posters of Paris, 11; Word & Image, p. 27; PAI-LXXXI, 192 The drawing of a woman admonishing her dog appears only half-finished, with the right side remaining blank, but all the pertinent elements are there: the fashionable veiled hat, the gesture of the gloved hand, and the attentive pose of the pooch. Colta Ives, in the catalogue of the Bonnard exhibition at the Metropolitan Museum, speaks of “the softly delineated forms [in the Salon des Cent], enhanced with touches of modeling and color” and feels that although he was part of the Nabis group, “his adoption of a more relaxed and lyrically sensuous approach” set him apart from that fraternity (Ives, p. 6). This charming invitation is surely one of the finest and most sensitive lithographs of Bonnard and of the entire Salon des Cent series. Est: $7,000-$9,000.
SALON DES CENT
174
176 174. Salon des Cent / Exposition. 1895. Artist: Charles Lapierre (1867-?)
176. Salon des Cent. 1897. Artist: Louis J. Rhead (1858-1926)
15 1⁄2 x 23 1⁄4 in./39.3 x 59 cm Imp. Charles Verneau, Paris Cond A-/Slight tears at edges. Ref (all var but PAI): DFP-II, 492; Salon des Cent, p. 35; Salon des Cent/Neumann, p. 66; PAI-LXXIX, 359
16 x 24 in./40.8 x 61 cm Imp. Chaix, Paris Cond A. Ref: DFP-I, 468; Affichomanie, 29; Salon des Cent, p. 61; Gold, 198; PAI-LXXXII, 114
A young lady peruses prints stacked in a display cradle in dominantly green surroundings. This is the version of the design that announces in the bottom right text that the exhibition consists of “original drawings of the End of the Century.”
This is Rhead’s announcement for his Paris exhibition which preceded Mucha’s at the famed showplace. It consisted of 60 maquettes, all of which are listed in the April 15, 1897 issue of La Plume. The design is one of Rhead’s best, showing the artistic muse in contemporary dress with a triumphant wreath of laurel in her hair. The handsome scheme of three colors is carried out in the daubs on her palette. A critic writing in the issue of La Plume a month later had high praise for Rhead’s restrained color play: “Nothing is more powerful in achieving a variety of effect than limitation of means. See how often this economy and methodic restraint create, as a result, the development of nuances. Rhead has banished half-tones, and by juxtaposing a blue with other colors, he has created a whole chromatic range. In the panel, for example, you seem to see greens, blues and violets; you notice their freshness and... you’re continually astonished to discover that there is one and only one color!” (Salon des Cent, p. 61).
Est: $1,200-$1,500.
175. Salon des Cent. 1895. Artist: Edmond Andre Rocher (1873-1948) 17 5⁄8 x 24 1⁄8 in./44.7 x 61.2 cm Imp. Bourgerie, Paris Cond A-/Slight tears at edges. Ref: DFP-II, 756; Reims, 995; Salon des Cent, p. 26; Gold, 194; PAI-LXXXI, 434
175
“The woman is examining the print with intensely critical concentration—she might be an art student or even a painter herself” (Gold, p. 132). This was the only poster by Rocher in the historic 1896 Reims exhibition. The brown-on-beige gives the piece a duotone effect that is achieved by printing pochoir over letterpress. In addition to his work as an illustrator, lithographer, and engraver, Rocher also dabbled in poetry. Est: $1,400-$1,700.
Est: $1,500-$2,000.
SALON DES CENT
178
177 177. Salon des Cent / February 1896. Artist: Armand A. L. Rassenfosse (1862-1934)
178. Salon des 100 / 7me Exposition 1894. Artist: Frederic-Auguste Cazals (1865-1941)
17 7⁄8 x 25 1⁄4 in./45.3 x 64 cm Imp. Aug. Bénard, Liège Cond A-/Slight creases at top edge. Ref: DFP-II, 114; Reims, 1499; Salon des Cent, p. 45; Belle Epoque 1970, 108; Timeless Images, 45; Chaumont/Exposons, p. 18; PAI-LXXXII, 113
15 3⁄4 x 25 1⁄4 in./40 x 64 cm Imp. Bourgerie, Paris Cond B-/Restored tears; recreated margin. Ref: Salon des Cent, p. 25; DFP-II, 139; Maitres, 15; Maindron 1896, p. 152; Reims, 264; Abdy, p. 163; Weill, 77; Color Revolution, 44; PAI-LXXIX, 281
Rassenfosse created a sophisticated and straightforward design that visually links the Salon with its sister publication La Plume. In the background, a woman peruses the latest creations by artists represented at the Salon, while the lady facing us views the same images within the pages of the magazine. On the bottom, it notes that La Plume was the official publication of the Salon—but it was technically the other way around; La Plume used the Salon as a marketing outlet for the art it published. The exhibitions lasted until 1900, while the magazine stayed in circulation until 1913.
Shown examining pictures on the wall (one of which is Jossot’s design for another Salon des Cent poster for an exhibition earlier that same year) are symbolist poet Paul Verlaine in the black hat and coat, and Jean Moreas, founder of the Ecole Romane. Cazal’s design “places part of its text on the wall of a realistic exhibition hall, with the letter ‘S’ in the word ‘Salon’ decoratively replaced by a swan. Words become a natural part of the interior setting and function as the sign entitling the exhibition... This kind of pictorial trick was a convenient system of integrating text and image... [This poster] also illustrates the tendency of some French artists at the end of the century to make personal puns within their works and to include depictions of friends and colleagues” (Cate, in Lauder, p. 69).
Est: $2,500-$3,000.
Est: $1,200-$1,500.
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JOSEPHINE BAKER
179 179. Josephine Baker / La Folie du Jour. ca. 1927. Artist: Anonymous 15 x 23 5⁄8 in./38.2 x 60 cm Imp. Regionale, Marseille Cond A.
180
Hot on the heels of her revolutionary La Revue Nègre show, Josephine Baker made her debut at the Folies Bergère in 1926 with an act called La Folie du Jour. This performance would go down in the history books as the introduction of Baker’s iconic banana skirt. “In January 1927 Joséphine’s first silent film received its première: a straightforward filming of the whole of the Folies show in an early colour process. The publicity declared: ‘Joséphine Baker Créatrice du Charleston, l’Idole du Public Parisien.’ This was probably the first and only time that a music-hall show was filmed in its entirety—the fragments of it that have survived preserve Joséphine’s banana dance and the Boule des Fleurs Charleston sequence” (Josephine Baker, p. 46). Est: $1,700-$2,000.
180. Josephine Baker / Columbia. 1930. Artist: Paul Colin (1892-1986) 23 x 30 1⁄4 in./58.5 x 76.8 cm Edita, Paris Cond A-/Slight tears in top text. Framed. Ref: Josephine Baker: Image & Icon, 35; PAI-LXIX, 325 In 1930, Josephine Baker opened a new show at the Casino de Paris entitled Paris qui Remue. That July, Columbia Records released a recording of the production. The poster shows Baker in transition—the exotically posed dancers of her Revue Nègre days are mere sketches in the background, while a more sophisticated, Western version of the star coyly pushes itself forward. Est: $2,500-$3,000.
181. Zou-Zou. 1934. Artist: Anonymous 13 1⁄2 x 18 1⁄8 in./34.3 x 46 cm Edicolor, Belgium Cond A. Framed. Ref: Josephine Baker/Sheldon, pl. 28; PAI-LXV, 332 This French film chronicles the lives of orphans Zou-Zou and Jean, paired up as twins in a traveling circus despite the fact that she is dark and he is light. As they grow older, her feelings for him take on a romantic connotation while he falls in love with her friend Claire. Through this lovelorn drama, Zou-Zou eventually becomes a star performer in her own right. Est: $1,700-$2,000.
181
A-Z | ANONYMOUS
184
Anonymous 182. Cincinnati Industrial Exposition. 1883. 20 5⁄ 8 x 32 in./52.3 x 81.2 cm Krebs Lithographing, Cincinnati Cond B+/Slight tears at edges.
182
For the eleventh annual Cincinnati Industrial Exposition, a female figure representing Justice is visited by other terrains to receive her divine judgment: Ohio is a blonde woman with a model of a combine; Georgia is a Black boy bequeathing textiles; Indiana is a Native American woman bearing a locomotive model; Kentucky is a Black man presenting tobacco; and Massachusetts is a brunette woman carrying ornate fabrics. The Expositions also included fine art, musical performances, and various inventions. Est: $1,700-$2,000.
183. Fire Extinguisher Co. ca. 1890. 24 x 29 3⁄4 in./61 x 75.8 cm Cond B+/Slight stains at edges. Chicago’s Fire Extinguisher Manufacturing Co. was an amalgamation of various other companies that specialized in extinguishers. They manufactured the (at the time) modern extinguishers called “Babcock” and “Champion” as well as chemical engines, hand fire extinguishers, city and village hook and ladder trucks, hand and horse hoses, and general fire department supplies. This ornate Art Nouveau design details the equipment as horse-drawn carriages dash off to the next fire emergency. Rare! Est: $1,700-$2,000.
184. Première Exposition de Photographie. 1889. 23 7⁄ 8 x 31 1⁄4 in./60.6 x 79.5 cm Affiches Camis, Paris Cond B-/Restored tears at folds and edges. Ref: Gold, 181; Schermi di Carta, p. 93; PAI-XXX, 218 So many technological milestones had been achieved in the closing days of the 19th century that it’s hard to remember that photography was some six decades old in 1889: Daguerre had patented his “daguerreotype” in 1835, and the Lumière Brothers, already successful as manufacturers of photographic equipment, were about to take a giant step forward with motion pictures. In this poster, a young woman—perhaps an early photojournalist—has mounted a camera on her bicycle handlebars so she can snap away while riding.
183
Est: $1,200-$1,500.
ANONYMOUS | A-Z
186 185. Saponite. ca. 1894.
185
39 1⁄ 8 x 55 in./99.3 x 139.7 cm Imp. Bourgerie, Paris Cond A-/Slight tears and stains at edges. Ref: Célébrités, 96; PAI-LXXXI, 158 Now here’s an exceptionally witty form of domestic politics. “Let’s wash our family’s dirty laundry,” Napoleon volunteers. Louis Phillipe, King of the French from 1830 to 1848, asks, “With what?” An opinionated Marianne, symbol of the République du France, interjects: “With Saponite.” It’s a bold statement from the detergent manufacturer: by claiming the Bourbon Louis Phillippe as part of Napoleon’s “family,” Saponite seems to be saying that, whether hereditarily or democratically derived, power corrupts—and for the good of the people, French leadership needs to clean up its act. Louis Phillippe fled France during the Revolution of 1848, which was sparked by massive economic inequality. When this poster was created, in 1894, the French president Carnot, highly popular for his integrity, was assassinated by an Italian anarchist as the Dreyfus Affair played out. Est: $1,200-$1,500.
186. Veuve Amiot. ca. 1890. 14 1⁄4 x 19 1⁄4 in./36.2 x 49 cm Lith. G. Bataille, Paris Cond A. Ref: Boissons, 397 (var); PAI-LXXV, 194 A pitch-perfect synthesis of Art Nouveau and Japanese Edo Period aesthetics, this radiant and enthroned young woman would like to share a glass of Veuve with you. Founded in 1884, Veuve Amiot was developed by the recently widowed Elisa Amiot who needed a new way to support her four young children. The sparkling wine quickly became an international success, as evidenced here by the Japanese text on the left. Est: $1,000-$1,200.
187. International Stock Food. 1895. 15 5⁄8 x 25 7⁄8 in./39.7 x 55 cm International S. Food Co., Minneapolis Cond B+/Slight tears at folds and edges. Framed. Ref: Graphic Design/Taschen, p. 70 Who could argue with a dapper pig in a pinstripe suit with a monocle to boot? This feed for pigs, shoats, and hogs cured and prevented hog cholera—all for the price of one cent per three feeds. The added benefits include making them grow “amazingly,” increased flow of milk for healthier offspring, blood purification, and general strengthening for the entire system.
187
Est: $1,200-$1,500.
A-Z | ANONYMOUS
188
Anonymous
(Continued)
188. Sutro Baths. 1896.
189. Cairo Turkish Cigarettes. 1897.
190. Champagne Louis Royer. ca. 1898.
79 5⁄8 x 74 3⁄8 in./202.2 x 189 cm Cond B/Slight tears. Ref: PAI-LXXVII, 107
19 7⁄8 x 27 5⁄ 8 in./50.4 x 70 cm Cond B+/Slight tears and creases. Framed.
11 x 24 5⁄8 in./28 x 62.6 cm Lith. E. Plantet, Ay Cond A-/Slight stains at edges. Framed. Ref: Wine Spectator, 90; PAI-XLII, 90
“Is this real?” That’s the first question we receive on this magnificent work. The answer is yes—it was. The Sutro Baths, founded in 1896, were situated on Point Lobos, San Francisco, not far from the Cliff House. The brainchild of the German immigrant and self-made millionaire Adolphe Sutro, the rococo palace housed seven swimming pools (one freshwater, six saltwater) plus 517 changing rooms, and could accommodate an unfathomable 7,400 bathers. This rare six-sheet billboard provides a panoramic view of the interior with exquisite detail. The Sutro Baths survived until 1966, when the structure was destroyed by a fire and abandoned. However, its ruins can still be seen, and it has a historical marker on Google Maps, identified by this very poster. This work has aroused an extraordinary amount of interest, so do not hesitate on the diving board. Est: $8,000-$10,000.
For a little-known brand of cigarettes, an anonymous designer pulls out all the stops: the regal Sphinx of Giza keeps watch in the background while a scantily clad lady, wrapped only in the most gossamer of fabrics, holds her pack of smokes up high like a trophy. Rare! Est: $1,200-$1,500.
“The anonymous artist who designed the Champagne Louis Royer poster was obviously an obedient disciple of Mucha’s; the workmanship on the details of the lady’s dress, the minute attention to ornamental framing of the image, even such touches as the hem of the dress overlapping the border, attest to the fact that he (or she) studied Mucha’s techniques carefully and diligently... a fine example of Art Nouveau in full bloom” (Wine Spectator, 90). This poster boasts brilliant colors and metallic gold ink. Est: $3,000-$4,000.
ANONYMOUS | A-Z
189
191
190 191. Cacao Bensdorp. ca. 1900.
192. C. G. Kämmerer’s.
17 3⁄8 x 29 1⁄ 8 in./44 x 74 cm Cond B+/Slight creases.
17 1⁄4 x 22 7⁄8 in./43.8 x 58 cm Schneller, Nürnberg Cond A/P.
Amsterdam’s Bensdorp has perfected the art of cocoa powder for 150 years; their high-fat full-bodied chocolate can be used in a wide array of desserts, but they can also be enjoyed in a mug of warm milk, as this Art Nouveau lady demonstrates. Provenance: The Albertina Museum, Vienna. Est: $1,200-$1,500.
192
Carl Gustav Kämmerer followed in his father’s footsteps and became a soap maker; in 1866, he built his own factories on the outskirts of Dessau where he and his brothers produced toilet soaps with a variety of different scents. This decorative design shows a young lady gently cleansing her face with one of their soaps. Provenance: The Albertina Museum, Vienna. Est: $1,200-$1,500.
A-Z | ANONYMOUS
193
Anonymous
194
(Continued)
193. F. L. Cailler’s / Chocolat Suisse. ca. 1900.
195. Au Grand Bon Marché. 1905.
39 3⁄8 x 58 7⁄8 in./100 x 149.5 cm O. de Rycker & Mendel, Bruxelles (not shown) Cond A-/Horizontal fold. P. Ref: Enfant, cover; PAI-LIII, 54 (var)
45 7⁄8 x 61 3⁄4 in./116.5 x 157 cm Imp. Maurice Dupuy, Paris Cond B-/Slight tears and stains at folds and edges. Ref: PAI-LXXXI, 162
F.L. Cailler was not only the first producer of chocolate in Switzerland; he was also the first manufacturer to perfect the art of making chocolate smooth enough to form into bars. The chocolate advertised in this poster not only showcases that invention, but also alludes to the fact that in 1875, the company started using the condensed milk from the nearby Nestlé factory to create milk chocolate. This is the French-language version of this poster.
Going one step further than Paris’ plain old “Au Bon Marché,” the Montpellier department store “Au Grand Bon Marché” announces its summer men’s offerings by trotting out this mustachioed fellow in a smashing outfit to get their point across. He’s the very picture of a turn-of-the-century sharply dressed man, and his young companion is likewise dressed to the nines. Est: $1,200-$1,500.
Est: $1,700-$2,000.
196. Charlie Chaplin / “Behind the Screen.” 1916. 194. Parfums Giraud Fils. ca. 1903. 14 1⁄4 x 24 3⁄8 in./36.3 x 62 cm Cond A. What better way to communicate the floral notes of a perfume than with a luscious maiden and cherubs in a field? Doves and an array of blossoms help emphasize the dreamlike quality of this image. Founded in 1853 as Giraud Frères, this company produced perfumes and soaps. It was later named Jean Giraud Fils and was acquired by several essential oil producers in Grasse around 1900. The company was largely successful and exported to South America until around the 1920s. Est: $2,000-$2,500.
26 3⁄4 x 40 3⁄ 8 in./68 x 102.7 cm Continental Litho., Cleveland Cond B-/Restored tears at folds and edges. Framed. Is Chaplin offering a warm blanket to the sleeping lady? It might look that way, but he has actually discovered that his presumed male coworker is in fact a woman. In the silent film “Behind the Screen,” Chaplin plays David, a studio stagehand. A country girl played by Edna Purviance arrives with hopes of being an actress, but when her dreams are stifled, she borrows another man’s work clothes to secure a job on set. A review for Variety wrote, “The latest Charlie Chaplin release is a two-reeler that is to be classed with one of the best laugh-producers that the world’s champion high-priced film comic has done for Mutual.” In fact, this was just one of eleven films that Chaplin did with Mutual between 1916 and 1917. Rare! Est: $1,400-$1,700.
ANONYMOUS | A-Z
195
197
196
198
197. La Mondinette.
198. Peters Shoes. ca. 1930.
31 ⁄8 x 47 ⁄ 8 in./80.4 x 121 cm Affiches R. Sénécaut, Paris Cond B/Slight stains at folds.
43 3⁄4 x 24 in./111.2 x 61 cm Compton & Sons, St. Louis Cond B/Vertical folds; slight tears in margins.
Based on the “hygienic and refreshing” nature of this beverage, we’re assuming our flapper friend is imbibing a restorative tonic of some sort. Unfortunately, we’ve turned up no information on La Mondinette, but it’s a tantalizing image nonetheless.
These savvy jet setters are strutting their stuff in their Peters “Diamond Brand” shoes. Whether they’re just beginning their vacation or returning home after a relaxing trip, they’re sure to be comfortable in these “smart styles in solid leather footwear.” This company was established in St. Louis in 1892 by Henry Williams Peters; at the time, the Missouri city was one of the country’s largest shoe manufacturing hubs.
5
5
Est: $1,700-$2,000.
Est: $800-$1,000.
A-Z | ANONYMOUS - ATCHÉ
199
202
Anonymous
200
(Continued)
199. Calixtus. ca. 1930.
202. Palisades Amusement Park.
30 x 43 1⁄2 in./76.2 x 110.4 cm Llauger, Barcelona Cond B+/Slight tears at folds and edges.
41 1⁄2 x 78 in./105.3 x 198.2 cm Vandsco Posters, Milwaukee Cond A. Ref: PAI-XLVIII, 35
Calixtus Cava gives you wings! At least, this anonymous artist imagines that the Spanish bubbly transforms his imbiber into a gleeful butterfly who takes a break from flying to rest among the grapes and libations. The Oliver family acquired the 19th century building, Cal Calixtus, in the 1920s to produce this brand. Unfortunately, no further information on the winery exists. Est: $1,400-$1,700.
200. Wrigley’s Gum. 1935. 22 x 28 7⁄8 in./56 x 73.3 cm Cond A-/Slight tears at edges. Framed. Beth Harmon, is that you? Our favorite chess champion of 2020—widely admired in the Netflix series, “The Queen’s Gambit”— would certainly be at home in this charming and stylish advertisement for Wrigley’s gum. Est: $1,200-$1,500.
201. Grandes Caves. ca. 1950. 44 x 60 1⁄2 in./111.8 x 153.6 cm Creation Cristen, Lyon Cond A. Ref: PAI-LVI, 8
201
This bubbly Modern design reinforces the company’s motto: “from the vines... to your table!” Now, where’s the corkscrew? It’s quite possible that Cristen in Lyon is the artist. Est: $1,400-$1,700.
The Palisades Amusement Park started out in 1898 as a New Jersey picnic grove designed by a local trolley car company to increase weekend ridership. In 1908, new owners transformed the land into an amusement park, becoming one of the world’s most famous fun centers: a carnival wonderland unlike any other which instilled a life’s worth of magical memories to anyone fortunate enough to have passed through her gates. Situated high atop the Palisade cliffs, just south of the George Washington Bridge on its Jersey side, the fantastical destination featured such attractions as the Cyclone roller coaster, the Tunnel of Love, a carousel, a Wild West show and, as promoted in this poster by the flirtatious pluck of this fresh-faced surf bather, the world’s largest saltwater wave pool. This two-sheet poster shrewdly ignores every in-house attraction and graciously provides us with as delectable a slice of All-American cheesecake as one could ever hope to come across. Est: $1,400-$1,700.
ANONYMOUS - ATCHÉ | A-Z
203
204 203. Persil : 4 Posters. ca. 1988.
Jane Atché
Each: 13 3⁄8 x 20 in./34 x 50.7 cm Cond A/P.
204. Rêverie. 1903.
Developed in 1907, Persil is to this day a common brand of laundry detergent both in its native Germany and around the world. These bright and charming designs only identify the product by its logo, intoning that this basic household good will impart positive benefits throughout the home. Persil was produced at the Port Sunlight factory in Wirral, near Liverpool, and our sources tell us that these posters were given to the families of the factory workers in celebration of its 100 year anniversary in 1988. Est: $1,000-$1,200. (4)
(1872-1937)
14 1⁄2 x 19 3⁄8 in./36.8 x 49.2 cm Coube, Nancy Cond A-/Slight tears at bottom edge. Framed. Ref (both var): Atché, p. 48; PAI-LXVIII, 246 Printed on vellum, this is one half of the 1897 decorative panel series known as Rêverie et Méditation. Clearly influenced by Mucha’s Têtes Byzantines, Atché’s spin on female beauty in profile is perhaps more contemplative than the Art Nouveau master’s. Like a fine Renaissance lady, she is lost in thought against an intricate weaving of dusty jewel-toned foliage. This printing was used as a 1904 New Year’s greeting promotion for the printer Coube in Nancy. Est: $2,000-$2,500.
A-Z | AUZOLLE - BARRÈRE
205
206
Marcellin Auzolle
208
(1862-1942)
205. Banyuls-Trilles. ca. 1912.
206. Banyuls-Trilles. ca. 1900.
60 1⁄4 x 45 3⁄4 in./153 x 116.2 cm Imp. G. Dupuy, Paris Cond A-/Unobtrusive folds.
39 3⁄8 x 55 in./100 x 139.8 cm Imp. P. Vercasson, Paris Cond B-/Slight tears at folds. Ref: Apéritif, 35; Perpignan, p. 125; DFP-II, 316; PAI-LXXXI, 181
This flirtatious couple exhibits the warmth and joy of Banyuls-Trilles, an aromatized and fortified wine apéritif similar to Dubonnet. Based on the dizzying grins on their faces, we can guess that it’s going to be a delightful evening. This is the horizontal format. Rare! Est: $2,000-$2,500.
This Art Nouveau muse—a caricature of bounty and floral opulence—raises a glass of Banyuls-Trilles, an aromatized and fortified wine apéritif similar to Dubonnet. Est: $1,200-$1,500.
207. This lot has been withdrawn.
AUZOLLE - BARRÈRE | A-Z
209
Adrien Barrère
210
(1877-1931)
208. Alcazar d’Eté / Fragson. ca. 1900.
209. Mayol / 1er Chanteur Comique de Paris.
210. Chez Mayol / Le Mariage d’Hakouma. ca. 1911.
30 ⁄8 x 46 ⁄2 in./78.5 x 118.2 cm Lith. G. Bataille, Paris Cond A-/Slight stains at folds and edges. Framed. Ref: Café-Concert, 46; Caradec/Weill, 262; Masters 1900, p. 66; Chanson à l’Affiche, p. 47; PAI-XV, 11
30 ⁄8 x 57 ⁄ 8 in./78.4 x 147 cm Publicité Wall, Paris Cond B+/Slight stains in top text area. Ref (all var but PAI): Café-Concert, 52; Chanson à l’Affiche, p. 46; PAI-LX, 83
31 5⁄8 x 47 5⁄8 in./80.4 x 121 cm Cond B+/Slight stains at folds. Ref: PAI-LIII, 93
Harry Fragson rose from the dismal slums of London, a childhood of grinding poverty, and a mentally disturbed father to become one of the best entertainers on the music hall circuit. His style was that of a jester with a masterly delivery of comic songs; he accompanied himself on a piano which one critic called “the most powerful disintegrating force” the stage had known up to then (that was before Jimmy Durante’s time, of course). He was extremely popular in Paris and performed in a variety of theatres. In 1913, Fragson returned home from one of his trips to Paris and went to see his father. For no apparent reason, the deranged man shot him dead. This is surely one of the most expressive of all Barrère’s posters—and rare!
A top cabaret draw for over 40 years, Mayol was most certainly “Paris’s Premiere Comic Singer” as this poster notes. In this new variant on the classic Barrère image, we see that he was performing regularly at the Apollo.
7
1
7
7
Est: $1,200-$1,500.
Est: $1,400-$1,700.
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An operetta comprised of two acts, The Marriage of Hakouma, starring the famed Mayol, was met with glorious reviews. Here, Barrère places a rather stilted but merry dancing couple in the foreground, Mayol’s signature red hair and rosy cheeks not even a bit out of place, as a group of slack-jawed senseis gaze on, wide-eyed. Est: $1,700-$2,000.
A-Z | BARRÈRE - BENITO
211
213
212
Barrère
C. H. Beauvais
(Continued)
211. Le Secret de Polichinelle / Théâtre du Gymnase. ca. 1905. 39 x 54 3⁄4 in./99 x 139 cm Imp. Ch. Wall, Paris Cond A. Ref: PAI-LXXXI, 184 Punchinello, the selfish, schizoid rascal of commedia dell’arte combined empty-headed folly with cruelty in order to concoct outrageous schemes to satisfy his animal-like lust and gluttony. Self-sufficient, witty, coarse, obscene, and debauched, the hunchback with the long crimson nose would eventually become the inspiration for Punch of Punch and Judy fame. Precisely what cockamamie plot he’s planting in this professorial character’s imagination isn’t made public, but with a title that translates as “Everybody’s Open Secret,” there must have been plenty of Parisians that made their way to the Théâtre du Gymnase to uncover just what this surreptitious comedy encompassed. Est: $1,200-$1,500.
212. Les Célébrités du Cinéma : Two Posters. ca. 1915.
213. Cambodge. 1906.
Each: 46 3⁄4 x 15 3⁄4 in./119 x 40 cm Cond A-/Slight tears at edges. Ref: PAI-LXV, 120 (var)
45 1⁄4 x 63 7⁄ 8 in./115 x 162.2 cm Moullot, Marseille Cond B+/Slight tears at folds. Ref: PAI-LXXX, 230
Barrère created a career of depicting the stars of film and theatre with his characteristic caricature whimsy. Here, across two posters, he’s brought together some of the greatest stars of the era in his jovial fashion. On one sheet, we have Nick Winter, André Deed, Max Linder, Mistinguett, and Charles Prince; on the other, Gabrielle Robinne, René Alexandre, Stacia Napierkowska, and Signoret. Est: $2,000-$2,500. (2)
World expositions were a popular way for European countries to show off their colonies and bring the exoticism of distant lands straight to the people. As part of French Indochina, Cambodia was a French protectorate from 1863-1953. The event in Marseille was France’s third colonial exhibition and attracted over 1,800,000 visitors. Here, a Cambodian dancer in traditional attire welcomes guests to their pavilion which resembles the Temples of Angkor Wat—a Hindu temple complex that is the largest religious monument in the world. Est: $1,200-$1,500.
BARRÈRE - BENITO | A-Z
214
Leon Benigni
(1892-1948)
215
Eduardo Garcia Benito
(1891-1981)
214. Brides les Bains. 1929.
215. Candee. 1929.
24 5⁄8 x 39 3⁄8 in./62.6 x 100 cm Office d’Editions d’Art, Paris Cond A-/Slight tear at bottom edge. Framed. Ref: Golf, p. 4; Train à l’Affiche, 250; Montagne, p. 186; Deco Affiches, p. 101; Voyage, p. 50; Chemins de Fer, 118; PAI-LXXIX, 243
35 1⁄2 x 50 5⁄8 in./90.2 x 128.5 cm A. Trüb, Aarau Cond A/P. Ref: Femme s’Affiche, 203; Art Deco, p. 182; Swiss/Basel, 176; PAI-XLIII, 160
This handsome Art Deco design shows off the fashionable sporting life of Brides-les-Bains, a spa town in the Rhône-Alpes region of France—“the station of the elegant woman.” Est: $2,500-$3,000.
This image is from the high point of the ’20s, just before “The Crash”—perhaps the rain beginning to cascade from the sky is the artist’s premonition. At any rate, it reminds us of bad weather ahead and the need for Candée snow boots. Unlike in olden days—only a decade before—when a glimpse of stocking was looked on as something shocking, the boots now complimented a more modern wardrobe. And they do, thanks to the great fashion illustrator Benito. His cool background colors make certain that the red boots stand out, and his high 1920s style evokes a glamorous New Yorker as she hustles down the street. This is the German-language version. Est: $4,000-$5,000.
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A-Z | BERNHARD - BOCCHINO
216
217
Lucian Bernhard
(1883-1972)
216. Manoli. 1910.
217. Heine-mann. 1914.
37 x 26 ⁄8 in./94 x 67 cm Hollerbaum & Schmidt, Berlin Cond A-/Slight tear at left edge. Ref: DFP-III, 188; Modern Poster, 64; Avant Garde, 19; Le Coultre, p. 198; Masters 1900, p. 157; Plakatkunst, p. 65; Encyclopédie/Weill, p. 166; Kunst Kommerz, p. 19; PAI-XXVII, 146
36 5⁄8 x 27 in./93 x 68.4 cm Hollerbaum & Schmidt, Berlin Cond B/Slight tears at folds. Framed. Ref: DFP-III, 263; Wember, 115; Gagel, p. 89; PAI-XXIX, 223
3
During the 1910s and ’20s, Bernhard executed at least a dozen designs for Manoli, a Berlin-based cigarette factory founded in 1894 by Jakob Mandelbaum. This one is a quintessential example of Bernhard’s characteristic Sachplakat aesthetic, in which the image is diluted down to its most vital essences: the brand name and the product sit against a deep black background. But rather than coming off as stark, the image is coyly enticing: a chic flip-top deck presents its pleasures while a single cigarette teeters off the edge, beckoning the nicotine lover to indulge. Est: $4,000-$5,000.
A wicker chair, plain and simple. And yet, the simplicity of Bernhard’s vision gives the advertisement a weight and an appeal rarely associated with casual furnishings. “The method which he defined, and the style that ultimately emerged, was predicated on an unadorned, bold-outlined centered representation of the product being advertised... placed against a flat color background... The lettering was reduced to a few words, usually the brand name alone. The object... grabbed the attention of the passerby as it aesthetically and unambiguously hawked its message. The virtue of this invention was that viewers didn’t have to navigate through tedious selling copy, confusing graphics, or other visual distractions. The image was clear, concise, and downright pleasing to the tired eye” (Design Literacy, p. 239). Est: $2,500-$3,000.
BERNHARD - BOCCHINO | A-Z
218
219
220
Paul Berthon
(1872-1909)
Gino Boccasile
(1901-1952)
V. Bocchino
218. Le Livre de Magda. 1898.
219. Lugano. 1939.
220. Léfevre-Utile. 1911.
17 ⁄4 x 24 ⁄8 in./43.8 x 62.6 cm Imp. Chaix, Paris Cond A. Framed. Ref: DFP-II, 66; Berthon & Grasset, p. 97; Timeless Images, 29; PAI-LXXVI, 156
25 ⁄ 8 x 40 in./64.5 x 101.6 cm Gia Veladini, Lugano Cond A-/Slight tears at bottom edge. Framed. Ref: Swiss/Basel, 227; PAI-LXXIV, 199 (var)
26 3⁄4 x 20 1⁄ 2 in./68 x 52 cm Imp. F. Champenois, Paris Cond A. Framed. Ref: Art & Biscuits, 26; Art du Biscuit, front & back inside covers; Alimentaires, 160; Gold, 58; PAI-LXXXI, 170
1
5
“Le Livre de Magda” is a romance novel-in-verse by the French poet Paul Armand Silvestre; it was part of “Les Fleurs d’Hiver,” the last compilation of poems he published before his death. Berthon summarizes the tale with an ethereal nude feeding doves in a sun-dappled field. Est: $1,700-$2,000.
3
If you’re lucky, you get days like this: the warm light of Spring, the soft cool air billowing about, the fragrant blossoms upon the breeze, and a beautiful woman, in perfect relaxation and abandon. Boccasile lost his left eye while young but achieved fame for his many images of the feminine form. Est: $1,700-$2,000.
“Among the most enlightened companies of its day, Lefèvre-Utile sought many ways to popularize its products, among them posters prepared by top artists. Here, we see an assortment of decorative boxes and toys the company used to attract youthful clientele, some of whose adorable members are obviously responding to the bait—an equally sure lure for mothers interested in pleasing their offspring” (Gold, p. 42). Bocchino’s several designs for the company had a wholesome feel about them—he was the Norman Rockwell of the biscuit world, as is evident by this image. This poster is on the original display board with grommet ties at top. Est: $800-$1,000.
A-Z | BONNARD - BRODERS
223
Pierre Bonnard
(1867-1947)
221. Les Peintres Graveurs. 1896. 18 3⁄8 x 25 1⁄4 in./46.6 x 64.3 cm Imp. A. Clot, Paris Cond B+/Restored slight tears at edges. Framed. Ref: Ives, 23; DFP-II, 78; PAI-LXXVII, 144
221
We look over the shoulder of a prospective buyer in this poster advertising an exhibition at Vollard’s gallery—twenty-two prints by artists from the group that called themselves the Nabis, including Vuillard, Vallotton, and Bonnard himself. The exhibition was staged to publicize the portfolio “Album des Peintres-Graveurs,” which contained the same prints and was simultaneously issued in a small edition of 100 sets by Vollard. Est: $2,500-$3,000.
222. L’Estampe et l’Affiche. 1897. 24 1⁄8 x 32 1⁄2 in./61.2 x 82.5 cm Cond A-/Slight stains at edges. Ref: Marx, 38; Bouvet, 44; DFP-II, 80; Gold, 89; Iskin, 24; PAI-LXXXII, 173 Although it appeared for only two years during the heyday of postermania (March 1897 to December 1899), this magazine exercised a major influence on poster designers and collectors alike. Bonnard’s poster was featured on the first page of the first issue, and it was seen as a declaration of intentions on the part of the posterists: we see the older woman—representing the Print— look with curiosity at the brash kid with her portfolio—representing the up-and-coming Poster—obviously ready to take over as the collectible of choice. Note: the complete 3 volume L’Estampe et l’Affiche can be seen in our Books and Periodicals section. Est: $3,000-$4,000.
Louis Bougues 223. Bal ou Jeudi Gras. 1928. 45 1⁄4 x 62 7⁄8 in./115 x 159.7 cm Imp. Nouvelle, Bordeaux Cond A. Ref: Bibliothèque Nationale, Vol. III, p. 210 Scantily clad and fancy-free, these tangoing dancers announce a Fat Thursday celebration organized by the Mutual of Butchery and Charcuterie. No matter the day of the week chosen to celebrate, this pre-Lent festivity emphasizes indulgent feasting before the days of fasting. Now, bring out the fancy cheeses! This is a twosheet poster—and rare!
222
Est: $1,700-$2,000.
BONNARD - BRODERS | A-Z
224
226 224. Bal des Voyageurs de Commerce. 1927. 47 x 63 in./119.3 x 160 cm Imp. B. Arnaud, Lyon Cond A-/Unobtrusive folds.
225
For a commercial travelers’ ball at the Alhambra, Bougues gives us a traveling salesman fresh off the road and ready to party. The text here lets us know to ask for the Izambert Cognac (“it’s the best”) and promotes pianos from the Bordeaux manufacturer, Delmouly-Degorce. Est: $1,700-$2,000.
Firmin Bouisset
(1859-1925)
225. Bréziat / Conserves de Viandes. 31 1⁄8 x 47 in./79 x 119.3 cm Imp. de Vaugirard, Paris Cond A. Ref: PAI-LXXX, 242 Charming or sinister? Bouisset had a true knack for depicting children in tender and lovely ways—this boy’s smile is no less sweet—but the addition of a knife and a petrified pig give this a completely different feeling from his Chocolat Menier, for example. The firm advertises their “Lyonnais pasta, truffle liver dough, cassoulet, and sauerkraut.” We can only hope that an adult will oversee this situation soon. Est: $1,400-$1,700.
Carlo Brancaccio
226. Automobile Club de France. 1904. 23 1⁄ 2 x 15 1⁄ 2 in./59.7 x 39.2 cm Imp. Barreau, Paris Cond A-/Unobtrusive folds. Ref: PAI-LXXVI, 170 It is interesting that Brancaccio chose not to show a car in this poster for the 7th annual Salon de l’Automobile, but rather a handsomely dressed woman maneuvering a boat along the Seine. In the background of this seldomseen design is the illustrious Grand Palais where the show would be held. Est: $1,700-$2,000.
Roger Broders
(1883-1953)
For others by Broders, see Nos. 6 and 68. 227. Lys-Chantilly. 1925. 30 1⁄4 x 46 1⁄4 in./76.7 x 117.4 cm Imp. L. Serre, Paris Cond A-/Slight tears at bottom edge. Ref: Broders, p. 42; Broders/Travel, p. 45; Le Tennis, unnumbered; Affiche Réclame, 105; Tennis Posters, 3; Sport à l’Affiche, 171; PAI-LXVI, 157 This unusual Deco design by Broders flaunts a lithe flapper and her equally slender greyhound in the midst of a tennis match. Behind them, a leisurely group of golfers convenes, proving that Lys-Chantilly has plenty of athletic options to choose from. Est: $1,400-$1,700.
227
(1861-1920)
A-Z | BRODERS - CALDER
229
Broders
(Continued)
228. Hyères. ca. 1931. 24 5⁄8 x 39 1⁄4 in./62.5 x 89.7 cm Cond B-/Slight tears at bottom; text area over-printed. Ref (all var): Broders, p. 83; Broders/Travel, p. 21; Golf, p. 13; PAI-XLIV, 117
228
The version of this poster with text boasts Hyères as “the Côte d’Azur’s most southerly resort” and Broders reinforces this message by framing his view with a canopy of palms. Their deep cool shadows set off the hot sun on the yellow stucco walls of the Mediterranean town and make the lush green golf course most inviting. “Contemporary to Cannes-Mandelieu and Saint-Raphael, this course has disappeared. The club was chaired by Vicount Noailles whose famous cubic style villa designed by Le Corbusier attracted the jet set of those times... Broders... managed to recreate the atmosphere of a sport practiced by elegant people at that time highlighting the old town of Hyères hiding at the bottom of the foothills in the background” (Golf, p. 13). For unknown reasons, the entire text area has been inked over, thus obliterating the original text. Est: $1,700-$2,000.
Donald Brun
(1909-1999)
229. Frühling in der Schweiz. 1945. 25 x 39 5⁄ 8 in./63.4 x 100.7 cm Brugger, Meiringen Cond A-/Slight tears and stains at edges. Framed. Ref: Swiss Poster Art, 45.23 (var); Paradis, p. 217 (var); Takashimaya, 241; Swiss/Basel, 252; Swiss Posters, 8; PAI-LXIX, 239 Perhaps the most adorable and exuberant design ever created to promote Swiss tourism, this merry poster makes the country appear to be bursting with cuteness. This is the German language variant. Est: $800-$1,000.
Umberto Brunelleschi
(1879-1949)
230. Bacchantes / Coiffure en laine bleue : Drawing. 11 x 15 1⁄4 in./28 x 39.3 cm Signed gouache and ink drawing. Framed. Brunelleschi depicts a spirited wine goddess with leaves and grapes that adorn her cape and dangle across her body. Though we do not know the original intention behind this piece, it was exhibited in “La Vigne et le Vin” at Cité des Sciences et de l’Industrie in Paris from 1988-1989. The show was largely focused on wine production and varieties, so we imagine this was a welcome visual treat to accentuate the science and methodology of viticulture.
230
Est: $2,000-$2,500.
BRODERS - CALDER | A-Z
233
J. A. Burch 231. Lake Shore and Michigan Southern RY. 1875.
231
21 x 27 5⁄8 in./53.5 x 70.2 cm Coback, Buffalo, NY Cond B+/Slight stains and tears at edges. Framed. “This [poster] shows engine No. 317 of The New York Central and Lake Shore Railroad Post Office, about to pick up a mail bag on the fly. This speedy, all-mail exhibition train operated between New York and Chicago in competition with a similar Pennsy run. On the Post Office’s first westbound trip, September 14, 1875, the Vanderbilts’ private car Duchess, for eminent guests, was coupled behind the four white-painted, goldlettered cars with their bright red mailbags. An Act of Congress July 7, 1838, declared all railroads to be post roads and authorized the U.S. Post Office to make contracts for hauling mail by rail. The first railway post office car, a converted baggage car, ran July 7, 1862, over the Hannibal and St. Joseph Railroad (now in the Burlington system) in Missouri as a special part of the pony express route” (Central Pacific Railroad Photographic History Museum). Est: $1,200-$1,500.
Louis Caillaud 232. Eaton’s. 1930. 31 x 47 in./78.8 x 119.5 cm Tolmer, Paris Cond A. Ref: Femme s’Affiche, 207; PAI-XXIX, 242 Much like Dupas’ designs for department stores, Caillaud takes a highly stylized and modeled approach—quite literally—as three fashionable muses flock around a marble sculpture. But this Parisian image, created by a French designer and printed in Paris, is advertising the Canadian department store Eaton’s, which is akin to Macy’s. It’s likely the promotion was meant for an expansion into the European market. And what an elegant attempt it is. Est: $1,700-$2,000.
Alexander Calder
(1898-1976)
233. Theatre de France. 1969. 39 1⁄4 x 59 3⁄4 in./99.5 x 151.8 cm St. Martin, Paris Cond A. Ref: Dance Posters, 109 (var) Calder designed this playful imagining for the Théâtre Français de la Danse, founded in Paris in 1969 by Joseph Lazzini. Calder is perhaps most famous for his intricate and joyous mobiles; here, one of his airy sculptures takes the form of a two-dimensional butterfly-like shape, which is no less charming.
232
Est: $1,400-$1,700.
A-Z | CAMPS - CAPPIELLO
234
Gaspar Camps
235
236
(1874-1942)
234. Tender Temptation. ca. 1904.
235. Cordial-Médoc. ca. 1905.
236. Enraptured Rose. ca. 1904.
13 1⁄4 x 27 1⁄4 in./33.8 x 69 cm Cond A. Printed on silk. Framed. Ref (both var): Imprimerie, 52; PAI-LXXV, 248
14 x 28 3⁄8 in./35.5 x 72 cm Cond A. Printed on silk. Framed. Ref: PAI-LXXX, 249
To show off the full range of their production skills, many printers created fabulously detailed decorative panels as gifts for their important and potential clients. Many were printed just on paper, while a few were done on silk, making them fine collector’s items and beautiful decorations for the home. Here, a porcelain-skinned Pre-Raphaelite lady gently strokes a baby bird sitting in its nest. The weight of her velvet green gown tumbles in heavy folds down to her feet, spilling over the border, while its adornment of peacock feathers unites the composition thematically. It’s a rich, highly textured design for Camps’ usual printer, Champenois—and it is made even more luxurious by being printed on silk.
While another Camps design had been used to advertise Cordial Médoc (see PAI-LXXX, 251), this is the first time we are seeing this sensual image of a raven-haired woman plucking grapes from a trellis in order to promote the liqueur. The fact that it is printed on silk adds to the luster and delicate nature of the composition.
13 x 26 3⁄4 in./33 x 88 cm Imp. F. Champenois, Paris Cond A. Printed on silk. Framed. Ref: PAI-LXXX, 249
Est: $2,000-$2,500.
Est: $1,400-$1,700.
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This statuesque auburn-haired woman standing lakeside clasps a garland of pink roses against her flushed gown, which is adorned with a flurry of fantastic butterflies, as flowers bloom around her. And having it printed on silk enhances that subtle seduction. Est: $2,000-$2,500.
LEONETTO CAPPIELLO For others by Cappiello, see Nos. 10, 34, and 152.
237
A-Z | CAPPIELLO
Leonetto Cappiello
(1875-1942)
237. Musica e Musicisti. 1901. 40 3⁄4 x 59 1⁄ 2 in./103.5 x 151.2 cm G. Ricordi, Milano Cond A-/Unobtrusive folds. Framed. Ref: Cappiello/Rennert, 22; Menegazzi-II, 8 “Cappiello did not create as many posters for his native country, Italy, as one would have assumed. But those he did are among his most noteworthy achievements. This one, for a magazine of ‘Music and Musicians,’ published by the famous music publishing and printing house of G. Ricordi in Milan, was, like all other such commissions, handled by Vercasson but printed in Italy. The face may be partially obscured, but the sincere concentration of the violinist is clearly shown in a cleverly conceived composition” (Cappiello/Rennert, p. 52). Rare!!! Est: $14,000-$17,000.
238. Evian-Cachat. 46 3⁄8 x 62 5⁄ 8 in./118 x 159 cm Imp. P. Vercasson, Paris Cond A-/Unobtrusive folds. Ref: Cappiello/Rennert, 237 “An oversize bottle of Evian-Cachat mineral water is the centerpiece of a typically exuberant Cappiello design. Legend has it that an ailing nobleman from Auvergne, Marquis de Lessert, experienced relief from a kidney condition after drinking water from the Cachat Spring at Évian in 1789, which established the spring’s reputation. Bottling began in 1830; the company was incorporated in 1859, with shares sold to the public for the first time in 1926. The Badoit company was purchased in 1965; Évian is now part of the Danone Group. Évian takes it name from the Celtic word ‘evua’ which means ‘water’” (Cappiello/Rennert, p. 162). Rare! Est: $5,000-$6,000.
238
239. Réjane / Théâtre du Vaudeville. 1902. 38 1⁄4 x 53 3⁄4 in./97.2 x 136.5 cm Imp. P. Vercasson, Paris Cond B+/Slight tears and stains in top and bottom text areas. Ref: Cappiello/Rennert, 30; PAI-LXXXI, 208 More commonly known for its English adaptation, The Marriage of Kitty, La Passerelle is a charming romantic comedy taking place, in part, aboard a ship. Here, the famed Gabrielle Réjane—rival of Sarah Bernhardt—is announced as the lead. It was her first performance in Paris after an eight-year world tour. Est: $2,000-$2,500.
240. Floravene Gravena. 44 1⁄4 x 59 3⁄4 in./112.5 x 151.6 cm Imp. P. Vercasson, Paris Cond B+/Slight tears at folds. Ref: Cappiello/Rennert, 53 “Floravene Gravena was a cereal made from cocoa and oats; it’s the oats that attracts the horse, who is apparently not above racing his own jockey for the delicacy” (Cappiello/Rennert, p. 69). Rare! Est: $6,000-$8,000.
241. Ferrari Nouilles Macaronis. 62 1⁄8 x 45 3⁄4 in./157.7 x 116.4 cm Imp. P. Vercasson, Paris Cond B+/Slight tears at folds. Ref (both var): Cappiello/Rennert, 56; Wine Spectator, 198 “To promote the Ferrari firm’s new line of vegetable and egg noodles, Cappiello gives us a frieze of brilliant theatrical stars—rendered in full-length caricaturistic portraits—each one dressed to the nines and holding a packet of noodles or macaroni. From left to right we see: Mounet Sully (Jean Sully), Eve Levalliére (Eugénia Fenoglio), Coquelin Ainé (Benoit Constant), Réjane (Gabrielle Réju), Albet Brasseur, Charles LeBargy, Jeanne Granier, Lucien Guitry, Coquelin Cadé (Ernest Constant) and Marthe Brandés (Josephine Brunschwig). Today, such an advertisement using a dozen of the best-known names in show business would bankrupt a company much larger than the Ferrari firm” (Cappiello/Rennert, p. 71). This is a printer’s proof with some over printing on the text. Rare!
239
Est: $5,000-$6,000.
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240
241
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244
Cappiello 242
(Continued)
242. Charbon Chimique Rubaudo. 1903. 38 7⁄ 8 x 52 1⁄8 in./98.7 x 132.3 cm Imp. P. Vercasson, Paris Cond A-/Slight tears at edges. Ref: Cappiello/Rennert, 41; Wine Spectator, 209; PAI-LXXXI, 209 An experiment in color: from “rubaudo,” Cappiello sets the scene in nothing but tones of red and splashes of white, creating a vibrant, homey warmth that is radiant but not overpowering. The scene, though, is empowering: these charcoal briquettes are so easy to light, the lady of the house will do it herself—to the surprise of the attendant maid. Est: $2,000-$2,500.
243. Cafés Labrador. 1903. 39 1⁄8 x 55 in./99.5 x 139.6 cm Imp. P. Vercasson, Paris Cond B+/Unobtrusive folds. Ref: Cappiello/Rennert, 43; PAI-LIII, 125 “Although Cappiello loved to insert animals as an attention-grabbing device in many of his posters—often with no relation to the product being sold—here, the monkey was already a part of the Cafés Labrador logo. But it took a clever designer to personalize him and render him critically examining his own likeness” (Cappiello/Rennert, p. 63). The text here reminds us to require the sealed box for optimum freshness; Labrador also notes its electric plant in Le Havre. Est: $4,000-$5,000.
244. Maurin Quina. 1906. 47 x 63 in./119.3 x 160 cm Imp. P. Vercasson, Paris Cond A. Ref: Cappiello/Rennert, 114; Cappiello, 266; Encyclopédie/Weill, p. 61; Posters of Paris, 18; Affiches 1000, 0097; PAI-LXXX, 260 Cherry-flavored with a hint of quinine, Maurin’s apéritif was only fairly recently reintroduced to French and international markets—more than a century after it faded into obscurity the same year this poster was printed. Referencing the infamous green fairy imagery commonly associated with absinthe, this green devil is one of Cappiello’s most famous characters. This is the one-sheet version of the poster.
243
Est: $2,500-$3,000.
CAPPIELLO | A-Z
245 245. Angelus Liqueur. 1907. 27 1⁄4 x 39 1⁄2 in./69.2 x 100.2 cm Imp. P. Vercasson, Paris Cond B+/Slight tears at folds. Ref: Cappiello/Rennert, 120; Cappiello, 276; Cappiello/St. Vincent, 4.27; PAI-XLIII, 196
246
One of Cappiello’s early successes in the exaggeration department was the little bell ringer holding on for dear life to the clapper of an enormous bell to toll out the word for Angelus liqueur. It’s the artist’s literal interpretation of the word “angelus,” which is the ringing of the bells inviting the faithful to prayer. But for all of the extravagant overstatement one associates with Cappiello, it’s the sense of motion that the designer employs here that turns a liquor ad into a visual playground. Critic Marcel Fromenteau couldn’t have agreed more: “What characterizes a Cappiello poster is the ‘movement’ of the characters it depicts. Swift movement; unbridled, joyful movement; very often frolicking, if I may and if I dare say so. And not only does he animate his characters, but naturally his animals and objects too, and always with the same immoderate, comical, and irresistible allure” (Cappiello, p. 131). This is the medium format. Est: $1,400-$1,700.
246. Pneumatiques Torrilhon. 1906. 46 1⁄4 x 62 3⁄4 in./117.5 x 159.3 cm Imp. P. Vercasson, Paris Cond B+/Slight tears at folds and edges. Ref: Cappiello/Rennert, 104; L’Auvergne, p. 39; PAI-LXXXI, 205 Commissioned by the same company whose shoes inspired Cappiello to create one of his greatest designs (see PAI-LXVII, 210), this arresting image is for the brand’s tire division, and features the Devil himself attempting to take a bite out of the indestructible product. Est: $3,000-$4,000.
247. Docteur Rasurel / Pantoufles Hygiéniques. 1906. 46 1⁄8 x 62 in./117.2 x 157.2 cm Imp. P. Vercasson, Paris Cond B/Restored tears, largely at folds. Ref: Cappiello/Rennert, 109; Santé, 119; PAI-XXV, 216 “Pantoufles” are house slippers, and the thing most associated with them is, of course, comfort. It’s doubtful that anyone could portray a more comfortable looking gentleman than Cappiello when he puts his mind to it. The company was a steady client and he executed several other posters for it, but this is one of his most endearing and, strangely, most elusive designs. Est: $3,500-$4,000.
247
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248
Cappiello
(Continued)
248. Lampe Osmine. 1910. 46 1⁄4 x 62 1⁄4 in./117.5 x 158 cm Imp. P. Vercasson, Paris Cond B+/Slight tears at folds. Ref: Cappiello/Rennert, 160A; Graphic Style, 353; Publicité, p. 50; PAI-LXXXI, 218 This image was originally produced to promote Lampe Faust, and “We can only wonder what motivated the manufacturer to use a name associated with the forces of darkness for a light-emitting product. When the same image is used for another product of the same company with the neutral name Lampe Osmine, however, the visual impact of the image alone should suffice to engage your imagination” (Cappiello/Rennert, p. 121). Est: $5,000-$6,000.
249. Verdol. 1911. 46 5⁄8 x 63 in./118.4 x 160 cm Imp. P. Vercasson, Paris Cond A-/Unobtrusive folds. Ref: Cappiello/Rennert, 207; PAI-LXII, 304 Noted here as “The Modern Toothpaste,” Verdol was named after the chemical fragrance which brought out strong minty scents in perfumes containing patchouli, pine, cedar, or other woodsy smells. As this grass-covered nymph would imply, this clear paste was as refreshing as the great outdoors.
249
Est: $5,000-$6,000.
CAPPIELLO | A-Z
250 250. Pneu Vélo Lefort. 1911. 47 1⁄4 x 62 1⁄2 in./120 x 158.8 cm Imp. P. Vercasson, Paris Cond B/Slight tears at folds. Ref: Cappiello/Rennert, 202; PAI-LXXXI, 219
251
“An original way to show how sturdy one’s tires are: the rats are doing their best to gnaw through the Pneu Vélo Lefort, but they’re simply too strong (Fort) for the rascally rodents. A wonderful visual pun and a true Cappiello inspiration!” (Cappiello/Rennert, p. 140). Est: $3,000-$4,000.
251. Triple Sec Galland. 1911. 46 1⁄2 x 62 3⁄8 in./118 x 158.4 cm Imp. P. Vercasson, Paris Cond B+/Slight tears at folds. Ref: Cappiello/Rennert, 183; PAI-XLIX, 157 Cappiello called upon the self-satisfied likeness of King Francois I to promote both Triple Sec Galland and Curacao Galland. The monarch “is shown appreciating the drink that was produced approximately three-hundred years after his reign (15151547). He was a popular favorite for his avid support of arts and letters, as well as for his victories on the battlefield, most notably that at Marignan in Navarre in 1515... [The] pride in [the firm’s] age remains strong: not only does its founding in 1821 remain, but the bottom text emphasizes it’s ‘The old French liqueur.’ An additional text line gives credit to the firm’s Paris agent” (Cappiello/Rennert, p. 132). Est: $3,000-$4,000.
252. Paquet Pernot. 1912. 42 x 61 5⁄8 in./106.6 x 156.5 cm Imp. P. Vercasson, Paris Cond B-/Restored tears at folds. Framed. Ref: Cappiello/Rennert, 83; Publicité, p. 45; PAI-LXXVI, 183 Starting right around 1912, advances in food preparation and storage were transforming how people cooked and ate. But for the French gourmand—steeped in the thousandyear history of the French corner bakery—prepackaged tinned biscuits appeared a little suspect. Cappiello’s brightly hued poster aimed to persuade consumers otherwise. An obsequious shop-hand stands in the midst of a tower of biscuit tins, offering one to an ostentatiously elegant lady, and we are assured these confections are “Practical, Advantageous, and Assured Fresh.” Cappiello went on to design many other posters for Paquet Pernot, which was likely a result of nailing this brief. Est: $4,000-$5,000.
252
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254
Cappiello
(Continued)
253. La Boulonnaise. 1912. 50 1⁄4 x 77 3⁄4 in./127.7 x 197.6 cm Imp. P. Vercasson, Paris Cond B/Tears at folds. Ref: Cappiello/Rennert, 225; PAI-XLII, 157 “Let’s face it. Tins of fish, even Boulonnaise herring and mackerel marinated in white wine, aren’t exactly the most visually exciting product in the world. But Cappiello changes everything around by offering them up to us by a pretty fishmonger in a curiously intriguing twilight seashore scene that phosphoresces with the reflected glow of her bonnet” (Cappiello/Rennert, p. 155). This printing boasts exceptionally fresh colors!
253
Est: $2,500-$3,000.
254. Vittel. 1912. 27 x 39 1⁄2 in./68.7 x 100.4 cm Imp. P. Vercasson, Paris Cond A. Ref (both var): Cappiello/Rennert, 213; PAI-XLIX, 162 Cappiello created two designs for Vittel spring water; here, the flourishing French spa is personified by a flaxen haired lady. Two variants of this design provide the season dates and/or Chemins de Fer’s routes from Paris and London. But in this variant, the lack of extraneous text allows us to focus on Cappiello’s strangely soothing imagery. Est: $1,200-$1,500.
255. Cocose. ca. 1912. 45 3⁄8 x 62 7⁄8 in./115.3 x 159.6 cm Imp. P. Vercasson, Paris Cond B+/Slight tears at folds. Ref: Cappiello/Rennert, 221; PAI-XXIV, 284 This margarine poster shows Cappiello using two of his favorite devices: an outsized product and twinned figures. But instead of the pair of Pierrots we often find, the couple is made up of a turbaned moor—representing the African source of the product’s coconut oil—and a chef in toque who is delighted with the results. “As good as butter and cheaper,” boasts the bottom text. Est: $3,000-$4,000.
256. Le Trait-d’Union. 1916. 38 1⁄2 x 55 1⁄8 in./97.8 x 140 cm Imp. P. Vercasson, Paris Cond B+/Slight tears at folds. Ref: Cappiello/Rennert, 271; Fit to Print, 91; PAI-LXVI, 169
255
“In the midst of World War I, a patriotic group decided to publish Le Trait-d’Union, a daily publication intended to promote closer ties between France and Italy” (Cappiello/Rennert, p. 180). This poster for The Union Treaty “boasts an all-star list of politically well-connected contributors, from both France and Italy, including the famous poet Gabriele d’Annunzio. And to show the solidarity of the treaty, the great Giuseppe Garibaldi, who united Italy, then fought for France against the Prussians, stands astride the border” (Fit to Print, p. 68). Est: $1,700-$2,000.
CAPPIELLO | A-Z
256
259 257. La Croix-Soleil. 1919.
259. Chocolat Rozan. 1920.
31 ⁄4 x 47 ⁄4 in./80.5 x 120 cm Imp. Devambez, Paris Cond A. Ref: Cappiello/Rennert, 294; Santé, 358; PAI-LXV, 163
45 1⁄2 x 62 1⁄2 in./115.6 x 158.8 cm Imp. Devambez, Paris Cond B+/Unobtrusive folds. Ref: Cappiello/Rennert, 305; PAI-LXIX, 259
“This nurse and the line of La Croix-Soleil bandages that she is using are rendered in pure white to emphasize the antiseptic qualities of the product; to offset the white dominance, Cappiello resorts to a checkered background, a highly unusual tactic for him” (Cappiello/Rennert, p. 195).
“For Rozan chocolates, it’s four bells and all is well—at least the youngster seems to enjoy noising about with his gigantic hand-held carillon. The business was incorporated by Mr. Rozan in 1921 at Oloron-Ste. Marie, in the south of France near the resort town of Paul” (Cappiello/Rennert, p. 200). Ultimately, the company merged with the more famous Chocolate Menier company.
3
257
1
Est: $1,000-$1,200.
258. La Victoire Exposition. 1919. 31 x 46 3⁄4 in./78.7 x 118.7 cm Imp. Devambez, Paris Cond B/Slight tears, largely at edges. Ref: Cappiello/Rennert, 290; PAI-XXXII, 227 “A winged female figure—nearly appearing to be a statue that has been freed from gravity’s shackles— raises her hands in victory, a sprig of laurel grasped firmly in her right hand, in order to gather the masses for a celebratory exhibition of Devambez poster artists at the agency’s gallery to commemorate La Victoire, the conclusion of the First World War. Benefiting the National Committee for Physical and Sports Education and Social Hygiene, Cappiello’s promotion is nothing short of triumphant” (Cappiello/Rennert, p. 192).
258
Est: $1,700-$2,000.
Est: $4,000-$5,000.
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261
Cappiello
(Continued)
260. Sachet Persan. 1920.
260
10 1⁄8 x 15 3⁄4 in./25.8 x 40 cm Imp. Devambez, Paris Cond B+/Slight tears. Framed. This incredibly obscure work by Cappiello, mounted on display board, touts a sultan presenting two packages of dye that bear his image. Though positioned as the Tables of the Law, these precious objects result in an explosion of rainbows—an effect both graphically and commercially powerful. Rare! Est: $2,500-$3,000.
261. Les Parfums Blamys. 1920. 31 3⁄ 8 x 47 3⁄ 8 in./79.7 x 120.4 cm Imp. P. Vercasson, Paris Cond B+/Unobtrusive folds. Ref: Cappiello/Rennert, 278; PAI-LXXV, 255 Printed by the Vercasson firm shortly after Cappiello’s departure (hence the “d’après” notation), this is one of the artist’s most luxurious images: the lady alone, at her toilette, enraptured by the fragrance of Blamys perfume. Est: $2,500-$3,000.
262. Dentifrices des Bénédictins. 1922. 46 3⁄ 8 x 62 1⁄ 2 in./117.7 x 159 cm Imp. Devambez, Paris Cond A-/Unobtrusive folds. Ref: Cappiello/Rennert, 363; PAI-XLIII, 208 “The monastery that developed the Dentifrices des Bénédictins formula is located on a mountain in the old town of Soulac, a small village on the coast near Bordeaux. The monks actually made the product at one time, but in 1880, a decree forbade religious orders from most commercial activities, so a pharmaceutical firm took over the production. To keep this tradition alive, Cappiello shows a dandy from another era admiring his shiny teeth in a hand mirror” (Cappiello/Rennert, p. 231).
262
Est: $4,000-$5,000.
CAPPIELLO | A-Z
263 263. Figaro. ca. 1923. 16 x 12 in./40.5 x 30.5 cm Imp. Devambez, Paris Cond B+/Slight tears at edges. Framed. Ref: PAI-XXIV, 287 (var) By utilizing the rascally hero of a pair of Beaumarchais’ popular comedies as his centerpiece scribe—who, as luck would have it, is also the namesake of this particular Parisian newspaper—Cappiello achieves distinct promotional goals quite facilely. As anyone familiar with The Marriage of Figaro would know, the play—not the depoliticized Mozart opera of the same name—served as not only a humorous romp, but also a mouthpiece for the playwright’s bitter criticism of the ruling class. Therefore, the artist makes it clear that not only is the paper an excellent diversion, but also an indispensable source for informative opinion. While we have previously seen the maquette for this design, this is our first time to offer the complete small poster, making it incredibly rare. Est: $4,000-$5,000.
264. Contratto. 1922. 39 x 54 7⁄8 in./99 x 139.2 cm Les Nouvelles Affiches Cappiello, Paris Cond A. Ref: Cappiello/Rennert, 366; Cappiello/St. Vincent, 4.45; Menegazzi-I, 436; PAI-LXXVIII, 223 In one of Cappiello’s most instantly recognizable designs, we are presented with a whimsically dressed lady offering up an oversized glass of Contratto champagne. Est: $2,500-$3,000.
264
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266
265
Cappiello
267
(Continued)
265. La Merveilleuse. 1923.
266. Nitrolian. 1929.
267. Buvez du Vin. 1933.
39 ⁄2 x 55 ⁄8 in./100.3 x 140.2 cm Imp. Devambez, Paris Cond B/Slight tears at folds. Ref: Cappiello/Rennert, 390; Frivoli, p. 31 (var); PAI-LXXV, 266 (var)
47 x 62 ⁄4 in./119.4 x 159.6 cm Imp. Devambez, Paris Cond A. Ref: Cappiello/Rennert, 470; Publicité, p. 126; PAI-LXXVII, 162
46 1⁄2 x 62 in./118 x 157.5 cm Imp. Devambez, Paris Cond A. Ref: Cappiello/Rennert, 508; PAI-LXXII, 166
Cappiello knew how to please his clients and understood that a dancing devil or a leaping horse was not always the desired image. When it came to advertising boutiques and department stores, frivolity and whimsy were cast aside in favor of sophistication and refinement. This design for La Merveilleuse demonstrates the need to depict the elegance and ambiance of high fashion in posters for such mass merchandisers. It’s extremely rare to discover a Cappiello executed in monochrome, but when you encounter it, it is indeed marvelous.
In one of Cappiello’s most inspired and clever designs, he provides us with visual evidence that Nitrolian truly is the fastest drying paint on the market: almost as soon as the man gets down his first coat of red, a lady in white whizzes past, the paint remaining perfectly intact.
It’s 1933. Prohibition comes to America. Cappiello and France thumb their noses. Monsieur et mademoiselle emerge from a dense grove of multihued grapes in the shape of France, dressed in lily-whites, as if to suggest that the act of drinking wine is sacred, pure, a sacrament of life, and not something opposed to it. “Drink wine and live joyfully”—sounds right by us. This is the larger format of the poster.
Est: $2,000-$2,500.
Est: $2,000-$2,500.
1
1
Est: $3,000-$4,000.
3
CAPPIELLO | A-Z
268 268. Jako. 1935. 47 1⁄4 x 62 3⁄4 in./120 x 159.5 cm Imp. Devambez, Paris Cond A-/Unobtrusive folds. Ref: Cappiello/Rennert, 512 Cappiello masterfully depicted animals in his designs; in the case of this image for Jako, Cappiello ups the ante by personifying the parrot with an apron as she goes about her household chores. His flamboyant style and keen understanding of advertising is clear: the bird is not just an attention-getter, but a viable sales pitch for the product—a general use household cleaner with a gentle bleaching agent meant to whiten and brighten every square inch of your abode. For good measure, there are vignettes showing its use for dish washing, bathroom cleaning, and clothes laundering. It’s both charming and effective.
269
Est: $4,000-$5,000.
269. Parapluie-Revel. 1929. 76 x 141 1⁄4 in./193.2 x 358 cm Imp. Devambez, Paris Cond A-/Slight creasing. Ref: Cappiello/Rennert, 373; Karcher, 245; Cappiello/St. Vincent, 4.68; Publicité, p. 86; PAI-LXXXII, 212 When M. Revel founded his Lyon-based umbrella company in 1851, one could purchase his wares in both silk and cotton. While the subject matter may seem slightly ordinary, the poster is one of Cappiello’s most ingenious and delightful designs. As effective as it is simple, one sees “the umbrellas braving the storm like black ships’ sails. All the elements of fine poster design are here: bold shapes, strong contrasts (the background is a surprising sunny yellow), tight yet lively composition, unusual perspective—and no more detail than necessary” (Cappiello/Rennert, p. 236). Although the company closed its doors in the 1950s, this poster remains a testament to its once brilliant advertising campaign. This is the six-sheet version of the poster. Est: $4,000-$5,000.
270. Durable Trousers : Maquette. 1927. 18 x 23 1⁄8 in./45.5 x 58.8 cm Signed gouache and crayon maquette. Framed. Ref: PAI-LXVII, 220 Considered to be a durable textile, jean fabric became popular with the working class as early as the 17th century. At the time of this design, denim trousers would have been especially common amongst factory workers. Here, the material’s strength is emphasized in Cappiello’s unrealized image for an unknown brand. Est: $4,000-$5,000.
270
A-Z | CAPPIELLO - CASAS
271
272
273
Cappiello
(Continued)
271. Premier Fils. 1935.
272. Crème Éclipse. 1937.
46 5⁄ 8 x 63 1⁄4 in./118.5 x 160.7 cm Damour-Editions, Paris Cond A. Ref: Cappiello/Rennert, p. 519; PAI-LXXVII, 164
46 1⁄4 x 63 3⁄8 in./117.6 x 161 cm Editions Nouvelle Cappiello, Paris Cond B+/Slight tears at folds. Ref: Cappiello/Rennert, 522; PAI-LXXXI, 242
Premier Fils was considered to be an especially feminine absinthe, thanks to its pale, subtle green color, warm perfumed quality, and hints of violet on the nose. But this poster aims to get the gents interested: a man’s suited arm hoists the botanical beverage above the rest, as if to say “the old French brand—for everyone.” “Similar in composition to the Dubonnet poster [see PAI-XXVIII, 185], the bottle of Premier Fils liquor needs only to be held by an arm in a neat sleeve to be elevated to the status of a better class of product. This is the sole poster that the artist created in 1935” (Cappiello/Rennert, p. 319).
“Eclipse shoe polish is represented by the person most likely to employ it in all the better households—a domestic worker from one of the French colonies. This product was made by the same firm that produced Jako household cleaner [see No. 268]” (Cappiello/Rennert, p. 321). Rare!
Est: $2,000-$2,500.
Est: $3,000-$4,000.
273. Tutti al Semaforo. 10 1⁄8 x 14 1⁄ 8 in./25.6 x 36 cm SAIGA, Genova Cond A. Framed. Ref: Cappiello/Rennert, 11; PAI-LXXV, 259 Adventurers leap up a hill in the direction of a castle beyond touting its Italian flag pennant in the distance. This joyous design adorned a song sheet cover for a waltz by one S. Gaggini.
274
Est: $1,700-$2,000.
CAPPIELLO - CASAS | A-Z
276
275
Pascual Capuz
(1882-1959)
274. Gran Feria de Valencia. 1933. 45 1⁄2 x 63 3⁄4 in./115.6 x 162 cm Ortega, Valencia Cond B/Slight tears at folds. Ref: España, 363; PAI-LXXXI, 42 The Grand Fair of Valencia—also known as the July Fair—was established in 1871 as a secular celebration; it quickly blossomed into an internationally renowned event. Events included horseback riding, exhibitions, musical competitions, fireworks, dances, bullfights, and games. Naturally, posters were key advertising tools in promoting each year’s event. For the 1933 edition, Pascual Capuz—one of the foremost Spanish posterists of the century—created this riveting design, which blends historic imagery of bullfights and traditional Spanish dress with a modern Technicolor aesthetic. Est: $1,400-$1,700.
Emil Cardinaux
(1877-1936)
For another by Cardinaux, see No. 1. 275. Thermalkurort Baden. 1923. 35 1⁄2 x 50 1⁄4 in./90.3 x 127.8 cm Wolfensberger, Zürich Cond A-/Horizontal fold. P. Ref: Cardinaux, 89; Schweizer Hotel, 36; PAI-XVI, 167 For this well known Swiss spa (not to be confused with the German Baden-Baden), Cardinaux created a very romantically conceived impression of sunny promenades and casual courtships. Uncharacteristically, he didn’t put his usual initials on this, which we consider to be one of his best—and rarest—designs. Provenance: The Albertina Museum, Vienna. Est: $2,000-$2,500.
276. IX Schweiz Ausstellung. 1925. 27 1⁄8 x 39 5⁄8 in./69 x 100.6 cm Cond A-/Unobtrusive folds. Ref: Cardinaux, 105; PAI-XV, 181 (var) Using bright green and rust with monochrome details, Cardinaux creates a verdant scene for this Swiss agricultural fair. As part of the “New Swiss Painters” group, Cardinaux and his colleagues strove to give Swiss art its own flavor after the turn of the century. The push for pure Swiss art and culture was largely successful, and posters were an important factor in it. Rare! Est: $1,400-$1,700.
Ramon Casas
(1866-1932)
277. Sífilis. 1900. 12 1⁄8 x 27 in./31 x 68.5 cm J. Thomas, Barcelona Cond A-/Slight tears at edges. Ref: Casas, p. 189 (var); Helfand, 12; Casas/ Complete Catalogue, 21; PAI-LXX, 276 (var) This alluring and rare design by Casas shows how syphilis can beguile you with a pretty face, hiding the disease. However, for those afflicted, there is hope at this Spanish sanitarium, where an “absolute and radical” cure is promised. Est: $3,000-$4,000.
277
A. M. CASSANDRE
278
A. M. Cassandre (Adolphe Mouron, 1901-1968) 278. Étoile du Nord. 1927. 29 3⁄4 x 41 3⁄4 in./75.7 x 106 cm Hachard, Paris Cond B+/Slight tears at folds. Framed. Ref: Mouron, 22; Brown & Reinhold, p. 37; Cassandre/Suntory, 48; Cassandre/BN, 14; Cassandre/Weill, p. 55; Deco Affiche, p. 25; Crouse/Deco, p. 255; Avant Garde, p. 158; Timeless Images, 105; Weill, p. 199; Modern Poster, 154; Art Deco, p. 59; Moderno Francés, p. 161; PAI-LXXX, 295
The North Star was the name of a Paris-to-Amsterdam express; Cassandre gave it glamour by catching the purely sensual enjoyment of rail travel: the rhythm of the wheels, the fascination of the endless perspectives of converging tracks, and the North Star itself. In their book on the artist, Brown and Reinhold claimed that this poster “May be his most audacious... Cassandre solves the problem of having to advertise a daytime service that uses a nocturnal image as its name. He achieves his solution by using the somewhat surreal device of turning a night sky into the ground of the poster and having the star hover above it. In what could have been a static arrangement, the rails are laid out so that they imply forward movement... Even though such an arrangement
is mechanically false... it is precisely because of it that the poster attains a dynamic realism more compelling than ‘reality itself,’ which is why Étoile du Nord is one of Cassandre’s best images” (p. 13). Hillier declares this work “his masterpiece,” and we couldn’t agree more: it’s a truly mesmerizing achievement, and arguably one of the best posters ever created. Est: $14,000-$17,000.
CASSANDRE | A-Z
279A
279A. Simca / La Cinq Ne Coûte Que 9.900 frs. 1936. 23 1⁄4 x 15 5⁄8 in./59.2 x 39.7 cm Cond A. Framed. Ref (all var but PAI): Cassandre/BN, 104; Mouron, 193; Auto Show III, 100; Cassandre/Suntory, p. 109; PAI-XLVII, 173 “Is it possible that by this time the glorification of the machine wasn’t worth the gamble? Because, indeed, it’s the cost, and not the machine that’s pointed up here. It’s true that the crucial message is, in fact, the price of the vehicle” (Cassandre/BN, p. 116). However, even if the monetary bottom line has become the motivating factor in the mind of the consumer, it’s Cassandre’s Simca blue streak that provides the true visual impact. This is the rare smaller format—and one of his rarest designs overall. Est: $12,000-$15,000.
279B. Le Nouvelliste. 1924. 47 1⁄4 x 62 7⁄8 in./120 x 159.6 cm Hachard, Paris Cond A-/Unobtrusive folds. Ref: Cassandre/BN, 2; Mouron, il. 5; Cassandre/Suntory, p. 175; PAI-LXXV, 267 From 1879 to 1944, Le Nouvelliste was a daily French newspaper based out of Lyon. This is one of Cassandre’s earliest works for the political publication, which depicts a stylized geometric pattern in the French tricolor to represent the morning bird swiftly delivering the paper to one’s door. Quite rare! Est: $8,000-$10,000.
279B
A-Z | CASSANDRE
280
CASSANDRE | A-Z
281
Cassandre
(Continued)
280. Flèche d’Argent / Aéropostale. 1929.
281. Normandie / 60 Voyages. 1938.
25 x 39 1⁄2 in./63.5 x 100.3 cm Imp. Courbet, Paris Cond A. Framed. Ref: Affiches d’Aviation, p. 112; Cassandre/BN, 32; Mouron, 95; Brown & Rheinhold, p. 53; PAI-LX, 186
23 3⁄4 x 39 in./60.3 x 99 cm L. Danel / Alliance Graphique, Paris Cond B+/Slight creases. Framed. Ref: Mouron, 56; Brown & Reinhold, 53; Cassandre/Suntory, p. 91; Weill, 345; Deco Affiches, p. 33; Musée d’Affiches, p. 65; Crouse/Deco, p. 224 (var); PAI-LXXIII, 245
Air mail, it could be said, was invented after World War I by former wartime flyers looking for new lines of business. Posters helped to sell the outlandish concept to the public. “Speed is the theme of Flèche d’Argent (Silver Arrow).” Indeed: the wing of the cloudlike plane seems to tear a hole through the sky. Although at the time of this poster’s production this was one of the largest and most successful French airlines—with 131 aircraft and a network not only throughout France, but reaching Africa and South America as well—it could not withstand the pressure of the Depression. It went bankrupt in 1931 and what was left of it was amalgamated into Air France in 1933.
An advertisement for the Normandie and her “First Arrival in New York City on June 3 [1935]” touted that “The arrival in New York Harbor of the gigantic super-liner Normandie will inaugurate a new era of transatlantic travel. She will set new standards of luxury and speed, steadiness, comfort, and safety... not merely the largest liner afloat (79,280 tons)... but in almost every respect a new kind of liner!” Cassandre’s masterpiece was a new way of selling the glamor and excitement of ocean liner travel. The ship towers above us; a flight of small birds at bottom gives the image as much scale and strength as the imposing hull itself. The classic design appeared with several variants of text at the bottom; this one, printed in 1938, is one of the last changes, indicating that this proud ship has made 60 Atlantic crossings, covered 400,000 nautical miles, and carried 115,000 passengers by January 1, 1939.
Est: $15,000-$20,000.
Est: $10,000-$12,000.
JULES CHÉRET
282
283
284
CHÉRET | A-Z
Jules Chéret
(1836-1932)
282. Halle aux Chapeaux / Articles de Luxe et de Travail. 1888. 34 1⁄8 x 48 3⁄8 in./86.8 x 123 cm Imp. Chaix, Paris Cond B/Slight tears at folds and edges. Ref: Broido, 824; Maindron 1896, 699; PAI-XII, 164 This is the earliest and rarest of several designs Chéret prepared for this hat shop. The whole family storms in with jubilance, creating a whirlwind of the hats on offer. Est: $2,000-$2,500.
283. Palais de Glace. 1893. 34 x 48 1⁄4 in./86.2 x 122.4 cm Imp. Chaix, Paris Cond A-/Unobtrusive folds. Ref: Chéret, 471; Broido, 362; Maindron 1896, p. 292; DFP-II, 240; Reims, p. 455; PAI-LXXIX, 286 More merry and carefree than its romantic counterparts, this poster for the Palais de Glace showcases ice skating in all its welcoming, wild abandon. Est: $4,000-$5,000.
285
284. La Diaphane. 1890. 33 1⁄2 x 16 1⁄2 in./85.2 x 42 cm Imp. Chaix, Paris Cond B+/Restored edges. Ref: Broido, 935; Maindron 1896, 776; PAI-XLI, 201 Sarah Bernhardt was not only a consummate artist, but also a very good business person. She initiated what is now a common practice: the celebrity endorsement. She first did this for La Diaphane face powder and later for Lefèvre-Utile biscuits. This is the horizontal format. Est: $1,200-$1,500.
285. Théâtre de l’Opéra / Carnaval 1894 / 1er Bal Masqué. 1894. 34 x 48 1⁄2 in./86.4 x 123.4 cm Imp. Chaix, Paris Cond A-/Unobtrusive folds. Ref (all var): Chéret, 369; Broido, 290; Maindron 1896, 236; DFP-II, 236; PAI-LXX, 298 From 1892 through at least 1899, Chéret created a dozen or so posters for the Théâtre de l’Opéra’s seasonal masked balls. This design, used repeatedly throughout the 1894 season, promotes the first masquerade of the year, a veritable winter wonderland of dancing and entertainment. Est: $2,500-$3,000.
286. Théâtre de l’Opéra / 3me Bal Masqué. 1896. 34 5⁄8 x 49 1⁄8 in./88 x 124.8 cm Imp. Chaix, Paris Cond A-/Unobtrusive folds. Ref: Chéret, 379 (var); Broido, 297; Maitres, 57 (var); PAI-LXXXI, 249 The eye mask does nothing to conceal the charm of this lovely reveler whose dazzle throws all other participants into shadowy insignificance. Not only was this delectable design used to promote the first grand masked ball of the 1896 season, but it was also utilized to call attention to various subsequent masked balls. Est: $3,000-$4,000.
286
A-Z | CHÉRET
287
CHÉRET | A-Z
288
Chéret
(Continued)
287. La Danseuse et le Harlequin : Painting. ca. 1899.
288. Folies-Bergère / Loïe Fuller. 1897.
9 1⁄2 x 16 3⁄4 in./23 x 42 cm Signed oil painting. Framed.
34 1⁄2 x 49 1⁄8 in./87.7 x 125 cm Imp. Chaix, Paris Cond B/Slight tears at folds. Ref: Chéret, 159; Gold, 166; Broido, 127; Dance Posters, 128; Spectacle, 1142; PAI-LXXX, 316
A dancing lady in a yellow dress with a Harlequin companion: you can’t get much more Chéret than that. And while these characters appear in one form or another throughout his oeuvre, this sensitive oil painting makes great use of expressionistic brushstroke to bring a palpable sense of joy and levity to the scene. Est: $14,000-$17,000.
This is one of at least two designs Chéret created for Loïe Fuller; here, he idyllically captures her exceptionally modern dance routine on paper. In her act, she would wave reams of diaphanous fabric around her body, dozens of colored lights flashing upon her as she moved. She was considered the perfect blend of human and machine, so much so that many art historians mark the beginning of the Modern period with her first performance. Est: $6,000-$8,000.
A-Z | CHOUBRAC - COLIN
289
292
Alfred Choubrac
291. Robert Macaire.
32 ⁄4 x 46 ⁄8 in./82 x 117.8 cm Lith. F. Appel, Paris Cond B/Restored margins; slight tears at folds. Ref: PAI-LXI, 237
31 3⁄4 x 46 3⁄4 in./80.8 x 118.7 cm Lith. F. Appel, Paris Cond A-/Slight tears at folds. Ref: Reims, 574; PAI-XXXVIII, 283 (var)
A long-standing theatrical and literary conceit, the idea of a bored king in need of new entertainment has appeared in endless forms since the 18th century. Here, it allowed the Folies-Bergère to create an elaborate ballet and pantomime in which a throng of courtiers attempts to catch the attention of a weary monarch.
Caricaturist Honoré Daumier (1808-79) was the greatest social satirist of his day. In response to the September Laws of 1835—which restricted criticism of King LouisPhilippe—and being spurred on by Charivari editor, Charles Philipon, Daumier created the character of Robert Macaire, a scurrilous fellow who shifted the focus of political cartoons from the monarch to the problems of society as a whole, all revealed through the acts of one man. He represented all of society’s ills in a clownish, but pointedly cynical way. Macaire was also the main character in a five-act play entitled L’Auberge des Adrets, for which this Choubrac design—featuring the unblushing libertine and his villainous simpleton of an accomplice, Bertrand—is no doubt intended.
1
290
(1853-1902)
289. Folies-Bergère / Le Roi s’Ennuie. 1890. 7
Est: $1,000-$1,200.
290. Theatre des Folies Dramatiques / Miss Robinson. 1892. 31 1⁄4 x 46 7⁄8 in./79.3 x 119 cm Imp. Lemercier, Paris Cond B/Tears at folds and edges. Ref: Reims, 565; PAI-LXXIX, 303 Choubrac’s Orient-inspired advertisement for the performance of Miss Robinson at Paris’s Theatre des Folies Dramatiques playfully synthesizes the escapades of a woman (Eva) in search of her man (Robinson Crusoe). He does offer his hand to his admirer, but upon returning dressed as a marquis, Eva does not want him—she wants the exotic. Thus Robinson returns to the Indies, tantalizing the woman into a love affair goose chase. Miss Robinson was performed in three acts, with libretto by Paul Ferrier and music by Louis Varney. Choubrac’s imagining of this alluring world and its quixotic heroine is enticing to us, as well.
291
Est: $1,200-$1,500.
Est: $1,200-$1,500.
F. Earl Christy
(1883-1961)
292. Mecca Cigarettes. 1912. 19 x 36 3⁄8 in./48.3 x 92.4 cm Cond B+/Slight stains, largely near edges; in original display frame. Ref: America for Sale, p. 88 There’s not a single cigarette or pack in sight, but this stylish vixen certainly attracted passersby to stop and take notice. Mecca Cigarettes were a product of the American Tobacco Company. This poster is in the original display frame. Est: $1,200-$1,500.
PAUL COLIN For another by Colin, see No. 180.
293
Paul Colin
294
(1892-1986)
293. Grock. 1928.
294. Shanghai / Jane Marnac. 1930.
15 1⁄4 x 23 3⁄8 in./38.7 x 59.4 cm Atelier Paul Colin, Paris Cond B/Slight tears at folds. Framed. Ref: Colin Affichiste, p. 71 (var); PAI-LXXI, 305
15 3⁄8 x 23 in./39 x 58.3 cm H. Chachoin, Paris Cond B/Slight tears at folds and edges. Ref (all var): Colin, 53; Colin Affichiste, 16; PAI-XXV, 267
Well, that’s one way to play a record. Grock (Adrien Wettach, 1880-1959), was known as “the king of clowns.” At one time he was the highest-paid performer in the world. Here, he plays his latest album on the Odéon label (and, presumably, the crowd) like a fiddle. This is the smaller format of the poster.
In 1926, when John Colton’s stage play The Shanghai Gesture opened on Broadway, it created a major furor, as it was all about an establishment of shady reputation in Shanghai run by a tough expatriate hustler called Mother Goddamn. Some adjustments had to be made; the tamer version later became a movie directed by Josef von Sternberg. This poster is for the French adaptation of the play by Charles Méré. Evidently, at least some of the original raw material survived, as Colin’s design shows an innocent nude chained at the wrists—not exactly a wholesome image. Marnac (1886-1976) was a celebrated actress who performed on stage for more than half a century. This is the smaller format version.
Est: $2,000-$2,500.
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Est: $2,500-$3,000.
A-Z | COLIN
295
297 296
Colin
(Continued)
295. Dancing Steps : Drawing. 1925.
297. Yvonne Guillet. 1931.
10 ⁄8 x 12 ⁄4 in./27.5 x 31 cm Signed pastel and crayon drawing. Framed.
47 1⁄8 x 62 1⁄8 in./119.7 x 158 cm H. Chachoin, Paris Cond A-/Unobtrusive folds. Ref: Colin, 54; PAI-LXVII, 270
7
1
This lighthearted and playful image shows two figures dancing, but the emphasis is placed on their movement: saturated blue pastel forms an aura of shimmying exultation. Est: $1,700-$2,000.
296. Tabarin. 1928. 15 3⁄4 x 23 3⁄8 in./40 x 59.5 cm Cond A. Ref: Colin, 25 (var); Colin Affichiste, 172; Timeless Images, 91; Weill, 365; Art Deco, p. 101; PAI-LXXV, 298 The Bal Tabarin opened its doors in 1904, and became home to the cancan, then later the Charleston, and then whatever the latest dance craze was. From the outside it looked like the entrance to a tomb, but inside it was hot and, as the magazine Candide put it: “The star of the Tabarin, that’s woman” (March 4, 1937). Colin expresses this idea graphically with one of his favorite techniques, a multiple exposure of three women doing the cancan, the Charleston, and a ballroom dance. This is the smaller format.
298
Est: $2,000-$2,500.
Although best known for her provocatively dressed performances, Colin presents Yvonne Guillet in both a simple, contemporary sheath as well as a frilly theatrical ensemble in this two-toned poster. Est: $3,000-$4,000.
298. Nuit du Ciel. ca. 1930. 14 3⁄4 x 22 7⁄8 in./37.6 x 58 cm St. Martin, Paris Cond A-/Slight tears at bottom edge. For an aviation themed event at the Olympia, Colin embraces a minimalist approach: against the endless blue sky, a parachute languidly glides while a couple in evening attire soar off in a sort of aerial dance. It’s a succinct and engaging design from the master of Art Deco. Est: $1,000-$1,200.
COLIN | A-Z
299 299. Serge Lifar. 1935. 44 3⁄8 x 60 3⁄4 in./122.7 x 154.5 cm Imp. Bedos, Paris Cond B/Unobtrusive folds; slight tears. Ref: Colin, 63; Colin Affichiste, p. 81; Dance Posters, p. 60; Weill/Art Deco, p. 53; PAI-XXIV, 250 “Serge Lifar, born in Kiev in 1905, became the last of Diaghilev’s discoveries. Only a teenager when he joined the Diaghilev troupe, within two years he was made premier danseur (1925), a post he held until Diaghilev’s death and the dissolution of the company in 1929. He began his choreographic career with his mentor and, with his appointment to the Opéra in Paris in 1930, he launched himself as a prolific creator of ballets, many of them starring vehicles for his own artistry. Surely this is one of the finest posters ever created for a dancer and even among the many superb dance posters produced by Colin... it has to rank at or near the top... [T]he effective use of his two favorite colors, red and black, the strong central image, the movement of the dancer by imposition of the form over the face, the use of light and shadow, the typography—everything works together, and well” (Colin, p. 10). Rare! Est: $6,000-$7,000.
A-Z | COUDON - DESFILIS
300
Roland Coudon
(1897-1954)
Edouard Courchinoux
(1891-1968)
300. King Kong. 1933.
301. Le Touquet Paris-Plage. 1925.
45 5⁄8 x 62 1⁄4 in./116 x 158.2 cm Universitaires de France, Paris Cond A-/Unobtrusive folds. Framed. Ref: Graven Images, p. 45
29 3⁄4 x 41 3⁄8 in./75.5 x 105 cm Imp. Lucien Serre, Paris Cond B+/Unobtrusive folds. Ref: Golf, p. 17; Sport à l’Affiche, 212; Train à l’Affiche, 213; PAI-LXVIII, 350
Coudon’s design for “King Kong” is impressive for a number of reasons: first, it was created for the film’s initial release in France in 1933. Second, he succinctly encapsulates all of the energy and emotions of the film: fear, awe, power, weakness, sexuality, and might, all colliding in the intense torch light below our magnificent beast. Coudon chose not to depict the film’s most famous scene atop the Empire State Building, which is another reason why this design stands out from the rest. Here, Fay Wray is being offered as a sacrifice to King Kong on Skull Island—the film’s first introduction to King Kong. Rare! Est: $25,000-$30,000.
Opened in 1904 along the Chanel coast, Le Touquet golf course is known the world over as being one of Taylor and Colt’s masterpieces. It has hosted a myriad of famous international competitions, including the French Open tournament. The young golfer here, doused in a burst of tomato red, adds a pop of contrast against the rolling green fairway. Est: $1,200-$1,500.
COUDON - DESFILIS | A-Z
301
302
303
304
G. Dedieu
David Dellepiane
302. Le Sieur. ca. 1928.
303. Societé des Arts Graphiques. 1899.
304. Valencia / Playa del Mediterraneo.
46 ⁄2 x 63 in./118 x 160 cm Central Publicité, Paris Cond B+/Restored tears, largely in bottom text area. Ref: PAI-LXXVII, 205
20 ⁄4 x 29 in./51.4 x 73.6 cm S.A.D.A.G., Genève Cond B-/Tears at folds and edges. Ref: Génèvoise, p. 117; Dellepiane, p. 155; PAI-LXIX, 353
51 3⁄4 x 39 in./131.5 x 99 cm J. Ortega, Valencia Cond B/Slight tears and stains at folds and edges. Ref: Voyage, p. 22; PAI-XI, 192
Though little information exists on these flirtatious caricatures, we presume that Dedieu made this advertisement for a theatre play or music hall performance. What we do know for certain is that these perfectly coifed Art Deco femmes are irresistibly charming.
In this stunning example of the best of Swiss Art Nouveau, we are presented with an early camera amidst a wall of sunflowers. The poster is noted as being the first in Europe created via the héliochrome printing method, and, as the inquisitive artist shown alongside the camera indicates, utilizing this technology does not at all remove the artistic process from color lithography.
This abundant example of Spain’s Modernismo touts the wonders of Valencia: the beaches along the Mediterranean Sea, wild Valencia oranges, arts and culture, and the futuristic planetarium, which gets a plug with meteorological statistics at bottom left. At lower right, the Puente de Serranos is depicted; this bridge is part of the old city walls from the 15th century. The old and new, the traditional and the innovative, all coalesce in this inspired work.
1
Est: $1,400-$1,700.
(1866-1932)
1
Est: $1,700-$2,000.
Desfilis
Est: $1,700-$2,000.
A-Z | DOMERGUE - EHRENBERGER
305
308
Jean-Gabriel Domergue
306
(1889-1962)
(Albert Dorfinant, 1881-1976)
307. Quinquina Duhomard. ca. 1930.
46 1⁄2 x 63 in./118.2 x 160 cm Imp. H. Chachoin, Paris Cond A. Ref: PAI-LXXVII, 210B
30 7⁄8 x 46 in./78.3 x 117 cm Affiches Camis, Paris Cond A. Ref: Publicité, 85; PAI-LVI, 112
Domergue made his reputation on showcasing fashionable women in provocative yet chic poses. This poster for the alluring cabaret performer (and rumored transvestite) Alice Soulié is no exception: Domergue employs a spare background to highlight the angular shapes of Alice’s lithe figure and the coquettish buoyancy of her large feather fan.
Stranger things have happened than a waiter riding on an oversized lobster, right? Though the imagery seems a bit incongruous with the red and white apéritifs being advertised, we’re fully enthralled by the artistic decision. Perhaps Dorfi was inspired by Cappiello’s unexpected pairings—or perhaps it’s the result of Dalí-inspired Surrealism. In any case, we’re intrigued!
Est: $1,400-$1,700.
Est: $1,700-$2,000.
306. Monte-Carlo. 1937.
Dransy
24 1⁄2 x 38 7⁄8 in./62.3 x 98.8 cm Imp. Nationale, Monaco Cond A. Ref: Affiches Riviera, 440; Affiches Azur, 215; PAI-LXXVIII, 266 Known for his lithe, elongated women in comely poses, Domergue was the designer of choice when one wanted coy elegance to exude from an advertisement. Here, a sun-kissed nymphette is perched on a diving board, charming us into taking a swim with her. Est: $1,400-$1,700.
307
Dorfi
305. Alice Soulié. 1926.
(Jules Isnard, 1883-ca. 1945)
308. Nicolas / Fines Bouteilles. 1930. 47 3⁄8 x 63 1⁄2 in./120.2 x 161.5 cm Editions H. Perrier, Paris Cond A-/Unobtrusive folds. Ref: Nectar/Nicolas, 2; Gourmand, p. 38; Karcher, 96; PAI-XLVI, 311 Nicolas was—and is—one of the major wine dealers/ distributors in France, and in 1922, the head of the family firm, Etienne Nicolas, asked Dransy to design a poster to show that the company delivers directly to your home. The delivery man, given the name Nectar, became one of the most popular and instantly recognizable images on the walls of France, and was used in dozens of variations. The image was the inspiration for later posters by Iribe, Loupot, and Cassandre, among others. This design, however, is based on the original image of Dransy’s, which the Poyet Frères agency supplied with the name in blue on top and a different color (yellow) for the left side bottles; hence the subscript “d’après Dransy.” Est: $5,000-$6,000.
DOMERGUE - EHRENBERGER | A-Z
309
Maurice Dufrène
(1876-1955)
309. Rayon des Soieries. 1930.
310
31 3⁄8 x 46 1⁄2 in./79.7 x 118 cm Imp. Chaix, Paris Cond A. Ref: French Opera, 17; Timeless Images, 116; Femme s’Affiche, 196; Theaterplakate, 166; Spectacle, 665; Art Deco/Tokyo, 27; PAI-LXXX, 330 This archetype of high Art Deco was created for the 1930 opening of an operetta by Manuel Rosenthal which involved intrigues in the silk department of a clothing store. Most of the design is black and white, but some of the lengths of fabric hanging from the figure’s arm are tinged with the most exquisitely pale shades of pink and yellow. Dufrène also created the operetta’s sets and costumes. Est: $1,700-$2,000.
Rudolf Eberle 310. Maria Theresia-Diele. ca. 1925. 33 3⁄4 x 37 in./85.7 x 94 cm Kunst im Druck, München Cond A. Framed. Ref: PAI-LXXXII, 261 Apart from his name, nothing is known about the designer of this sophisticatedly detached poster for Munich’s Maria Theresia Hall. He captures the fashionable ennui of the smart set with porcelain finesse. The cabaret advertises itself as “the good café” during the afternoons, and at night: dance. Little more needs to be said, as the Jazz era coolness of these evening affairs is made visually evident: flapper fashion, discreet libations, lively music, and a partner on the dance floor—what more could you ask for? Est: $3,000-$3,500.
Ludwig Lutz Ehrenberger
(1878-1950)
311. Münchener Fasching 1939. 1939. 33 1⁄4 x 46 1⁄2 in./84.5 x 118.2 cm Joh. Roth, München Cond B-/Slight tears at folds and edges. Framed. Ref: Plakate München, 728; Femme s’Affiche, 26; PAI-LXIV, 248 Ringing in the 1939 Carnival season is a German bombshell, toasting the skies while wearing an oversized jester hat. The rich black of her evening gown stands out against the head of a Roman centurion and the twin bell towers of Munich, both printed in gold leaf. This would be the last Lenten festival to be celebrated in Germany until the end of World War II. Est: $1,200-$1,500.
311
A-Z | EHRENBERGER - FENNEKER
312
Ehrenberger
(Continued)
313
Enrique Estela-Anton
312. Nacht der Amazonen. ca. 1936.
313. Sevilla / Fiestas de Primavera. 1932.
34 x 47 ⁄8 in./86.5 x 121 cm Chromolith-Kunstanstalt, München Cond A-/Unobtrusive fold. Framed.
26 1⁄4 x 37 7⁄8 in./66.7 x 96.2 cm Cond A. Framed. Ref (both var): España, 44; PAI-XXXI, 651
A fairy tale belle in an impressively poofy golden dress surely doesn’t scream “Nazi party,” but that’s in fact what this event was. The discretion is intentional: the Night of the Amazons events, held from 1936-1939, aimed to attract Nazi ideology without using propaganda. The event organizers aimed to highlight Munich as a travel destination and to present the Nazi regime as cosmopolitan and friendly to foreigners. The themes each year were different, but it was always a huge spectacle: state-of-the-art lighting technology, hundreds of horses on stage, dance performances, celebrity participants, and plenty of nude girls assured entertainment for all.
This wonderfully eye-catching poster exploits the contrast between the brightly illuminated dancer and the tender shadows of a starlit night in the city while inviting us to take part in the spring fiesta in Seville. It’s an expertly composed and flawlessly executed piece of work. This is the smaller format.
5
Est: $2,000-$2,500.
Est: $2,000-$2,500.
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EHRENBERGER - FENNEKER | A-Z
314
315
316
Candido Aragonese de Faria
Rudi Feld
(1849-1911)
315. Pinkerton. ca. 1920.
316. Gitta Entdeckt Ihr Herz. 1932.
314. Christo.
37 1⁄2 x 28 in./95.2 x 71.2 cm Heymann & Schmidt, Berlin Cond A-/Unobtrusive folds.
37 5⁄8 x 56 in./95.8 x 142.6 cm Paul Grasnick, Berlin Cond B-/Tears at folds. Framed. Ref: Fenneker, 52
48 ⁄4 x 36 in./124 x 91.4 cm Imp. E. Delanchy, Paris Cond A. Ref: PAI-LXXXI, 279 3
If there is a heaven for dog lovers, it would probably look a whole lot like de Faria’s playful design for Christo— who we assume was a dog trainer and circus performer, but we have no sources to confirm it. But de Faria does a fantastic job of giving us a veritable survey of all sorts of dogs vying for best in show: sporting breeds, hounds, working dogs, terriers, and toys. The odd feline roams about as well, but canines triumph in this image. Est: $1,000-$1,200.
(1896-1994)
Not to be confused with the quite famous Chicago-based Pinkerton detective agency of the same name, this Berlin offshoot produced a number of striking posters, but no real historical evidence exists. But Rudi Feld gives the otherwise unknown bureau a distinctively striking design with powerful typography and a Sachplakat style investigative scene. The text at bottom lets us know that the company will help you fight crime and protect property. Berlin-born Feld was an artist and film designer who later moved to Hollywood where he continued being active in film work. Rare! Est: $2,500-$3,000.
Josef Fenneker
(1895-1956)
This poster shows a sharp departure from Fenneker’s haunting and expressionistic designs of the 1910s and 1920s. This could be due to the growing conservatism of both Berlin and the film industry; in 1920, Germany passed a cinema censorship law and each poster had to be approved by the censor’s office. Nevertheless, it’s a lovely image highlighting a blonde muse in a bright floral gown against a metallic silver background that makes the whole scene shimmer. As for the plot of the movie itself, “Gitta the shy adolescent becomes the celebrated star of a revue. One day Gitta reveals her heart to the young composer Peter. He looks great, but he is not successful. But Gita has an idea... A new star is born— and new happiness” (Fenneker, p. 91). Est: $3,000-$4,000.
A-Z | DE FEURE
317
Georges de Feure
318
(1868-1943)
317. La Dépêche / Han d’Islande. 1902.
318. Lithographies Originales. 1896.
31 1⁄2 x 76 3⁄4 in./79.8 x 195 cm Imp. J. Minot, Paris Cond B/Restored tears at folds and edges. Framed. Ref: de Feure, p. 207; Timeless Images, 42; PAI-LXXIX, 328
17 5⁄8 x 24 1⁄ 8 in./44.8 x 61 cm Imp. Minot, Paris Cond A. Framed. Ref: Iskin, p. 100; DFP-II, 355 (var); Schindler, 42 (var); Wine Spectator, 88; de Feure, 75; PAI-LXXIX, 329
De Feure’s extravagant design may at first read as a fashion advertisement; note the fine details in this woman’s hat, shawl, and at the bottom of her long dress. But the image in fact promotes Victor Hugo’s novel, “Hans of Iceland,” which is being published in installments in the newspaper La Dépêche. “The emblematic representation of woman in his last artistic posters resolved the duality which had existed between the misogynous image of the femme fatale (in the early works) and that of the modern, emancipated woman (in this and later works)” (de Feure, p. 205). Est: $4,000-$5,000.
A “close-up of a highly fashionable woman closely inspecting a print... was not a poster, but was designed as the cover for two albums of original prints published by E. Duchatel” (Iskin, p. 100). Iskin notes the ambiguity of this figure, part of the iconography of the female connoisseur of poster art: “[He] presents the female print collector as a woman of exquisite taste, herself a decorative creation, yet also associated with artistic creation.” Note the lithographic stone bearing the artist’s signature at lower right. Alain Weill calls this “the most elegant and intimate of all de Feure’s posters” (Weill/Art Nouveau, p. 119). Est: $3,000-$4,000.
DE FEURE | A-Z
319
319. Affiches et Estampes / Pierrefort. 1898. 32 x 25 in./81.3 x 63.6 cm Imp. Chaix, Paris Cond A. Framed. Ref (all var but PAI): DFP-II, 354; Weill, p. 52; Weill/Art Nouveau, p. 117; de Feure, p. 76; Wine Spectator, 89; Gold, p. 35; Livre de l’Affiche, 108; PAI-LXXVII, 217 This is possibly the rarest and definitely the most fully expressive of the few posters by this noted symbolist painter and occasional graphic designer—this variant is even more special, as it predates versions with letters included. “The lady pointing to one of the items available from print and poster dealer Pierrefort is one of de Feure’s most enigmatic women: her face is alluring yet inscrutable, with a touch of slyness or private amusement: Is she mocking us, or simply being ambiguous?” (Wine Spectator, p. 89). Millman calls this “his most Japaneseinfluenced poster” (de Feure, p. 76). Pierrefort, along with Sagot and Arnould, was one of the most important poster and print dealers of Paris in the 1890s who often befriended promising graphic artists whose work he savored. Three of these protégés created posters for his gallery: Henri-Gabriel Ibels (see PAI-LII, 245), P. H. Lobel (see PAI-IX, 336), and de Feure. Pierrefort was especially close to Toulouse-Lautrec, whose work he published and exhibited toward the end of the painter’s short career. Est: $25,000-$30,000.
A-Z | GALICE - GESMAR
320
Louis Galice
(1864-1935)
321
Genés
324. Guy Sarlin. 1925.
320. Une Nuit de Noces. 1907.
322. Dieppe.
39 3⁄4 x 55 in./101 x 139.5 cm Affiches Louis Galice, Paris Cond A-/Unobtrusive folds.
31 1⁄2 x 47 1⁄4 in./80 x 120 cm Gossart, Paris Cond B/Slight tears at folds. Ref: PAI-LXXVI, 279
The vaudeville performance A Wedding Night was written in 1904 by Albert Barré and Henri Kéroul. The star of the show is Sidonie, a vaudeville actress going on tour; meanwhile, her maid rents out her apartment to a newlywed couple. The bride’s parents soon arrive for the wedding party, in which they’ve asked Sidonie to perform. When the actress arrives, she is stunned to find people living in her apartment, and even more shocked to learn than the bridegroom is none other than her ex-lover! Apparently it was a smashing success, as this poster denotes it as “the grand success” of the Folies-Dramatiques. Est: $1,200-$1,500.
Simone Garnier 321. Nice Foire a L’Humour. 1927. 25 3⁄4 x 39 5⁄ 8 in./65.3 x 100.7 cm Litho. Eclaireur Cond B/Slight tears at folds. For a comedy fair in Nice, Garnier gives us a bold abstract border that opens to reveal the grinning faces of female audience members. As for the artist herself, no information exists that we have found, but we’re eager to learn more. Est: $1,200-$1,500.
This perfectly balanced Deco poster beckons golfers, tennis players, sailors, and gamblers to come enjoy the fun in Dieppe, a fishing port on the Normandy coast of northern France. Est: $1,700-$2,000.
Charles Gesmar
45 1⁄2 x 61 1⁄4 in./115.5 x 155.6 cm Imp. H. Chachoin, Paris Cond A-/Unobtrusive folds. Ref: Gesmar, p. 119; PAI-XLIII, 342 Often flamboyant in his unabashedly adoring posters for Mistinguett, Gesmar here uses restraint with his composition and palette. But the cinnabar red with just a touch of black lets the dynamism of the dancer speak for itself. Est: $1,700-$2,000.
325. Mistinguett / Clochard : Two Drawings. ca. 1928.
(1900-1928)
323. Theater des Westens. 1926. 37 1⁄4 x 54 3⁄4 in./94.5 x 139 cm S. Malz, Berlin Cond B/Tears at folds. Ref: Gesmar, p. 146; PAI-LXXXI, 294 Gesmar goes full-on funky in this design for a German theatre revue called The Train to the West. To the left of our two-faced burlesque dancer, we’re promised: The world’s greatest attraction! An excellent ensemble! Fairy outfits! Four hundred contributors! You had us at the fairy outfit, Gesmar. Est: $1,700-$2,000.
322
Each: 11 1⁄2 x 19 in./29.2 x 48.2 cm Signed pencil, ink, and watercolor drawings. Framed. Ref: Gesmar, p. 177 (var); PAI-LXXX, 352 Throughout the course of Gesmar’s and Mistinguett’s close working relationship, Gesmar designed thousands of costumes and 55 posters for the ebullient showgirl. His creative work was prolific, despite a tragically short life, and he sketched out his ideas constantly. Here, we can witness his planning process for his 1928 poster, Mistinguett / Rags to Riches (see PAI-LXXVII, 224). These images are particularly detailed and very closely resemble the finalized design. At this point in his career, he had finessed his skills and was at the height of his game, but sadly, this also marked his last poster for Mistinguett. Est: $3,000-$4,000. (2)
GALICE - GESMAR | A-Z
323
324
325
A-Z | GLASER - GRAY
326
328
327
Milton Glaser
(1929-2020)
326. NY Summer Festival : 2 Posters. 1983 & 1984.
327. NY Fall Festival : 2 Posters. 1980 & 1981.
Each: 24 x 36 in./61 x 91.4 cm Cond A/P. Ref: Glaser Posters, p. 83
Each: 24 x 36 in./61 x 91.4 cm Cond A/P. Ref: Glaser Posters, p. 266 (var) and 681; Glaser Manifesti, 41
Glaser, the unofficial designer for New York State, created these two bohemian designs for the I Love New York Summer Festival. The first design, from 1983, combines vineyard grapes and sailboats in the frame of a violin to announce the event in Cold Spring-on-Hudson. The second, from 1984, shows a Victorian woman alongside the Hudson River for that year’s event on the Niagara Frontier and Chautauqua/Allegheny. The text here includes this invitation: “Come Celebrate An Old Time, Good Time, Summer Time in Western New York.” Both were published by the NY State Department of Commerce.
Glaser continued his work for New York State in these two agrarian images for the upstate Fall Festival. The first, from 1980, shows a goose among a cornucopia of squashes, corn, and local shells. This image also came with text promoting Long Island and Glaser explains it: “The abundance of fall provided all the elements to create a vegetable duck” (Glaser Posters, p. 266). The second, from 1981, depicts a soaring fish over the river below; this event was held on the 1000 Islands Seaway. Both designs were published by the NY State Department of Commerce.
Est: $800-$1,000. (2)
Est: $800-$1,000. (2)
329
GLASER - GRAY | A-Z
Mary Golay
(1869-1944)
328. Elégance. ca. 1904. 15 1⁄4 x 39 3⁄4 in./38.7 x 101 cm Cond A/P. Ref: PAI-LXXVIII, 295 Golay is undeniably the queen of elegance, and here she fashions a sumptuous scene where a gilded lady is entwined in lush bearded irises. She may well be referencing the Greek Goddess Iris, who acted as the messenger of the gods and guided the dead from earth to heaven; purple irises were placed on the graves of women to summon the Goddess. Given her forceful pose and exquisite attire, she is certainly a powerful and elegant figure. Est: $1,400-$1,700.
330
329. Grace. 15 1⁄4 x 39 3⁄4 in./38.7 x 101 cm Published by Clément, Tournier, Geneva Cond A/P. Ref: PAI-LXXVIII, 296 Mirror, mirror, on the wall, who’s most graceful of them all? Though Golay’s flaxen-haired lady may be a bit self-consumed, there’s no denying the graceful attributes of this design, which is at once graphically pristine and organically bountiful. Est: $1,400-$1,700.
Eugene Grasset
(1841-1917)
330. Danger. 1897. 22 3⁄8 x 35 1⁄4 in./56.8 x 89.4 cm Cond A. Ref: Grasset, 136; Berthon & Grasset, p. 70 (var); PAI-LXIX, 398 While the blonde may appear impassive and calm, it is the moody atmosphere surrounding her that gives this panel its title. Storm clouds churn through the darkening sky as a wolf nips at her feet, its eyes wild and bloodshot. Most disconcerting of all, though, is the uncomfortable angle at which we are observing the scene, which comes across almost as if we are falling. Est: $2,500-$3,000.
H. Gray
(Henri Boulanger, 1858-1924)
331. Pétrole Stella. 1897. 38 3⁄4 x 50 1⁄8 in./98.6 x 127.3 cm Imp. Courmont Frères, Paris Cond B/Slight tears at top paper edge. Ref: DFP-II, 421; Affichomanie, 116; Collectionneur, p. 53; PAI-LXXXI, 303 Gray’s impressive design may at first belie the mundanity of the product being advertised. Winged nymphs swoop in to admire the light cast by Stella lamp oil—only to be blinded by its brilliance. Est: $3,000-$4,000.
331
A-Z | GRÜN - HALL
332
335 333
Jules-Alexandre Grün
(1868-1938)
Albert Guillaume
(1873-1942)
332. La Pépinière / Chauffons! Chauffons! 1898.
334. Parfumerie Diaphane. ca. 1895.
36 3⁄4 x 51 1⁄4 in./93.3 x 130.2 cm Imp. Chaix, Paris Cond B+/Slight tears at folds and edges. Ref: DFP-II, 431; Maitres, 159; Encyclopédie/Weill, p. 227; Grün, p. 56; PAI-XXX, 517
47 1⁄4 x 71 1⁄8 in./120 x 180.6 cm Affiches Camis, Paris Cond B-/Paper losses in bottom corners. Ref: PAI-LI, 353
Grün’s Montmartre is always exciting: enticing women, amorous gentlemen, and mainly a lot of lighthearted fun. This poster advertises a revue at the Pépinière, the title of which can easily be translated as “Let’s Get Hot!” All that red—Grün’s favorite color—makes the invitation easy to accept. Est: $1,200-$1,500.
Established by G. Mazuyer et Cie. around 1898, La Diaphane was a cosmetics line made famous by endorsements from the incomparable Sarah Bernhardt. Chéret also did a poster promoting the company which showcased the actress applying its face powder (see No. 284). Here, though, all we see is an audience in wait of one of Bernhardt’s epic performances; the text below states that Diaphane’s elegant rice powder is worn by her. Est: $1,400-$1,700.
333. Loterie / Maison de Retraite. 1908. 45 7⁄8 x 61 1⁄ 2 in./116.5 x 156 cm Imp. Aluminium Rotative, Paris Cond B-/Slight tears at edges. Ref: Grün, p. 91; PAI-XXIX, 389 Grün’s winsome charmer is soliciting subscriptions to a lottery whose proceeds will help to build a retirement home for cabaret artists. We can only imagine the antics those folks must have enjoyed there. Est: $1,700-$2,000.
334
335. A la Scala. 1908. 35 x 49 3⁄4 in./89 x 126.5 cm Imp. Minot, Paris Cond A. Framed. Ref: Masters 1900, p. 57; PAI-LXV, 296 Considered one of Guillaume’s masterpieces, the painterly quality of this poster elevates it above his usual caricatures into the realm of fine art. Rather than showcase any of the marvelous acts at La Scala, he chose instead to depict the glitterati emerging from their carriage—implying that the audience is just as interesting as the performers. Est: $3,500-$4,000.
GRÜN - HALL | A-Z
336
337
Henri Guydo
(1868-1930)
338
Maximilienne Guyon
(1869-1903)
Tom Hall
(1885-1972)
336. Amara Blanqui. 1898.
337. Rhum des Ilets. ca. 1897.
338. Hunt Big Game in Canada. 1938.
47 3⁄4 x 79 1⁄8 in./121 x 201 cm Affiches Camis, Paris Cond B-/Restored tears at top text area and folds. Ref: DFP-II, 459; Schardt, p. 173; Affiches Rivièra, 351; Meisterplakate, 115; PAI-LXXXI, 309
36 5⁄ 8 x 51 1⁄8 in./93 x 130 cm Lith. Courmont Frères, Paris Cond A.
23 3⁄4 x 35 5⁄8 in./60.3 x 90.5 cm Cond B+/Slight tears, largely in bottom text. Framed. Ref: Canadian Pacific II, p. 149; Canadian Pacific, 72
An angelic young woman draped in gossamer fabrics promotes Rhum des Ilets, which the text here describes as “superior to all others.” Guyon was primarily a painter; she studied at the Académie Julian, exhibited frequently at the Salon de Paris, and was included in the 1893 World’s Columbian Exposition in Chicago and the 1900 Exposition Universelle. One of her prints is included in L’Estampe Moderne.
For the Canadian Pacific Railway, Hall created this bold design with expanses of fascinatingly unnatural colors and a large black bear staring us down—the object of the hunter’s game.
A cordial or apéritif, Amara Blanqui was distilled with the rather odd flavor of herbs and ginger. If you have difficulty imagining such a thing, that’s not surprising: we lack words for it. Guydo’s art, here, accomplishes a synaesthetic conversion of taste to vision: herbal bitterness becomes the black licorice of the dress; ginger takes the hues of hair and fruit-branch above. Ivy frames the tableau, and herbal motifs decorate her blouse; we see our delightfully tart taste-tester on the cliffs high above the Mediterranean, near Nice, where the liqueur is distilled. The fresh wind of Le Mistral and the sun fall upon us. “Altogether charming,” wrote L’Estampe et l’affiche in 1898. Est: $1,200-$1,500.
Est: $1,400-$1,700.
Est: $1,700-$2,000.
A-Z | HANDSCHIN - HARING
341 339
Johannes Handschin
(1899-1948)
339. A. Gasser Architekt. 35 5⁄8 x 50 1⁄2 in./90.5 x 128.4 cm Wasserman Cond A. Ref: PAI-XXVII, 427 Two architectural statements do all the talking in this design: an Art Deco spire with an increasingly warming glow and a Bauhaus-style structure beside it. This graphic tour de force advertises the Basel-based architect, A. Gasser. In addition to being able to create the perfect edifice to suit any client’s needs, he also served as a real estate agent with properties available for purchase or rental. Little is known about Handschin other than that he was a painter and graphic artist active in Basel. Rare! Est: $3,000-$4,000.
340. Pelz-Jackets. 1929. 35 1⁄8 x 49 7⁄8 in./89.3 x 126.8 cm Wassermann, Basel Cond A. Framed. Sharp lines, bisecting angles, clean typography, and a lithe Jazz Age muse: Handschin’s design for Swiss fur coats is pure Art Deco perfection. Est: $1,700-$2,000.
Carl Hap
(Karl Happel, 1819-1914)
341. Ambassadeurs / Qui Qui veut d’ l’Amour. ca. 1899. 31 1⁄8 x 47 3⁄4 in./79.2 x 121.2 cm Affiches Camis, Paris Cond A-/Unobtrusive folds. Ref: PAI-LXXXI, 310 “Who wants love?” That’s the simple question posed by this one-act revue by Léon Xanrof and Léon Garnier. No plot exists that we’ve found, but we imagine a triumphant singsongy story about overcoming the triumphs of war and love. Xanrof—born Léon Alfred Forneau—was a French humorist, music-hall artist, playwright, and songwriter. Most notably, Yvette Guilbert took her first steps to stardom by singing his songs at the Chat Noir.
340
Est: $1,200-$1,500.
HANDSCHIN - HARING | A-Z
342
343
Keith Haring
344
(1958-1990)
342. Free South Africa. 1985.
343. Swatch / World Breakdance Championship. 1984.
344. Swatch. 1986.
48 x 48 3⁄4 in./122 x 123 cm Cond A. Ref: Döring, p. 93; Haring Posters, 26; PAI-LXVIII, 181
23 7⁄8 x 33 in./60.8 x 84 cm Cond A. Ref: Haring Posters, 20; PAI-LXXXII, 292
24 7⁄8 x 35 7⁄8 in./63.2 x 91.2 cm Cond A/P. Ref: Haring Posters, 44; PAI-LXXX, 368
Distributed at an anti-apartheid demonstration, this iconic Haring design shows a native African figure crushing his oppressor. Initially created as a painting, Haring felt the image was strong enough to work well as a poster too. “20,000 of the posters were given away for free; the print was later sold in the Pop Shop for the symbolic price of one dollar” (Haring Posters, 26).
“The Swiss watch manufacturer Swatch sponsored the first—and for six years the only—break-dance world championship. Swatch also commissioned the poster” (Haring Posters, p. 109). The Roxy, located in Manhattan’s Chelsea neighborhood, got its start in 1978 as a roller disco, earning the name the “Studio 54 of roller rinks.” In 1982, the space was revamped into a dance floor, and the venue became a hub for dance music, hip hop, punk, and DJ experimentation.
“In 1984, Haring had already created advertising for an event sponsored by Swatch. Meanwhile he’d received numerous offers to collaborate with companies and was aware of the fact the he had to be very selective. His decision to work with Swatch was surely associated with his new Pop Shop, in which he sold the watches” (Haring Posters, p. 114). Interestingly, the watches were originally sold for $50 and now fetch thousands of dollars.
Est: $1,200-$1,500.
Est: $1,200-$1,500.
Est: $1,200-$1,500.
A-Z | HARING - HOHLWEIN
346
345
Haring
(Continued)
345. Italia 83. 1983. 18 1⁄2 x 27 3⁄8 in./47 x 69.5 cm Cond A/P. Ref: Haring Posters, 7; Kunstlerplakat, p. 200; PAI-LXXXII, 291
347
348
“The Galleria Lucio Amelio in Naples was one of Italy’s most well-known galleries and presented exhibitions by Andy Warhol, Joseph Beuys, and many others. For Haring, this was his only exhibition with Amelio. He spent three weeks in Milan and produced all of the works in the exhibition there, in part in collaboration with his friend Angel Ortiz, also known as LA II” (Haring Posters, p. 107). Est: $1,200-$1,500.
346. Keith Haring at FUN Gallery. 1983. 23 x 29 1⁄ 2 in./58.2 x 74.8 cm Cond A. Ref: Haring, listing p. 187; Haring Posters, 4; Kunstlerplakat, p. 199; PAI-LXXVII, 243 Keith Haring created an exciting, mazy motion to promote his own exhibition at FUN Gallery at 254 East 10th Street in the East Village in February, 1983. He personally financed the prints, and handed them out to fans who flocked the gallery. “FUN Gallery was a place where neighborhood kids, downtown artists, b-boys, rock, film, and rap stars mixed with museum directors art historians and uptown collectors at wild openings featuring artists like Futura, Fab 5 Freddy, Lee Quinones, Kenny Scharf, Keith Haring and Jean Michel Basquiat,” PAPER Magazine reminisced in 2012. Though the gallery only survived for four years, its heralding of boundary-busting experimentation helped pivot the art world as we know it.
349
350
Est: $1,200-$1,500.
HARING - HOHLWEIN | A-Z
351 347. Safe Sex! 1987. 27 1⁄2 x 29 1⁄2 in./69.7 x 74.7 cm Cond A. Ref: Haring Posters, 60; PAI-LXXX, 371 Even before being diagnosed with AIDS in 1988, Keith Haring was a strong advocate of safe sex within the gay community; he had already seen how the disease ravaged those close to him. This poster is one of many upbeat, positive images he created to promote the lifesaving gesture of simply wearing a condom. Est: $800-$1,000.
348. Crack Down! 1986. 17 x 22 in./43.2 x 56 cm Cond A/P. Ref: Haring Posters, 47; PAI-LXXXII, 298 “In 1984, Haring had employed a young assistant who became addicted to crack. His struggle with the drug prompted Haring to come up with an idea for a largescale mural in East Harlem, directly on the FDR Drive” (Haring Posters, p. 114). This poster was created at the same time, and was used to help promote the 1986 “Crackdown on Crack” benefit concert in New York City. Bill Graham, the famed music promoter, organized the event to raise funds to combat the crack cocaine epidemic in New York. Est: $800-$1,000.
John Hassall
(1868-1948)
349. Newmarket. ca. 1896. 20 x 27 5⁄8 in./50.6 x 70.2 cm David Allen & Sons, London Cond B/Restored tears, largely at lower left corner. Ref: PAI-LXXXI, 320 Hassall employs a restrained approach that is nonetheless enticing to advertise Newmarket, a “racing comedy with music” performed by Alexander Loftus’ Musical Comedy Company at the Opéra Comique in London in 1896. This is one of three posters designed by Hassall for the play; he features Poppy and her horse-racing trainer, who helps save another jockey after he loses a large fortune. Est: $1,000-$1,200.
350. The Shop Girl. ca. 1897. 19 3⁄4 x 28 1⁄4 in./50 x 71.8 cm David Allen & Sons, London Cond B/Slight tears at folds and edges. Ref: DFP-I, 64; Femme s’Affiche, 52; Takashimaya, 34; PAI-LXXXI, 318 Written by H.J.W. Dam, The Shop Girl was one of the new style of Irish musical comedies which burst to popularity at the end of the 19th century. Each of these types of musicals focused on a single girl and her misadventures toward success, society, and love. They were a natural progression out of the era of burlesque and into one of a linear story line and coherent plot, ultimately allowing for the more complex theatrical musicals of the 20th century to be born. Est: $800-$1,000.
Ludwig Hohlwein
(1874-1949)
For others by Hohlwein, see Nos. 13, 55, and 56. 351. Yellowstone-Park. 1910. 49 x 36 in./124 x 91.4 cm G. Schuh, München Cond A-/Slight tear at bottom edge. Framed. Ref: Hohlwein/Stuttgart, 31; Rademacher, p. 81; Le Coultre, p. 191; PAI-XIV, 293 Hohlwein’s fame reached beyond his homeland in a short time—here, only three years after the magnificent Hermann Scherrer posters, he was asked to create this design for an unspecified U.S. client. From all appearances, it’s basically an institutional promotion more than a specific invitation to visit the place—note there are no details as to where it’s located or how to get there. But there’s no question that the rather overcrowded yellow stagecoach pulled by a team of six brown horses makes for a delightful image. Est: $6,000-$7,000.
A-Z | HOHLWEIN - IANNELLI
352
Hohlwein
(Continued)
352. Zoologischer Garten München. 1912.
353. Riquet Sudana. 1926.
34 1⁄4 x 48 1⁄ 8 in./87 x 122.5 cm Vereinigte Druckereien und Kunstanstalten, München Cond B-/Slight tears at folds and edges. Framed. Ref: DFP-III, 1408; Hohlwein/Stuttgart, 68; Le Coultre, p. 186; Plakate München, p. 72; PAI-XXI, 231
23 1⁄4 x 35 3⁄4 in./59 x 91 cm Emile Gerasch, Leipzig Cond A. Ref: Hohlwein/Stuttgart, 245; Hohlwein/Frenzel, 48C
During the most productive period of Hohlwein’s career—his years in Munich—he made posters for many city institutions, including several for the zoo. This broadly blocked image of a leopard and a panther shows the artist’s powers of abstraction and reaffirms his celebrity as an animal painter. Rare! Est: $10,000-$12,000.
During the first half of the 1920s, Hohlwein designed approximately a dozen posters for Riquet, a Leipzig-based company that dealt in tea, cocoa, and chocolate products. Here, the company promotes their Sudanese chocolate pralines with rose cream by depicting a local woman. “Hohlwein established a set of typological reference points to translate cultural otherness to codes which could easily be grasped by German consumers. Hohlwein was interested in effects which produced a positive stimulus in the realm of aesthetics which would then turn into an economic stimulus. Associations of adventure and exotic locals and peoples were favorable. However, the depictions could not arouse fear of immigration, miscegenation, racial impurity, or a wave of foreign cultural imperialism” (Re-framing the Transnational Turn in American Studies, p. 169). Est: $2,000-$2,500.
HOHLWEIN - IANNELLI | A-Z
354
353
Pieter Adrianus Hendrik Hofman
(1885-1965)
354. Mustermesse Utrecht / Holland. 1930. 24 1⁄4 x 36 7⁄8 in./61.5 x 93.7 cm Cond A-/Slight tears at upper left edge. Ref: Modern Dutch Poster, 83; PAI-XI, 20 This stylized composition with a swift messenger carrying a staff uses plenty of angles to give a feeling of urgency and speed. In this poster for the Dutch Fair at Utrecht—as well as in Hofman’s other posters—typography plays a vital role. The poster was printed with several different texts and the space at bottom was used for each year’s particulars. Hofman was a painter of landscapes, seascapes, and portraits; he designed windows, murals, and book covers too. Est: $1,200-$1,500.
Alfonso Iannelli
(1888-1965)
355. George Whiting. 1969. 31 1⁄2 x 41 1⁄2 in./80 x 105.4 cm Cond B/Slight stains at edges; abrasions in upper area. P. Ref: PAI-LXIII, 322 With obvious influences from the Secessionist movement, this silkscreen poster in metallic gold and rich red promotes a performance by the vaudevillian song-anddance duo George A. Whiting and his eventual wife, Sadie Burt. It was originally done by Iannelli as a hand-painted sign outside the Orpheum theater in Chicago. In 1969, the Chicago School of Architecture Foundation obtained permission from the artist’s estate to reproduce six of his designs in editions of 1,000. This is from that run. Est: $2,000-$2,500.
355
A-Z | JUNYENT - LANDOIS
356
Oleguer Junyent
(1876-1956)
356. Callicida Escrivá. ca. 1910. 29 1⁄4 x 41 7⁄ 8 in./74.2 x 106.3 cm Utrillo & Rialp, Barcelona Cond B+/Slight stains, largely at edges. Ref: Cataluña, 111; Cartells Catalans, p. 81; PAI-LXXXI, 21
357
A small crowd stands in awe as a woman in a Victorian red dress scrawls in cursive with chalk. The product being advertised may come as some surprise: it’s, of all things, a corn remover. Perhaps she is a school teacher who gets blisters on her hands from so much writing—or perhaps she is simply a model spokeswoman providing an elegant solution to a less than attractive problem. Oleguer Junyent was a jack of all creative trades: he was a painter, illustrator, set designer, interior designer, writer, and, of course, a posterist. Est: $1,400-$1,700.
Ernest Kalas
(1861-1928)
357. Exposition d’Affiches Artistiques / Reims. 1896. 32 3⁄4 x 53 1⁄ 2 in./83.2 x 136 cm Matot-Braine, Reims Cond A-/Slight tears at seam and top edge. Framed. Ref: Reims, 768; DFP-II, 488; Menegazzi-I, p. 11; Affichomanie, 21; Timeless Images, 20; PAI-LXXVI, 317 Simply showcasing a billposter with a ladder and a paste bucket, this twosheet image advertises the most important poster exhibition of all time. Held in Reims in November of 1896, 1,690 posters were on display, all of which are listed in the corresponding catalog to the show which bears the same cover design. This is the ultimate poster for any serious collector. Est: $3,000-$4,000.
Richard Knab & Hans Heinrich Koch
(1896-?)
358. Café Bittmann. 1928. 32 3⁄4 x 47 in./83.3 x 119.2 cm Kunst im Druck, München Cond A. Framed. Tucked away in a small town outside of Munich, the Café Bittmann in Höllriegelskreuth commissioned a fantastic poster to attract local rail commuters. From the Cubist still life on the table to the lady’s perfectly coifed outfit, Knab and Koch’s tantalizing image surely did the trick. The two formed a graphic design studio in 1921.
358
Est: $2,500-$3,000.
JUNYENT - LANDOIS | A-Z
360
359
Guillermo Laborde
(1886-1940)
359. 1er Campeonato Mundial Football / Uruguay. 1930. 17 ⁄2 x 35 ⁄2 in./44.5 x 90.3 cm Olivera Fernandez, Montevideo Cond A. Ref: Crouse/Deco, p. 114; Sportissimo, p. 94; Graphic Design/Taschen, p. 256; PAI-LXXIX, 357 1
1
This is the official poster for the first ever FIFA World Cup, held in Montevideo, Uruguay in 1930. FIFA selected the location in celebration of Uruguay’s centenary of its first constitution and their national football team’s continued winning streak at the 1928 Summer Olympics. Clearly, it was a spectacular year for the country—they went on to defeat Argentina 4-2 in the finals, making Uruguay both the first ever host and first ever winner of the World Cup. And Laborde created a fantastic Art Deco design for the event: using simple and elegant lines, he depicts a goalkeeper making a save above his playful and experimental text. This poster also features a stamp from the executive committee of the first World Cup. Est: $4,000-$5,000.
R. Landois 360. Zoo Anvers / Monkey. 1954. 23 1⁄2 x 32 1⁄ 2 in./59.8 x 82.6 cm Smet & Fils, Anvers Cond A/P.
361
A painterly monkey swings from the typography to guide us towards the Zoo d’Anvers, Belgium’s oldest animal park— and one of the oldest in the world. It was established in 1843 in central Antwerp. Est: $800-$1,000.
361. Zoo Anvers / Penguin. 23 1⁄ 2 x 37 5⁄ 8 in./59.8 x 95.6 cm Cond A. Ref: PAI-LXXI, 372 (var) An emperor penguin stands tall in this image for the Antwerp Zoo; the photo-realistic crosshatch design lends an unusual appeal to the image. Est: $1,000-$1,200.
362. Zoo Anvers / Polar Bear. 24 1⁄4 x 33 1⁄4 in./61.7 x 84.5 cm René van Poppel, Anvers Cond A/P. Friend or foe? This startling urban polar bear appears to be leading us to the newly opened bird pavilion at the Anvers Zoo. Otherwise, perhaps he’s making his escape for the city of Antwerp beyond the gates. This is an unsigned work. Est: $800-$1,000.
362
A-Z | LE MONNIER - LIVEMONT
363
364
Henry Le Monnier
(1893-1978)
365
Privat Livemont
(1861-1936)
363. Stella. 1938.
365. Absinthe Robette. 1896.
366. Tropon Chocolade-Cacao. 1900.
39 ⁄8 x 55 in./100.6 x 139.7 cm Affiches Lutetia, Paris Cond A.
31 ⁄8 x 43 in./81 x 109 cm Goffart, Bruxelles Cond A. Ref: DFP-II, 1062; Maitres, 104; Belle Epoque 1970, 75; Timeless Images, 38; Wine Spectator, 80; Absinthe, p. 134; Masters 1900, p. 88; Weill/Art Nouveau, p. 164; Absinthe Affiches, cover & 105; Livemont, p. 93; Belle Èpoque/Belgique, 246; Schoonbroodt, 6; PAI-LXXXII, 328
13 1⁄2 x 22 7⁄8 in./34.3 x 58 cm O. de Rycker & Mendel, Bruxelles Cond A-/Slight stains at edges. Framed. Ref (all var but PAI): Livemont, 118; Belle Epoque/Belgique, 230; Schoonbroodt, 34; PAI-LXXIX, 366
5
If this strikingly sculptural man can’t break your Stella chair, no one can! At least, that’s the message Le Monnier presents for this “inseparable” patented system. The French company was praised for these pared-back designs which combined efficiency with durability. Est: $1,200-$1,500.
Lesnon 364. Bermuda. 24 1⁄8 x 37 5⁄8 in./61.2 x 95.6 cm Mardon, Son & Hall, Bristol Cond A. What could be more appealing than a languid afternoon spent beach side? Lesnon ups the ante with a painterly ocean that glimmers majestically on the Bermuda coast. Est: $1,200-$1,500.
7
One of the most iconic posters of all time, Livemont’s design for Absinthe Robette perfectly captures the spirit of Art Nouveau. Every element of the image is lavishly decorative yet delicately organic. Holding up her glass with the reverence of a holy relic, we do not see the hand that pours the water over the sugar, adding a mystical, otherworldly quality to the concoction. The background is made up of sensual plumes of mint on green, echoing the milky swirl within the cup.
Little is known about this image outside of a brief reference in the December 1900 issue of The Poster, wherein it was shown without text, and yet identified as an advertisement for Tropon Chocolade. Described as a “window-bill,” one can assume this was an in-store display and not ever a street poster, tantalizing young mothers to purchase Tropon hot chocolate for their children. From a scientific perspective, TroponChocolade is actually an old way of making hot cocoa by blending it with a water-soluble protein derived from fish and animal flesh.
Est: $7,000-$9,000.
Est: $3,500-$4,500.
LE MONNIER - LIVEMONT | A-Z
367
366
367. Cherubs: Two Panels. 1903. Each: 40 1⁄8 x 16 in./102 x 40.6 cm Cond A. Ref: PAI-XLIV, 343 Eight adorable toddlers per panel romp merrily in a sylvan dell. Livemont provides a maximum amount of charm with a limited use of color: an olive green background, infantile flesh tones, and a smattering of pink. Est: $2,500-$3,000. (2)
368. The Embroiderer & The Spinner. 1904. Each: 15 3⁄4 x 11 3⁄4 in./40 x 30 cm Cond A. Framed. Ref: Belle Epoque 1980, 84; Livemont, p. 52-53; Schoonbroodt, p. 56; PAI-LXXIII, 347 Livemont created a delicate and quiet homage to the domestic arts of embroidery and spinning. These two panels are some of Livemont’s most lovely, featuring elaborate detail in muted pastels. Est: $1,700-$2,000. (2)
368
A-Z | LOUPOT - MARINETTI
371
Charles Loupot
(1892-1962)
369. St. Raphaël / Quinquina. 1948. 34 1⁄2 x 45 3⁄4 in./87.5 x 116.3 cm Affiches Gaillard, Paris Cond B+/Slight stains. Ref: Loupot/Zagrodzki, 109; Loupot/Forney, 55; PAI-LXXIII, 366
369
Loupot created a number of posters for this brand of bitters; here we see the streamlined incarnation of the two waiters who would become the company trademark. Throughout their evolution, two elements of their first rendering remained constant: their comic contrast in physique and their red and white colors. This also cements St. Raphaël’s cursive logo; Loupot dismantled the old all-capital letter format and introduced this personalized product signature in 1938—which the company continues to use to this day. This is the headon version of the waiters that the company settled on in 1945. This poster was used by St. Raphaël largely in Paris metro stations. This is the larger format. Est: $1,700-$2,000.
Ernst Lübbert
(1879-1916)
370. Weidenhof Casino. 1913. 36 1⁄2 x 27 3⁄ 8 in./92.8 x 69.5 cm Ernst Marx, Berlin Cond B+/Slight tears at edges. Framed. Ref: DFP-III, 2135; Wember, 559; Masters 1900, p. 170; PAI-XLV, 374 The large undifferentiated black area of the shoulders and hats of the lady and gentlemen makes an effective framing device for this glimpse of a Berlin nightclub as it may have appeared in the days just prior to the outbreak of World War I. A painter, illustrator, and commercial artist, Lübbert studied at the Berlin Academy of Arts and performed the majority of his work in Berlin for the Ernst Marx publishing house. As well as contributing illustrations to humor magazines such as Berliner Illustrierte, Deutsche Illustrierte, and Ulk (which translates literally as “Fun”), he executed a number of designs for the Cardinal cigarette manufacturers, including a series of poster stamps.
370
Est: $2,000-$2,500.
LOUPOT - MARINETTI | A-Z
372
Frederic Madan
(1885-1972)
Filippo Tommaso Marinetti
(1876-1944)
371. Niagara Falls / New York Central Lines. ca. 1924.
372. Les Mots en Liberté Futuristes : Four Proofs. 1919.
26 7⁄8 x 40 5⁄8 in./68.3 x 103.2 cm Latham Litho., Long Island City, NY Cond B-/Slight tears, largely at top and bottom edges. Ref: PAI-LXII, 465
Each: 12 1⁄4 x 15 3⁄8 in./31 x 39 cm A/P. Slight tears at edges. Ref (all var): Modern Poster, p. 21; Futurismo e Publicità, p. 104; PAI-LXXX, 399
Madan gives us a breathtaking, painterly interpretation of the iconic view of Niagara Falls, which is easily reachable via the New York Central Lines. Rare! Est: $1,200-$1,500.
Filippo Marinetti was an Italian ideologue, poet, editor, and founder of the Futurist movement of the early twentieth century. Marinetti, most noted for his authorship of the “Futurist Manifesto”—first published in the Paris newspaper Le Figaro—also published this important Futurist touchstone, “Les Mots en Liberté Futuristes.” The plates were inserted and folded several times in order to make them fit into the small book, and the images display the typographic method fervently espoused by that particular movement. “The postwar years gave new impetus to the spread of modernist aesthetics to the more popular artistic mediums... Marinetti sought to give visual expression to the anarchic energy of war, the big city, and the rioting crowd... Setting out to destroy all literary and typographic rules, Marinetti called for the abolition of punctuation, the adverb, and the adjective to break down completely the traditional continuity and order of writing. The Futurists also had a particular interest in the medium of print, not just as a vehicle for their poetry but for the purpose of proselytizing their ideas on subjects touching all aspects of life—from sculpture to lust. Although they produced almost no typographically advanced posters, the revolution the Futurists initiated in typography proved fundamental. Through their influence on Dada and the Russian avant-garde they contributed to the development of the new typography in the 1920s” (Modern Poster, p. 20-21). This lot includes four proofs for two plates of the book. Est: $2,500-$3,000. (4)
A-Z | MARTIN - MEUNIER
373
376
Charles Martin
(1848-1934)
373. Chaussures F. Pinet. ca. 1920. 38 3⁄4 x 55 in./98.2 x 139.8 cm Imp. H. Schnerb, Paris Cond B/Slight tears at folds. Ref: PAI-II, 300
374
The shoe brand F. Pinet was founded in 1855 and continues to create high-end stylish footwear to this day. Here, Martin gives us a glimpse of Jazz Age fashions, and while the shoes are seriously overshadowed by the girl’s ball gown, the message here is that F. Pinet is the essential base of a fantastic outfit. As the text here reads, “Elegance, Fashion, and Quality”—a boast inherent in the design itself. Est: $1,700-$2,000.
Maucourt 374. Idéal-Boule. ca. 1925. 45 3⁄4 x 61 3⁄4 in./116.2 x 156.8 cm Publicité Wall, Paris Cond B-/Restored tears at folds. A predecessor to d’Ylen’s work for the same dye manufacturer (see PAI-LXXVI, 459), this brilliantly hued rainbow of Art Deco drama is a large-scale delight. Est: $1,400-$1,700.
Sascha Maurer
(1897-1961)
For others by Maurer, see Nos. 14-18. 375. New Haven R.R. / New England. 1938. 28 x 41 7⁄8 in./71.2 x 106.4 cm Litho. Co., Long Island City, NY Cond B+/Slight tears at edges. Ref: Travel by Train, cover & 146 “In practice, the travel poster proved an elusive medium that few artists mastered. Maurer’s work for the New Haven Railroad placed him among that select group. He characterized the poster as a speed medium, where first impressions were everything. ‘Few colors, vivid, attentioncompelling; striking, well-disposed composition, short and smashing copy.’ These, he argued, ‘are the attributes that make a poster successful’” (Travel by Train, xi). Indeed, this summery design transposes the coastline onto the face of the train, creating a high-contrast, high-fun incentive to visit New England. Est: $1,700-$2,000.
Eileen Mayo
(1906-1994)
376. Australia / Great Barrier Reef. ca. 1950. 24 3⁄4 x 39 3⁄8 in./63 x 100 cm Lith. McLaren, Melbourne Cond A. Framed. Ref: PAI-LXIX, 516 Mayo created numerous posters for Australia throughout the 1950s, each focusing on a specific animal or slice of wildlife native to the country. Here, she focuses on a Longspined Butterfly-fish and a Heron Island Volute shell in the inimitable Great Barrier Reef.
375
Est: $2,500-$3,000.
MARTIN - MEUNIER | A-Z
377
378
Peter Max
379
F. Médaille
Georges Meunier
377. From the Moon / Apollo 11. 1969.
378. Lecture & Reverie.
379. Lox. 1895.
35 7⁄8 x 24 3⁄8 in./91 x 62 cm Cond A. Ref: American Posters, 21
Each: 17 1⁄8 x 23 5⁄ 8 in./43.6 x 60 cm Cond A. Framed. Ref: PAI-LXXX, 410
Psychedelia, peace and love, and the historic Apollo 11 moon landing: this design is a veritable time capsule of the energy and spirit of the late 1960s. Even before the moon landing, Max was interested in astronomy, which fed into his “Cosmic ’60s” period of trippy countercultural imagery. So he was a natural fit for this poster which commemorates the successful mission of the Apollo 11 team. Max later invited Buzz Aldrin to his studio, where they cemented a friendship over their shared interest of the cosmos. This poster is hand-signed by Max and Aldrin.
Médaille’s catalogue of decorative panels often focuses on Byzantine women allegorically embodying nature or tranquil activities. Here, he shows one pair of women reading and another pair lost in thought.
33 5⁄ 8 x 48 3⁄ 8 in./85.5 x 123 cm Imp. Chaix, Paris Cond B+/Slight tears at folds and edges. Ref: Meunier, 22; DFP-II, 586; Maindron 1896, p. 91; Reims, 865; Wine Spectator, 25; Weill/Art Nouveau, p. 82; PAI-LXXIV, 361
(1937- )
Est: $2,000-$2,500.
Est: $4,000-$5,000. (2)
(1869-1942)
Gentlemen and lady tipplers take their respite from the cycle-races to knock back some Lox, an apéritif of the day. “Ah, refreshing,” the gentleman appears to say, with a glint in his eye behind the handlebar mustache. Meunier, a protégé of Chéret, created 56 posters at the Chaix printing house from 1894 onward. Est: $1,400-$1,700.
A-Z | MICHAEL - MUCHA
380
382
Michael 380. Linden-Cabaret / Jean Moreau. 1920. 37 5⁄8 x 27 1⁄4 in./95.6 x 69.2 cm Mo-Fi-Ku, Berlin Cond B+/Slight tears, largely at edges. Ref: PAI-XXVII, 186 This work blatantly turns the tables on the viewer. Though the text tells us that “all eyes will be directed at” Jean Moreau’s ballet “Celly de Rheidi,” all the caricatured citizens of the poster seem to have their eyes glued to us in various stages of delight, shock, and perhaps drunken wonder. The specifics of the dance performed at the popular Unter den Linden cabaret, which reopened the previous year after undergoing major renovations, remain a mystery, as do the histories of the performers, director, and designer himself. Rare! Est: $1,400-$1,700.
Maurice Millière
(1871-1946)
381. Casino de Biarritz. 35 3⁄8 x 49 1⁄2 in./90 x 126 cm Imp. Bougerie, Paris Cond A-/Slight tears at edges. Ref: PAI-VII, 223 High society at the beach, 1890s style: when you enter the surf with laced slippers and a bow in your hair, followed by a fully dressed personal maid who slips the beach towel from your shoulder, you know you’re glitzing in Biarritz. The bathing costume may have been an original by Millière, who was a designer of feminine underclothing, but he was also a fine painter, printmaker, and posterist. He contributed to several magazines, had numerous exhibitions, and was later decorated with the Legion of Honor. Est: $2,000-$2,500.
Jean Montels 382. Cameroun / Toute l’Afrique. ca. 1950. 25 1⁄ 8 x 34 1⁄4 in./63.8 x 87 cm Imp. Service Géographique, Brazzaville Cond A-/Slight tears at edges.
381
Using a clever bit of visual trickery, Montels depicts a striking elephant whose flapping ears become the northern geography of Africa. Highlighted in red is Yaoundé, the capital of Cameroon and the country’s second largest city with 2.8 million inhabitants. From 1922 to 1960, Cameroon was a League of Nations Mandate territory of France; this poster was created sometime in that period, and aims to attract French tourists to visit the “fauna, flora, sites, and folklore” of Cameroon. Est: $1,400-$1,700.
ALPHONSE MUCHA
383
Alphonse Mucha
(1860-1939)
383. Waverley Cycles. 1898. 42 1⁄2 x 33 1⁄2 in./108 x 85.2 cm Imp. F. Champenois, Paris Cond A. Framed. Ref: Rennert/Weill, 52; Lendl/Prague, p. 123; Bicycle Posters, 55; DFP-II, 642; Gold, 74; Dodge, p. 122; Masters 1900, p. 207; PAI-LXXIII, 393 One of Mucha’s most spare and dignified designs, this thoughtful muse presents American-made Waverley Cycles to a French audience. The laurels in her hand represent the many awards won by the brand, while the anvil signifies strength of craftsmanship. With nothing but the stalk and handlebars of the cycle on display, it’s radically different than virtually every other bicycle ad of the period. Its success depends upon the strength of its colors, the immediate impact of its symbolism, Mucha’s artistry, and, of course, the seminude woman out in front. Est: $20,000-$25,000.
A-Z | MUCHA
Mucha
(Continued)
384. The Seasons. 1896. Each: 19 5⁄8 x 38 7⁄8 in./50 x 98.7 cm Imp. F. Champenois, Paris Cond A/Matted to image. Framed. Ref: Rennert/Weill,18; Lendl/Prague, p. 182-183; Mucha/Art Nouveau, p. 186-187; PAI-LXXVII, 294 “One of Mucha’s most endearing and enduring sets... Spring is a blonde sylph who seems to be fashioning a makeshift lyre out of a bent green branch and her own hair, with some birds as interested spectators. Summer, a brunette, sits dreamily on the bank of a pond, cooling her feet in the water and resting her head against a bush. Autumn is an auburn lady, making ready to partake of the ripe grape. Winter, her brown hair barely visible as she huddles in a long green cloak, snuggles by the snow-covered tree trying to warm a shivering bird with her breath” (Rennert/Weill, p. 90). It’s not only the passage of time that makes this series rare—they were difficult to find even at the time of their publication. The editor of The Poster couldn’t help a reader locate this set back in 1899, concluding: “they are getting scarce” (January 1899, p. 42). This is the first state before any addition of text. Est: $40,000-$50,000. (4)
MUCHA | A-Z
384
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A-Z | MUCHA
385
Mucha
(Continued)
385. The Seasons. 1897.
387. Cassan Fils. 1895.
Each: 5 1⁄2 x 12 3⁄8 in./14 x 31.5 cm Imp. F. Champenois, Paris (not shown) Cond A. Framed. Ref (all var but PAI): Rennert/Weill, 37; Lendl/Prague, 186; PAI-LXXX, 426
10 1⁄4 x 18 1⁄2 in./26.2 x 47 cm Cond B+/Slight tears at edges. Framed. Ref (all var but PAI): Rennert/Weill, 11; Lendl/Paris, 37; DFP-II, 640; Reims, 897; PAI-XXXIII, 463
The success of the 1896 Seasons prompted the printer Champenois to ask Mucha to produce another set of Season panels the following year, and he came through with more enticing beauties. They were used by a number of clients, with or without calendars—but this set is trimmed and matted to the image, allowing the lush panels to radiate with unfettered sensuality. This is the smaller format. Est: $5,000-$6,000. (4)
386. The Seasons / Summer. 1900.
“Mucha’s tendency to combine the real with the imaginary may be witnessed in this design where the seminude model is a real person whereas the muscular printer is an allegorical figure, representing the printing industry. An unusual border of eyes in the mosaic background probably is meant to indicate the multitude of readers for whom the printing trade works. It is also one of the mystic symbols used by Mucha in several other works” (Rennert/Weill, p. 70). This is the smallest format with the 1896 calendarium. This calendar indicates this is a 1⁄10 reduction of other formats of the poster, for which it gives the title: “Le bon goût inspire limprimerie” (Good taste inspires the printer).
12 x 27 5⁄8 in./30.5 x 70.4 cm Imp. F. Champenois, Paris (not shown) Cond A. Framed. Ref: Rennert/Weill, 74, Var. 5; PAI-LXXXI, 387
Est: $4,000-$5,000.
A voluptuous midsummer stunner, parting the wheat with a soft undulance as she returns from an abundantly successful blossom-picking excursion, breathes sensual life into the 1900 “Seasons” decorative panel set. Composed of “four Mucha maidens representing the times of the year... Summer covers the ripening harvest with its salutary rays” (Rennert/Weill, p. 270).
11 1⁄8 x 28 3⁄4 in./28.3 x 73 cm Imp. F. Champenois, Paris (not shown) Cond B+/Slight tears at edges. Framed. Ref (all var but PAI): Rennert/Weill, 64; Lendl/Prague, p. 218; Much/Art Nouveau, 51; PAI-LXXVIII, 378
Est: $7,000-$8,000.
388. La Plume. 1896.
This is the “Quill” half of Mucha’s “Quill & Primrose” decorative panel set. “This series of decorative panels sold for 12 francs. It represents two pensive young girls, a blonde and a brunette, the one [seen here] holding... a goose quill and some foliage. Typically Art Nouveau ornamentation predominates in the background motifs and on the jewelry. As was the case with all the decorative panels, conceived from the start as decorative works, Champenois ended up selling the art to clients to use as calendars, posters or advertising materials” (Lendl/Prague, p. 218). Est: $6,000-$8,000.
386
MUCHA | A-Z
387
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388
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389
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390
(Continued)
389. La Tosca. 1898.
390. Job. 1898.
391. Reverie. 1898.
13 ⁄4 x 40 ⁄8 in./33.8 x 102.8 cm Imp. F. Champenois, Paris Cond B+/Slight tears at edges. Framed. Ref: Rennert/Weil, 57; Lendl/Prague, p. 57; PAI-LXXI, 440
38 ⁄4 x 57 ⁄2 in./97.2 x 146 cm Imp. F. Champenois, Paris Cond A. Framed. Ref: Rennert/Weill, 51; Lendl/Prague, p. 121; DFP-II, 634; Modern Poster, 9; Wine Spectator, 74; Gold, 2; Posters of Paris, 71; Encyclopédie/Weill, p. 121; PAI-LXXX, 420
19 1⁄4 x 25 3⁄4 in./48.8 x 65.3 cm Imp. F. Champenois, Paris (not shown) Cond A. Framed. Ref: Rennert/Weill, 39, var. 2; Lendl/Prague, p. 166 (var); Gold, 36 (var); PAI-LXXVII, 306
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“Today La Tosca is known to most people only from the opera which Giacomo Puccini composed and introduced in 1900; however, for the 13 years prior to that, it was a romantic tragedy, written especially for Sarah Bernhardt by Victorian Sardou. Mucha’s poster shows Bernhardt in her costume for the first act of the play, dressed in a fashion dating from 1800 when the play takes place” (Rennert/Weill, p. 221). Est: $7,000-$9,000.
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“In both of Mucha’s posters for Job cigarette papers... he gives us women sensually involved in the act of smoking. Here, the figure is full-length, her abandoned hair an echo of the pale fabric volumes of her gown. As she watches the lazy waft of smoke, even her toes curl deliciously in pleasure. The artist’s meticulous craftsmanship can be seen in such details as the gown’s clasp (of Mucha’s own design), and in the way he worked the product name into the background pattern” (Gold, p. 2).
“This is one of Mucha’s best and most frequently reprinted designs. For many years, it was known as Reverie, the name given to the decorative panel widely sold by La Plume without the lettering,” as shown here. It was used originally as a promotion for the printer, Champenois. “The design shows one of Mucha’s most captivating maidens leafing through what may be a sample book of the printer’s designs. The circular decorative halo behind her is one of the most elaborate ones Mucha ever used, as well as one of the largest in terms of its relation to the size of the picture” (Rennert/Weill, p. 160).
Est: $8,000-$10,000.
Est: $17,000-$20,000.
MUCHA | A-Z
391
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392
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393
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(Continued)
392. Moët & Chandon. 1899.
393. Dawn & Dusk. 1899.
Each: 9 3⁄4 x 24 3⁄4 in./24.7 x 62.8 cm Imp. F. Champenois, Paris Cond A. Framed. Ref: Rennert/Weill, 65a & b; Lendl/Prague, p. 101; Wine Spectator, 68; Mucha/Art Nouveau, 28a & b; PAI-LXXXI, 399
Each: 36 1⁄8 x 19 1⁄ 2 in./91.8 x 49.6 cm Imp. F. Champenois, Paris (not shown) Cond B+/Slight tears at edges. Framed. Ref: Rennert/Weill, 70; Lendl/Prague, p. 217; PAI-LXXXI, 394
“For the firm of Moët & Chandon... Mucha executed a number of designs which were used on menus, postcards and other publicity. Two of his assignments were for posters; one of them was used to advertise their White Champagne... while the other served to publicize the... Dry Impérial. [White Star’s] seductive being tempts us with choice grapes in a lovely outdoor setting, with flowers at her feet and vine tendrils and leaves all about her head... [While Dry Impérial is a] grand design for a grand wine—the serene repose of the classically beautiful face, the gentle flowing garment, the delicate hues, the rich ornamental pattern, and the precise handling of spaces and shapes” (Rennert/Weill, p. 244). Est: $30,000-$35,000. (2)
“This pair of ladies represents the two transitory stages between night and day. Dawn throws off her cover as the morning sun chases away the night’s shadows; Dusk settles comfortably under the blanket as the sun sinks toward a crimson horizon. Only a barely perceptible difference in the delicate pastels distinguishes the two” (Lendl/Prague, p. 216). Est: $14,000-$17,000. (2)
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396
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(Continued)
394. Biscuits Champagne / Lefèvre-Utile. 1896. 13 7⁄8 x 20 1⁄2 in./35.3 x 52 cm Imp. F. Champenois, Paris Cond A. Framed. Ref: Rennert/Weill, 17; Lendl/Prague, p. 69; Art & Biscuits, 15; PAI-LXXXI, 395 Upon entering production in 1846, the Lefèvre-Utile biscuit company made a point of pushing a highly refined and chic image. This poster for their biscuits champagne is one of the finest examples of that advertising goal, showcasing an elegant, stylish set of people enjoying the fine confection, thereby lending not only a stamp of quality, but one of taste. While never a poster, this design was meant to be hung as a display at the point of sale, and therefore came mounted on a board that had two grommet holes at the top. Est: $10,000-$12,000.
395. Femme aux Coquelicots. 1898. 16 3⁄8 x 24 in./41.7 x 61 cm Imp. F. Champenois, Paris Cond A. Framed. Ref: Rennert/Weill, 56, var. 1; Lendl/Prague, p. 141; PAI-LXXVI, 372 With text, this image advertised the sale of the works of Mucha at the offices of La Plume magazine. Without text, it was offered under the title of “Femme aux Coquelicots” (Woman with Poppies) as a print. “It is a good example of Mucha’s quintessential ingredients: a languid girl, a long garment descending in graceful folds to the ground, a circular motif like a halo, plentiful flowers, and a carefully executed ornamental pattern ... An unusual feature is that all known copies have hand coloring in a few areas” (Rennert/Weill, p. 219-220).
395
Est: $5,000-$6,000.
MUCHA | A-Z
397
396. Flirt. 1900.
397. Têtes Byzantines. 1897.
12 1⁄8 x 25 5⁄8 in./30.7 x 65 cm Imp. F. Champenois, Paris Cond A. Framed. Ref: Rennert/Weill, 72, Var. 1; Lendl/Prague, p. 73; Art du Biscuit, p. 9; Gold, 63; PAI-LXXXI, 396
Each: 14 1⁄2 x 21 in./36.8 x 53.4 cm Imp. F. Champenois, Paris Cond A. Framed. Ref: Rennert/Weill 40, var 1; Lendl/Prague, p. 196-197 (var); PAI-LXXXII, 381
“To bring home the name of the product, Mucha created a discreet flirtation which embodies the 19th century ideal of a romantic encounter: the girl demure and coy, the gentleman persuasive, the setting a fragrant garden. But he didn’t forget the sponsor: The wrought-iron gate carries the name, and the girl’s dress features a print pattern of the letters L-U, a subtle decorative reminder” (Gold, p. 46). After the 1900 World’s Fair in Paris, the poster was reprinted with an added line of text referring to a prize won by the product on that occasion, as seen here. This printing is mounted on board with grommets at top, as originally presented. Est: $7,000-$9,000.
“The mastery evident in creating two archetypes of the female form against a decorative background confirms Mucha’s artistic maturity. Both women, portrayed in profile, have their heads decorated with beautiful jewelry, the richness and oriental nature of which suggested the name Byzantine Heads for the series. The subtle differences in details between the paintings are worth noticing. For the first time, there appears the perfect form of Mucha’s often-used motif, circle framing each head interrupted by a strand of hair. With this device, it is as if Mucha’s unreachable beauties have broken the magic border between themselves and their admirers and suggest the possibility that they might, perhaps, meet” (Mucha/Art Nouveau, p. 192). In this version, Mucha added corners filigreed with curves to the original circular designs in order to create the standard rectangular shape of decorative panels. This is the rarest of all variants. Est: $17,000-$20,000. (2)
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Mucha
399
(Continued)
398. The Arts / Music. 1898.
400. Leslie Carter. 1908.
14 ⁄2 x 23 in./36.8 x 58.5 cm Imp. F. Champenois, Paris (not shown) Cond A. Framed. Ref: Rennert/Weill, 54; Lendl/Paris, 70; Mucha/Art Nouveau, 49; PAI-XXXIX, 400
28 1⁄2 x 80 1⁄8 in./72.3 x 203.5 cm Strobridge Litho., Cincinnati Cond A-/Slight tear at horizontal fold. Framed. Ref: Rennert/Weill, 94; Lendl/Prague, p. 266; Mucha/Art Nouveau, 33; PAI-LXXXI, 382
This is one of four panels in the set titled “The Arts;” Poetry (see No. 399), Painting (see PAI-LXXI, 428) and Dance (see PAI-LXXVI, 366) were the other three designs. Each Muse is placed in a fine decorative frame with a circular motif; Music is shown listening attentively to a few songbirds. Note the long strands of hair entwined with the branches—a Mucha trademark. “When it comes to personifying abstract comments through beautiful women, Mucha’s inventiveness never flags. Here is abundant proof” (Rennert/Weill, p. 211).
The great, ghostly Leslie Carter is here adorned with some of the most exquisitely detailed jewelry ever designed by Mucha for lithographic immortality. But who was this otherwise unknown goddess? Mrs. Leslie Carter was a “captivating woman who desired to become a great actress... She gained a fortune after a marriage to—and later divorce from—a billionaire, Leslie Carter, whose name she retained” (Lendl/Prague, p. 266). She conceived a vanity project, a play named Kassa, about “a Hungarian virgin ready to enter a convent, [but then] was seduced by Prince Béla, who a year later left her with a child. Kassa became insane and entered a convent, thinking that only a single day had passed” (Mucha/Art Nouveau, p. 174). Mucha contributed over 250 designs for the project, including stage, costume, and scenery design, but the play was a failure and Carter went bankrupt. Neither Mucha nor Long, the author, received an honorarium.
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Est: $8,000-$10,000.
399. The Arts / Poetry. 1898. 14 1⁄2 x 23 in./36.8 x 58.5 cm Imp. F. Champenois, Paris (not shown) Cond A. Framed. Ref: Rennert/Weill, 54; Lendl/Prague, p. 204; Mucha/Art Nouveau, 49c (var); PAI-LXIX, 545 This contemplative creature nestled within a circular border is meant to represent Poetry, and is part of Mucha’s Arts series. Est: $8,000-$10,000.
Est: $9,000-$11,000.
401. Sea Holly. 1906. 11 5⁄8 x 27 3⁄ 8 in./29.5 x 69.5 cm Cond A-/Slight tears at edges. Ref (all var but PAI): Rennert/Weill, 80, Var. 2a; Lendl/Prague, p. 229; PAI-XXXIII, 472 This is the “Sea Holly” half of Mucha’s “Heather and Sea Holly” set of decorative panels, which proved to be one of his most popular designs. “Both the plants and the costumes worn by the ladies are representative of two ancient seacoast provinces of northwestern France, Brittany and Normandy. Mucha himself, according to his son Jiri, always referred to the pictures as ‘la Bretonne’ and ‘la Normande’... The thistle depicted here, however, is a common European plant of the eryngo family named Sea Holly—the real thistle would be too prickly for the girl to carry in her hands without discomfort” (Rennert/Weill, p. 290). Est: $4,000-$5,000.
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400
401
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402
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Mucha
(Continued)
402. The Stars. 1902. Each: 11 3⁄4 x 30 7⁄8 in./29.8 x 78.5 cm Imp. F. Champenois, Paris (not shown) Cond A/Slight stains at edges. Framed. Ref: Rennert/Weill, 82; Lendl/Prague, p. 236-237; Mucha/Art Nouveau, 55a-d (var); PAI-LXVII, 451 “In this series, Mucha began to see the decorative panel as painting with a meaning deeper than mere ornament. He connected his attraction to higher ideals, expressed through the stars, with his recurring theme of beautiful women personifying the stars as floating female figures... The dramatic quality of the movement of the individual figures is also remarkable, resembling the great baroque artistic heritage of Mucha’s country” (Mucha/Art Nouveau, p. 206). “The suggestion of pale moonlight and clouds chasing across the night’s sky is done beautifully. Note the subtle shadings conveying the idea of indirect lighting, which permeate each scene with a strange mystic quality, haunting and mysterious, unique in Mucha’s works. And the flowery borders are virtual textbook examples of Art Nouveau as carried out by its master” (Rennert/Weill, p. 297). Seen left to right in the illustration are the moon, the Evening and Morning Stars—both aspects of Venus —and the North Star. This is the larger format. Est: $60,000-$70,000. (4)
403. Sixth Sokol Festival. 1912. 31 7⁄ 8 x 65 3⁄8 in./81 x 166 cm V. Neubert & Sons, Smichov Cond B+/Unobtrusive folds; slight tears at edges. Framed. Ref: Rennert/Weill, 99; Lendl/Prague, p. 275; Mucha/Art Nouveau, cover & 36; PAI-LIX, 489 “The falcon (in Czech, ‘Sokol’) is the largest bird of prey to be found in the Czech woods... Its name was used by a seemingly innocuous athletic organization that was founded during the dark era when the Slav nations of Central Europe were the unwilling subjects of Austrian rule. The purpose of Sokol was to train young people in athletics and organize, every four years, a country-wide gymnastics competition along the lines of the Olympic games. But the real purpose was much deeper: the Sokol was a fervently patriotic political society which worked tirelessly to arouse the nationalistic spirit and throw off the Austrian yoke... The quadrennial Sokol Festival held in 1912, the sixth since the practice was put into effect in 1892, was the last one in which the patriotic message still had to be concealed from authorities; two years later, World War I broke out, and the older order was on its way to perdition. Mucha’s poster for the event is a happy combination of the realistic with the symbolic: the girl with the garlands and the staff with Prague’s emblem on it is real, while the dimly adumbrated young woman in the background holding a spiked ring and a falcon is a symbolic figure” (Rennert/Weill, p. 338). This is the extremely rare version of the poster with the complete bottom text panel.
403
Est: $30,000-$40,000.
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405
404 404. Polly Pry. ca. 1900. 13 x 17 in./33 x 43 cm Pen and ink drawing. Framed. “To hold, as ‘twere, The Mirror up to Nature”—in this case, Mucha does not mean that entirely literally, despite the plumes of flowers and branches of trees flourishing in this image. He is in fact paying tribute to the investigate journalism of Polly Pry, the pen name of Leonel Rose Campbell (1857-1938). After a small job at the New York World, she became a media success at The Denver Post, though her career was not without controversy (we recommend reading her full story sometime). She then became one of the first women to own her own newspaper, which she named The Polly Pry. In its pages, she attacked unions, capitalists, anarchists, communists, and the government; she was fiercely feminist and used her platform to promote women’s suffrage. It’s unclear what the purpose of this particular drawing was, but it’s a spectacular memento of both Mucha’s intoxicating hand and Polly Pry’s groundbreaking career. Est: $12,000-$15,000.
405. Almanach de la Esquella de la Torratxa. 1901-1905. 5 1⁄ 2 x 8 1⁄4 in./14 x 21 cm Published by Antoni Lopez, Barcelona 208-page book in hardcover binding. Mucha designed this sensuous work to be the cover of the 1901 publication Esquella de la Torratxa in Barcelona. The illustrated satirical weekly magazine was written in Catalan and published from 1872 to 1939; it was pro-republican and anticlerical and became one of the most important Catalan publications of its time. Mucha used a typical goddess model for the work, but has given her traditional Spanish attire. Along the side, snowflakes and flowers represent the four seasons—a favorite and recurring motif for Mucha. This piece is bound in a volume with the issues from 1901 to 1905. This cover by Mucha has not been previously recorded! Est: $1,700-$2,000.
406 406. C. S. / Y.W.C.A. 1922. 7 x 11 1⁄4 in./17.7 x 28.5 cm V. Neubert a Synové, Smíchov Cond A. Framed. Ref: Rennert/Weill 107, Var. 1; Lendl/Prague, p. 287; PAI-LXXXI, 398 “During his Czech period, Mucha did not involve himself in any commercial projects, but produced several posters for various good causes he believed in. This is a prime example of such work, a poster for the Czechoslovak YWCA... The main purpose of this new branch of the international YWCA was to build a home for unwed mothers and to promote the movement in the newlyfounded country” (Lendl/Prague, p. 287). This is the small format version of the design. Est: $2,500-$3,000.
A-Z | NAITPOD - PAINE
407
410
Ch. Naitpod
Gaston Noury
407. Maurice Prévost. 1912.
409. Arnould / Affiches. ca. 1896.
45 ⁄2 x 61 ⁄ 2 in./115.7 x 156.2 cm Affiches Kossuth, Paris Cond A-/Unobtrusive folds. Ref: PAI-LXXXI, 405
24 1⁄4 x 31 1⁄2 in./61.5 x 80 cm Imp. Bourgerie, Paris Cond A. Ref: Affichomanie, 8; Reims, 904; PAI-XLI, 441
Furs, feathers, and fedoras—oh my! These bourgeois women are modeling the crème de la crème of Maurice Prévost Fourrures. The name would most likely refer to the French pioneer aviator who broke the world altitude record with a passenger at 10,000 feet in 1911. Why his name was chosen for a clothing store, however, remains unknown.
Collecting posters isn’t a contemporary concept. Almost as soon as the works began to be printed in large, colorful formats in the 1880s, they were appreciated by connoisseurs. But it was the print collectors who started the poster craze of the period, and it was the print dealers, such as Arnould, who catered to them by stocking posters and issuing catalogues of them. In 1896, Arnould issued his famous Catalogue d’Affiches artistiques with a cover by Toulouse-Lautrec; it included three posters by Noury, which were available for one to five francs each. In this poster, two matrons put their heads together to make a buying decision, sporting the large puffed sleeves, long gloves, and confectionary chapeaux that were fashionable at the time. Noury was born in and grew up in Elbeuf where his grandfather was the founder and director of the local museum. Although his primary interests were painting and drawing nature subjects, he created several evocative posters of the era.
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408
1
Est: $1,400-$1,700.
Xavier Nogués
(1873-1941)
408. Baile de Máscaras. 1926. 29 x 41 5⁄8 in./73.5 x 106 cm Seix & Barral, Barcelona Cond B/Slight tears at folds. Ref: Cartellisme Catalunya, p. 81; PAI-LXXXI, 40 Beginning in 1889, the Cercle Artístic de Barcelona organized annual costume dances as part of the Carnival festivities; from 1915 on, posters became crucial advertising tools, and the group hosted poster competitions for each year’s event. For the dance of 1926, it appears that the theme was based around African culture. Nogués—who for some reason signed his works “Babel”—was a painter, draftsman, potter, printmaker, and illustrator for the magazine Papitu. Est: $1,200-$1,500.
(1866-?)
Est: $1,200-$1,500.
Philippe Henri Noyer
(1917-1985)
410. Limonade Brault. 1938. 46 1⁄2 x 63 1⁄4 in./118.2 x 160.7 cm Publicité Joel Bellon, Paris Cond A-/Slight tears at edges. Ref: PAI-LXXX, 447 To promote the natural mineral water in this lemonade beverage, Noyer concocts a fairy tale vision of mermaids flitting about the underwater bubbles.
409
Est: $2,000-$2,500.
NAITPOD - PAINE | A-Z
412
411
Eugene Ogé
(1869-1936)
Ricard Opisso
(1880-1966)
411. Plaques Jougla. 1904.
413. El Mellor Calsat y Mes Barato. 1905.
37 ⁄4 x 51 ⁄8 in./94.5 x 131 cm Bouquet & Barry, Paris Cond A. Ref: Ogé, p. 70; PAI-XLV, 424
34 5⁄ 8 x 50 in./88 x 127 cm Utrillo & Rialp, Barcelona Cond B/Slight tears at folds and edges. Ref: Cataluña, 808; Cartells Catalans, p. 121; PAI-LXXXI, 18
Any parent can attest to the fact that when it comes to children, one never knows when a photo opportunity is going to present itself. Day or night, one has to be at the ready. Thank goodness the turn-of-the-twentieth-century consumer could rely on Jougla photographic plates, which allowed shutter-bugs to snap their shots anytime—even by the light of the moon. And why not—as Ogé humorously points out, you’re already up for a midnight feeding, so why not commemorate the event with Jougla? Ogé’s principal claim to fame was his long tenure as house artist for the printer Charles Verneau around the turn of the century; he also, however, produced numerous drawings that were well-received in fine art circles. A retrospective exhibition of all his posters drew a large audience at the Bibliothèque Forney in Paris during the summer of 1998.
This charmingly humble lady helps promote “the best and cheapest footwear” for an unknown shoe manufacturer located in front of the Sant Andreu tram station in Barcelona. Though Ricard Opisso was just 25 years old when he designed this, he was already well into his creative trajectory. He was born to a multigenerational family of artists, and at age 12, he began working with the architect Antoni Gaudí on the Sagrada Familia. Later, he joined Ramón Casas, Pablo Picasso, and other artists in the Els Quatre Gats group, and he contributed illustrations to prominent publications of the time, including Pèl & Ploma. This is a two-sheet poster.
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5
Est: $1,400-$1,700.
413
Est: $1,700-$2,000.
Charles Paine
(1895-1967)
414. Spring in Welwyn. 1939. 412. Pastilles Géraudel. ca. 1897. 30 ⁄8 x 46 ⁄4 in./76.6 x 119 cm Imp. Charle Verneau, Paris Cond B+/Unobtrusive folds. Ref: Ogé, 18; Célébrités, 211; Health Posters, 7; PAI-LXIII, 449 1
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Far from the delicate and upbeat promotion of the same product by Chéret (see PAI-LXXX, 310), Ogé’s poster depicts a less-than-pleased Franz Liszt hissing at a wheezing diva, “If you’re coughing, take Pastilles Géraudel.” These famous cough drops made a fortune for owner Jules Roques, also director of the Courrier Français and the Chaix printing works. Est: $1,000-$1,200.
20 x 29 7⁄ 8 in./50.8 x 76 cm The Alguin Press, Welwyn Garden City Cond A. Born in Salford, Paine’s career started out as a stained glass designer for Guthrie and Wells in Glasgow. He later became a poster designer with a large repertoire of images for travel and transit; while living in Welwyn Garden City, he was commissioned to attract visitors and renters to the town through poster advertising. This design, with its vibrant colors and sweet lamb, garnered a lot of positive attention from passersby who often requested their own copy. Est: $1,000-$1,200.
414
A-Z | PAITEL - PAL
415
416
417
R. Paitel
Pal
415. Balaruc les Bains.
416. Olympia / Danses Renaissance. 1894.
417. Folies-Bergère / La Loïe Fuller. 1897.
30 ⁄8 x 41 ⁄8 in./76.6 x 106.4 cm E. Baudelot, Paris Cond A.
31 ⁄2 x 46 ⁄2 in./80 x 118.2 cm Imp. Paul Dupont, Paris Cond B+/Slight tears at bottom text. Ref (both var): Spectacle, no. 1282; PAI-LXIII, 463
35 1⁄ 2 x 51 1⁄4 in./90.3 x 130.2 cm Imp. F. Hermet, Paris Cond B+/Slight tears at folds. Ref: Loïe Fuller, 69; Spectacle, 1140; PAI-LXXIX, 432
This rare Pal design promotes the Belval Sisters’ appearance at the Olympia; they performed classic numbers from their repertoire, including a lavishly costumed Renaissance dance routine.
Pal created a total of five posters for Fuller’s appearances at the Folies-Bergère. Here, the billowing folds of her diaphanous dress are rendered in flaming orange, adding considerably to the light-and-motion image with which we are presented.
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A charming group of young and older ladies convenes in their Victorian garb to enjoy an outing at Balarucles-Bains in southern France. The peninsula abuts the Lake Thau, the largest pond of Languedoc, which is considered to be a “small sea.” With immense annual sunshine and fresh sea air, it’s a quiet respite for urban travelers.
1
(Jean de Paléologue, 1860-1942) 1
Est: $1,200-$1,500.
Est: $1,200-$1,500.
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Est: $5,000-$6,000.
PAITEL - PAL | A-Z
418 418. Columbia / L’Orient. 1899. 44 1⁄8 x 63 in./112.2 x 160 cm Imp. Chardin, Paris Cond B/Slight tears at folds and edges. Ref: PAI-XXX, 612
419
The announcement of an Oriental spectacle at the Columbia arena takes up the entire right side of the poster, but Pal more than compensates for this wordy half with the alluring, barely concealed pulchritude of the chestnut haired harem dancer on the left. The venue is described as a “Théatre Géant” to house the 1,500 performers in this extravaganza, as well as the 6,000 available seats. Est: $1,700-$2,000.
419. Rayon d’Or. 1895. 32 x 47 3⁄4 in./81 x 121.2 cm Imp. Paul Dupont, Paris Cond A. Framed. Ref: DFP-II, 688; Reims, 951; Timeless Images, 22; Weill, 71; Femme s’Affiche, 154; Wine Spectator, 129; Masters 1900, p. 32; Gold, 21; PAI-LXXXI, 415 “Rarely has a product so humdrum as a kerosene lamp been promoted with such uninhibited zest—but then Pal, given free rein to his imagination, could be relied on to come up with something featuring one of his incomparably alluring nymphs every time. The secret of his success is the fact that even though he makes it clear in some way... that these are purely imaginary spirits, the loving care with which he draws every curve and flesh tone gives them a sensuality much too solid for make believe” (Gold, p. 17). Est: $1,700-$2,000.
420. Cabourg. 1893. 40 1⁄4 x 58 3⁄8 in./102.2 x 148.3 cm Imp. Paul Dupont, Paris Cond B+/Slight tears and stains at folds. Ref: DFP-II, 684; Reims, 930; Schardt, p. 133; Train à l’Affiche, 145; PAI-LXXVI, 392 A member of a Romanian dynasty stretching back to Byzantine rulers, Pal was born in Bucharest, but started his artistic career in London as a magazine illustrator. In 1893, he moved to Paris, at first drawing illustrations. Then followed five years of intense activity in posters in which he produced some of the most sensuous designs ever used in advertising up to that time, and almost always included the obvious attributes of various well-endowed women. And this poster for the seaside resort of Cabourg is not only one of his best, but it may very well be one of his first Parisian posters. A fin-de-siècle bathing beauty braves the surf in a daring one-piece suit, her hair stirred by the sea breeze. Est: $2,000-$2,500.
420
A-Z | PAL - PENFIELD
422
421
Pal
(Continued)
Pantelme
421. Cusenier Peach-Brandy. ca. 1900.
424. Kodak-Pathe / Couleur. ca. 1950.
36 x 50 1⁄2 in./91.4 x 128.4 cm Affiches Pichot, Paris Cond B/Restored tears at folds. Ref: Boissons, 516 (var); Pierrot, 38; PAI-LXXVII, 324
17 1⁄8 x 24 1⁄ 2 in./43.5 x 62.4 cm Ravel Serigraphie Cond A-/Slight tears at folds. Ref: PAI-LXXX, 453
In this pleasing piece by Pal, Pierrot, the perpetually lovelorn clown, is offered a pick-me-up courtesy of Columbine: a peck of Liqueur de Pêches. Note the especially fine artistry on Columbine’s black lace ruffles. Cusenier, a French spirits producer founded in 1868, was acquired by Pernod-Ricard in the late 1970s.
In the age of camera phones and instant gratification, it’s easy to overlook the rich and complex history of photography, as well as the momentous developments which we take for granted today. In the 1950s, color film was a new and radical technology, and it completely changed the world of image-making. This design for a Kodak color film conference shows just how novel and exciting this technology was. This is a silkscreen print.
Est: $2,500-$3,000.
422. Arista. ca. 1900. 42 x 57 3⁄4 in./106.6 x 146.8 cm Imp. Paul Dupont, Paris Cond A-/Unobtrusive folds. Ref: DFP-II, 681; PAI-LXI, 388 Pouring forth from the mouth of a classic fountain, an alabaster-hued nymph promotes the natural benefits of Arista mineral water to an enthusiastic crowd. This is the larger format version of the poster. Est: $1,400-$1,700.
423. Icilma. ca. 1899. 36 1⁄4 x 50 1⁄4 in./92 x 127.7 cm Imp. Chardin, Paris Cond B/Slight tears at folds. Ref: PAI-LXIII, 456 In production at least up through the 1950s, Icilma face cream and foundation guaranteed in countless ads that it was the key to a flawless complexion and youthful skin. Here, we find out that the serpent actually beguiled Eve with a bottle of the product, so tempting were its results. Est: $1,400-$1,700.
423
Est: $1,200-$1,500.
René Péan
(1875-1940)
425. A la Place Clichy. 1898. 34 3⁄8 x 48 3⁄ 8 in./87.3 x 122.8 cm Imp. Chaix, Paris Cond B/Slight tears at folds and edges. Ref: Gold, 115; PAI-XXXVII, 460 Announcing new clothes for spring, along with the arrival of fresh violets and mimosa from the Riviera, the work is a lively document of the styles—and lifestyles—of the era. Péan was a pupil of Chéret’s and worked under him at the Chaix printing firm; this piece definitely reflects the master’s influence. He specialized in theater and cabaret posters from around 1890 to 1905. After being among the first to produce posters for the fledgling movie industry, he faded into obscurity. Est: $1,700-$2,000.
424
PAL - PENFIELD | A-Z
425
426
427 426. Alcazar d’Été. 1902. 34 1⁄4 x 49 in./87 x 124.4 cm Imp. Chaix, Paris Cond A-/Slight tears and stains at edges. Ref: PAI-LXXXI, 420 Like many other Parisian music halls of the time, the Alcazar d’Été presented tableaux vivants as a form of entertainment. Here, in a performance organized by Robert Paxton, scandalously clad nymph-like women loll about in the grass while adoring a statue of Pan: their spirit guide in this raucous affair. These performances were actually quite controversial, and not just because they were so provocative. What terrified audiences most was that the goddesses so long admired in art now embodied a physical human form. “Her transformation from an immobile figure of artistic beauty into a hypersexualized stock character of the Parisian music hall compounded the influence she wielded over the public... Thanks to the music hall and the forms of mass culture associated with it, la femme nue emerged out of the artist’s relatively obscure studio and entered the public limelight, evolving from a statuesque figure posed on stage to an acting, speaking, dancing subject who complicated the socially coded categories and practices informing one’s understanding of art, morality, and gender” (Uncovering Paris by Lela F. Kerley, p. 71). Est: $1,400-$1,700.
Jozef Peeters
(1895-1960)
427. Two Linocut Proofs. 1921. Each: 8 7⁄ 8 x 12 in./22.6 x 30.5 cm Cond A/P. Framed. Jozef Peeters is considered to be one of the first Belgian abstract painters. A member of the Futurist movement, Peeters was engaged in symbolism, theosophy, Constructivism, and typographic experimentation. In 1918, he helped found the Kring Moderne Kunst (Modern Art Circle) in Antwerp; in 1921, he organized the First Congress for Modern Art; and in 1922, he became the editor of the literary magazine Het Overzicht. Here, Peeters presents his Avant Garde conceptions in two linocut prints which were preliminary designs for the announcement of “Moderne Dichten” (Modern Poems), recited by Germaine Michielsen at Beethoven Hall on February 25, 1921. The letters have been reduced to elemental shapes, forming an abstract composition that overpowers the need for legibility: the design, instead, is what captures our attention. Another version of this design appears in Merrill Berman’s collection, and he wrote, “If Antwerp’s artistic accomplishments of the early 1920s have attracted less attention than the subsequent achievements of Belgian Surrealist painters such
428 as Paul Delvaux and René Magritte... this may in part reflect the complexities of Belgian history. Many of the figures featured here promoted Flemish language and culture, but when nationalism became a polarizing force in the late 1920s, only some found common cause with Germany and followed the trajectory toward collaboration.” Of these two prints, one is on gold leaf stock and one is black and white; on verso, both are stamped “luxe-uitgave,” or “luxury edition.” Est: $2,000-$2,500. (2)
Edward Penfield
(1866-1925)
428. Harper’s / February. 1895. 12 7⁄ 8 x 18 3⁄8 in./32.8 x 46.8 cm Cond A-/Slight tears in background. Ref: DFP-I, 387; Lauder, 162; Reims, 1258; PAI-LXXVII, 330 With subtle elements of Art Nouveau, Penfield gives us his Valentine’s Day-themed design for Harper’s February issue. Est: $1,000-$1,200.
A-Z | PENFIELD - PORTA
429
432
Penfield 430
(Continued)
429. Harper’s / May. 1896.
431. Harper’s / February. 1898.
11 ⁄8 x 17 ⁄4 in./30.2 x 45 cm Cond A-/Slight tear at bottom edge. Ref: DFP-I, 336; Lauder, 180; Maitres, 115; Penfield, 3; Margolin, p. 67; Gold, 101; PAI-LXXXI, 423
13 1⁄4 x 19 in./33.6 x 48.2 cm Cond A. Ref: DFP-I, 387; Penfield, 27; Lauder, 207; PAI-XLV, 451
7
3
“Of this whole series, the May poster, of the girl with the two Angora cats has, perhaps, the greatest and most lasting charm. Its quaint originality and the absolute informality of its subject and the extraordinary simplicity of its treatment makes it a poster that one remembers for years after it has been put away” (Price, p. 235-36). Est: $1,400-$1,700.
430. Harper’s / February. 1897. 14 x 19 ⁄8 in./35.6 x 48.5 cm Cond B/Restored tears. Ref: Lauder, 193; DFP-I, 375; Kauft Bücher, p. 39; Penfield, 8; PAI-LVIII, 486 1
Ah, remember the good old days when we could cozy up alongside other riders without social distancing or face masks? Penfield’s cover for the February issue of Harper’s certainly conveys a sense of nostalgia, both for the recent past and the distant bourgeoisie flair of the turn of the century.
431
Est: $1,000-$1,200.
On a cold winter’s day, what you need is the comfort of a fireside, the company of a pet, and, of course, Harper’s. It’s another irresistible vignette by Penfield. Est: $1,200-$1,500.
432. Harper’s / April. 1898. 9 5⁄8 x 16 1⁄8 in./24.5 x 41 cm Cond A-/Slight tears at top edge. Ref: Lauder, 209; DFP-I, 389; PAI-LXVIII, 541 Penfield depicts a turn-of-the-century slice-oflife moment on the green: a lady in Victorian attire accompanies her mate while he looks for his ball; a farmer plows the field with his horse; and a dapper young man in argyle socks turns his head to guide his shot out of the frame. This design was also used for the printed cover of W. G. Van T. Sutphen’s book, “The Golficide and Other Tales of the Fair Green,” published in 1898. Est: $2,000-$2,500.
PENFIELD - PORTA | A-Z
433
435
Pierre Péron
434
(1905-1988)
(1900-1977)
435. Folies Bergère / La Grande Folie. ca. 1927.
46 1⁄4 x 62 in./117.5 x 157.5 cm Imp. Dépêche, Brest. Cond A-/Slight tears at edges. Ref: PAI-XXXI, 595
13 3⁄4 x 21 5⁄8 in./35 x 52.5 cm Imp. Jombart Fils, Paris Cond A. Ref: Folies-Bergère, 89 (var); PAI-LXXIX, 456
A glass of this potion will clearly bring a glow to your face as expressed here with graphic delight. The simple lines and bold statement remind us somewhat of Paul Colin’s approach, but this artist has quite a flair of his own. There is also a nautical theme in effect with a deep sea-blue dominating the color scheme: an homage to the sailing history of Bretagne.
“‘La Grande Folie’ (The Great Folly) remained faithful to Paul Derval’s principles: a title of thirteen letters, the same number as all his other revues, lavish decors and costumes but no superstar. The poster on the other hand is surprising. The Folies rarely produced anything as ‘art deco-ish’... The image of this couple embracing, where we discover... a mixture of cubism, some of Halouze’s style and some of Colin’s, appears to be a ‘practical work’ of the 1920’s... The letters, the people, are hurled into our faces with a bluntness that is a far cry from the mannered elegance of most music hall posters” (FoliesBergère, p. 13).
Est: $1,000-$1,200.
Celestino Piatti
(1922-2007)
434. Rolex Submariner. 1974. 35 3⁄8 x 50 in./90 x 127 cm Cond A-/Slight tear at top edge. Ref: Piatti, p. 122 Piatti’s penchant for charm and subtle humor works perfectly well when announcing the new Rolex Submariner, whose waterproof technology is succinctly translated into the rainbow fish-watch deep below the sea’s surface. Est: $1,400-$1,700.
436
Maurice Pico
433. 1 Pote / Anis Breton Surfin. 1936.
Est: $2,500-$3,000.
Porta 436. La Innovación. 1920. 33 x 46 1⁄2 in./83.8 x 118 cm Seix & Barral, Barcelona Cond B/Slight tears and stains at folds. Ref: Publicidad, 486; PAI-LXXXI, 12 Whether on the hunt for a glamorous Hollywood gown or feathery flapper accessories, La Innovación assures shoppers that it’s “the most important house of silks and woolen goods.” Their three locations in Barcelona, Madrid, and Alicante surely attracted top fashionistas of the era. Est: $1,400-$1,700.
A-Z | PROUVÉ - RAGAN
437
440
Victor Émile Prouvé
(1858-1943)
437. Cartes Bergeret. ca. 1903.
438
29 3⁄8 x 41 1⁄4 in./74.6 x 105 cm Imp. Draeger, Paris Cond B/Slight tears at folds and corners. A whirlwind of posters, placards, handbills, and postcards celebrates the art of printing—and specifically that of Albert Bergeret. Prouvé had painted their family portrait the previous year, and Bergeret returned to him for this promotion. At the beginning of the 20th century, A. Bergeret & Cie. was already an internationally renowned company that specialized in collotype work and fantastical postcards. By 1903, they produced 75 million cards, as well as tourist albums, brochures, and other publications. This poster is signed “d’après Prouvé.” Est: $1,200-$1,500.
Weimer Pursell
(1906-1974)
438. Chicago World’s Fair. 1933. 26 3⁄8 x 39 3⁄4 in./67 x 101 cm Neely Printing Co. Cond A. Ref: Weill/Art Deco, p. 112; PAI-LVIII, 256 One of several vibrantly colored designs Pursell created for the Chicago World’s Fair, this one focuses on the Hall of Science standing boldly against a sunset yellow sky. Designed by Paul Philippe Cret, the building followed a U-shaped plan and held the majority of the Century of Progress exhibitions.
439
Est: $1,400-$1,700.
G. Puya 439. Granada / Fiestas del Santisimo Corpus Christi. 1949. 32 x 52 7⁄8 in./81.4 x 134.3 cm Jose Ventura, Granada Cond A-/Horizontal fold. Ref: PAI-XLII, 441 Corpus Christi—the Catholic feast celebrating the presence of the body of Christ in the communion wafer—was created in 1246 in Liege, Belgium, and after the archbishop of that town was elected Pope it was later adopted throughout Europe. A solemn and magnificent procession bears the consecrated host through the streets. The early summer festival was particularly popular in sixteenth and seventeenth centuries. And though Corpus Christi is celebrated throughout Andalusia, Granada presents the most celebrated of all the festivals, where the Granada Festival of Music and Dance has supplanted the passion plays that traditionally followed the religious rituals. Representatives of the local government walk side by side with the churchmen, followed by the people, along streets strewn with sweet-smelling cypress branches and flowers. In line with the city’s mode of celebration, Puya’s two-sheet design contains nothing that could be misconstrued as sacrosanct, but simply presents the elegant charm of a lissome señorita whose polka-dot dress neatly reinforces the surrounding flora. Est: $1,200-$1,500.
PROUVÉ - RAGAN | A-Z
441
Leslie Ragan
(1897-1972)
440. New York Central / Empire State Express. 1941.
441. The New 20th Century Limited. 1938.
27 x 40 7⁄8 in./68.8 x 104 cm Brett Litho. Co. Cond A. Framed. Ref: Travel By Train, 154; PAI-LVIII, 265
26 1⁄2 x 40 1⁄2 in./67.3 x 103 cm Latham Litho. Co., Long Island City, NY Cond A-/Slight tears at top edge. Framed. Ref: Travel By Train, 152; Encyclopédie/Weill, p, 209; Crouse/Deco, p. 263; Affiche Art Deco, p. 87; PAI-LXXIV, 411
“When Central streamlined the Empire State Express, Ragan set the train in the Hudson River Highlands on an autumn afternoon... Locomotive driving wheels and apparatus are lost in a blur while elegantly fluted stainless-steel passenger cars reflect the day’s waning light. In the background, mountains cast in brilliant hues of red and orange dominate. Ironically, the new streamliner made its debut on December 7, 1941, the day of Japan’s attack on Pearl Harbor. Railroading and advertising were about to change forever” (Travel by Train, p. 124). Est: $5,000-$6,000.
This is one of the greatest, most iconic images in the history of American art. “In June 1938, the New 20th Century Limited... made its debut. To mark the occasion, Ragan created a poster that became the archetype of American streamliner designs. His rendering left locomotive driving wheels and gadgetry in shadow, instead focusing on the Century’s distinctive satin-finished crescent-shaped prow as it caught the morning sunlight while streaming alongside the Hudson River, New York City-bound” (Travel By Train, p. 124). Est: $10,000-$12,000.
A-Z | REISNER - RUMPF
442
444
443
445
446
REISNER - RUMPF | A-Z
447
Karel Reisner
(1868-1913)
442. Herecká Slavnost. 1900. 47 7⁄8 x 35 3⁄4 in./121.8 x 90.8 cm V. Neubert, Praha Cond B+/Slight stains, largely at edges. Ref: Poselstvi Ulice, p. 40; PAI-LXXXI, 432 A wide range of curious emotions and fashions are on display to advertise the Summer Acting Festival at Klamovka, an 18th century Rococo homestead and garden located in Prague’s Smíchov district. Karel Reisner, a Prague native, studied at the Prague Academy of Painting and the Academy of Fine Arts in Munich. Upon returning to Prague, he continued painting, designed some lithographs, and taught art at local universities; in 1905, he opened his own school, Karel Reisner’s Private Art School. Est: $1,400-$1,700.
Reyes 443. Exposicion de Arte. 1952. 24 3⁄8 x 39 3⁄8 in./62 x 100 cm Industrias Graficas Martin, Madrid Cond A. We’re not entirely sure what kind of works would have been seen in this art exhibition with the Royal Spanish Football Federation, but we’re certainly intrigued. Did the players exhibit their own creative works? Or did artists depict the players in their own renderings? What we do know is that it was held at the Círculo de Bellas Artes, a private, nonprofit cultural institution that was founded in 1880. Est: $1,400-$1,700.
Auguste Roedel
(1859-1900)
444. Chocolat Menier. ca. 1898. 35 3⁄4 x 49 1⁄2 in./90.7 x 125.7 cm A. Farradesche, Paris Cond A. Framed. Ref: Chocolate Posters, p. 16; PAI-XLVIII, 431 In 1892, Firmin Bouisset introduced a young schoolgirl into Menier’s chocolate advertising (see PAI-LX, 113) and it became one of the most popular poster characters of the period—so much so that even when other artists were used, the company insisted on using the girl. Obligingly, Roedel came up with a particularly winsome
448 charmer in a polka-dot dress toting an oversized bar of chocolate. Roedel was a caricaturist, illustrator, watercolorist, and lithographer; he aligned himself in Paris with a group of Montmartre artists such as Willette, Léandre, and Caran d’Ache, supplied drawings for Le Courrier Français, and produced posters, mostly for the local cabarets and theatres.
Viktor Rutz
Est: $1,700-$2,000.
For this Swiss hosiery company, Rutz gives us a vividly saturated siren who emerges from the shadows to slip on her sandals. The colors are fantastically vibrant, creating a visual effect akin to neon. After finishing school in Zurich, Rutz apprenticed as a fashion and department store catalogue illustrator. By 1945, he had created around 200 posters and received numerous awards both at home and abroad. In 1960 he moved to Montreux where he painted and created murals.
445. Restaurant du Palmarium. 36 1⁄ 2 x 51 1⁄2 in./92.7 x 128.3 cm Eugène Mauler, Paris Cond B-/Tears at folds and edges. Ref: PAI-LXXXI, 435 The Jardin d’Acclimatation was opened in Paris in 1854 to “introduce into France and acclimatize foreign plants and animals suitable for domestic or ornamental purposes.” The property covers 50 acres and included gardens, exotic animals (including flamingoes, elephants, giraffes, and sea lions), green houses, and the Restaurant du Palmarium, a multi-use venue for dining, banquets, and weddings. In the 1950s, the iconic glass and steel Palm House was repurposed to house the Musée des Arts et Traditions Populaires. Here, Roedel offers us a preview of the many delights to be found at the Paris Zoo. Est: $1,400-$1,700.
Lucius Rossi
(1846-1913)
446. Blossoming Affection. ca. 1905. 13 x 27 1⁄ 8 in./33.2 x 68.8 cm Imp. F. Champenois, Paris Cond A/Printed on silk. Framed. Ref: Champenois, p 101 (var); PAI-LXXVI, 407 This stunning panel, printed on silk, was used to promote the fine craftsmanship of the Champenois printing company. It could not have failed to impress— either then or now—as the many fine gradations of white in the flowers and in the gauzy dress shimmer and shine as the light hits them. Artistically, the style reflects the interest in Japonisme at the time; prints like these were frequently deployed as gifts to preferred clients. That blooming affection is meant to be felt, not just seen. Est: $1,700-$2,000.
(1913-2008)
447. Idene. ca. 1940. 35 1⁄2 x 50 1⁄4 in./90.2 x 127.8 cm Paul Bender, Zürich Cond A-/Slight tear at top edge. P. Ref: Plakat Schweiz, p. 246
Est: $1,400-$1,700.
Fritz C. Rumpf (Friedrich Carl Georg, 1888-1949) 448. Söhnlein Rheingold. ca. 1914. 33 1⁄2 x 22 1⁄2 in./85 x 57.2 cm Curt Behrends, Berlin Cond B/Slight tears at folds and edges. Framed. Ref: DFP-II, 2757; Femme s’Affiche, 41; Graphic Design/Taschen, p. 155; Masters 1900, p. 169; PAI-LI, 483 Still in production today, Söhnlein Rheingold is a German sparkling wine producer based in Wiesbaden. Founded in 1864, it took the name Rheingold from Richard Wagner’s epic Ring Cycle, emphasizing the company’s German heritage while also giving it a flair of the fanciful. Under Kaiser Wilhelm I, it became the official champagne with which to christen new warships in the country. Here, Rumpf shows an elegantly dressed lady sipping on the delicate beverage in a perfectly evocative German Deco style. Est: $2,500-$3,000.
A-Z | SAGRISTÁ - SPRING
449
451
F. Sagristá 450
Munetsugu Satomi
449. Ciencia Popular. ca. 1915.
450. Golf. 1960.
25 1⁄4 x 34 1⁄ 2 in./64.3 x 87.8 cm Cond B/Tears at folds. Ref: Publicidad, 2152; PAI-LXXXI, 24
26 5⁄8 x 38 in./67.7 x 96.5 cm Imp. I.D.L. Graphique Cond A. Ref: PAI-LXXIX, 467
In the vein of so many other great Art Nouveau designs for the latest in transit technology, Sagristá employs a goddess illuminating newly developed marvels: a zeppelin hovers above a passenger train; a motorcyclist zooms ahead of a race car; a speed boat careens ahead. They’re just some of the “latest inventions” highlighted in Ciencia Popular, a weekly magazine exploring science and industry. It’s difficult to pinpoint exactly which magazine this is; the English-language Popular Science was founded in 1872, but only added a Spanish version in 2008. Magazines of the same title were printed in Brazil and Argentina beginning in the mid-1920s. It would appear that Spain’s version has been nearly vanquished from history, but this striking design is certainly a testament to Spain’s scientific prowess. Est: $1,200-$1,500.
(1900-1995)
Satomi could be called—quite unpatronizingly, indeed in high praise—the Japanese Cassandre; both excelled at and delighted in distilling a subject down to its essence, blending its pictorial representation and the lettering into near-pure graphic design. Here that approach concisely sums up the golf-oholic’s world view, in which every hole is seen as a putting challenge, and life itself consists only of the expansive fairway. Est: $800-$1,000.
Septimus Edwin Scott
(1879-1962)
451. The Queen of Scots Pullman. ca. 1930. 23 7⁄ 8 x 39 3⁄ 8 in./60.6 x 100 cm David Allen & Sons, London Cond A-/Unobtrusive folds. Framed. Ref: Wagons-Lits II, 209e (var); PAI-LXXVII, 357 Best known for being part of the Orient Express route, Pullman cars were the height of luxury travel in the early 20th century. Here, an elegant, tartan-clad traveler waits while her baggage is placed within the Queen of Scots, bound for the heart of the Scottish Highlands.
452
Est: $3,000-$4,000.
SAGRISTÁ - SPRING | A-Z
453
455
Guy Jean Selz & Cyrille Polissadim
Élisabeth Sonrel
452. Theatre des Champs-Élysées / Misère Noire. 1927.
12 3⁄4 x 27 7⁄ 8 in./32.4 x 71 cm Cond A-/Slight stains at edges. Framed. Ref: PAI-LXXIX, 476 (var)
15 1⁄2 x 23 1⁄8 in./39.4 x 58.7 cm Imp. H. Chachoin, Paris Cond A. Framed. Ref: Spectacle, 192; PAI-LXXXII, 430 Get out your glad rags—and we do mean rags. The shabbiest chic and dirtiest patches are requested for the Dadaesque “Utter Poverty” costume ball. It’s going to be a don’t-miss night: fox-trotting (that’s what the lice-ridden do) to four jazz bands until 5 a.m., a dreadful theatrical presentation, a fashion show, and other things we’re too embarrassed to translate. Don’t shave, don’t shower, just slum. The place must have been mobbed: this cubist announcement by the unknown Selz and Polissadim couldn’t fail but bring them in motley droves. Est: $1,700-$2,000.
Robert Harmer Smith
(1906-1983)
453. World’s Fair 1940 / Stamp Exhibition. 1940. 20 x 30 1⁄4 in./50.7 x 76.8 cm Cond A. Ref: PAI-LV, 479 This rare World’s Fair poster promotes the British Pavilion’s Postage Stamp Exhibition. Featured is an image of the “Penny Black,” the world’s first stamp.
454
Est: $1,000-$1,200.
(1874-1953)
454. L. Brancher. 1900.
Sonrel’s luxurious Art Nouveau design promotes the L. Brancher printing firm, and the text here advertises their color and varnishes, supplies for lithography, and printing inks—though Sonrel opts to forgo that subject matter in favor of a flowered muse. This poster includes a 1901 calendarium. Est: $1,400-$1,700.
J. Spring
(Joseph Stall, 1874-1933)
455. Cognac Sorin. ca. 1920. 46 x 62 1⁄2 in./117 x 159 cm Imp. P. Vercasson, Paris Cond B/Slight tears at folds. Ref: PAI-LXXIX, 477 Vercasson had just lost his star artist, Cappiello, and sought others who would emulate his style. Spring fit the bill for Cognac Sorin, and provided an enamored Pierrot toasting the night sky with a glass of the brandy. The odd perspective adds interest and gives the image a capricious, mysterious quality. A printed notation next to Vercasson’s name in the margin indicates “création aout 1920.” Est: $3,500-$4,000.
A-Z | STEINLEN - THIRIET
456
458
457
459
STEINLEN - THIRIET | A-Z
460
Théophile-Alexandre Steinlen
458. Extrait de Viande Liebig. ca. 1898.
(1859-1923)
39 1⁄8 x 54 3⁄4 in./99.3 x 139.2 cm Imp. Arts Industriels, Paris Cond A-/Slight tears at edges. Ref: PAI-XXIII, 495
456. Lait pur Stérilisé. 1894. 38 1⁄8 x 53 1⁄2 in./96.8 x 135.8 cm Imp. Charles Verneau, Paris Cond B+/Slight tears at edges; slight scuffs in red dress. Ref: Bargiel et Zagrodzki, 16. A1; Crauzat, 491; Wine Spectator, 112; Maitres, 95; DFP-II, 783; Abdy, p. 97; Weill, 63; Gold, 56; Encylopédie/Weill, p. 54; Posters of Paris, 80; PAI-LXXXII, 435 All the warmth, humanity, and affection for which Steinlen is so loved comes through gloriously in this poster for the newly marketed “lait stérilisé” that was touted over the “lait ordinaire” at that time. Charles Knowles Bolton, writing a year after its publication, proclaimed that this “is perhaps the most attractive poster ever made. No man with half a heart could fail to fall in love with the child.” Louis Rhead himself commented: “When I saw it in Paris last year... it seemed to me the best and brightest form of advertising that had appeared.” Est: $12,000-$15,000.
Francisco Tamagno
(1851-1933)
457. L’Absinthe Cusenier Oxygénée. 1896. 37 3⁄4 x 51 1⁄2 in./96 x 130.8 cm Affiches Camis, Paris Cond B+/Slight tears at folds. Ref: DFP-II, 807; Reims, 1042; Absinthe, p. 107; Boissons, 285; PAI-LXXVII, 373 A young woman peering into a cafe window gets an invitation from the actor Albert Brasseur to join him as he goes through the ritual of preparing a glass of absinthe. This is the larger format. Est: $2,000-$2,500.
When inventor Justus Liebig introduced this beef extract in 1852, it bore the claim “between 30 and 50 kilograms of beef chunks go into every kilogram of Liebig.” Relieved of the time consuming task of making their own glace de viande—essential for enriching sauces and stews—grateful French cooks snapped the stuff up and continue to do so today. In Tamagno’s steamy kitchen scene, a boyish chef finds the product “indispensable.” Est: $2,000-$2,500.
Ikko Tanaka
(1930-2002)
459. UCLA Asian Performing Arts Institute / Nihon Buyo. 1981. 28 5⁄ 8 x 40 1⁄2 in./72.8 x 103 cm Toppan Printing, Japan Cond A/P. Ref: Modern Poster, 280; Japanese Affiches, 9; Best 100 Japanese Posters, p. 77; PAI-LXXIII, 455 A geisha is brilliantly abstracted into geometric form: a specialty of Ikko Tanaka, who created a style of graphic design that fused modernist principles and aesthetics with the Japanese tradition. It’s probably Tanaka’s most representative work, among a portfolio that includes work for Mazda and Issey Miyake. It’s one of a series of twelve posters made by Japan’s leading graphic artists for the 1981 Asian Performing Arts Festival held at UCLA. Nihon Buyo refers to a Japanese performing art that includes elements of dance and pantomime. Est: $1,000-$1,200.
Henri Thiriet
(1866-1897)
460. Exposition de Blanc / Place Clichy. 1898. 52 1⁄8 x 36 3⁄8 in./132.5 x 92.3 cm Imp. de Vaugirard, Paris Cond A-/Unobtrusive folds. Ref: DFP-II, 815; Schardt, p. 166-67; Gold, 24; PAI-LXXXII, 443 “A saleswoman at the Place Clichy White Sale shows a discerning customer some fine bed linens. Thiriet makes the women’s appearances and attitudes so charming and gives the sheets themselves such sumptuous volumes that purchasing what is essentially a household requirement seems as delightful as choosing a new dress” (Gold, p. 18). Crauzat, announcing its publication in L’Estampe et l’Affiche, calls it “a beautiful design with pleasing colors. We hope that it will be followed by many more [from the artist]” (1898, p. 43). Pleasing colors might be an understatement in this case—this poster boasts incredibly vivid colors: tangerine lettering and accents, burgundy and turquoise apparel, and the strangest—but most delightful—magenta and scarlet hair. Est: $3,000-$3,500.
A-Z | THIRIET - TOULOUSE-LAUTREC
461
Thiriet
(Continued)
461. Parfum la Feria. 51 x 75 1⁄2 in./129.5 x 191.7 cm Imp. J. Barreau, Paris Cond B+/Slight tears at folds and edges. Ref: PAI-XLVII, 489 Thiriet’s posters are few, but all are excellent, such as this one with a castanets-clacking señorita who serves as the ideal embodiment for Lenthéric’s Frespañol-named “Festival Perfume.” The Art Nouveau flow of the design is striking, with the scented tendrils of the product slowly wafting in unison with the decorative lime-tinted ribbons that frame and entrance our Spanish dancer. Est: $2,500-$3,000.
Charles Tichon 462. A la Place Blanche. 46 1⁄8 x 60 3⁄8 in./117.2 x 153.3 cm Affiches Kossuth, Paris Cond A-/Unobtrusive folds. Ref: PAI-LXXXI, 464 A white sale is not just a white sale when the venue is the Place Blanche next to the Moulin Rouge. In keeping with the extravagant nature of the music venue, the sale too must be spectacular. Tichon fashions Columbine as a scantily clad shopper whose extremely low cut dress seems to have shocked poor Pierrot.
462
Est: $2,000-$2,500.
HENRI DE TOULOUSE-LAUTREC
463
Henri de Toulouse-Lautrec
(1864-1901)
463. Troupe de Mlle Églantine. 1896. 31 1⁄2 x 24 1⁄4 in./79.9 x 61.6 cm Cond A. Framed. Ref: Wittrock, P21C; Adriani, 162-III; Wine Spectator, 43; Driehaus, p. 107; DFP-II, 850; Wagner, 23; Posters of Paris, 100; Reims, 791; PAI-LXXVIII, 458 “At the height of cancan’s popularity, dancers formed groups which offered their services as a unit: whether the Troupe de Mlle Églantine was the best of them we don’t know, but it is certainly the only one publicized by the best. ToulouseLautrec did it at the request of his friend Jane Avril. From left to right, we see Jane Avril, Cléopâtre, Églantine, and Gazelle. As with his Moulin Rouge poster, he lets the white of the petticoats, punctuated by stockinged legs, do most of the talking, but he also offhandedly gives each girl a distinct character in only a few lines lining their facial expressions” (Wine Spectator, 43). Est: $30,000-$35,000.
A-Z | TOULOUSE-LAUTREC
464
TOULOUSE-LAUTREC | A-Z
Toulouse-Lautrec
(Continued)
464. Le Jockey. 1899. 14 1⁄4 x 20 1⁄4 in./36 x 51.5 cm H. Stern (not shown) Cond A/P. Framed. Ref: Wittrock, 308-II; Adriani, 345-II; PAI-LXXIX, 499 “In Paris from the autumn of 1899 to the summer of 1900, [Lautrec] seemed to live his former existence, making paintings and prints and maintaining contact with friends... In some ways he seemed more willing to live conventionally than he had before. He returned to his childhood interest in horses and the race track, having driven himself regularly to Chantilly, the Bois and Longchamps to watch horses. The works he did now maintained the fine-lined, almost drawinglike quality of his painting” (Frey, p 480). Though “The Jockey” and three other lithographs were created with the intention of publishing a portfolio of horse racing subjects for the print dealer Pierrefort, this was the only one of the four ever realized as a print. But it’s one of his finest, conveying the raw energy and speed present on the track. You can almost feel the weight of the hooves as they hit the turf and hear the breath of the animal as it gallops by on this overcast, cold morning. One of 112 impressions.
465
Est: $50,000-$60,000.
465. May Belfort. 1895. 23 1⁄2 x 31 in./59.7 x 79 cm Imp. Edw. Ancourt, Paris Cond B+/Slight tears at edges. Framed. Ref: Wittrock, p. 14B; Adriani, 126; PAI-LXXVIII, 459 “May Belfort, whom [Lautrec] represented in at least ten works, had gained a reputation for corrupt innocence by appearing onstage dressed as a baby holding a black kitten in her arms, and ‘miaowing or bleating’ her popular song, ‘Daddy Wouldn’t Buy Me a Bow-Wow,’ whose lines had a double meaning which was not lost on the French-speaking audience: ‘I’ve got a pussycat, I’m very fond of that’” (Frey, p. 382). This would have been particularly amusing for the audience, as Belfort was in an openly lesbian affair with the English dancer May Milton. Est: $30,000-$35,000.
466. May Milton. 1895. 23 1⁄4 x 30 3⁄4 in./59.2 x 78.2 cm Cond B+/Slight tears and stains, largely at edges. Framed. Ref: Wittrock, P17B; Adriani 134-II; PAI-LXXXII, 460B An English dancer at the Moulin Rouge, May Milton was in an affair with May Belfort. Toulouse-Lautrec’s portrait of her is so subtly bizarre that Picasso included it in the background of his early painting, “The Bath” (1901). “Milton is shown in a seemingly impossible position,” Ebria Feinblatt writes. “Lautrec so twists the position of Milton’s right leg that, instead of a back kick, the foot emerges from the side. At the same time, this pose answers the artist’s need to continue the unbroken, undulating pattern that starts with the wavy hair hanging down to her puffed shoulder sleeve... the undeniable presence of the figure [is] arresting” (Wagner, p. 27). Est: $14,000-$17,000.
466
A-Z | TOULOUSE-LAUTREC
Toulouse-Lautrec
(Continued)
467. Marcelle Lender, en Buste. 1895. 14 x 18 3⁄8 in./35.5 x 46.7 cm Cond A. Framed. Ref: Wittrock, 99; Adriani, 115, 4th state; PAI-LXXIX, 495 (var)
467
This is the deluxe French edition, numbered 32 of 100 impressions, and with the artist’s orange monogram. Parisian actress Marcelle Lender had been appearing in a series of comic operas, principally at the Théâtre des Variétés, since 1889. Utterly enamored with the performer, Lautrec did many drawings of her in a variety of her roles. Here, she is depicted in Chilpéric, an operetta-revue that was revived in 1895. “The main attraction in Chilpéric was the bolero, danced by Marcelle Lender as the Galaswintha at the court of King Chilpéric. It was not so much the flimsy plot of this medieval farce as the actress... who led Lautrec to sit through the operetta nearly twenty times. Always watching from the same angle, from one of the first tiers on the left, he would lie in wait with his sketch pad” (Adriani, p. 157). Lautrec’s attentions were well repaid. His half-length portrait of Lender in her fantastic Spanish costume, bowing to the audience applause, is considered a lithographic masterpiece. “No other lithograph is printed with such a wealth of subtle color combinations, and none embodies, as this does, the opulent decoration of an age moving towards its close” (Adriani, p. 161). Rare! Est: $17,000-$20,000.
468. La Revue Blanche. 1895. 36 1⁄4 x 51 in./92 x 129.5 cm Imp. Edw. Ancourt, Paris Cond A. Ref: Wittrock, P16B; Adriani, 130-II; Driehaus, p. 117; PAI-LXXX, 497 “This official poster for La Revue Blanche is considered by many to be Lautrec’s strongest individual work. In it, using a combination of economical line and implied movement, large flat areas of color and carefully observed detail, he shows Misia Natanson, wife of the magazine’s editor, Thadée Natanson, ice-skating at the Palais de Glace, an ice rink opened at the Rond-Point des Champs-Élysées by Jules Roques in 1894. The entire poster is like a little joke, as if Lautrec were amusing himself by proving that he could show an ice-skater without ever showing her skates” (Frey, p. 408). Est: $17,000-$20,000.
469. Aristide Bruant Dans Son Cabaret. 1893. 37 5⁄8 x 52 3⁄4 in./95.6 x 134 cm Imp. Charles Verneau, Paris Cond B+/Slight tears at folds and edges. Framed. Ref: Wittrock, P9A; Adriani, 12-I; Wagner, 10; DFP-II, 827 (var); PAI-LVII, 533 Bruant’s strong, forceful, and in many ways vulgar style was ideally suited to the intimate cabarets where fashionable society went “slumming” for thrills. Lautrec captures this brutal quality of the entertainer and the disdain with which he treated his audiences by having him show us the broad of his back. The red scarf forms an exclamation point that punctuates the black expanse while the pose itself makes a complete, self-contained statement—Toulouse-Lautrec at his very best. This is the rare proof before the addition of letters.
468
Est: $35,000-$45,000.
TOULOUSE-LAUTREC | A-Z
469
A-Z | TOULOUSE-LAUTREC
470
Toulouse-Lautrec
(Continued)
470. L’Artisan Moderne. 1894. 25 3⁄8 x 36 in./64.5 x 91.5 cm Cond A. Framed. Ref (all var but PAI): Wittrock, P24B; Adriani, 59-III; DFP-II, 835; Wagner, 12; PAI-LXXI, 510 Lautrec’s friend André Marty, a publisher and dealer in graphic arts, was also the founder of a chain of interior decorating shops that he called “L’Artisan Moderne.” As a favor, the artist helped him to publicize that venture by designing this charming poster in which “an artisan appears at an early hour in a lady’s boudoir, much to her maid’s consternation. The woman herself appears pleasantly undisturbed. Humorously, Lautrec included in the picture his friend, the jeweler and medalist Henri Nocq, his head curiously small, uncertainly posed as the artisan. On Nocq’s toolbox Lautrec drew the name of the advertiser, Niederkorn... The highlighting of the little lap dog was executed with a needle” (Wagner, p. 24). This is the very rare variant with the addition of the “qui?” text in the upper right. Est: $25,000-$30,000.
TOULOUSE-LAUTREC | A-Z
471
471. Elles / Femme au Lit. 1896. 20 1⁄2 x 15 7⁄8 in./52 x 40.3 cm Cond A. Framed. Ref: Wittrock, 163; Adriani, 179 This is part of the Elles series, and is one of 100 impressions. One scholarly interpretation of the Elles suite is that, rather than being simply a collection of brothel motifs, it portrays the domestic life of a lesbian couple, one half of which was the clowness of the Moulin Rouge, Cha-U-Kao. Such a reading gathers likelihood in the knowledge that the publisher, Pellet, favored risqué themes. Here, Lautrec depicts a morning visit between Madame Juliette Baron and her daughter Paulette, known as Mademoiselle Popo, both of whom worked in the brothel in the Rue des Moulins. Est: $30,000-$40,000.
472. Le Portrait d’Homme. 1881. 8 1⁄2 x 10 1⁄ 2 in./16.5 x 25.8 cm Pencil drawing. Framed. Ref: Dortu, Vol V, D.2.095; Joyant, Vol III, p. 183; PAI-LXXI, 519 Lautrec sketched dozens of portraits throughout his career, many of which were done in profile like the stately figure shown here. As with most of his oeuvre, the economy of line yields an impressive amount of expression: a mere squiggle gives us a receding head of closely cropped hair; an oblong circle indicates piercing eyes. The result is a man greater than the sum of his visual parts. Est: $8,000-$10,000.
472
A-Z | TOULOUSE-LAUTREC - TOUSSAINT
473
Toulouse-Lautrec
(Continued)
473. Catalogue d’Affiches Artistiques / A. Arnould. 1896. 14 x 10 3⁄4 in./35.7 x 27.5 cm Cond A. Framed. Ref: Wittrock, 167-II; Adriani, 187-III; PAI-LXXXII, 458 The original lithograph was entitled “Le Débauche” (The Debaucher) and was subsequently used as the cover of the Catalogues d’Affiches Artistiques, published in June 1896 by A. Arnould. In this case, the debaucher is Lautrec’s painter-friend, Maxime Dethomas (1868-1928), shown pinching the nipple of a poorly clad woman. Frey makes an interesting observation: “It has been said of Dethomas both that he was an eager participant in seductions and brothel visits, and that he was in fact a little straightlaced and that Henry’s use [of him in this image] was a kind of teasing. Increasingly, however, when Henry showed his friends in compromising positions, it was because he had observed them thus” (p. 411). This is one of 100 impressions. Est: $12,000-$15,000.
474. La Dépêche / Le Tocsin. 1895. 16 1⁄ 2 x 22 1⁄8 in./42 x 56.2 cm Imp. Cassan Fils, Toulouse Cond A. Framed. Ref: Wittrock, P19C; Adriani, 143-II; Wagner, 19; DFP-II, 839; PAI-LXXX, 498 A ghostly woman descends from a castle into the dark woods, followed by a ragged dog, in “Le Tocsin” (“The Alarm”), a Gothic romance by Jules de Gastyne, which was serialized in the Toulouse-based newspaper La Dépêche. Feinblatt considers this poster important for its treatment of perspective: “Against a flat fence of tree trunks, the upright figure appears to be floating right off the picture plane by dint of the inclining ground and the merest hint of her forward movement, which create the force of foreshortening. The train of her gown emphasizes the slant of the field; the extended leg of the dog acts as a brake upon the sense of imminent descent” (Wagner, p. 28-29).
474
Est: $4,000-$5,000.
TOULOUSE-LAUTREC - TOUSSAINT | A-Z
475
Fernand Toussaint
(1873-1955)
475. Café Jacqmotte. 1896. 30 3⁄4 x 40 7⁄8 in./78.3 x 104 cm O. de Rycker, Bruxelles Cond B+/Slight tears at folds. Framed. Ref: DFP-II, 1131; Belle Epoque 1970; Reims, 1504; Wagner, 100; Timeless Images, 47; Masters 1900, p. 96; PAI-LXXII, 382 Toussaint created posters as well as portraits—and this is decidedly his best one. The design’s rich colors and strong contrasts do for coffee what Mucha’s tousled hair did for cigarette rolling papers. Barely touching her cup and saucer, the serene woman stares curiously at the steaming beverage. Her dress curls into the walls, her hair into the lettering, creating an overall sense of warmth and dreaminess. Hats—outlandish or merely fashionable—feature prominently in all his paintings. Est: $17,000-$20,000.
A-Z | TRINQUIER-TRIANON - VILLEMOT
476
Louis Trinquier-Trianon
(1853-1922)
476. Lamalou les Bains. ca. 1905. 29 x 40 3⁄4 in./73.7 x 103.6 cm Baudelot, Paris Cond A-/Slight tear at bottom edge.
477
Trinquier-Trianon spares no elegant details when promoting the spas of Lamalou les Bains in southern France. A Monet-inspired pool reflects the red walls and palm fronds while the robed visitors alternate between swimming, basking, and relaxing. Ah, couldn’t we all use that sort of treatment right about now? Est: $1,200-$1,500.
Theo Van Doesburg (Christian Kuepper, 18831931) & Kurt Schwitters (1887-1948) 477. Kleine Dada Soirée. 1922. 11 3⁄4 x 11 3⁄4 in./30 x 30 cm Cond A/P. Usual fold. Framed. Ref: Modern Poster, 84; Avant Garde, p. 38; PAI-LXXX, 506 Kurt Schwitters and Theo van Doesburg “embarked on a tour of Holland to introduce Dada to the local artists and the public through lectures and performances. Van Doesburg’s pamphlet ‘Wat is Dada?’ was for sale at the close of each stop. The poster for the Small Dada Evening includes the event program, which lists ragtime music by the composer Erik Satie, abstract poetry by Schwitters, and ‘Dadasofie’ by Doesburg. The poster is decorated with multi-lingual slogans including: ‘Dada est contre le futur, Dada est mort, Dada est idiot, vive Dada!’ (‘Dada is against the future, Dada is dead, Dada is idiotic, Long live Dada!’)” (MoMA exhibition wall plaque). Est: $6,000-$8,000.
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478
TRINQUIER-TRIANON - VILLEMOT | A-Z
479
481
Marcel Vertès
(1895-1961)
480
J. A. Vignau
“The Chief” was a well known express train from Chicago to Los Angeles on the Santa Fe line. It wasn’t necessary to show the train—a finely drawn profile of an Indian sufficed. “Villa treated Native Americans with a respect that approached reverence and sought to dispel the stereotypical attitude that they all looked alike” (Travel by Train, p. 77).
478. Frou Frou. 1922.
479. Vous Aimez. 1930.
61 1⁄4 x 45 3⁄4 in./155.6 x 116.2 cm H. Bataille, Paris Cond B/Slight tears at edges; unobtrusive folds. Framed. Ref: PAI-LXXVII, 395
29 1⁄2 x 41 1⁄4 in./75 x 105 cm Affiches Pech, Bordeaux Cond A. Ref: PAI-LXXX, 507
In this charming design for a satirical magazine, every element works: the flirty miss, the ogling oldster, the prototypical battle-ax—even the handle of his umbrella enjoys the view. And the coloring is perfection as well: zesty background, proper seductress-scarlet, envy-green wife. The poster is for the postwar revival of the publication, which enjoyed its original run between 1900 and 1914. Vertès, a highly talented painter and illustrator, was born in Budapest. After an initial stint designing political posters in his home town following World War I, he settled in Paris, chronicling the city life during the Roaring Twenties. Later, he would relocate once more, this time to the United States.
Though graphically Art Deco, this design employs washes of sepia tones to harken a feeling of nostalgia. History and memory are of particular importance here, as viewers are urged to preserve memories of loved ones by having them photographed.
Est: $3,000-$4,000.
Est: $1,200-$1,500.
22 1⁄2 x 31 1⁄ 8 in./57 x 79 cm Cond A. Ref: Bon Salle, 481
Est: $2,000-$2,500.
Hernando G. Villa
(1881-1952)
480. The Chief is Still Chief. ca. 1945. 27 x 40 7⁄8 in./68.8 x 104.5 cm Newman-Monroe, Chicago Cond A-/Slight tears in top border. Framed. Ref: Travel by Train, 99; Resnick, p. 44; PAI-VII, 349
Bernard Villemot
(1911-1989)
481. Pernelle. ca. 1950.
Villemot provides warmth for the whole family in the form of a caricature clan swaddled in Pernelle yarn. The luxurious knitting material is a vegetable yarn made of hemp which lends a silky quality—and this trio certainly seems to enjoy the eco-friendly fabric. Est: $1,000-$1,200.
A-Z | VILLON
482
VILLON | A-Z
483
Jacques Villon
(1875-1963)
482. Guinguette Fleurie. 1901.
483. Au Moulin Rouge: Valentin le Desossé. 1897.
35 ⁄4 x 51 ⁄8 in./90.8 x 131 cm Cond A. Ref: Villon, E33; Musée d’Affiche, 30; Masters 1900, 52; Le Coultre, p. 114; PAI-LXXVIII, 483
11 3⁄4 x 15 1⁄4 in./30 x 39 cm Signed watercolor painting. Framed.
3
5
Villon’s celebrated design promotes Guinguette Fleurie—noted below as “The Flower of the SingerPoets”—at the Manège Central, a Montmartre music hall that was formerly a riding school. Villon was an important figure in the history of Modern art and a quintessential figure in the bohemian scene of Fin-deSiècle Paris. A Cubist painter, illustrator, and filmmaker, he created only six posters—all graced by his superb drawing skills and observation of character. We fancy that the small bearded figure in the distant background of this poster is a self-caricature.
Valentin le Desossé (Valentin the Boneless) flashes his characteristic angular profile behind a female dance partner at the Moulin Rouge. Valentin was a regular performer at the venerable cabaret; he was most famously depicted there in Toulouse-Lautrec’s 1891 poster, Moulin Rouge / La Goulue (see PAI-LXXXII, 447). As for his companion, the jury is out—she is not La Goulue, but she did make another appearance in Villon’s oeuvre in issue #2 of Cocorico magazine from January 15, 1899, titled “Au Music Hall.” Villon’s dreamy impression provides an intimate look at the iconic music hall and its renowned dancer, making this a very valuable original work by Villon.
Est: $50,000-$60,000.
Est: $20,000-$25,000.
484. Inquiétude. 1901.
484
9 7⁄8 x 13 1⁄4 in./25 x 33.5 cm Cond A. Framed. Ref: Villon, E66 (var); PAI-LXV, 530 Here, Villon lends his talents to a songsheet cover for a piano waltz by Gaston Roux, the title of which translates as “Concern.” Est: $1,200-$1,500.
A-Z | WARHOL - YOKOO
485
488
Andy Warhol 486
William P. Welsh
(1889-?)
485. Bank / RCA Color Scanner. 1968.
486. Pullman / Summer Resort. 1935.
45 1⁄4 x 30 in./115 x 76.2 cm Cond A. Ref: Images of an Era, 90; Warhol Posters, No. 7; Weill, 627; PAI-LXXXI, 490
20 1⁄ 2 x 26 5⁄ 8 in./52 x 68 cm Charles Daniel Frey, Chicago Cond B+/Slight tears and stains at edges. Framed. Ref: Travel by Train, p. 109; PAI-XXXIV, 605
“Pretty as a pigture, huh?” In 1968, RCA came up with a novel piece of technology: a device that could scan camera film for printing. Warhol immediately saw the implications: the traditional processes of the graphic artist and lithograph designer would become obsolete, since one could lift an image directly from film to poster. Since Warhol’s own art involved messing about with photos, he must have looked at RCA’s invention with a wry sense of humor. So the poster he created is a multi-layered joke: a live pig is painted as a piggy-bank, photographed, and scanned, with all the fine detail of fur reproduced perfectly. Warhol then went one step further. As Warhol painted the pig at RCA’s ad agency J. Walter Thompson, Irwin Horowitz photographed it. Andy’s entire team from the Factory was there. Warhol then negotiated the film rights to the work, seizing back the means of production in a move both artistically and professionally savvy. If any of our readers have a copy of it, please call us.
The hills are alive with the sound of Pullman! You have to think that this summery vagabond is yodeling with joy for having cast off the shackles of city life rather than calling to some fellow traveler across Welsh’s well plotted groves, undulant hillocks, and gleaming rays of light. But who wouldn’t shout the praises of Pullman’s ability to get one to their favorite summer resort, and at reduced rates no less?
Est: $1,400-$1,700.
487
(1930-1987)
Est: $1,700-$2,000.
Yann 487. Primerose. ca. 1930. 30 5⁄ 8 x 45 7⁄8 in./77.7 x 116.5 cm Leopold Verger, Paris Cond B+/Slight tears at folds. Framed. Ref: Seita, p. 1; Tabac, p. 75; PAI-LXXVII, 423 Deco angularity announces the modernity of a stunning invention: a cigarette that masks its own noxious fumes with perfumes—derived, it says, from rose petals—delivering a secondhand smoking experience second-to-none. Interestingly, organic specialists tell us that primrose oil is a time-tested remedy for flushing tar deposits from the lungs and lymph system. Est: $1,700-$2,000.
WARHOL - YOKOO | A-Z
489
Jean d’Ylen
(1866-1938)
Tadanori Yokoo
(1936- )
488. Filver Bretelles. 1926.
489. The Wonders of Life on Earth. 1966.
43 1⁄4 x 89 in./109.8 x 226 cm Affiches Gaillard, Paris Cond A-/Unobtrusive folds. Ref: PAI-XLIX, 527
28 3⁄4 x 40 3⁄4 in./73 x 103.6 cm Cond A-/Slight tears at edges. Ref: Yokoo/Graphic Works, 291; Yokoo/Paris, p. 3; Yokoo, 18; Yokoo’s Posters, 7; Avant Garde, p. 184; Word & Image, p. 127; Modern Poster, 276; Plakatkunst, p. 169
Taken from an original d’Ylen design (“d’après”) and executed by an unnamed artistic collaborator, this prancing harlequin couldn’t be happier with his choice of suspenders—Filver, to be precise, a firm that not only keeps one’s pants hiked to respectable heights with both suspenders and belts, but also produces sock garters as well. The design is nothing short of elastic exuberance. This is the larger, two-sheet format. Est: $1,700-$2,000.
This is one of Yokoo’s earliest posters, but already his distinct style is fully apparent: he’s combined Japanese manga and American pop art styles with a modern superhero aesthetic. This design was created to promote a book by Isamu Kurita, for which Yokoo also made illustrations. In the book, Kurita wrote, “‘In considering illustration now in its newer, broader sense, we can think of it as having the position within the sphere of design which adds flesh to words, sounds and forms...
Illustrations are likely to continue to search out new principles of distribution within society.’ Certainly it can be said that... illustrations, graphic design and posters are art forms which, as Kurita states, are opening up the possibility of acquiring a new form of community spirit... Yokoo’s poster for ‘The City and Design’ was reduced in size and used as an illustration at the beginning of the book... The globe at left suggests that the world is still ‘under construction’ and therefore it is up to us to complete it” (Yokoo, p. 6). This is a silkscreen print. Est: $12,000-$15,000.
A-Z | YOKOO - ZIG
490
Yokoo
491
(Continued)
490. Takarazuka / Grand Revue. 1966.
491. Word & Image / Museum of Modern Art. 1968.
28 1⁄8 x 40 3⁄8 in./71.3 x 102.6 cm Cond A-/Slight creases. Ref: Yokoo/Graphic Works, p. 82; Yokoo/Paris, 5
17 x 48 3⁄4 in./43.3 x 123.8 cm Cond A/P. Ref: Yokoo/Graphic Work, p. 136; Yokoo, p. 93; PAI-LXXIII, 492
Bursting with the sort of vibrant colors and sensuality that only Yokoo can master, this compelling design promotes the Takarazuka Revue, an all-female Japanese musical theatre group. Formed in 1913 and continuing to this day, the members perform lavish Broadway-style productions that sometimes merge with stories from shojo manga and Japanese folk tales. The founder, Ichizo Kobayashi, wanted to subvert the Kabuki tradition—in which only men could perform—by creating a group that only includes women performers. Each year, thousands of Japanese women audition for the 40-50 slots; training takes two years. Some estimates say that audiences are 90% female, and various theories posit that the female attraction is based on the homoerotic nature of the performances and/or the subversiveness of seeing a woman playing a male role. Regardless, the troupe has faced homophobic issues throughout its history, and strict measures have been taken to control those associations. But Yokoo, never one to shy away from controversial imagery, fully embraces the aura of sexuality. In fact, in an interview, Yokoo proclaimed, “‘Wow! What a perfect match, Takarazuka and me!’ and since that time I go to see every show.” This is a silkscreen print. Est: $7,000-$9,000.
For the greatest, splashiest, most magnificent exhibition of poster art the 20th century had yet seen, New York’s Museum of Modern Art turned to Tadanori Yokoo. Often (and unfairly) called “the Japanese Andy Warhol,” Yokoo clearly ran on the same ground as Warhol—converting the pop, the trash, the smash, and the flash into extraordinary objects that sent up commercialization even as they participated in it. MoMA’s 1968 exhibition was hailed by the New York Times as “a landmark presentation that helped define the medium for scholars, graphics specialists and collectors.” Yokoo’s exhibition poster, one of his first appearances in the American art scene, helped it get there: a rendering of the art form as a hypnotic calling toward the eye. This is a silkscreen print. Est: $1,700-$2,000.
YOKOO - ZIG | A-Z
492
493
Zakj
Zig
492. Egyptian State Railways. 1938.
493. Casino de Paris / Mistinguett / Paris Qui Brille. 1931.
26 3⁄4 x 39 in./68 x 99 cm Cond A-/Unobtrusive folds. Framed. Ref: Le Coultre, p. 57; PAI-LXVIII, 676
15 5⁄ 8 x 35 1⁄8 in./39.7 x 89.2 cm Central Publicité, Paris Cond B/Slight tears at folds. Ref: Affiches Art Deco, p. 12; Encyclopedie/Weill, p. 233; Folies-Bergère, 67; Delhaye, p. 35; PAI-LXVII, 117
Completed around 1854, the Egyptian State Railway originally just linked Alexandria to Cairo. Demand for cotton after the American Civil War forced the line’s expansion into Libya and the South Sudan, and by the time of this poster the tracks linked almost the entire country to its neighbors. Est: $1,200-$1,500.
(Louis Gaudin, 1882-1936)
Mistinguett’s revue “Paris Qui Brille” was directly inspired by the unprecedented success of Josephine Baker’s “Paris Qui Remue,” which closed at the Casino de Paris a few weeks prior. Both shows focused on elaborate costumes and dance numbers. This is the smaller format. Est: $2,000-$2,500.
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BOOKS AND PERIODICALS
494
495 494. The Poster. 1898-1900.
495. L’Estampe et l’Affiche. 1897-1899.
7 1⁄4 x 9 7⁄8 in./184 x 25 cm Excellent condition; original hardcover binding. Ref: PAI-XLII, 539
9 x 11 1⁄4 in./23 x 28.5 cm Overall excellent condition with slight wear on covers. Ref: PAI-XLIII, 607
In overall excellent condition. Five bound volumes spanning the June 1898 to December 1900 issues of this important and lively journal. Poster lovers will delight not only in its hundreds of illustrations, but in its delightful and informative articles on posterists—Chéret, Toulouse-Lautrec, the Beggarstaffs, et al—and interviews with such luminaries as Berthon, Grün, Mucha, Morrow, Beardsley, and Hardy make for delightful reading. The joy and innocence in collecting contemporary posters, so tellingly presented here, will hopefully be contagious.
In excellent condition, in three hardcover bindings, with some slight wear on the covers. Articles on French and foreign posters, with several hundred reproductions on a total of 750 pages. Artists include: Chéret, Combaz, Fraipont, Grasset, Gray, Hassall, Jossot, Meunier, Misti, Mucha, Livemont, Pal, Penfield, Reed, Rhead, Roedel, Steinlen, von Stuck, Thiriet, Toulouse-Lautrec, Toussaint, and Willette. Most articles are by country, but some were written regarding special topics, such as Crauzat’s article on the many new posters for Loïe Fuller. There’s news on poster shows and publications, as well as a price list for the latest posters published, dealer-by-dealer, that makes us want to weep—Bonnard’s famous screen is 40 francs and Lautrec’s entire “Elles” suite runs 300 francs. A must for the serious poster collector.
Est: $4,000-$5,000.
Provenance: The Albertina Museum, Vienna. Est: $2,000-$2,500.
BOOKS AND PERIODICALS | A-Z
496 496. Das Moderne Plakat, by Jean-Louis Sponsel. 1897. 9 1⁄8 x 11 3⁄4 in./23.2 x 29.8 cm Overall excellent condition; loose hardcover with original hardcover binding. Ref: PAI-LXIX, 743 This is a country-by-country survey of posters, published in Germany in 1897. Its wide scope required a total of 316 pages and 318 illustrations, including 52 plates in color. Coming a year after Maindron’s 1896 classic, this monumental work is further proof of the worldwide affichomanie (poster craze) of the period. A rare and valuable reference for the serious collector. Provenance: The Albertina Museum, Vienna. Est: $2,500-$3,000.
A-Z | BOOKS AND PERIODICALS
497 497. Cocorico. 1898-1902. 9 7⁄8 x 12 1⁄ 2 in./25 x 31.5 cm Overall excellent condition. Ref: PAI-LXIII, 618 Focusing on satire, literature, and the arts, Cocorico was a popular French magazine, lasting a mere 63 issues from December 1898 through May 1902. Featuring the works of Mucha (including unique images for each of the months in 12 of the issues), Steinlen, de Feure, Roubille, and Willette, the publication championed French Art Nouveau. Many of the posters in this sale are featured and offered for sale within its pages. This is the complete run of the magazine (63 issues); Volumes 1 and 2 are in the original binding and Volume 3 is rebound. Included are duplicates of issues 25-44. Est: $7,000-$9,000.
207
SELECTED INDEX ALCOHOL
FOOD / DRINK
SPORTS
Absinthe . . ...................... 2 71, 365, 457
49, 191, 193, 197, 200, 220, 225, 238, 240, 241, 243, 252-255, 259, 353, 358, 366, 394, 396, 410, 422, 444, 445, 456, 458, 475
Golf.............................. 2 14, 227, 228, 301, 322, 364, 432, 450
Apéritifs / Digestifs......... 205, 206, 244, 307, 336, 369, 379 Champagne / Wine. . ........ 1 86, 190, 199, 201, 230, 264, 267, 308, 392, 448 Liqueurs / Spirits............ 4 3, 235, 245, 251, 337, 421, 433, 455
Tennis. . ......................... 1 44, 214, 227, 322
LITERARY
Winter Sports................. 1 -30, 283, 468
218, 222, 237, 256, 263, 279B, 317, 378, 388, 404, 405, 427-432, 449, 474, 478, 489
Other............................ 2 40, 359, 443, 464
THEATRE MUSIC / DANCE
ANIMALS Cats............................. 5 2, 123, 144, 165, 352, 429, 431, 456, 465 Dogs. . ........................... 3 7, 173, 215, 227, 314, 330 Horses.......................... 4 6B, 47, 50, 138, 162, 163, 183, 240, 351, 432, 464 Other............................ 1 13, 229, 327, 382,
115, 243, 338, 414,
116, 187, 225, 250, 268, 307, 360-362, 376, 485
ART EXHIBITIONS 41, 173-178, 221, 258, 345, 346, 357, 443, 477, 491
Ballet. . .......................... 2 89, 299, 380
209-211, 233, 239, 241, 289-291, 294, 302, 323, 332, 349, 350, 400, 442, 490
Bals. . ............................ 2 23, 224, 285, 286, 408, 415, 452
TOBACCO
Cabarets....................... 1 66, 208, 305, 310, 320, 323, 332, 333, 335, 341, 380, 426, 469, 483, 493 Dance........................... 1 79, 288, 343, 465,
210, 295, 355, 466,
230, 233, 287, 296, 313, 324, 370, 416, 463, 490
TRAVEL By rail. . ......................... 4 2, 64, 74, 214, 231, 278, 338, 371, 375, 440, 441, 451, 480, 486, 492
Festivals.. ...................... 3 11-313, 326, 327, 439
By ship.. ........................ 4 4, 64-80, 226, 281
Folies-Bergère.. .............. 1 65, 274, 288, 289, 291, 417, 435
New York....................... 1 4, 15, 17, 67, 80, 92, 104, 105, 326, 327, 343, 346-348, 371, 440, 441, 453, 491
Loïe Fuller..................... 2 88, 417 Mistinguett.................... 3 25, 493
BEAUTY / PERFUME
Opera........................... 3 9, 309, 389, 467
38, 192, 194, 249, 261, 284, 334, 423, 461
Other............................ 2 37, 273, 293, 297, 347, 412, 484
FASHION 31-37, 195, 198, 215, 232, 247, 265, 270, 309, 325, 340, 373, 407, 413, 425, 434, 436, 446, 447, 460, 488
189, 216, 292, 390, 487
POSTERS ON POSTERS 174, 177, 178, 221, 222, 318, 319, 357, 387, 409, 437
FILM
SCIENCE & TECHNOLOGY
60, 82, 179, 181, 196, 212, 300, 316
184, 248, 303, 331, 377, 411, 419, 424, 449, 479
World’s Fairs / Expos . . ..... 1 82, 184, 213, 276, 354, 438, 453, 459 Other............................ 8 6, 88-90, 93, 95-117, 202, 214, 219, 227-229, 275, 304, 306, 322, 351, 364, 376, 381, 382, 414, 415, 420, 476
208
BIBLIOGRAPHY
The following is a list of books used in the preparation of this catalogue. In the interest of brevity, these works have been abbreviated in the Reference (“Ref:”) section of the description of each lot. The abbreviations can be found below, accompanied by the work’s full title, author or editor, publisher’s name, city, and date of publication. It should be noted that we have made no reference to the many magazines and annuals which are essential tools in this area, such as The Poster, L'Estampe et l'Affiche, La Plume, Arts et Métiers Graphiques, Vendre, Das Plakat, Gebrauchsgraphik, and Graphis Posters. NOTE: References to prior PAI books are limited to the last auction in which the poster was offered. Results from all 82 prior auctions can be found on our website, www.posterauctions.com, by clicking on “Poster Price Guide.” All results are searchable by artist or title for a nominal subscription fee. Abdy
Affiches Évasion
Alpes II
Bargiel et Zagrodzki
The French poster, by Jane Abdy. New York : Clarkson N. Potter, 1969.
Affiches Évasion, by Florence Camard. Paris : Duncan, 1996.
Alpes a l’Affiches, by Yves Ballau. Editions Glenat, 1998.
Absinthe
Affiches Riviera
America for Sale
Steinlen affichiste : catalogue raisonné, by Réjane Bargiel and Christophe Zagrodzki. Lausanne : Editions du Grant-Pont, 1986. (Distributed in the United States by Posters Please, Inc., New York City).
Absinthe : history in a bottle, by Barnaby Conrad, III. San Fransisco : Chronicle Books, 1988.
Affiches de la Riviera, by Annie de Montry, Françoise Lepeuve & Charles Martini de Chateauneuf. Nice-Matin : Editions Gilletta, 2001.
America for sale : a collector’s guide to antique advertising, by Douglas Congdon-Martin. West Chester, Penn, : Schiffer Publishing Ltd., 1991.
Affiches Sports d’Hiver
American Advertising
Affiches de Sports d’Hiver, by Jean-Daniel Clerc & Jean Charles Giroud. Lausanne: Citadelles & Mazenod, 2014.
American Advertising Posters of the Nineteenth Century, by Mary Black. New York : Dover Publications, 1976.
La Belle Epoque : Belgian posters, watercolors and drawings from the collection of L. WittamerDe Camps, by Yolanda Oostens-Wittamer. New York : Grossman, 1971. The catalogue of the touring exhibition of the Wittamer-De Camps collection.
Affiche Suisse Entre-Deux-Guerres
American Posters
Belle Epoque/Belgique
L’Affiche en Suisse Romande Durant l’EntreDeux-Guerres. Association des Amis de l’Affiche Suisse, 1994.
Posters American style, by Therese Thau Heyman. New York : Harry N. Abrams, 1998.
Affiches Suisses
Apéritif : affiches et réclames, by Thierry Devynck & Béatrice Cornet. Barbentane : Equinoxe, 1998. Catalogue of the exhibition at the Bibliothèque Forney, Paris, October 6-December 5, 1998.
Affiches de la Belle Epoque : 329 documents de la collection L. Wittamer-De Camps à Bruxelles, by Yolande Wittamer. Liège : Imp. Bénard et Centrale Réunies, 1961. Catalogue of the exhibition held at Fraiture-en-Condroz, and organized by L’Association Royale des Demeures Historiques de Belgique, September 9-October 31, 1961.
Art Deco
Berthon & Grasset
Art deco graphics, by Patricia Frantz Kery. New York : Harry N. Abrams, 1986.
Berthon & Grasset, by Victor Arwas. London : Academy Editions; New York : Rizzoli, 1978.
Art Deco/Tokyo
Best 100 Japanese Posters
Art Deco posters, by Masami Shiraishi & Kenji Kaneko. Tokyo : The National Museum of Modern Art, 1995. Catalogue of the exhibition at the National Museum of Modern Art, Tokyo, August 8-October 7, 1995.
Best 100 Japanese Posters, 1945‑1989 : a catalogue of posters collected in celebration of the 90th anniversary of Toppan Printing Co. Tokyo : Toppan Printing Co., 1990.
Art du Biscuit
Inventaire du fonds francais après 1800, ed. by Jean Laren & Françoise Gardey. Paris : M. le Garrac, 1930-1985. Prints from 1800 in the prints department of the Bibliothèque Nationale de France , published in fifteen volumes, from 1930 to 1985 (but ending with the letter “M”).
Absinthe Affiches L'absinthe : les affiches, by Marie-Claude Delahaye. Auvers-sur-Oise : Musée de l'Absinthe, 2002.
Adriani Toulouse-Lautrec : the complete graphic works, by Götz Adriani. London : Thames & Hudson, 1988. The catalogue raisonné, featuring the Gerstenberg collection.
Affiche Art Deco L’affiche Art Deco, by Alain Weill. Paris : Editions Hazan, 2013.
Affiche Miroir L’affiche : miroir du temps, by Eric Kellenberger. Gegins : Foundation Neumann; Blonay : E. Kellenberger, 1995. Catalogue of the exhibition of the collection of Eric Kellenberger.
Affiche Réclame Quand l’affiche faisait de la réclame! : l’affiche Francaise de 1920 à 1940. Paris : Editions de la Réunion des Musées Nationaux, 1991. Catalogue of the exhibition at the Musée National des Arts et Traditions Populaires, Paris. November 12, 1991-February 3, 1992.
Objets-realisme, affiches Suisses: 1905-1950, by Eric Kellenberger. Paris : Bibliothèque Forney, 1982. Catalogue of the exhibition held at the Bibliothèque Forney, Paris, January 22-March 20, 1982.
Affichomanie L’affichomanie : collectionneurs d’affiches, affiches de collection, 1880-1900, by Alain Weill. Paris : Musée de l’Affiche, 1980. Catalogue of the exhibition on the subject of the Postermania of the 1880-1900, held at the Musée de l’Affiche, Paris, January 30-April 30, 1980.
Ailes
1000 affiches de 1890 à nos jours, by Cees W. de Jong, Alston W. Purvis & Martijn F. Le Coultre. [Paris] : Hazan, 2010.
Voici des ailes : affiches de cycles, by Nadine Besse & Paul Fournel. Saint-Etienne : Musée d’art et d’industrie, 2002. Catalogue of the exhibition at the Musée d’Art et d’Industrie, Saint-Étienne, May 3-September 22, 2002.
Affiches Automobiles
Air France
100 ans d’affiches automobiles/100 years of auto posters, by Dominique Dubarry. Paris : Maeght, 1991.
Air France : affiches/posters, 1933-1983, by Jérôme Peignot. Paris : Fernand Hazan, 1988.
Affiches Azur
Air France/Dream
Affiches d’Azur : 100 ans d’affiches de la Côte d’Azur et de Monaco, by Charles Martini de Chateauneuf. Nice : Editions Gilletta, 1992.
Air France posters : making the world dream, by Louis-Jean Calvet and Philippe-Michel Thibault. Paris : Le Cherche-Midi, 2006.
Affiches Belges
Affiches 1000
Apéritif
L’art du biscuit, by Patrick Lefèvre-Utile. Verona : Éditions Hazan, 1995.
Art et Biscuits L’art et les biscuits : la publicité de la firme Lefèvre-Utile de 1897 à 1914, ed. by Georges Herscher. Paris : Editions du Chêne, 1978.
Belle Epoque 1970
Bibliothèque Nationale
Bicycle Posters
Art/Skiing
100 years of bicycle posters, by Jack Rennert. New York : Harper & Row, 1973.
The art of skiing, by Jenny de Gex. New York : Universe Publishing, 2006.
Boissons
Atché
Les boissons : un siècle de réclames, by F. Ghozland. Toulouse : Editions Milan, 1986.
Air France/Fraile
Jane Atché, by Claudine Dhotel-Velliet. Le Pont du Nord, 2009.
Bolaffi/Mele
Affiches Belges/Belgische affiches, by Ph. Minguet. Liège, Belgium : IBM, 1981.
Air France : objets du ciel, by Michel Fraile. Rennes : Ouest-France, 2003.
Auto s’Affiche
Affiches Belle Epoque
Airlines
L’auto s’affiche, by Thierry Favre. Paris : Massin, 2007.
Il tesoro dei magazzini Mele. Torino : Sala Bolaffi, 2007. Catalogue of the December 12, 2007 sale in Torino, Italy.
Affiches “Belle Epoque” : keuze uit de verzamelingen van het Museum Vleeshuis. Antwerpen : Stad Antwerpen, 1979. Catalogue of the exhibition at the Museum Vleeshuis, Antwerp, Belgium, 1979.
Poster art of the airlines, by Don Thomas. Dunedin, Florida : D. Thomas, 1989.
Automobile/Lopez
Alimentaires
Affiches de l’automobile, by Emmanuel Lopez. Paris : Citadelles & Mazenod, 2011.
Embracing an Icon: The Posters of Bernard Villemot, by George & Jeanne Bon Salle. New York: The Poster Art Library, Posters Please, 2015.
Un siecle de reclames alimentaires, by F. Ghozland. Toulouse : Editions Milan, 1984.
Avant Garde
Bouvet
The 20th century poster-design of the avant garde, by Dawn Ades. New York : Abbeville Press, 1984. The catalogue of the exhibition of the Walker Art Center, Minneapolis, 1984.
Bonnard : the complete graphic work, by Francis Bouvet. New York : Rizzoli, 1981.
Affiches d’Aviation Affiches de l’histoire d’aviation, by Gerard Hartmann & Francoise Leloup-Perier (with English-language insert: The history of aviation in posters). Paris : Citadelles & Mazenod, 2009.
Alpes Les Alpes à l’affiche, by Yves Ballu. Grenoble : Editions Glenat, 1987.
Bon Salle
209
BIBLIOGRAPHY (CONTINUED) Broders
Casas/Complete Catalogue
Collective
Design Literacy
Voyages : les affiches de Roger Broders, by Annie de Montry & Françoise Lepeuve. Paris : SyrosAlternatives, 1991.
Ramon Casas Complete Catalogue / Volume 1, by Gabriel Pinos Guirao. Barcelona : Gothsland, 2018.
Design Literacy : Understanding Graphic Design, by Steven Heller and Karen Pomeroy. New York : Allworth Press, 1997.
Broders/Travel
Building the collective : Soviet graphic design 1917‑1937, ed. by Leah Dickerman. New York : Princeton Architectural Press, 1996. Selections from the Merrill C. Berman Collection.
A. M. Cassandre : oeuvres graphiques modernes, 1923-1939, by Anne-Marie Sauvage. Paris : Bibliothèque Nationale de France, 2005. Catalogue of the exhibition at Chaumont, May 21July 23, 2005, and the Bibliothèque Nationale de France, Paris, September 20-Dcember 4, 2005.
Collectionneur Collectionneur d’affiches, edited by Laurence Prod’homme. Paris : Editions Apogé, Musée de Bretagne, 1996.
Das frühe plakat in Europa und den USA. Volume I, British and American Posters. Edited by Ruth Malhotra and Christina Thon. Berlin : Mann Verlag, 1973.
Color Explosion
DFP-II
The Color Explosion / 19th Century American Lithography, by Jay T. Last. Santa Ana, CA : Hillcrest Press, 2005.
Das frühe plakat in Europa und den USA. Volume II, French and Belgian Posters. Edited by Ruth Malhotra, Marjan Rinkleff and Bernd Schalicke. Berlin : Mann Verlag, 1977.
Roger Broders : travel posters, by Alain Weill & Israel Perry. New York : Queen Art Publishers, 2002.
Broido The posters of Jules Chéret : 46 full color plates and an illustrated catalogue raisonné, 2nd ed., by Lucy Broido. New York : Dover, 1992.
Brown & Reinhold The poster art of A. M. Cassandre, by Robert K. Brown & Susan Reinhold. New York : E. P. Dutton, 1979.
Cassandre/BN
Cassandre/Suntory Every face of the great master Cassandre, by Masutani Yoko. Tokyo : Suntory Museum, 1995. Catalogue of the exhibition held at the Suntory Museum, Osaka, Japan, June-August, 1995.
Color Revolution
DFP-I
DFP-III
Le café‑concert : 1870‑1914, by Alain Weill. Catalogue of the poster exhibition at the Musée des Arts Décoratifs, Paris, October 19,1977-January 2, 1978.
Henri Cassiers : 1858‑1944, by Tony Oost, Iris Kockelbergh, et al. Antwerpen : Pandora, 1994. Catalogue of the exhibition at the Vleeshuis Museum in Antwerp, Belgium, April 1-June 12, 1994, and the Katwijks Museum, June 25-September 24, 1994.
The color revolution : color lithography in France 1890-1900, by Philip Dennis Cate & Sinclair Hamilton Hitchings. New Brunswick, N.J. : Rutgers, 1978. Catalogue of the exhibition at Rutgers University Art Gallery, September 10-October 29, 1978; the Baltimore Museum of Art, November 10-December 31, 1978; and the Boston Public Library, May 2-July 1, 1979.
Canadian Pacific
Cataluña
Compagnies Maritimes
Canadian Pacific posters : 1883-1963, by Marc. H. Choko & David L. Jones. Montreal : Meridian Press, 1988.
Cataluña en 1000 carteles : desde los origenes hasta la Guerra Civil, by Jordi Carulla, et al. Barcelona : Postermil, S.L., 1994.
Affiches des companies maritimes, by Gabriele Cadringher & Anne Weallans. Paris : Citadelles & Mazenod, 2008.
Canadian Pacific II
Célébrités
Crauzat
Posters of the Canadian Pacific, by Marc H. Choko & David L. Jones. Richmond Hill [Canada] : Firefly, 2004.
Célebrités à l’affiche, by A. C. Lelieur & R. Bachollet. Lausanne : Edita, 1989.
La Dolcissima
Cappiello
L’oeuvre gravé et lithographié de Steinlen, by E. de Crauzat. Paris : Société de Propogation des Livres d’Art, 1913. Reprinted, San Fransisco : Alan Wofsy Fine Arts, 1983.
Champenois Imprimeur : publicité et vie bourgeoise 1875-1915, by Daniel Bordet. Paris : Editions Dabecom, 2004.
Crouse/Deco
Dorning
The art deco poster, by William Crouse & Alastair Duncan. New York : Vendome Press, 2013.
Power to the Imagination, by Jurgen Dorning. Hirmer Verlag, 2011.
Cutler
Dortu
J.C. Leyendecker : American imagist, by Laurence S. Cutler & Judy Goffman Cutler. New York : Abrams, 2008.
Toulouse-Lautrec et son oeuvre, by M. G. Dortu. New York : Collectors Editions, 1971. In six volumes.
Dance Posters
Driehaus
100 years of dance posters, by Walter Terry & Jack Rennert. New York : Avon Books, 1973.
L’Affichomania : Catalogue of the exhibition at the Driehaus Museum, Chicago, by Jeannine Falino. Chicago: University of Chicago Press, 2017.
Café‑Concert
Cappiello, 1875-1942 : caricatures, affiches, peintures et projets decoratifs, by Claire Frèches-Thory & Réjane Bargiel. Paris : Réunion, 1981. Catalogue of the exhibition at the Galerie Nationale du Grand Palais, Paris, April 3-June 29, 1981.
Cassiers
Champenois
Chanson à l’Affiche La chanson à l’affiche, by Jean-Claude Klein. Paris : Du May, 1991.
Cappiello/Rennert
Chaumont/Exposons
Cappiello : the posters of Leonetto Cappiello, by Jack Rennert. New York : Poster Art Library, Posters Please, Inc., 2004.
Exposons affichons : 300 affiches d’expositions. Paris : Somogy, 1994. Catalogue for the 5th Poster Festival in Chaumont, France; includes a section on “L’Affiche pour l’Affiche” (Posters on Posters) from the Rennert collection.
Cappiello/St. Vincent Leonetto Cappiello : dalla pittura alla grafica, by Raffaele Monti & Elisabeth Matucci. Firenze : Artificio, 1985. Catalogue of the exhibition at the Hotel Billia in Saint-Vincent, Italy, March 30-May 30, 1985.
Caradec‑Weill Le café‑concert, by François Caradec & Alain Weill. Paris : Hachette/Marsin, 1980.
Cardinaux Emil Cardinaux : 1877-1936, by Thomas Bolt. Zürich : Kunstgewerbemuseum, 1985. Catalogue of the exhibition at the Museum für Gestaltung, Zürich, August 21-October 20, 1985.
Cartellisme Catalunya El cartellisme a catalunya, by Enric Jardi & Ramon Manent. Barcelona : Edicions Destino, 1983.
Cartells Catalans Cartells Catalans, ed. by Jesús Giralt I Radigales. Barcelona : Enciclopèdia Catalana, 2007.
Casas Ramon Casas y el Cartel, Barcelona : Marc Marti Publiciutat.
Chemins de Fer 100 ans d’affiches des chemins de fer, by Pierre Belves. Paris : Edition NM–La Vie du Rail, 1980.
Chéret La Belle Epoque de Jules Chéret : de l’affiche au décor, ed, by Réjane Bargiel and Segolène Le Men. Paris : Les Arts Décoratifs, 2010. (Distributed in the U.S.A. by Posters Please, Inc.) Catalogue of the exhibition at the Musée des Arts Décoratifs, Paris, June 23-November 7, 2010.
Chocolate Posters Chocolate posters, by Israel Perry & Alain Weill. New York : Queen Art Publishers Inc., 2002.
Colin 100 posters of Paul Colin, by Jack Rennert. New York : Images Graphiques, 1977.
Colin Affichiste Paul Colin : affichiste, by Alain Weill & Jack Rennert. Paris : Editions Denoel, 1989.
Danish Posters Den Danske plakat, by Lars Dybdahl. Valby, Denmark : Borgen, 1994.
Danish Posters/Privatbanken
Das frühe plakat in Europa und den USA. Volume III, German Posters. Edited by Helga Hollman, Ruth Malhotra, Alexander Pilipczuk, Helga Prignitz and Christina Thon. Berlin : Mann Verlag, 1980.
Discount Posters from the collection of Discount Tires, by Susan Driver. Scottsdale, Ariz. : Reinalt-Thomas Corp., 2007.
Dodge The bicycle, by Pryor Dodge. Paris, New York : Flammarion, 1996.
La dolcissima effigie : manifesti Italiani dell’opera lirica, by Robert Curci & Gianni Cori. Trieste : Ediozioni LINT, 1983.
Duchesne L’affiche en Belgique, by Jean-Patrick Duchesne. Bruxelles : Editions Labor, 1989.
Danish Posters : 1910-1940, by Victoria Dailey & Steve Turner. Los Angeles : Turner Dailey, 1988. Catalogue of the exhibition at the Privatbanken Gallery in New York City, May 19-July 16, 1988.
Enfant
Darracott
Encyclopédie/Weill
The First World War in posters, by Joseph Darracott. New York : Dover Publications, 1974.
Encyclopédie de l’affiche, by Alain Weill. Paris : Hazan, 2011.
Deco Affiches
España
Affiches art deco, by Alain Weill. Paris : InterLivres, 1990.
España en 1000 carteles, by Jordi Carulla & Arnau Carulla. Barcelona : Postermil, 1995.
Delhaye
Femme s’Affiche
Art deco posters and graphics, by Jean Delhaye. London : Academy Editions, 1977.
La femme s’affiche : exposition d’affiches publicitaires, 1843-1990, by P.A. Luginbuuhl. Montreux : Office du Tourisme, 1990. Catalogue of the exhibition of the Kellenberger Collection held in Montreux, June 6-July 8, 1990.
Dellepiane David Dellepiane : peintre, affichiste, illustrateur, by Françoise-Albane Beudon. Marseilles : Editions Parentheses, 1999.
L’enfant dans l’affiche, by Jean-Charles Giroud and Michel Schlup. Neuchatel : Association des Amis de l’Affiche Suisse, 1998.
210
BIBLIOGRAPHY (CONTINUED) Fenneker
Gold
Hohlwein
Karcher
Josef Fenneker 1895-1956. Filmplacate aus der Weimarer Republic, by Gero Gandert. Munich: Catalogue of Exhibition at Goethe Institute, 1990.
First ladies of the poster : the Gold collection, by Laura Gold. New York : Poster Art Library, 1998.
Ludwig Hohlwein, 1874-1949 : kunstgewerbe und reklamekunst, by Volker Duvigneau & Norbert Gota. Munich : Klinkhardt & Bierman, 1996.
Ferrarotti
The golden age of travel posters : 1880-1939, by Alexsis Gregory. London : Cassell, 1998.
Hohlwein/Frenzel
Memoire de la rue : souvenirs d’un imprimeur et d’un afficheur, by Alain Weill. Paris : WM Editions, 1986. (Distributed in the U.S.A. by Posters Please, Inc., New York, with a translation of text and the addition of an index).
Ludwig Hohlwein, ed. by Professor H. K. Frenzel. Berlin : Phönix Illustrationsdruck und Verlag, 1926.
Kauffer
Hohlwein/Stuttgart
E. McKnight Kauffer : a designer and his public, by Mark Haworth-Booth. London : Gordon Fraser, 1979.
I cartelli murali in Italia, 1891-1930 : arte minore o semplicemente arte?, by Virgilio Ferraroti, Dino Villani, Lucilla Ferraroti & Maria Giovanna Vianson. [Italy : s.n., 1981.] Catalogue of the 1981 exhibition.
Golden Age of Travel
Golf L’affiche de golf/Golf posters, by Alexis Orloff. Toulouse : Éditions Milan, 2002.
Fête
Gourmand
Le fête de l’affiche : poster, balocchi e profumi, by Elvio Soleri & Giovanni Gaidano. Torino : Olfatorio, 2010. Catalogue of the exhibition at the Olfattorio Art Gallery, Torino, Italy, April, 2010.
Un voyage gourmand : 60 affiches de gastronomie, by Alain Weill. Paris : Musée-galerie de la SEITA, 1992. Catalogue of the exhibition at the Musée-Galerie de la Seita, Paris, June 11-September 22, 1984.
de Feure Georges de Feure : maitre du symbolisme et de l’art nouveau, by Ian Millman. Paris : ACR Editions, 1991.
Graphic Design/New History
Fit to Print
Graphic Design/Taschen
Fit to print : the newspaper and the poster, by Marc Davidson. Daytona Beach, Fla. : The NewsJournal Corporation, 2004.
The History of Graphic Design, by Jens Müller and Julius Weidermann. Koln : Taschen, 2017.
Flagg
Graphic style : from Victorian to post-modern, by Steven Heller & Seymor Chwast. London : Thames and Hudson, 1988.
James Montgomery Flagg, by Susan E. Meyer. New York : Watson-Guptill Publications, 1974.
Graphic Design : A New History, by Stephen J. Eskilson. New Haven : Yale University Press, 2019.
Graphic Style
Fly Now
Graphicar
Fly Now: The Poster Collection of the Smithsonian National Air & Space Museum. Washington, D.C. : National Geographic, 2007
Graphicar, by Claudio Bertieri. Milano : Fratelli Fabbri, 1976.
Folies-Bergère 100 years of posters of the Folies Bergère and music halls of Paris, by Alain Weill. New York : Images Graphiques, 1977.
French Opera French opera posters : 1868-1930, by Lucy Broido. New York : Dover, 1976.
Grasset Eugène Grasset, 1845-1917 : l’art et l’ornement, by Catherine Lepdor. Milan : 5 Continents, 2011. Catalogue of the exhibition at Musée Cantonal des Beaux-Arts de Lausanna, March 18-June 13, 2011.
Graven Images Graven Images, edited by Borst, Burns, and Adams. New York : Grove Press, 1992.
Ludwig Hohlwein : plakate der jahre 19061940, by Christian Schneegass. Stuttgart : Staatsgalerie, 1985. Catalogue of the Hohlwein exhibition at the Staatsgalerie Stuttgart, March 2-April 21, 1985.
Image de Mer
Khachadourian
Images of an Era
Kunst Kommerz Visionen
Images of an era : the American poster, 19451975, by John Garrigan. Washington, D.C. : National Collection of Fine Arts, 1975. Catalogue of the exhibition at the Corcoran Gallery of Art, Washington, D.C., November 21, 1975-January 4, 1976.
Kunst! Kommerz! Visionen! Deutsche Plakate 1888-1933, ed. by Hellmut Rademacher and René Grohnert. Heidelberg : Edition Braus, 1992. Catalogue of the exhibition at Deutsches Historisches Museum, Berlin, May 16-August 18, 1992.
Imperial War Museum I
Kunstlerplakat
First World War Posters: The Imperial War Museum, by Joseph Darrecott and Belinda Loftus. London: The Corwin Press, 1972.
Kunsterplakat, by Jurgen Doring. Hamburg : Museum fur Kunst und Gewerbe, Edition Braus, 1998.
Iskin
Lauder
The Poster, by Ruth E. Iskin. Hannover, New Hampshire: Dartmouth College Press, 2014.
L’Italia che cambia : attraverso i manifesti della raccolta salce, ed. by Pepa Sparti. Firenze : Artificio, 1989.
American art posters of the 1890s in the Metropolitan Museum of Art : including the Leonard A. Lauder Collection, by David W. Kiehl, Phillip Dennis Cate & Nancy Finlay. New York : Metropolitan Museum of Art, 1987. Catalogue of the exhibition of the Metropolitan Museum of Art, New York, October 22, 1987–January 10, 1988.
Ives
L’Auvergne L’Auvergne en affiches, by Alan Weill. Thiers : Page Centrale, 2016.
Ivan Lendl : Alfons Mucha, by Jack Rennert & Karel Srp. Bratislava : Nakladatelství, 2013.
Italia che Cambia
Frivoli
Jules-Alexandre Grün : the posters/les affiches, by Alain Weill & Israel Perry. New York : Queen Art Publishers, 2005.
I manifesti frivoli/Popular posters, by Nicoletta Citrini. Milano : BE-MA Editrice, 1987.
Haring
Gagel
Keith Haring: Editions on Paper 1892-1990. Stuttgart : Edition Cantz, 1993.
Japanese Affiches
Haring Posters
Japanese Affiches: Modern Posters of Japan. Dai Nippon Printing Co., Ltd., Blondie N.V., 1989.
Keith Haring – Posters, by Jürgen Döring and Claus von der Osten. Munich/New York: Prestel, 2019.
Josephine Baker
Toulouse-Lautrec : a life, by Julia Frey. New York : Viking Penguin, 1994.
Studien zur motivgeschichte des Deutschen plakats 1900-1914, by Hanna Gagel. Berlin : Omnia-Organisations, 1971. Doctoral thesis at Freien Universität Berlin.
Genevoise L’affiche artistique Genevoise : 1890-1950, by Jean-Charles Giroud. Genève : Bibliothèque Publique et Universitaire, 1991.
Grün
Handlebars/Joystick
Charles Gesmar : 1900-1928, by Angelo Luerti, Milano : Luerti, 2009.
Du guidon au manche a balai : affiches du Musée Mational du Sport de France/From handlebars to joystick : posters from the French Sport Museum, by Jean Durry. Lausanne : Musée Olympique, 2001. Catalogue of the exhibition at the Musée Olympique, Lausanne, March 8-June 17, 2001.
Glaser/Manifesti
Health Posters
I manifesti di Milton Glaser, by Cristina Taverna, Jean-Michel Folon, Steven Heller, Andrea Rauch & Giorgio Soavi. Milano : Edizioni Nuages, 1989.
Posters of health, by Marine Robert-Sterkendries. Brussels : Therabel Pharma, 1996.
Glaser Posters
Health for Sale : Philadelphia Museum of Art, Posters from the William H. Helfand Collection, 2011.
Gesmar
Milton Glaser Posters / 427 Examples from 19652017. New York : Abrams, 2017.
Helfand
Kauft bücher! : verlagsplakate um die jarhhundertwende, by Herbert Fleissner. Dortmund : Harenberg, 1982.
L’image de la mer, by Alain Weill. Paris : U.C.A.D., 1984. Catalogue of the exhibition held at the Musée de la Publicité, February 15-April 30, 1984.
Pierre Bonnard : the graphic art, by Colta Ives, Helen Giambruni & Sasha M. Newman. New York : Harry N. Abrams, 1989. Catalogue of the exhibition at the Metropolitan Museum of Art, New York, December 2, 1989-February 4, 1990; The Museum of Fine Arts, Houston, February 25-April 29, 1990; and the Museum of Fine Arts, Boston, May 25-July 29, 1990.
Frey
Kauft Bücher
Motoring : the golden years, a pictorial anthology : the Khachadourian Gallery, by Rupert Prior. London : Morgan Samuel Editions, 1991.
Le Coultre A century of posters, by Martin F. Le Coultre & Alston W. Purvis. Burlington, VT : Lund Humphries, 2002.
Lendl/Prague
Leupin
Josephine Baker, by Bryan Hammond & Patrick O’Connor. London : Jonathan Cape Ltd, 1988.
Herbert Leupin : plakate, bilder, graphiken, by Karl Lüönd & Charles Leupin. Basel : Friedrich Reinhardt, 1995.
Josephine Baker: Image & Icon
Leyendecker
Josephine Baker : image & icon, ed. by Olivia Lahs-Gonzales. St. Louis : Reedy Press, 2006. Book of the exhibition at the Sheldon Art Galleries in St. Louis and the Portrait Gallery of the Smithsonian Institution, Washington, DC, April 28-August 26, 2006.
J. C. Leyendecker, by Michael Schau. New York : Watson-Guptill Publications, 1974.
Joyant Henri de Toulouse-Lautrec, by Maurice Joyant. Paris : H. Floury, 1927. In two volumes.
Livemont Privat Livemont : entre tradition et modernité au Coeur de l’Art nouveau, 1861-1936, by Benoit Schoonbroodt. Bruxelles : Editions Racine, 2007.
Livre de l’Affiche Le livre de l’affiche/The book of the poster, by Réjane Bargiel-Harry & Christophe Zagrodzki. Paris : Editions Alternatives, 1985.
211
BIBLIOGRAPHY (CONTINUED) Loïe Fuller
Meisterplakate
Musée d’Affiche
Plakate München
Loïe Fuller : magician of light, by Margaret Haile Harris. Richmond, Va. : TheVirginia Museum, 1979. Catalogue of the exhibition at the Virginia Museum, Richmond, March 12-April 22, 1979.
Franzosische Meisterplakate un 1900, by Hermann Schardt & Karl Heinz Feuerstein. Essen, Germany : Webels, 1968. Catalogue of the exhibition of the posters of the Sammlung der Folkwangschule für Gestaltung at the Villa Hugel, Essen, Germany, held November 12-December 15, 1968.
Trois siècles d’affiches francauses : 1ère exposition du Musée de l’Affiche/Three centuries of French posters, by Alain Weill & Réjane Bargiel. Paris : Muséee d’Affiche, 1978. Catalogue for the inaugural exhibition at the Musée d’Affiche, Paris, 1978.
Plakate in München 1840-1940 : eine documentation zu geschichte und wesen des plakats in München, by Gude SuckaleRedlefsen & Volker Duvigneau. München : Stadtmuseum, 1975. Catalogue of the exhibition at the Münchner Stadtmuseum, October 16, 1975-January 6, 1976.
Mele
Nectar comme Nicolas, by Alain Weill. Paris : Editions Herscher, 1986.
Looping the Loop Looping the loop : posters of flight, by Henry Serrano Villard & Willis M. Allen, Jr. San Diego, Calif. : Kales Press, 2000.
Loupot/Forney Loupot: Peintre en Affiche. Catalogue of the 2018 exhibition at Bibliothèque Forney, Paris. Edited by Thierry Devynck.
I manifesti Mele : immagini aristocratiche della “belle époque” per un pubblico di Grandi Magazzini, by Mariantonietta Picone Petrusa. Milano : A. Mondadori, 1988. Catalogue of the exhibition at the Museo Diego Aragona Pignatelli Cortes, Napoli, October 22-November 30, 1988.
Nectar/Nicolas
Ogé
Charles Loupot : l’art de l’affiche, by Christophe Zagrodzki. Paris : Le Cherche-Midi, 1998. (American distributor: Posters Please Inc., New York)
Menegazzi-I
Eugène Ogé, affichiste : 1861-1936, by AnneClaude Lelieur & Raymond Bachollet. Paris : Agency Culturelle, 1998. Catalogue of the exhibition at the Bibliothèque Forney, Paris, May 26-August 1, 1998.
Il manifesto Italiano : 1882-1925, by Luigi Menegazzi. Milan : Electa Editrice, 1975.
Olympics
Maindron, 1896
Menegazzi-II Il manifesto Italiano, by Luigi Menegazzi. Milan : Arnoldo Mondadori Arte, 1989 (revised edition).
L’olympisme par l’affiche/Olympism through posters : 1896-1984, by Monique Berlioux. Lausanne : International Olympic Committee, 1983.
Loupot/Zagrodzki
Les Affiches Illustrees (1886-1895), by Ernest Maindron. Paris : G. Boutdet, 1896.
Maitres Les maitres de l’affiche : 1896-1900, by Roger Marx. Paris : Imprimerie Chaix, 1896-1900. Reprinted as Masters of the poster l896-1900, New York : Images Graphiques, 1977, and The complete ‘Masters of the poster,’ New York : Dover Publications, 1990.
Manifesti Italiani Manifesti Italiani : dall’art nouveau al futurismo, 1895-1940, by Giampiero Mughini & Maurizio Scudiero. Milano : Ricordi, 1997. Posters of the Massimo & Sonia Cirulli Collection.
Manifesti Posters/Advertising Manifesti Posters: Irony, Imagination and Eroticism in Advertising, 1895-1960, by Dario Cimorelli. Spa: Silvana Editoriale, 2010.
Manifesti Posters/Eat & Drink Manifesti Posters/Eat & Drink in Italian Advertising 1890-1970 by Mario Piazza & Alessandro Bellenda. Milano : Silvana Editoriale, 2014.
Mer s’Affiche La mer s’affiche, by Daniel Hillion. Rennes : Editions Ouest-France, 1990.
Metlicovitz e Dudovich
PAI Books of the auctions organized by Poster Auctions International, Inc. from PAI-I (March 9, 1985) to PAI-LXXXII (November 15, 2020).
Plakatkunst Plakatkunst von Toulouse-Lautrec bis Benetton, by Jürgen Döring. Hamburg : Edition Braus und Museum für Kunst und Gewerbe, 1994.
Poitou-Charentes Poitou-Charentes, by Arthur Saizeau and JeanMichel Saizeau. Toulouse : Editions Privat, 2007.
Poselství Ulice Poselství ulice, by Josef Kroutvor. Prague : Comet, 1991.
Posters of Paris Posters of Paris : Toulouse-Lautrec & his contemporaries, by Mary Weaver Chapin. New York : Delmonico, 2012. Catalogue of the exhibition at the Milwaukee Art Museum, June 1-September 9, 2012.
Price
Metlicovitz e Dudovich : due cartellonisti del ‘900 dalla Raccolta Bertarellil di Milano, by Giovanna Ginex. Milano : Skira, 2002. Catalogue of the exhibition held at Paicenza, ex Centrale Elettrica Emilia, April 24-June 23, 2002.
Paradis
Meunier Georges Meunier : affichiste, 1869-1942. Paris : Société des Amis de la Bibliothèque Forney, 1978. Catalogue of the exhibition at Bibliothèque Fourney, Paris, May 25-July 1, 1978.
Designed to persuade : the graphic art of Edward Penfield, by David Gibson. Yonkers, N.Y. : Hudson River Museum, 1984. Catalogue of the exhibltion at The Hudson River Museum, Yonkers, New York, May 20-July 15, 1984.
Modern Dutch Poster
Perier
Publicité
The modern Dutch poster : the first fifty years, 1890-1940, by Marcel Franciscono. Cambridge, Mass. : MlT Press, 1987.
Ils s’envolèrent, by Jacques Perier & Françoise Leloup-Perier. Catalogue of the exhibition held at LeBourget from the collection of Jacques Perier on the 100th Anniversary of the Fédération Aéronautique Internationale, October 2005.
Affiches de la Publicité, by Emmanuel Lopez. Paris : Citadelles & Mazenod, 2013.
Modern Poster
Paradis à vendre : un siècle d’affiches touristiques Suisses, ed. by Jean-Charles Giroud & Michel Schlup. Geneva : Patrick Cramer Editeur, 2005.
Penfield
Posters, by Charles Matlack Price. New York : George W. Bricka, 1913.
Publicidad La publicidad en 2000 carteles, by Jordi Carulla & Arnau Carulla. Barcelona : Postermil, 1998. In two volumes.
Publicità Montagna La publicità va in montagna, ed. by Leonardo Acerbi. Aosta : Art Point Liberia Antiquaria, 2006.
Rademacher
Perpignan
Masters of German art, by Hellmut Rademacher. New York : October House, 1966 (Original German edition published in 1965 by Edition Leipzig).
Perpignan: Capitale Touristique, by Eric Forcada. Office de tourisme de la Ville de Perpignan, 2009.
Rawls
Monaco
Persuasive Images
American poster renaissance, by Victor Margolin. New York : Watson-Guptill Publications, 1975.
Gand Prix Automobile de Monaco posters : the complete collection: the art, the artists and the competition, by William W. Crouse. New York : Crouse, 2009.
Persuasive Images: Posters of War & Revolution, by Peter Paret, Beth Irwin Lewis, and Paul Poret. Princeton University Press, 2010.
Wake up, America : World War I and the American poster, by Walton Rawls. New York : Abbeville Press, 1988.
Martini & Rossi
Montagne
Da Dudovich a Testa: L’Illustratione Pubblicitaria della Martini & Rossi. Lucca: Titania Edritice, 1996.
La montagne s’affiche, by Daniel Hillion. Rennes : Editions Ouest-France, 1991.
La petite reine : le vélo en affiches à la fin du XIXeme, by Réjane Bergiel. Paris : Musée de l’Affiche, 1979. Catalogue exhibition held at Musée de l’Affiche, Paris, May 31-September 23, 1979.
Marx
A. M. Cassandre, by Henri Mouron. New York : Rizzoli, 1985.
Margadant Das Schweizer plakat/The Swiss poster : 19001983, by Bruno Margadant. Basel : Birkhaus Verlag, 1983.
Margolin
Bonnard : lithographie, ed. by Claude Roger-Marx. Monte Carlo : Éditions du Livre, 1952.
Masters 1900 Masters of the poster 1900, by Alan Weill. Paris : Bibliothèque de l’Image, 2001.
The modern poster, by Stuart Wrede. New York : Museum of Modern Art, 1988. Catalogue of the exhibition at the Museum of Modern Art, New York, June 6-September 6, 1988.
Mouron
Mucha/Art Nouveau Alphonse Mucha : the spirit of art nouveau, by Victor Arwas, Jana A. Brabcová-Orlíková & Anna Dvorák. Alexandria, Va. : Art Servicse International, 1998. Catalogue of the traveling exhibition.
Petite Reine
Piatti Celestino Piatti, by Manuel Gasser. Zürich : ABC Verlag, 1979.
Reims Exposition d’affiches artistiques Françaises et étrangères, modernes et retrospectives, by Alexandre Henriot. Reims : Impr. Coopérative de Reims, 1896. Catalogue of the exhibition at the Cirque De Reims, November 7-17, 1896. Reissued in a numbered edition of l,000 copies by the Musée de l’Affiche in 1980.
Rennert/Weill
Pierrot
Alphonse Mucha : the complete posters and panels, by Jack Rennert & Alain Weill. Boston : G. K. Hall, 1984.
Les 100 plus belles images de Pierrot, by Daniel Bordet. Paris : Editions Dabecom, 2003.
Resnick
Plakat Schweiz Das plakat in der Schweiz, by Willy Rotzler, Fritz Schärer & Karl Wobmann. Zurich : Edition Stemmle, 1990.
The American image : U.S. Posters from the 19th to the 20th century, by Mark Resnick & R. Roger Remington. Rochester, N.Y. : RIT, 2006. Catalogue of the exhibition of posters from the collection of Mark and Maura Resnick at the Bevier Gallery, Rochester Institute of Technology, Rochester, New York, September 9-October 11, 2006.
212
BIBLIOGRAPHY (CONTINUED) Rickards
Stoecklin
Theaterplakate
Wagons-Lits
Posters of the First World War, by Maurice Rickards. New York : Walker & Company, 1968.
Theaterplakate : ein internationaler historischer uberblick, by Hellmut Rademacher. Leipzig : Edition Leipzig, 1990.
Grafica Ricordi : dal manifesto storico all produzione d’avanguardia, by Giovanni Sangiorgi, Giorgia Mascherpa & Giulia Veronesi. Roma : Ente Premi, 1967.
Niklaus Stoecklin : 1896-1982, by Bruno Halder. Basel : Gewerbemuseum, 1986. Catalogue of the retrospective exhibition at the Gewerbemuseum, Museum für Gestaltung, Basel, April 15-June 1, 1986; Kunstgewerbemuseum, Museum für Gestaltung, Zürich, June 18-August 3, 1986; and the Deutsches Plakat Museum, Essen, December 12, 1986-February 1, 1987.
Theofiles
125 jahre Internationale SchlafwagenGesellschaft : die luxuszüge, geschichte und placate/125 years International Sleeping Car Company, by Albert Mühl & Jürgen Klein. Freiburg : EK-Verlag, 1998.
American posters of World War I, by George Theofiles. Dafran House, New York.
Wagons-Lits II
Salon des Cent
Stoecklin/Plakate
Timeless Images
Le Salon des Cent, 1894-1900 : affiches d’artistes, by Jocelyne Van Deputte. Paris : ParisMusées, 1994. Catalogue of the exhibition held at the Musée Carnavalet, Paris, 1995.
Niklaus Stoecklin : Plakate und angewandte Graphik, by H. P. His and A. Hernandez. Basel : Pharos Verlag, 1966.
Timeless images, by Jack Rennert. Tokyo : Isetan Museum of Art, 1984. Catalogue of the exhibition at the Isetan Museum of Art, Tokyo, October 1023, 1984.
Traveling in luxury (revised and expanded), by Albert Mühl & Jürgen Klein. Freiburg, EK-Verlag, 2006.
Salon des Cent/Neumann
Suez
Toujours Plus Haut
Et l’au-fela de Suez, by Bernard Delvaille. Marseille : André Dimanche Editeur, 1987.
Toujours plus haut : affiches aviation, by FrançoisRégis Gastou & Laurence Berasategui-Couranjou. Paris : Chorus, 2004. Catalogue of the aviation poster exhibitions at the Centre de l’Affiche, Toulouse, France, Spetember 2004-August 2005.
Ricordi
Les affiches du Salon des Cent, by Helen Biri Thomson, Patricia Eckert Boyer, Jocelyne van Deputte & Edith Carey. Gingins : Fondation Neumann, 1999. Catalogue of the exhibition sponsored by the Foundation Neumann at the Musée de Pont-Aven, Paris, Jannuary 31, 2000, and the Musée des Arts Decoratifs de Bordeaux, May 17-August 19, 2001.
Santé La santé s’affiche, by Marine Robert-Sterkedries. Bruxelles : Thérabel, 2003.
Schardt
Swiss 1941-1965 Schweizer plakatkunst, by Hans Pete Tschudi. Zurich : Verlag der Visualis, 1968. The best Swiss posters of 1941-1965 with the Certificate of Honor of the Federal Department of the Interior.
Swiss/Basel Swiss posters from historism to computer design : 450 selected works from the Basel Poster Collection, by Rolf Thalman. Osaka : Toho Shuppan 2004.
Paris 1900, by Hermann Schardt. New York : Putnam’s Sons, 1970; reprinted New York : Portland House, 1987. (Originally published as Paris l900: Französiche plakatkunst, Stuttgart : Belser Verlag, 1968).
Swiss Poster Art
Schermi di Carta
Swiss Posters
Schermi di carta : la collezione di manifesti del Museo Nazionale del Cinema di Torino, ed. by Paolo Bertetto. Torino : Edizioni d’Arte Fratelli Pozzo, 1995.
50 ans : affiches suisses preimées par le Départment Fédéral de l’Intérieur. Bern : KummerIy & Frey, 1991.
Schindler
Conquering the skies in Swiss poster art, by JeanCharles Giroud. Geneva : Patrick Cramer, 2008.
Monografie des plakats, by Herbert Schindler. Munich : Süddeutscher Verlag, 1972.
Schoonbroodt Privat Livemont : entre classicisme et art nouveau, by Benoit Schoonbroadt. Bruxelles : C.I.D.E.P., 2003.
Schweizer Hotel
Schweizer plakatkunst/Swiss poster art, ed. by Wolfgang Luthy, and published in German, French and English. Zurich : Verlag der Visualis, 1968. [IS THIS SAME AS SWISS 1941-1965?]
Swiss Skies
Swiss Sport Swiss sport posters : historical view of the best Swiss competition posters, by Karl Wobmann & Max Triet. Zurich : ABC Verlag, 1983.
Swiss Winter Posters
Tourism/Suntory
Warhol Posters Andy Warhol: The Complete Commissioned Posters, 1964-1987, by Paul Maréchal. Munich: Presetel Verlag, 2014.
Weill The poster : a worldwide survey and history, by Alain Weill. Boston : G.K. Hall, 1985.
Weill/Art Nouveau The Art Nouveau Poster, by Alain Weill. Francis Lincoln Limited, 2015.
Tourism in posters, by Keiko Ueki, Alain Weill & Yukie Takeuchi. Osaka : Suntor Museum, 1997. Catalogue of the exhibition at the Suntory Museum, Osaka, September 10-October 26, 1997.
L’Affiche Art Deco, by Alain Weill. Paris: Editions Hogan, 2013.
Train à l’Affiche
Wember
Le train à l’affiche : les plus belles affiches ferroviaires française, by Florence Camard & Christophe Zagrodzki. Paris : La Vie du Rail, 1989.
Die jugend der plakate : 1887-1917, by Paul Wember. Krefeld : Scherpe Verlag, 1961.
Transatlantiques Transatlantiques, by Clemence Ducrois and Alan Marshall. Lyon : Musée de Imprimerie, 2013.
Posters of the Belle Epoque : the Wine Spectator collection, by Jack Rennert. New York : The Wine Spectator Press, 1990.
Travel by Train
Wittrock
Travel by train : the American railroad poster, 1870-1950, by Michael E. Zega & John E. Gruber. Bloomington : Indiana University Press, 2002.
Toulouse-Lautrec : the complete prints, by Wolfgang Wittrock. London : Sotheby’s, 1985.
Ungerer Posters
Touristikplakate der Schweiz/Tourist posters of Switzerland, by Karl Wobmann & Willy Rotzler. Aarau : AT Verlag, 1980.
The poster art of Tomi Ungerer, by Jack Rennert. Greenwich, Conn. : Darien House/New York Graphic Society, 1971.
V&A The power of the poster, by Margaret Timmer. London : V & A, 1998. Catalogue of the exhibition at the Victoria & Albert Museum, London, April 2-July 26, 1998.
Weill/Art Deco
Wine Spectator
Wobmann
Word & Image Word and image : posters from the collection of the Museum of Modern Art, by Mildred Constantine & Alan Maxwell Fern. New York : New York Graphic Society & the Museum of Modern Art, 1968. Catalogue of the exhibition at the Museum of Modern Art, New York, January 25-March 10-1968.
Schweizer Hotelplakate : 1875-1982, by Karl Wobmann. Luzern : Biregg Verlag, 1982.
A century of Swiss winter sports posters, by Jean-Charles Giroud. Geneva : Patrick Cramer, 2006.
Seita
Tabac
Les affiches de Villemot, by Jean François Bazin. Paris : Denoël, 1985.
Années 30, 40, 50 : graphismes et créations Seita, by Marie-Claire Adès & Jean-Hugues Piettre. Paris : Musée-galerie de la Seita, 1988. Catalogue of the exhibition of the Musée-Galerie de la Seita, Paris, June 22-September 3, 1988.
Les pubs qui ont fait un tabac, by F. Ghozland. Toulouse : Editions Milan, 1989.
Villon
Takashimaya
Jacques Villon : les estampes et les illustrations, by Colette de Ginestet & Catherine Pouillon. Paris : Arts et Métiers Graphiques, 1979.
Yokoo/Graphic Works
Voyage
Yokoo/Paris
L’invitation au voyage, by Alain Weill. Paris : Somogy, 1994.
Tadanori Yokoo. Paris : UCAD, 1983. Catalogue of the exhibition at the Musée de la Publicité, Paris, October 26, 1983-January 16, 1984.
Spectacle Les arts du spectacle en France : affiches iIllustrées, 1850-1950, by Nicole Wild. Paris : Bibliothéque Nationale, 1976. Catalogue of the Bibliothèque de l’Opera (part of the Bibliothèque Nationale).
The poster : 1865-1969. Tokyo : Nihon Terebi Hosomo Kabushiki Kaisha, 1985. Catalogue of the exhibition largely of posters from the Deutsches Plakat Museum of Essen, Germany, at the Takashimaya Art Gallery, Nihonbashi, Tokyo, April 18-May 7, 1985.
Le Tennis
Sport à l’Affiche
Le tennis à l’affiche : 1895‑1986, by Jean‑Pierre Chevallier. Paris : Albin Michel, 1986.
Sport à l’affche, by Jean Durry. Paris : Editions Hoebeke, 1988.
Tennis Posters
Sportissimo
Il tennis nel manifesto/Tennis posters, by Beppe Russotto. Torino, Italy : Giulio Bolaffi, 2006.
Sportissimo : cent ans de grandes et petites histoires du sport, by Françoise Laget & Serge Laget. Paris : Editions du Chêne, 1996.
Villemot
Wagner Toulouse-Lautrec and his contemporaries : posters of the Belle Epoque from the Wagner collection, by Ebria Feinblatt & Bruce Davis. Los Angeles : Los Angeles County Museum of Art, 1985. Catalogue of the exhibition at the Los Angeles County Museum of Art, April 9-June 16, 1985.
Yokoo 100 posters of Tadanori Yokoo, by Koichi Tanikaw. New York : Images Graphiques, 1978.
Tadanori Yokoo : all about Tadanori Yokoo and his graphic work. Tokyo : Kodansha, 1989.
Yokoo’s Posters Tadanori Yokoo’s posters : IDEA special issue. September 1994 special issue of IDEA Magazine, Tokyo.
CONDITIONS OF SALE
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The Conditions of Sale in this catalogue, as it may be amended by any posted notice during the sale, constitutes the complete terms and conditions under which the items listed in this catalogue will be offered for sale. Please note that the items will be offered by us as agent for the consignor. Every potential buyer should read these Conditions of Sale and it will be agreed, acknowledged and understood by such buyer that said buyer has consented to each and every term and condition as set forth herein. 1. Authenticity and Terms of Guarantee.
3. Transfer of title and property.
For a period of five years from the date of this sale, Poster Auctions International, as agent, warrants the authenticity of authorship of all lots contained in this catalogue as described in the text accompanying each lot.
Upon the fall of the auctioneer’s hammer, title to the offered lot shall pass to the highest bidder, who may be required to sign a confirmation of purchase; and, shall be required to pay the full purchase price. The purchaser shall assume full risk and responsibility for the lot purchased upon the fall of the auctioneer’s hammer. Poster Auctions International, at its option, may withhold delivery of the lots until funds represented by check have been collected or the authenticity of bank or cashier checks has been determined. No purchase shall be claimed or removed until the conclusion of the sale. In the event Poster Auctions International shall, for any reason whatsoever, be unable to deliver the lots purchased by the buyer, its liability shall be solely limited to the rescission of the sale and refund of the purchase price and purchaser’s premium.
This warranty and guarantee is made only within the five year period and only to the original buyer of record who returns the purchased lot in the same condition as when sold to said buyer; and, it is established beyond doubt that the identification of authorship, as set forth in the description in this catalogue as may have been amended by any posted signs or oral declarations during the sale, is not correct based on a reasonable reading of the catalogue and the Conditions of Sale herein. Any dispute arising under the terms in this paragraph will be resolved pursuant to final and binding arbitration at the American Arbitration Association. Upon a finding by an Arbitrator in favor of buyer, the sale will be rescinded and the original purchase price, including the buyers premium, will be refunded. In such case, Poster Auctions International and the purchaser shall be deemed released of any and all claims that each may otherwise have had against the other arising out of the sale of such item. The benefits of any warranty granted herein are personal to the buyer and are not assignable or transferable to any other person, whether by operation of law or otherwise. Any assignment or transfer of any such warranty shall be void and unenforceable. The purchaser refers only to the original buyer of the lot from Poster Auctions International and not any subsequent owner, assignee, or other person who may have or acquire an interest therein. It is understood, in the event of disputed authenticity of authorship of any lot results in a rescission of the sale and restitution of the original price and premium paid by such purchaser, stated aforesaid, such restitution is buyer’s sole remedy and Poster Auctions International disclaims all liability for any damages, incidental, consequential or otherwise, arising out of or in connection with any sale to the buyer. Poster Auctions International has provided as much background information for each item listed in this catalogue as possible and has made reasonable efforts to insure the accuracy of the descriptions provided; but Poster Auctions International disclaims any warranty with regard to such descriptions and statements which accompany the listings in this catalogue, including but not limited to, the year of publication, the size, the condition, the printer, the references or any other background information or fact. Accordingly, buyer has due notice that any such information and/or descriptions cannot and will not be considered as material facts to this transaction and will not affect any sales herein.
On the fall of the gavel, THE SALE IS FINAL. All items are sold AS IS. The consignor warrants good title to the buyer. Poster Auctions International and the consignor make no representations or warranty that the buyer acquires any reproduction rights or copyright in items bought at this sale. Any statements made by Poster Auctions International, whether in this catalogue or by its officers, agents or employees, whether oral or written, are statements of opinion only and not warranties or representations of material facts as to each and every transaction herein. 2. Auctioneer’s Discretions. Poster Auctions International has absolute discretion to divide any lot, to combine any of them, to withdraw any lot, to refuse bids and to regulate the bidding. Poster Auctions International reserves the right to withdraw lots at any time prior to or during the sale. The highest bidder acknowledged by the auctioneer will be the purchaser of the lot. Any advance made on an opening bid may be rejected if the auctioneer deems it inadequate. In the event of any dispute between bidders, or in the event of doubt as to the validity of any bid, the auctioneer shall have the final decision either to determine the successful bidder or to re-offer and re-sell the lot in dispute. If any dispute arises after the sale, the auctioneer’s sale record shall be deemed the sole and conclusive evidence as to the purchaser of any lot or item.
Poster Auctions International disclaims all liability for damages, incidental, consequential or otherwise, arising out of its failure to deliver any lots purchased. Poster Auctions International does not charge extra or sell separately any frame if a poster is so offered; but it is clear that it is the poster and not the frame which is being offered for sale. Poster Auctions International shall not be responsible for any damage to the frame or to any poster within the frame. Generally, framed posters offered for sale were received framed, photographed that way, and Poster Auctions International can make no warranty or representations regarding the condition of the poster in unseen areas of any such frame. All items are sold strictly as is and the purchaser assumes full risk and responsibility for the purchased lot upon the fall of the hammer, as stated aforesaid. All lots shall be paid for and removed at the purchaser’s risk and expense by noon of the second business day following the sale. Lots not so removed will, at the sole option of Poster Auctions International and at purchaser’s risk and expense, be stored at Poster Auctions International’s office or warehouse or delivered to a licensed warehouse for storage. Purchaser agrees, in either event, to pay all shipping, handling and storage fees incurred. In the case of lots stored at Poster Auctions International’s own warehouse, the handling and storage fee will be an amount equal to 2% of the purchase price for each such lot, per month, until removed, with a minimum charge of 5% for any property not removed within thirty days from the date of the sale. In addition, Poster Auctions International shall impose a late charge, calculated at the rate of 2% of the total purchase price per month, if payment has not been made in accordance with these Conditions of Sale. Poster Auctions International may, on the day following the sale, remove all unclaimed items in their offices or warehouse. Unless purchaser notifies Poster Auctions International to the contrary, purchaser agrees that Poster Auctions International may, at its discretion, use purchaser’s name as buyer of the item sold. If the purchaser fails to comply with one or more of these Conditions of Sale, then, in addition to any and all other remedies which it may have at law or in equity, Poster Auctions International may, at its sole option, cancel the sale without notice to the buyer. In such event, Poster Auctions International shall retain as liquidated damages all payments made by the purchaser, or sell the item and/or lots and all other property of the purchaser held by Poster Auctions International, without notice. Such liquidation sale shall be at standard commission rates, without any reserve. The proceeds of such sale or sales shall be applied first to the satisfaction of any damages occasioned by the purchaser’s breach, and then to the payment of any other indebtedness owing to Poster Auctions International, including, without limitation, commissions, handling charges, the expenses of both sales, reasonable attorneys fees, collection agency fees, and any other costs or expenses incurred thereunder. The purchaser here by waives all the requirements of notice, advertisement and disposition of proceeds required by law, including those set forth in New York Lien Law, Article 9, Sections 200-204 inclusive, or any successor statue, with respect to any sale pursuant to this section. 4. Buyer’s Premium. A premium of 20% (23% for online bidding; 25% for online bidding through Invaluable/Auction Zip) will be added to the successful bid price of all items sold by Poster Auctions International. This premium shall be paid by all purchasers, without exception.
214 5. Order Bids. Poster Auctions International shall make reasonable efforts to execute bids for those not able to attend the auction; and act on the prospective purchaser’s behalf to attempt to purchase the item desired at the lowest price possible, up to the limit indicated by purchaser in writing as if the purchaser were in attendance. Poster Auctions International shall not be responsible for any errors or omissions in this matter. Poster Auctions International reserves the right not to bid for any such purchaser if the order is not clear; does not arrive in sufficient time; the credit of the purchaser is not established prior to the sale; or, for any other reason in its sole discretion. An Order Bid Form shall be provided on request. 6. Sales Tax. Unless exempt by law, prior to taking possession of the lot, the purchaser shall be required to pay the combined New York State and local sales tax, or any applicable compensating tax of another state, on the total purchase price. 7. Packing and shipping. Packing and/or handling of purchased lots by Posters Auctions International is performed solely as a courtesy for the convenience of purchasers. Unless otherwise directed by purchaser, packing and handling shall be undertaken at the sole discretion of Poster Auctions International. Poster Auctions International, at its sole discretion as agent of the purchaser, shall instruct an outside contractor to act on its behalf and arrange for or otherwise transport purchased lots. Charges for packing, handling, insurance and freight are payable by the purchaser. Poster Auctions International shall make reasonable efforts to handle purchases with care, but assumes no responsibility for damage of any kind. Poster Auctions International disclaims all liability for loss, or damages of any kind, arising out of or in connection with the packing, handling or transportation of any lots/ items purchased.
9. Notices and jurisdiction. (a) All communications and notices hereunder shall be in writing and shall be deemed to have been duly given if delivered personally to an officer of PAI or if sent by United States registered mail or certified, postage prepaid, addressed as follows: From: Poster Auctions International To: (Seller) From: (Seller) To: Poster Auctions International 26 W. 17th Street New York, New York 10011 or to such other address as either party hereto may have designated to the other by written notice. (b) These Conditions of Sale contain the entire understandings between the parties and may not be changed in any way except in writing duly executed by PAI and buyer. (c) These Conditions of Sale shall be construed and enforced in accordance with the laws of the State of New York. (d) No waiver shall be deemed to be made by any party hereto of any rights hereunder, unless the same shall be in writing and each waiver, if any, shall be a waiver only with respect to the specific instance involved and shall in no way impair the rights of the waiving party or the obligations of the other party in any other respect at any other time. (e) The provisions of these Conditions of Sale shall be binding upon and inure to the benefit of the respective heirs, legatees, personal representatives and successors and assigns of the parties hereto.
8. Reserves. All lots are subject to a reserve, which is the confidential minimum below which the lot will not be sold. Poster Auctions International may implement the reserve by bidding on behalf of the consignor. The consignor shall not bid on consignor’s property.
(f) The Conditions of Sale are not assignable by either party without written permission of the other party; any attempt to assign any rights, duties or obligations which arise under these Conditions without such permission will be void.
DESCRIPTION OF THE POSTERS
The following ratings have been used:
I. Artist’s name. Unless otherwise indicated, the artist’s name, mark or initials that appear on the poster. 2. Year of the Poster. The year given is that of the publication of the poster, not necessarily the date of the event publicized or the year that art for it was rendered. 3. Size. Size is given in inches first, then centimeters, width preceding height. Size is for entire sheet, not just the image area. 4. Printer.
Cond A Designates a poster in very fine condition. The colors are fresh; no paper loss. There may be some slight blemish or tear, but this is very marginal and not noticeable. A+ is a flawless example of a poster rarely seen in such fine condition. A– indicates there may be some slight dirt, fold, tear or bubble or other minor restoration, but most unobtrusive. Cond B Designates a poster in good condition. There may be some slight paper loss, but not in the image or in any crucial design area. If some restoration, it is not immediately evident. The lines and colors are good, although paper may have yellowed (light-stained). B+ designates a poster in very good condition. B– is one in fairly good condition. The latter determination may be caused by heavier than normal light-staining or one or two noticeable repairs. Cond C Designates a poster in fair condition. The light-staining may be more pronounced, restorations, folds or flaking are more readily visible, and possibly some minor paper loss occurs. But the poster is otherwise intact, the image clear, and the colors, though possibly faded, still faithful to the artist’s intent.
Unless otherwise indicated, the name of the printer is that which appears on the face of the poster. It should be kept in mind that frequently the establishment credited on the poster is, in fact, an agency, studio or publisher.
Cond D Designates a poster in bad condition. A good part of such poster may be missing, including some crucial image area; colors and lines so marred that a true appreciation of the artist’s intent is difficult, if not impossible. There are no D posters in this sale!
5. Condition of the Poster.
The above condition ratings are solely the opinion of Poster Auctions International, and are presented only as an aid to the public. Prospective purchasers are expected to have satisfied themselves as to the condition of the posters. Any discrepancy relating to the condition of a poster shall not be considered grounds for the cancellation of a sale.
We have attempted a simplified rating of all the posters in this sale. It should be kept in mind that we are dealing, in many cases, with 50 to 100-year-old advertising paper. The standards of the print collector cannot be used. Prints were, for the most part, done in small format, on fine paper, and meant to be immediately framed or stored in a print sleeve or cabinet. A poster, for the most part, was printed in a large format, on the cheapest possible paper, and was meant to last about eight weeks on the billboards. Most important to the condition of a poster — not eight weeks but often eighty years later—is the image of the poster: is that image (the lines, the colors, the overall design) still clearly expressed? If so, it is a poster worth collecting. While details of each poster’s condition are given as completely and accurately as possible, blemishes, tears or restorations which do not detract from the basic image and impact should not seriously impair value. All posters are lined, whether on linen or japan paper, unless otherwise indicated. But please note that posters received in frames are not inspected out of their frames and therefore no warranty can be made about them. All photos are of the actual poster being offered for sale. A close look at the photo and a reading of the text should enable the buyer who cannot personally examine the item to make an intelligent appraisal of it.
Some other notes and designations relating to the condition of a poster: Framed Where a poster is framed, this is indicated. In many cases, we have photographed the poster in the frame and the dimensions given are those which are visible within the matting or edges of the frame. Paper All posters in this sale are linen- or japan-backed unless the designation “P” appears. 6. Bibliography. An abbreviation for each reference (Ref) is given and can be found in the complete Bibliography. The reference is almost always to a reproduction of that poster. If a “p.” precedes it, it means the reproduction or reference is on that page; if number only, it refers to a poster or plate number. Every effort has been made to refer to books that are authoritative and/or easily accessible. 7. Pre-Sale Estimate. These estimates are guides for prospective bidders and should not be relied upon as representations or predictions of actual selling prices. They are simply our best judgment of the fair market value of that particular poster in that condition on the date it was written.
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Poster Auctions International, Inc. at Re nnert’s Galler y
Absentee Bid Form
2 6 West 1 7 t h S t r eet , New York, N Y 10011 Tel : 2 1 2 . 7 8 7 . 4 0 0 0 | Fax: 212. 604. 9175 www. p ost er au c t i on s. c om | i n f o@ p os terau cti on s . com
PAI-LXXXIII: Rare Posters
Please bid on my behalf on the following lots up to the price shown. I understand that all bids are subject to the Conditions of Sale which are printed in the Catalogue. Poster Auctions International will make every effort to execute bids for those not able to attend and act on the prospective purchaser’s behalf to try to purchase the item desired at the lowest price possible up to the limit indicated by purchaser below as if the purchaser were in attendance, but Poster Auctions International cannot be responsible for any errors or omissions in this matter. Poster Auctions International may reserve the right not to bid for any such party if the order is not clear, does not arrive in sufficient time, or the credit of the purchaser is not established, or for any other reason in its sole discretion.
CUT AT PERFORATED EDGE
The purchase price will be the total of the final bid and a premium of 20% (23% for online bidding; 25% for online bidding through Invaluable/ Auction Zip) of the final bid together with any applicable sales tax. Unsuccessful bidders will not be informed but may telephone for sales results.
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n Order Bid n Telephone Bid - Telephone numbers where you can be reached on Sunday, March 14
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START BIDDING NOW YOU CAN JOIN OUR MARCH 14 AUCTION FROM ANYWHERE IN THE WORLD THROUGH THESE OPTIONS: ONLINE BIDDING Bid now and on auction day through our site: visit posterauctions.com and click Register to Bid. Or download our app — Poster Auctions International is available for Apple iOS and Android. To bid on either platform, you must register a credit card ; please be sure to do this before the live auction. On auction day, follow the Live Auction link on our website to begin bidding—and remember to confirm your bid. We recommend using our platforms for a lower buyer’s premium ( 23%), but you may also bid through Invaluable and AuctionZip ( 25%).
ABSENTEE & TELEPHONE BIDDING Complete the form on page 215 or download at posterauctions.com. For absentee bidding, indicate your maximum bid for each desired lot. You may indicate an “either-or” bid if you want to purchase only a portion of the items on your wish list. You can also indicate an overall maximum dollar amount. We’ll execute your bid on your behalf at the lowest price possible. For telephone bidding, complete the absentee bidding form with the best phone number to reach you on MARCH 14. When your lot comes up, one of our staff members will call you and execute your bids on your behalf.
SEND US THE COMPLETED FORM Email: info @ posterauctions.com Fax: 212-604-9175 Mail: 26 W. 17th St. N Y, N Y 10011. It should arrive by Friday, March 12. Or call Terry Shargel to register at 212-787-4000.
BID WITH CONFIDENCE — EVEN IF YOU CANNOT ATTEND We recommend all participants familiarize themselves with the Conditions of Sale before auction day: visit posterauctions.com. Beginning at 11am on auction day, you’ll be able to access a live video feed at posterauctions.com.
at Rennert’s Gallery 26 W 17th St ( between 5th & 6th Ave ) New York, N Y 10011 Phone: 212 787 4000 Fax: 212 604 9175 Email: info @ posterauctions.com www.posterauctions.com
Lot 41: Prima Esposizione Internazionale d’Arte, by Leonardo Bistolfi.
Poster Auctions International, Inc. 26 West 17th Street, New York, NY 10011