PAI-LXXXIV: Rare Posters

PRESENTS

AUCTION: TUESDAY, JULY 20, 2021 AT 11 AM VIEWING: JULY 5 -19 (DAILY 11 - 6 ) TO BE HELD LIVE AND ONLINE AT

Rennert’s Gallery 26 W 17 TH ST. (BETWEEN 5 TH & 6 TH AVE.) NEW YORK, NY 10011 T: (212) 787-4000 F: (212) 604-9175 INFO@POSTERAUCTIONS.COM WWW.POSTERAUCTIONS.COM This sale is organized by Mr. Jack RENNERT and Ms. Terry SHARGEL. The catalogue is edited by Ms. Jessica ADAMS and designed by Mr. James M c COBB. For more information on this sale, as well as to place bids if unable to attend, please contact Ms. Terry Shargel.

The front cover is a detail of lot 343, Sevilla, by Francisco Hohenleiter de Castro.

Page 2 is a detail of lot 471, Caudieux, by Henri de Toulouse-Lautrec.

Page 4 is a detail of lot 11, Terrot / Bicyclettes de Tourisme, by Francisco Tamagno.

Page 5 is a detail of lot 393, The Seasons (Summer panel), by Alphonse Mucha.

Page 224 is a detail of lot 129, Indian Maiden : Maquette, for Buffalo Bill.

ACKNOWLEDGMENTS

START BIDDING NOW

I am most grateful to the many individuals who have given their full support and assistance in the preparation of this PAI-LXXXIV: RARE POSTERS sale.

First and foremost, our thanks to the 104 consignors in 23 states

YOU CAN JOIN OUR JULY 20 AUCTION FROM ANYWHERE IN THE WORLD THROUGH THESE OPTIONS:

and 8 foreign countries who entrusted their finest works to us for this very special occasion.

ONLINE BIDDING

Our staff has been materially helpful in all aspects of this auction, and

Bid now and on auction day through our site: visit posterauctions.com and

I wish especially to single out my associate Ms. Terry Shargel. Our editorial staff was headed by Ms. Jessica Adams; Mr. James McCobb was in charge of production and design. Helping with many of the

click Register to Bid. Or download our app—Poster Auctions International is available for Apple iOS and Android. To bid on either plat form, 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—

administrative aspects were Ms. Julie Press, Mr. Xavier Serbones,

and remember to confirm your bid.

Mr. Angel Caraballo, and Mr. Oliver James L’EROE. And, as always,

We recommend using our plat forms for a lower buyer’s premium (23%), but

I benefit immensely from the support of Barbara Rennert, the director of

you may also bid through Invaluable and AuctionZip (25%).

the Poster Photo Archive (and a Happy 80th Birthday to my young wife).

I would also like to thank Anna Dvorak and Adam Kelley for their

ABSENTEE & TELEPHONE BIDDING

assistance with research and translation.

Complete the form on page 223 or download at posterauctions.com.

The printing of this book was again in the hands of the GHP printing firm, and I am grateful for the cooperation and expertise shown

For absentee bidding, indicate your ma ximum bid for each desired lot. You may indicate an “either-or” bid if you want to purchase only a por tion of the items on your wish list. You can also indicate an overall ma ximum dollar

by its staff, most notably Mr. Wayne Bruno, Mr. Rich Nesbit,

amount. We’ll execute your bid on your behalf at the lowest price possible.

Mr. Tim Matthews, Mr. Dave Small, Mr. Bill Emerson,

For telephone bidding, complete the absentee bidding form with the best

Mr. Jim Engstrom, Mr. Carlos Luna, and Mr. Gary Sweet.

phone number to reach you on July 20. When your lot comes up, one

To all of them and to all others who offered help, suggestions,

of our staf f members will call you and execute your bids on your behalf.

The buyer’s premium for absentee and phone bidding is 20%.

and encouragement, many thanks.

SEND US THE COMPLETED FORM Email: info @ posterauctions.com Fax: 212-604-9175 Mail: 26 W. 17th St. NY, NY 10011. It should arrive by Monday, July 19.

Or call Terr y Shargel to register at 212-787-4000.

BIDDING INCREMENTS Bidding at our auction will be strictly by the following increments.

To $2,000 by $100 $2,000 — $ 5,000 by $200 $ 5,000 — $10,000 by $ 500

BID WITH CONFIDENCE — EVEN IF YOU CANNOT ATTEND We recommend all par ticipants familiarize themselves with the Conditions of Sale before auction day: see page 221.

Beginning at 11am on auction day, you’ll be able to access a live video feed at posterauctions.com.

$10,000 — $20,000 by $1,000 $20,000 — $ 50,000 by $2,000 $ 50,000 — $100,000 by $ 5,000 $100,000 — over by $10,000

Jack Rennert - License 0797440 ISBN 978-1-929530-69-4

OUR NEXT SALE We are pleased to announce that the PAI-LXXXV sale will be held on Sunday, Nov 14, 2021. Consignments are accepted until August 16, 2021.

©2021 Poster Auctions International, Inc. All rights reserved. Printed in the United States of America.

TABLE OF CONTENTS Bicycles.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1-36 Aviation

.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

37-71

Automobiles . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 72-89 War & Propaganda . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 90-119 Circus & Wild West . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 120-134 Film . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 135-155 Psychedelic Rock . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 156-169 International Posters . . . . . . . . . . . . . . . . . . . . . . . . . . . 170-510 Roger Broders . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 210-217 Leonetto Cappiello . . . . . . . . . . . . . . . . . . . . . . . . . . . 82, 223-248 Continued on next page.

TABLE OF CONTENTS Continued

A.M. Cassandre.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 251-264 Jules Chéret.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 74, 273-290 Alphonse Mucha.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 379-398 Théophile-Alexandre Steinlen . . . . . . . . . . . . . . . . 441-445 Henri de Toulouse-Lautrec . . . . . . . . . . . . . . . . . . . . . 452-477 Books & Periodicals . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 511 Selected Index . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Page 214 Bibliography . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Page 215 Conditions of Sale.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Page 221 Absentee Bid Form.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Page 223 Bidding Tips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Page 224

BICYCLES Bicycles and color lithography came into popular use roughly in 1872; by the 1890s, both the poster craze and the bicycle craze were at their heights.

Posterists were fascinated by the new bicycles, and manufacturers relied on posters for advertising, forming a mutually beneficial relationship. By the turn of the century, more posters were created for bicycles than any other product. It’s not just the technological innovation that was thrilling; bicycles offered a new form of freedom, especially to women. Poster designers capitalized on this aspect, paving the way for the liberated woman and a form of independence for all.

For Mucha’s famous Cycles Perfecta, see No. 394.

1 1. Rouxel & Dubois. ca. 1894.

Artist: Ferdinand Lunel (1857-1933) 55 x 38 3⁄4 in./139.8 x 98.5 cm Imp. Charles Verneau, Paris Cond A. Ref: Bicycle Posters, 29 (var); Petite Reine, 48 (var); Reims, 829; Maindron 1896, p. 87; Sport à l’Affiche, 111; Ailes, p. 19; PAI-LXXXI, 63 (var) Known mostly for his humorous drawings, Lunel, a native of Paris, worked for numerous magazines, starting with Tout Paris. After La Vie Moderne (1879), La Vie Militaire (1883), Paris-Illustré (1884), and La Revue Illustré (1885), he worked for ten years with Le Courrier Français. His designs show up even in exotic publications such as Le Moustique in Africa and Pick Me Up in London.

This excellent poster, featuring an interplanetary tandem ride, is way ahead of its time, as Maindron saw straight off: “This poster is well done; peddling with verve, on a bicycle which must be perfection itself, two riders carried away by an uncommon intensity have left the earth and find themselves in the middle of the starry sky” (p. 87). A version of the poster, with the design slightly altered and with the address at lower right, also exists (see PAI-LXXXI, 63).

Est: $4,000-$5,000.

BICYCLES

2

3 2. Deuxième Salon du Cycle. 1894.

Artist: Jean-Louis Forain (1852-1931)

3. Humber. ca. 1900.

Artist: Louis Oury (1846-?)

81 3⁄8 x 34 1⁄4 in./206.7 x 87 cm Imp. H. Hérold, Paris Cond B+/Slight stains, largely at seam. Framed.

Ref: DFP-II, 362; Maindron 1896, p. 64; Maitres, 51; Bicycle Posters, 20; Wagner, 55; Abdy, p. 106; Weill/Art Nouveau, p. 67; PAI-LXV, 3

62 3⁄4 x 47 1⁄2 in./159.3 x 120.7 cm Imp. Bourgerie, Paris Cond B+/Slight tears.

Ref: Petite Reine, 45; Ailes, p. 118

In advertising the second annual Salon du Cycle, Forain created an image which would cause Maindron to later exclaim, “This poster is perfect.”

Delicate in sweet pastel shades, this is the larger, two-sheet version of the image.

Est: $4,000-$5,000.

A combination of sinewy curves, sharp angles, and contrasting red and green makes for a seductive design for Humber cycles. The company was founded in the 1870s and had high standards with an emphasis on quality; they became known as “the aristocrat among bicycles,” a sentiment which is reflected in the stately gold-haired woman seen here.

Est: $2,000-$2,500.

BICYCLES

4

5

6

4. Palais-Sport. ca. 1894.

Artist: Pal (Jean de Paléologue, 1860-1942)

5. Cycles Clément. 1898.

Artist: Pal (Jean de Paléologue, 1860-1942)

6. La Péoria. ca. 1898.

Artist: Pal (Jean de Paléologue, 1860-1942)

30 3⁄8 x 47 in./77.3 x 119.5 cm Imp. Paul Dupont, Paris Cond B+/Unobtrusive folds.

Ref: Reims, 948; PAI-LXX, 35

43 1⁄2 x 61 1⁄4 in./110.5 x 155.6 cm Caby & Chardin, Paris Cond A. Ref: DFP-II, 701; Petite Reine, 36; PAI-LXXXII, 53

42 7⁄8 x 109 in./63 5⁄8 x 161.5 cm Imp. P. Leménil, Asnières Cond B+/Restored tears, largely at edges.

Ref: Ailes, p. 67; PAI-LXXV, 15

With the 1890s cycling mania came the rise of such newfangled facilities as this grand “velocipedic establishment” in Paris. In addition to a kilometerlong cycling track, the poster boasts its skylit atrium, naturalistic murals, indoor bicycle parking, lesson space, thermal baths, and bar.

To proclaim the superiority of Clément Cycles to the world, Pal has spared no symbol. Many French cycle posters have featured this type of larger-than-life goddess, barely wrapped in diaphanous linens, striding like a colossus upon Paris. Few, if any, have a Gallic Rooster as a headdress––she’s even had to take off the victorious laurels in order to crown herself avec le coq gaulois... while her Roman sandals bear the Wings of Hermes. By her feet on the horizon is a Parisian panorama. You’ll notice that on the left, Montmartre hill is missing its Sacré-Coeur; the basilica was only completed in 1914.

“Will it play in Peoria?” The American cliché got its start in 1890 in a Horatio Alger novel called “Five Hundred Dollars.” Just three years before, in 1887, the Long-palps Peoria Moth—indigenous to several locations in the American Midwest—was identified and named by the French entomologist Émile Louis Ragonot. We’re not sure, but it does seem like a clever bicycle manufacturer may have seized upon the doubleness of the name to create La Péoria Bicyclette Américaine de Luxe. Pal clearly catches the message: how else to consider his nymph’s diaphanous, moth-like wings as she hurls herself in the direction of the bike, which is winging itself forward through a flame-like haze? Pal may well have been considered for the commission based upon the mothnymph he created for Rayon d’Or (see PAI-LXXXI, 415).

Est: $1,400-$1,700.

Est: $1,400-$1,700.

Est: $2,000-$2,500.

BICYCLES

8

7 7. Whitworth Cycles. ca. 1894.

Artist: Pal (Jean de Paléologue, 1860-1942)

9. Pneumatiques Dunlop.

Artist: Pal (Jean de Paléologue, 1860-1942)

42 1⁄8 x 57 1⁄2 in./107 x 146 cm Imp. Paul Dupont, Paris Cond A. Ref (all var): Maindron 1896, p. 120; Reims, 958; V&A, 242; Ailes, p. 57; PAI-LXXIII, 1

11 3⁄4 x 15 1⁄8 in./30 x 38.3 cm Imp. Kossuth, Paris Cond A-/Slight tears at edges.

This dapper proto-hipster pulls off a cunning stunt to capture the attention of the ladies: he’s seemingly performing a feat of strength, marvelously balancing the frame aloft with just one hand. The ladies are rapt in admiration; one faints, another coos, still another proffers a rose. Unbeknownst to them, however, Whitworth specialized in manufacturing the “lightest and most durable” cycles on the market, as a later 1910 certificate attests. This poster was printed just before the merger of Whitworth and Rudge Cycles.

Today, the Whitworth brand has been revived, and still boasts of the fat tires seen on this 1894 model. This is the one-sheet version—and rare!

Est: $2,000-$2,500.

8. La Marque Georges Richard. 1898.

Artist: Pal (Jean de Paléologue, 1860-1942) 43 3⁄4 x 61 in./111 x 155 cm Caby & Chardin, Paris Cond A. Ref: Ailes, p. 108; Affiches Automobiles, p. 12; PAI-LXXXII, 55

This is a never-before-seen Pal poster advertising Dunlop tires. In typical Pal fashion, he’s chosen to center the image on an angelic nymph. And while she boasts spectacular wings, she’s chosen to accentuate her airborne travels with an oversized tire. At lower right, a cameo of Dunlop’s founder, John Boyd Dunlop, is included. Rare!

9

Est: $1,000-$1,200.

10. Cycles Terrot / Dijon. 1898.

Artist: Francisco Tamagno (1851-1933) 45 3⁄4 x 62 in./116.2 x 157.5 cm Imp. P. Vercasson, Paris Cond B+/Unobtrusive folds.

Ref: DFP-II, 808; PAI-LXXIX, 54 Tamagno made many inspired images for Terrot cycles, where chutzpah trumps decorum—and this is the original incarnation that he would reinterpret again later. But wouldn’t you show some gestural bravado if you owned a bike that allowed you to outpace a train?

We thought as much. This printing is unsigned.

Est: $1,700-$2,000.

Founded by the brothers Georges and Max Richard in 1893, Georges Richard only had three years of bicycle manufacturing before turning to automobile production.

This poster is from that in-between period for the company, showing off both its cycle and car options.

Est: $1,200-$1,500.

10

BICYCLES

12

11

13

11. Terrot / Bicyclettes de Tourisme. ca. 1900.

Artist: Francisco Tamagno (1851-1933)

12. Alcyon Cycles.

Artist: Misti (Ferdinand Mifliez, 1865-1923)

13. Betsey Jane on Wheels. ca. 1895.

Artist: Anonymous

38 x 54 1⁄4 in./96.5 x 137.7 cm La Lithographie Parisienne, Paris Cond B/Slight tears and stains, largely near edges.

31 x 46 5⁄8 in./78.8 x 118.5 cm Imp. G. Elleaume, Paris Cond B+/Slight tears at folds.

Ref: PAI-LXXV, 8

10 3⁄4 x 16 in./27.3 x 40.5 cm Cond A-/Slight creases in bottom text. Framed.

Tamagno presents a strong case for a couple’s getaway on two wheels: this stylish pair has stopped at the beach to take in the sunset over Mont-Saint-Michel. Tamagno often featured a stylish turn-of-the-century lady flippantly cruising away from her slower male admirers, but it’s nice to see his leading lady has found an equally adept companion. The text here lets us know that Terrot has received “first prizes in all the competitions.” Rare!

Est: $1,400-$1,700.

Alcyon—the Greek for “halcyon,” meaning pleasant and calm—is itself derived from Greek mythology.

Halcyon was a daughter of Aeolus who metamorphosed into a seabird that would nest at sea, thereby calming the waves. Misti surely knew this tale as a halcyon flies above our lovely cyclist, heralding the cycle with its wings.

Est: $1,200-$1,500.

“Betsey Jane on Wheels: A Tale of the Bicycle Craze” was written by Herbert E. Brown in 1895. The fictional book traces an Illinois town’s infatuation with bicycles with a focus on one family in particular, of which Betsey Jane is the matriarch. Throughout the story, the family negotiates issues of the day, including whether women should be allowed to cycle, and if so, what should they wear? (One chapter is dedicated entirely to the divisive subject of bloomers). Here, Betsey Jane unabashedly cruises past a crowd of shocked faces to announce that the book is available to purchase for just 25 cents.

Should you be interested in reading it, the entire volume is available for free on Google Books.

Est: $800-$1,000.

BICYCLES

14. Humber / Ease & Speed.

Artist: Arthur Spooner (1873-1962) 79 x 58 3⁄4 in./201 x 149.2 cm J. Howitt & Son, Nottingham Cond A-/Slight tears at edges.

Ref: PAI-XLVI, 525 One has to wonder what further glories Judah Ben-Hur could’ve achieved if only he had access to the “Ease & Speed” of the British-manufactured Humber bicycle.

Seeing as no time machines existed at the time of this poster’s production—or this catalogue’s publication for that matter—all we can do is be grateful for Spooner’s fantastically imaginative 4-sheet poster, which pits a comely Belle Époque cyclist against the charioteers of the Coliseum. Clearly, Humber’s the way to go—and she’s not even breaking a sweat. Rare!

Est: $4,000-$5,000.

14

15. Cycle ‘Excelsior’ / Bayliss Thomas. 1896.

Artist: Lucien Baylac (1851-1913) 34 1⁄4 x 51 1⁄8 in./89.6 x 129.8 cm Imp. Kossuth, Paris Cond A. Ref: PAI-XLIII, 153 “There isn’t any danger when one rides an Excelsior bicycle.” Of course, you have to assume that someone shrewd enough to take along a light bright enough to read this sign during the course of their nighttime ride was already making his way atop a Bayliss Thomas of Coventry machine. So in many ways Baylac’s advertisement is somewhat guilty of preaching to the choir; however, the concept that Excelsior is the bike for the serious rider comes across with steadfast resolve.

Est: $1,700-$2,000.

16. Cycles L’Indienne.

Artist: Anonymous 35 x 47 7⁄ 8 in./88.8 x 121.6 cm Imp. Seulin & Dehan, Valenciennes Cond A-/Unobtrusive folds.

Ref: PAI-LXXXIII, 138

16 15

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.

17. Manège Terront / Vélodrome de la Madeleine.

1896.

Artist: Albert Dagnaux (1861-1933) 37 1⁄4 x 50 3⁄4 in./94.5 x 129 cm Lith. G. Bataille, Paris Cond A-/Unobtrusive folds.

Ref: PAI-XV, 24 Look beyond our smartly dressed cyclist and you’ll find a scene of utter urban chaos: a traffic jam of carts and horses, a carriage that appears to be tipping over, and men yelling in the streets. Au revoir to all that!

Our leading lady is off to the velodrome in Madeleine where she can experience the serenity of unencumbered cruising. The track was built on a fairground in 1894 by the Velo-Club Mayenne and became a stronghold for the sport of cycling in the 1930s. Today, the track continues to host cycling clubs and students from the nearby school.

18

17

Est: $1,000-$1,200.

BICYCLES

19

20 18. Peugeot Cycles. 1897.

Artist: E. Charle Lucas

21. Humber. ca. 1894.

Artist: Emile Clouet

42 1⁄4 x 54 1⁄2 in./107.5 x 138.5 cm Affiches Camis, Paris Cond A-/Slight tears at edges.

Ref: PAI-LXVIII, 85

45 x 61 5⁄8 in./114.2 x 156.5 cm Imp. Kossuth, Paris Cond B+/Slight creases.

Ref: Ailes, p. 62; PAI-LXXVI, 19

Peugeot began production as a maker of various household goods, especially items which required simple mechanisms, such as pepper grinders. Their specialization in metal domestic necessities led to making the steel rods needed in female undergarments, which, as the company grew, ultimately landed them in the bicycle business. Whether intentional or not, this poster beautifully sums up that trajectory, placing a plucky redhead on top of a brand-new Peugeot cycle.

Formed in England by Thomas Humber in 1869, Humber Cycles would eventually, like so many bicycle companies, become dominated by its automobile division. In the late 1800s, however, bicycles were still all the rage, especially for the newly liberated woman.

Here, one such lady is basking in the heavenly glow of her Humber as a host of disembodied seraph heads hover around this deified wonder.

Est: $1,200-$1,500.

Est: $1,200-$1,500.

21

19. Cycles Decauville. ca. 1895.

Artist: Alfred Choubrac (1853-1902) 30 1⁄4 x 39 1⁄4 in./76.8 x 99.7 cm Imp. Lemercier, Paris Cond B+/Unobtrusive folds.

Ref: Veloscopie, p. 86; Reims, 551; PAI-LXXIX, 28 Choubrac, an artist best known for his humor, bold color choices, and whimsical flights of fancy, turns his considerable talents to creating a nearly operatic vision of Decauville bicycles. Two laborers, dramatically lit by the inferno of the forge behind them, gaze in awe at the Decauville, appearing almost unwilling to accept the part they played in creating this perfect machine born of fire.

It’s an inspired treatment of an everyday mechanism.

Est: $1,200-$1,500.

20. Cottereau. ca. 1899.

Artist: F. Cerckel (Fernand Fernel, 1872-1934) 60 x 44 5⁄ 8 in./152.5 x 113.2 cm Cerf, Paris Cond B/Slight tears at folds; trimmed to image.

Ref: PAI-LXVII, 47 Only in operation from 1898 to 1910, Cottereau created sturdy, all-purpose bicycles and early automobiles. Cerckel envisions a sporty cycling couple amicably passing by their more formally dressed seated counterparts.

22

Est: $1,700-$2,000.

22. Omega. 1898.

Artist: Anonymous 32 1⁄8 x 48 1⁄2 in./81.6 x 123.2 cm Imp. P. Dupont, Paris Cond B+/Unobtrusive folds.

Ref: Petite Reine, 104; PAI-XXII, 7 As cycling became more popular at the turn of the century, road races drew crowds of competitors as well as spectators. Here, a weary but determined Rivierre, winner of the Bordeaux-to-Paris race, poses on the chainless Omega model that sped him to his winning time of 20 hours, 39 minutes—five whole hours faster than the winning time recorded only six years earlier (see PAI-LXXIX, 5). Rare!

Est: $1,400-$1,700.

BICYCLES

23

25

24

26

23. Cycles Strock. ca. 1898.

Artist: Edouard Monge

24. Zim Strock. ca. 1890.

Artist: Wilhio

26. Bicyclette Liberator. ca. 1900.

Artist: Charles Delavat

33 3⁄4 x 23 3⁄4 in./85.7 x 60.2 cm Pomeon, St. Charmond Cond A-/Slight tears at edges.

Ref: PAI-LXXV, 12

47 7⁄8 x 63 1⁄8 in./121.7 x 160.2 cm Imp. Paul Dupont, Paris Cond B+/Unobtrusive folds.

Ref: Petite Reine, 68; Ailes, p. 86; Weill/Art Nouveau, p. 62; PAI-LXXXIII, 123

61 3⁄4 x 45 1⁄ 2 in./157 x 115.7 cm Imp. B. Chapellier Jeune, Paris Cond A. Ref: Collectionneur, p. 216; PAI-XLIV, 223

Cycles Strock gives you wings: at least, if the hat upon your head is adorned with the lead bird, the flock will follow. The Strock company was undoubtedly gearheaded, and its products included motorcycles and autos by the turn of the 20th century. This poster is a particularly majestic memento of its moment: the framing device, of stylized gears, was also a favored element for the Automobile Club of France’s auto exhibitions at the Grand Palais. The typography, meanwhile, reminds us of medieval France, and Amiens’ enormous 13th-century cathedral. Rare!

Est: $1,200-$1,500.

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: $1,700-$2,000.

25. Cycles le Globe. ca. 1900.

Artist: Charles Tichon 36 3⁄4 x 51 1⁄ 2 in./93.4 x 131 cm Imp. J. Kossuth, Paris Cond B+/Slight tear at horizontal fold.

Ref: Ailes, p. 69; PAI-LXXXII, 67 While exhibiting her independence and physical strength, this liberated woman has yet to overcome one particular struggle: the darn dress, which women were practically required to wear, even while bicycling.

Luckily, manufacturers found a savvy compromise in the drop-frame safety bicycle, which allowed the ladies to ride with ease while still fulfilling their expectations for modesty.

Est: $1,200-$1,500.

“The social and political overseers of the 19th and 20th centuries all had to discuss the mobilizing topic of weekly rest... [In] 1841, weekly rest becomes obligatory for children; 1842, it becomes the same way for women and in 1906, the law applies itself to all commercial and industrial workers. After the Second World War, everyone who collects a salary benefits from the law. Humorists, always at the ready to taunt political decisions, push logic to the extremes. And that’s how we find ourselves at this comical Sunday scene. Economic activity is totally paralyzed. A panel on a railroad crossing gate indicates: ‘Closed for Weekly Rest;’ a result, all the same, of the possible risks of relaxation in the working population. Bicycles then become unanimously adopted salutary machines. Groups of people form; proletarians and tourists find themselves rubbing elbows, a gendarme and an old maid with a cat, a chimney sweep and a cook, an enterprising and elegant businessman, a soldier and a domestic, a middle-class man in a top hat and a facetious civil servant. This poster that evokes the beginning of a social right goes on to insist on an economic phenomenon: the increased demands and consumption of the masses. The manufacturers of Liberator bicycles couldn’t be anything but delighted” (Collectionneur, p. 216).

Est: $1,700-$2,000.

BICYCLES

28

27 27. Freya. ca. 1900.

Artist: Anonymous 16 x 31 1⁄2 in./40.8 x 80 cm Fritz Schneller, Nüremberg Cond B/Unobtrusive folds.

Ref: DFP-III, 4855; PAI-XVIII, 144 (var) A happy smile lets us know that the Freya bicycle is providing ample satisfaction. The rider is the right sort of spokes-figure for a bike named for the Germanic goddess of love and beauty. Rare!

Est: $1,700-$2,000.

28. Peugeot. 1905.

Artist: Walter Thor (1870-1929) 41 1⁄8 x 57 1⁄2 in./104.6 x 146 cm Imp. G. Elleaume, Paris Cond B/Slight tears at fold and edges.

Ref: PAI-XLIX, 487 It all started with crinoline dresses—which used steel rods—leading to umbrella frames, wire wheels, and ultimately bicycles. Thus is the ancestry of the Peugeot bicycle, whose “Le Grand Bi” penny-farthing model was introduced to the public in 1882 by Armand Peugeot, along with a range of other bicycles. Thor’s poster for the company demonstrates that as long as there have been people riding around on bicycles, there have been dogs that love to give chase. This female rider looks rather concerned—though her choice of riding attire would appear to be more of an immediate concern than the elegant pooch keeping pace with her—and we’re not even convinced that she’s aware of the additional two pups closing in on her quickly from the other side.

Though the public in general is more familiar with their automotive output, Peugeot continues to manufacture

bicycles to this day. However, the car and bike company parted ways in 1926. Thor, a member of the Salon des Artistes Français, is best known for his humorous turnof-the-century transportation posters.

Est: $1,200-$1,500.

29. Louis Clément. ca. 1919.

Artist: F. Lochard (1874-1951) 30 1⁄4 x 46 1⁄2 in./77 x 118 cm Affiches Lochard, Paris Cond A. Ref: Karcher, 370

29

Bordeaux-based Louis Clément started out building bicycles and aircraft before adding on motorcycles in 1919. Here, their various products are on display: a biplane zooms past on the left and a waving motorcyclist cruises uphill on the right; at center, a young man with wildly red hair seems to have found the perfect mode of transit: sitting atop a bicycle while a crane carries him away. Rare!

Est: $1,000-$1,200.

30. Calidior.

Artist: Anonymous 31 7⁄ 8 x 47 1⁄4 in./81 x 120 cm Imp. Ch. Wall, Paris Cond A-/Slight stains at edges.

A mythical goddess proudly points to a Calidior tire from the J. Destriez & Cie. company, which they claim is “the first brand in the world.” The Destriez company actually had a 15-year patent for the word “pneumatique,” which they established in 1913.

Est: $1,000-$1,200.

30

BICYCLES

31 31. Pneu Wolber. ca. 1920.

Artist: Anonymous 23 3⁄4 x 31 3⁄8 in./60.5 x 79.6 cm Imp. Soissons, Argus Cond A. This very mysterious design makes great use of silhouette and just-thebasics information. The Wolber factory first opened in 1898 in LevalloisPerret; they manufactured bicycle tires, treads, inner tubes, pedals, handles, brake pads, and more. With Peugeot, Wolber created the Tour de France des Indépendants 1910, which brought together 500 competitive cyclers. The company also launched the Wolber Grand Prix, a cycling race organized from 1922. It was considered an unofficial world championship until the creation of the Professional World Championship in 1927. Wolber was eventually bought by Michelin in 1972 before being dissolved completely in 2012. Rare!

32

Est: $800-$1,000.

32. FN (Fabrique Nationale). 1925.

Artist: Marcello Nizzoli (1887-1960) 32 1⁄8 x 47 1⁄8 in./81.5 x 119.6 cm Publivox, Genève Cond A-/Slight tear at horizontal fold.

Ref: Timeless Images, 117; Crouse/Deco, p. 64; PAI-LXXXII, 75 Nizzoli’s arresting Art Deco design with a phantom-like motorcycle rider emphasizes both power and comfort, as the fashionable passenger can easily put on her lipstick during the ride. Nizzoli was a most versatile artist: painter, decorator, textile designer, and posterist. Many of his posters were for automobile companies. In 1938 he joined Olivetti and was responsible for some of their finest designs in the 1940s and 1950s. He produced a monograph on the firm in 1968. FN, Fabrique Nationale, was the Belgian manufacturer of armaments as well as bikes.

Est: $3,500-$4,000.

33. L’Huile Aeroshell. 1930.

Artist: Francis Bernard (1900-1979) 30 1⁄4 x 45 1⁄2 in./77 x 115.4 cm Editions Paul Martial, Paris Cond B/Slight tears and stains, largely at edges.

Ref: Bernard, unnumbered The typography is perhaps the only giveaway that this image was created during the Art Deco period; otherwise, it could almost be mistaken for a contemporary design. “Like Cassandre in France and McKnight Kauffer in England, Francis Bernard absorbed the influences of the art and design movements of his era: Cubism, Purism, Machine Age, Constructivist typographic design and photomontage” (Bernard introduction). Several scholars lament the fact that Bernard was largely overlooked in his day; he was perhaps too Avant Garde for the tastes of the time. But this stylish photomontage seems ripe for appreciation now. Rare!

Est: $3,000-$4,000.

33

BICYCLES

34 34. Cycles Griffon. 1930.

Artist: Georges Favre 30 7⁄8 x 47 in./78.5 x 119.3 cm Affiches Gaillard, Paris Cond A-/Unobtrusive folds.

Ref: Ailes, p. 105

35

This handsome duo is out for a relaxing afternoon ride in their best linen suits. Favre imparts a sense of surreal wonder with his use of bright teals and reds. “The discovery of nature, monuments, and cultures becomes the object of a real craze on the part of the workers and employees eager for the fresh air when they leave working towns. The French Cyclotourism Federation animates this popular and scholarly movement at the same time... In 1930, the quality of the bicycles, their new elegance, their cultural use, finally brought the wealthy classes back to the cycle. The practical but elegant costumes offered by the specialty stores add to the newfound appeal and respectability of the bicycle” (Ailes, p. 104).

Est: $1,200-$1,500.

35. Championnats du Monde. 1946.

Artist: Alex W. Diggelmann (1902-1987) 35 1⁄4 x 49 7⁄ 8 in./89.5 x 126.8 cm Gebr. Maurer, Zürich Cond A-/Slight tears and creases in bottom text.

Ref (both var): Swiss Sport, 191; PAI-LXXIII, 22 Organized by the Union Cycliste Internationale since 1921, the Road World Championships is an annual bicycle race. In this particular year, it was held in Zurich, Switzerland.

Est: $800-$1,000.

36. Michelin. 1959.

Artist: Anonymous 18 3⁄4 x 26 1⁄4 in./47.6 x 66.8 cm Verga, Milano Cond A. Ref: Discount, p. 229 (var); PAI-LXXV, 35 Bibendum, the Michelin Man, is one of the world’s oldest trademarks, born in 1894. Here, the portly gent is a speed demon on a motorcycle, promoting fat tires for narrow motor vehicles.

Est: $1,200-$1,500.

36

AVIATION

37 37. Luftschiffahrt Ausstellung. 1909.

Artist: Alfred Nathaniel Oppenheim (1873-1953) 23 3⁄8 x 35 1⁄4 in./60 x 89.6 cm Kunstanstalt Wüsten, Frankfurt Cond B/Slight creasing.

Ref: Looping the Loop, 23; Airline Artistry, p. 28; Takashimaya, 125; PAI-XXXVII, A33 “As an important commercial, industrial, financial and publishing center whose annual fairs achieved world renown, Frankfurt am Main was a logical site for Germany’s first aeronautical exposition. The show was held at a time when the novelty of flying had seized the imagination of the public and aroused much interest in the possibilities of future travel by air. Orville Wright, in the summer of 1909, had come to Berlin under the auspices of the Berliner Lokal Anzeiger to demonstrate his biplane before Kaiser Wilhelm II and to give Crown Prince Friedrich Wilhelm a ride. The Crown Prince was the first member of the Royal Family to fly. That same year, Hans Grade, a pioneer of flight who had succeeded in making a hop on a triplane in 1908, gave a historic first to Germany by carrying the world’s earliest recorded piece of airmail... Pictured in the poster is Frankfurt’s red sandstone Dom, or cathedral... In the foreground is a Voisin biplane, probably reflecting the impression Frenchman Armand Zipfel made in this type craft... the twenty-six-year-old aviator was acclaimed as the first to ascend in an aeroplane in Germany. The air-ship betokens a German obsession with Zeppelins” (Looping the Loop, p. 37). Rare!

Est: $3,000-$4,000.

38 38. Delag Fahrten mit Zeppelin. 1910.

Artist: Ernst Wiemann (1878-1912) 23 1⁄2 x 35 7⁄8 in./59.8 x 91.2 cm E. Schreiber, Stuttgart Cond B+/Unobtrusive folds.

Although the lush German landscape is the visual focus of this design, it is the flying object in the corner that is the subject: the passenger zeppelin named “Deutschland.” A separate tip-on tells us that, due to the likely high demand, it is advisable to reserve seats in advance as soon as possible. An address is provided for the Hamburg-Amerika Line’s office in Düsseldorf for registration, tickets, and details. The “Deutschland” was the first passenger ship of the Deutsche Luftschiffahrts-Aktiengesellschaft, otherwise known as Delag (or the German Airship Travel Corporation). It first flew in June, 1910, and was capable of accommodating 24 passengers. Unfortunately, less than two weeks later, the zeppelin was destroyed in a thunderstorm, though all passengers on board survived. Rare!

Est: $4,000-$5,000.

AVIATION

39 39. Meeting d’Aviation / Nice. 1910.

Artist: Charles Léonce Brossé (1871-1945) 30 1⁄4 x 42 1⁄4 in./77 x 107.5 cm Affiches Photographiques Robaudy, Cannes Cond A. Ref: Affiches d’Aviation p. 6; Looping the Loop, Cover & 34; Toujours Plus Haut, p. 90; Perier, Cover; Affiches Azur, 315; PAI-LXXIX, 109 From a bird’s eye view above the cockpit of an early monoplane resembling a Blériot, we share in the pilot’s vertiginous, breathtaking vista of Nice and the Gold Coast as he scatters a bouquet of roses to the town at his feet. Brossé, a graphic chronicler of the city of Nice, not only provided us with a magnificent poster for the 1910 air show, but was also one of the event’s key organizers.

Est: $12,000-$15,000.

AVIATION

40

AVIATION

41

42

40. Flugmaschinen-Werke. 1912.

Artist: Ludwig Hohlwein (1874-1949)

41. Internationales Flugmeeting / Zürich. 1922.

Artist: Niklaus Stoecklin (1896-1982)

42. Aéro-Club d’Auvergne. 1925.

Artist: Charles Roussel (1861-1936)

36 x 49 1⁄8 in./91.4 x 124.7 cm Vereinigte Druckereien und Kunstanstalten, München Cond B+/Slight stains at folds and margins.

Ref: Hohlwein/Stuttgart, 74; PAI-LXXIV, 44

36 x 50 3⁄8 in./91.4 x 128 cm Wolfsberg, Zürich Cond B+/Slight tears at folds.

Ref: Swiss Skies, p. 16 (var); PAI-L, 56

31 3⁄8 x 46 7⁄8 in./79.8 x 119 cm Affiches G. Mont Louis, Clermont-Ferrand Cond B+/Slight tears at edges.

Ref: L’Auvergne, 192

A Farman-type biplane soars above Bavarian cupolas in Hohlwein’s perfectly balanced composition. Hohlwein is one of Germany’s best-known poster artists, and this is a classic of his characteristic early style, which broke from the traditions of Art Nouveau to champion flat shapes— albeit they’re imbued with strange, painterly patterns to deliver an intensity within each object. The Otto Flying Machine Works was the largest aircraft manufacturer in southern Germany, and later merged to form BMW.

A synthesis of man and machine commands the spotlight in this Stoecklin poster for a Zurich air show featuring Alpine sightseeing flights. The design couldn’t possibly be more simple: three flat colors (if you consider dropout white a hue) and a central figure that’s little more than a glorified aviational stick figure. And yet, for all its minimalism, its execution is unwaveringly concise and masterful. After studies in Munich and attending Burkhard Mangold’s classes back in his home town of Basel, Stoecklin embarked on a wide-ranging career: he painted, did murals, designed postage stamps, and illustrated books. But his primary achievement remains a body of more than 100 posters, most of them employing a style of strong visual impact by focusing sharply on whatever the poster is about. This is the Germanlanguage version.

Aircraft of all sizes and makes zoom through the sky on their way to the Auvergne National Air Rally and Grand Aviation Meet, which featured 60 planes. The Auvergne Aero Club was created in 1920; to this day, they continue to offer flight classes and sightseeing trips. The event depicted in this poster was the club’s first national air rally, and included Italian Fiat fliers Ferrarin and Brachpapa as well as Emile Paumier flying his Schreck seaplane. Rare!

Est: $6,000-$8,000.

Est: $2,500-$3,000.

Est: $2,500-$3,000.

AVIATION

43

44

43. I. Internationale Luftschiffahrts Ausstellung. 1935.

Artist: Plinio Codognato (1878-1940)

45. Air France / De Jour et de Nuit. 1938.

Artist: Lucien Boucher (1889-1971)

27 1⁄8 x 39 1⁄8 in./69 x 99.5 cm Cond B+/Unobtrusive folds. Framed.

Ref: Ali d’Italia, p. 85; Affiches d’Aviation, p. 119; Oggi, p. 200; PAI-LXXVI, 40

39 x 24 3⁄4 in./99 x 62.7 cm Perceval, Paris Cond A. Ref: PAI-XLVIII, 52

This flock of eagles looks like a single bird in stop-motion sequence as it alights to the air, inspired by the plane careening toward the edge of the frame. Much in keeping with the Italian political climate of the 1930s, this poster for the first Milanese air show is both imposing and aggressive, with a palpable weight and mass to the objects shown. This is the smaller format of the poster, with German text.

Est: $1,700-$2,000.

44. Deutsche Zeppelin / Traversez L’Atlantique en 2 Jours. ca. 1936.

Artist: Ottomar Anton (1895-1976) 23 3⁄8 x 32 7⁄8 in./59.2 x 83.3 cm Muhlmeister & Johler, Hamburg Cond A-/Slight creases in background. Framed.

Ref (both var): Airlines, p. 37; PAI-LXXXIII, 90 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. This is the French language version.

Est: $2,000-$2,500.

“Lucien Boucher became the ‘Mr. Planisphere’ of Air France, making a large number of them between 1934 and 1962. Until this point, posters sold either a destination (Africa, the Orient, Europe) or a product (the Air France company). They then became works of art that, incidentally, showed that the French network covered the world.

They had planes and shrimp in them, the sky was there by default (the definition of a planisphere is that we see the earth from above, from the sky) and the continents were now illustrated by monuments, genre scenes or emblematic animals... Sometimes these [Air France] networks were drawn on a celestial chart with constellations replacing the continents. Until then master of the skies, the airplane (Air France’s of course) had metaphorically become master of the world, even the universe... If we stand back and look at a distance at this network drawn on the celestial chart, we have the strange impression of seeing the world projected onto the sky... The result is astonishing, this magnificent representation of the signs of the Zodiac becoming a mirror in which the earth suggested by the Air France routes is reflected” (Air France/Dream, p. 91). Rare!

Est: $1,700-$2,000.

AVIATION

45

46

47

48

46. Air France / Afrique du Nord. 1946.

Artist: Bernard Villemot (1911-1989)

47. Air France / Côte d’Azur. ca. 1952.

Artist: Bernard Villemot (1911-1989)

48. Bernay. ca. 1936.

Artist: Jean Chassaing (1905-1938)

24 3⁄8 x 39 1⁄4 in./62 x 99.7 cm Hubert Baille, Paris Cond A-/Slight tears at edges. P. Ref (all var): Bon Salle, 221; Villemot/Forney, 161; Air France, A19; Toujours plus Haut, p. 165; PAI-LXXX, 163

24 1⁄4 x 39 1⁄4 in./61.7 x 99.7 cm Hubert Baille, Paris Cond A-/Slight tears at lower edge. P. Ref: Affiches Azur, 28; Air France, checklist; PAI-XLVII, 511

30 x 47 in./76.2 x 119.2 cm Les Impressions Lithographiques, Paris Cond A-/Slight tears and creases in bottom text area.

Villemot designed posters for Air France interspersedly from 1946 through the 1970s; he was hired specifically for his “poetic, symbolic imagination [that translated] into suggestive forms and colors whatever inspiration he could draw from words as general as India, North Africa, Paris, etc.” (Bon Salle, p. 115). For North Africa, he presents us with a bird’s-eye view of the typical white walls, stucco roofs, and domes one might find in Morocco. This is the French language version.

Est: $1,000-$1,200.

In most of the posters Villemot created during his ten-year tenure with Air France from 1946 to 1956, he illustrated destinations with picturesque scenes rendered with splashy elliptical brushwork. Though his approach here is a bit more angular than the Villemot norm, he evokes the chic sleekness of the Riviera with Colorform zest.

Est: $1,000-$1,200.

A stylized airplane pivots in midair to promote the aerial activities of the Aeronautical Club of the Arrondissement of Bernay. Launched in 1934 with help from the Caudron-Renault aircraft company, the club was headed by pilot Henry Boris, who, in 1937, broke the world speed record on a Caudron Rafale at over 300 kilometers per hour. During World War II, the club was instrumental in training Air Force fighters. Today, it continues to provide flying classes as well as exhibitions at their local aerodrome.

Est: $1,400-$1,700.

AVIATION

50

49

51

49. Pan Am / Bermuda. ca. 1947.

Artist: Boris Artzybasheff (1899-1965)

50. SAS / No Giraffes. ca. 1950.

Artist: Aage Rasmussen (1913-1975)

51. BCPA to Australia / Surf Life. ca. 1950.

Artist: K. Howland

27 1⁄2 x 42 in./70 x 106.7 cm Cond A.

24 1⁄2 x 39 3⁄ 8 in./62.2 x 100 cm Andreasen & Lachmann, København Cond A.

20 x 30 1⁄4 in./50.7 x 77 cm Cond A.

In 1939, Pan Am began to offer flights to Europe via Bermuda—but after the war, England was reluctant to host American flights to their territories, at least not until the British had their own planes to travel there first. In 1945, the American and British governments met in Bermuda for negotiations, resulting in the Bermuda Agreement, which set the precedent for about 3,000 other international agreements regarding air travel. Once that was settled, Pan Am launched their round-the-world trips on the Lockheed 749 Constellation. Artzybasheff created this stylized and seductive design to lure travelers to the newly available islands of Bermuda. Like a finely detailed embossment, his mermaid carves her way around the territory, mimicking its shape, which is again echoed in the luscious Easter lilies opening up to the sky. Rare!

Est: $6,000-$7,000.

“The first SAS posters [were] designed by Rasmussen in 1946, when the Scandinavian aviation monopoly went viral with the long-desired opening of the Atlantic route to New York... His contemporary freight poster ‘No Giraffes, please,’ in which a giraffe is a blind passenger on one tail wing, is internationally one of the earliest manifestations of the humorous elegance of postwar aviation advertising. This also appears in the SAS posters of the 1950s, but only sporadically due to Otto Nielsen’s long-standing sovereign position at SAS” (Danish Posters, p. 223-224).

Est: $1,000-$1,200.

The British Commonwealth Pacific Airlines was founded in 1946 in New South Wales, Australia with New Zealand and the United Kingdom as partners. Flights flew from Sydney or Melbourne to Vancouver with stops in Fiji, Hawaii, and San Francisco. Here, Howland advertises the resplendent beaches that host the Australian Surf Life Saving Carnival, an annual event—the largest of its kind—in which surf club members compete in various beach and ocean events.

Est: $1,000-$1,200.

AVIATION

53

52

54

52. BCPA to Australia / Sydney Harbour. ca. 1950.

Artist: K. Howland

53. BCPA to Australia / Koalas. ca. 1950.

Artist: K. Howland

54. Pan Am / Yucatan. ca. 1950.

Artist: Anonymous

19 1⁄4 x 29 1⁄8 in./48.7 x 74 cm Cond A.

19 x 29 in./48.3 x 73.7 cm Cond A.

Howland sets his sights on the massive sails of an 18 ft. Skiff, which locals call an “Aussie 18.” The boats first started racing on the Sydney Harbour in 1892 with a crew of 6-9 people on board. In the 1950s, these sailboats benefitted from increased knowledge and understanding of hydrodynamics and aerodynamics; today it’s one of the fastest monohulls on the water.

What better way to lure tourists to Australia than with a family of koalas? While beachgoers flock to the shores below, this trio of native marsupials is perfectly content to wile away the afternoon nestled in a eucalyptus tree.

The views beyond don’t hurt, either.

28 x 42 in./71 x 106.5 cm Offset S.A., Mexico Cond A.

Est: $1,000-$1,200.

Est: $1,000-$1,200.

During the 1920s and 1930s, Pan Am broadened its service to include Mexico and South America. In 1929, the company acquired a controlling stake in Mexicana de Aviación, taking over Mexico’s Ford Trimotor route between Texas and Mexico City, and then extending this service to the Yucatán Peninsula. Here, we’re given a detailed look at some of the Mayan archaeological sites that can be found throughout the peninsula, which was the central location of the Mayan Civilization.

Est: $1,000-$1,200.

FOR A SEARCHABLE DATABASE OF EVERY POSTER WE’VE EVER SOLD AT AUCTION, VIEW OUR POSTER PRICE GUIDE AT POSTERAUCTIONS.COM

AVIATION

55. Air France / Carries Anything Anywhere. 1952.

Artist: Alphonse Dehédin 24 1⁄ 2 x 39 in./62.3 x 99 cm Perceval, Paris Cond A. Ref: Air France/Dream, p. 57 (var); PAI-LXVIII, 7 Air France is “transporting everything, everywhere”—from a delicate gilt decorative clock, to a canary in a cage, to a bunch of roses, as well as anything else. The succinctness of the tag line is matched by the cleverness of the design, which inscribes the motion of an ampersand (&), realizing an economic, graphic way to say “and everything else, too.” The plane is a celebrated Lockheed Constellation that made “everything, everywhere” possible.

Est: $800-$1,000.

56. Qantas / Canada. ca. 1952.

Artist: Harry Rogers (1929-2012)

58 55

14 1⁄2 x 19 1⁄2 in./36.8 x 49.5 cm Posters Pty. Ltd., Australia Cond A/P. A simple teal background gives way to a dynamic multicolored moose who advertises trips to Canada via Australia’s Qantas Airline. Rogers not only designed posters for the airline from the 1950s through 1985, but also designed their logo in the 1960s, art directed their in-flight and staff magazines, and oversaw a total rebranding of the company from 1970-1984, which included a new typeface and the design of upstairs cocktail bars in the early Boeing 747s. This is the smaller format.

Est: $700-$900.

57. Alitalia / Inde. ca. 1955.

Artist: Gregori 27 1⁄4 x 38 1⁄8 in./69 x 96.8 cm Bodoniana, Bologna Cond B+/Slight tears and stains at edges.

56

59

To lure travelers to India, Gregori employs a decadent seated god composed of many colors and patterns.

While we’re unable to pinpoint the exact deity represented here, we assume the artist intended for a more general representation of the variety of sights and experiences that await us in India.

Est: $800-$1,000.

58. BOAC / Africa. ca. 1955.

Artist: Maurice Laban (1912-1970) 20 x 30 in./50.8 x 76.2 cm Cond A. Laban created a series of posters for BOAC throughout the 1950s, each of which features charming local animals.

Here, a welcoming giraffe invites us to join in the fun with a trio of galloping antelopes. This is a silkscreen print.

Est: $1,400-$1,700.

59. BOAC / Far East. ca. 1955.

Artist: Maurice Laban (1912-1970) 20 x 30 in./50.8 x 76.2 cm Cond A. Ref: Toujours Plus Haut, p. 217 Laban embraces the mythical history of the Far East with a dazzling dragon leading our journey from Europe to India and onward. Created in 1939, the British Overseas Airways Corporation introduced flights to India in 1948; in 1952, they were the first airline to introduce passenger jets with service to Africa and Tokyo. This is a silkscreen print.

57

60

Est: $1,200-$1,500.

AVIATION

61

63 60. BOAC / Britain - Europe. ca. 1955.

Artist: Maurice Laban (1912-1970)

63. TWA / Hollywood. ca. 1958.

Artist: David Klein (1918-2005)

20 x 29 7⁄8 in./50.8 x 75.8 cm Cond A.

24 3⁄4 x 40 1⁄8 in./63 x 102 cm Cond B+/Slight tears at folds and edges.

Ref: PAI-LXXVI, 49 (var)

Exotic wildlife might not be the first thing that comes to mind when imagining a trip to Europe. But that’s no problem for Laban, who chooses to highlight more domestic creatures with his usual charm. This is a silkscreen print.

Est: $1,200-$1,500.

62

61. Air France / Amérique du Nord. 1958.

Artist: Jacques Nathan-Garamond (1910-2001) 24 1⁄4 x 39 in./61.8 x 99.2 cm Imp. Courbet, Paris Cond B/Slight tears at folds and edges.

Ref: Air France/Dream, p. 147; PAI-LXXII, 65 A lot can happen in a decade, and it shows: while Bayle’s 1948 Air France / Amérique du Nord poster (see PAI-LXXII, 55) plays up romantic connections between New York and Paris, Nathan-Garamond offers up a collage-like take on the American South: oil derricks, cacti, and Mississippi steamboats ride alongside glass skyscrapers striped with the southern sun.

Est: $1,000-$1,200.

62. TWA / Las Vegas. 1950.

Artist: David Klein (1918-2005) 25 x 40 1⁄ 8 in./63.4 x 102 cm Cond B/Restored tears.

Ref: Affiches d’Aviation, p. 160; PAI-LXXIX, 126

64

In one of his best designs for TWA, the dual nature of Las Vegas is alluringly presented: a sun-kissed bathing beauty by day becomes a glamorous Rat-Pack era card shark by night. This image is possibly the definitive symbol of Las Vegas at the first moment of its international fame.

Est: $1,000-$1,200.

The stars are certainly out tonight in Hollywood! The night sky glimmers beneath Modernist slices; the sloping hill below cascades with glittering starlight on its descent to the Hollywood Bowl. The plane featured in the design is a Lockheed L-49 Constellation, the first pressurized airliner adapted for wide commercial use. The first ones entered service for TWA two months after V-J Day; this poster coincides with the manufacture of the final Constellations in 1958. It’s certainly one of Klein’s greatest TWA posters.

Est: $3,000-$4,000.

64. Fly TWA Jets / Paris. 1962.

Artist: David Klein (1918-2005) 25 1⁄8 x 40 in./64 x 101.5 cm Cond A. Ref: PAI-LXXXII, 96 This is one of David Klein’s most celebrated posters, and the image itself is jubilant: the City of Light is ablaze with Klein’s stylized fireworks that mimic the illustrated showgirls of the Folies-Bergère in Belle Epoque posters.

Est: $1,400-$1,700.

AVIATION

65

67

66

68

69

65. Air France / Inde. 1959.

Artist: Jean Carlu (1900-1997)

66. Ethiopian Jet / Kenya. ca. 1960.

Artist: Anonymous

67. South Pacific Air Lines / Tahiti. ca. 1960.

Artist: Arthur Alfred Thompson (1915-1997)

24 5⁄8 x 39 1⁄4 in./62.6 x 99.5 cm Imp. S.A. Courbet, Paris Cond A. Ref (both var but PAI): Air France, p. 73; Air France/ Dream, p. 156; PAI-LXXII, 63

25 1⁄8 x 40 in./63.8 x 101.8 cm East African Printers, Nairobi Cond A.

25 1⁄2 x 39 in./64.6 x 99 cm Cond A.

Ganesha—the Remover of Obstacles, Deity of Intellect, the God of Beginnings, and the Patron of Letters—is telling you it’s a wise idea to come to India. Jean Carlu, the artist, rose to fame with his Art Deco posters; this is a fine adaptation to the style of the late ’50s to early ’60s while retaining a flavor of ancient India.

Est: $1,700-$2,000.

To attract visitors to Kenya, this artist employs a magnificent Greater kudu, a woodland antelope with characteristically curly horns. And, indeed, contrasts abound: Kenya is home to a coastal area along the Indian Ocean, savannas, highland plateaus, and rugged mountain chains. The country is also inhabited by millions of migrating animals in the summer months, including lions, leopards, zebras, rhinoceroses, and elephants.

Est: $1,400-$1,700.

REGISTER FOR ONLINE BIDDING AT POSTERAUCTIONS.COM

A bathing nude is certainly a come-hither invitation to visit Tahiti via South Pacific Air. Headquartered in San Francisco, the airline began service between Honolulu and Tahiti in 1960 before disappearing into oblivion.

Est: $800-$1,000.

AVIATION

70

71

68. Swissair / Japan. 1961.

Artist: Nikolaus Schwabe (1926-?)

70. Pan Am / New York.

Artist: Anonymous

25 x 39 5⁄8 in./63.7 x 100.7 cm Cond A/P.

28 x 42 in./71 x 106.8 cm Cond A/P.

To encourage flights to Japan, Schwabe employs a traditional geisha, with a twist: she’s a collage of torn paper and cutout flowers. It’s a whimsical method that adds creative appeal to Swissair’s flights to the far East.

New York at night is truly intoxicating. The glittering lights of the buildings reflect in the rivers while car lights whoosh past, creating a medley of dancing, glowing orbs. Take a cab across the Brooklyn Bridge, open the windows, and let that crazy, wonderful New York energy seep into your pores. This poster captures the city’s mesmerizing effect, which is made even more special by the appearance of the old World Trade Center towers.

Est: $1,000-$1,200.

69. Iberia. 1972.

Artist: Manolo Prieto (1912-1991) 33 1⁄2 x 53 3⁄4 in./85 x 136.4 cm Cond B+/Slight creases at folds. P. Manolo Prieto said, “The good poster should attract by its beauty, retain by its intention, convince by its message and then release with a smile, if possible.

That’s how beautiful and difficult a poster is!” In his celebratory design for the Iberia airline, he combines Spain’s rich bullfighting history with the modern advances in aircraft technology in a cohesive composition. Prieto created posters for over 50 years; he also designed advertisements and book covers and worked as an illustrator, graphic designer, painter, and sculptor.

Est: $1,000-$1,200.

Est: $2,500-$3,000.

71. Pan Am / New York. ca. 1970.

Artist: Anonymous 28 x 42 in./71 x 106.8 cm Cond A/P. Ref: PAI-LXXXIII, 104 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: $3,000-$4,000.

AUTOMOBILES

72

73

72. Moteur Romain / Delaugère & Cie. Artist: Marcellin Auzolle (1862-1942)

73. Malinge & Laulan.

Artist: Anonymous

39 3⁄4 x 55 1⁄8 in./101 x 140 cm Imp. P. Vercasson, Paris Cond B/Slight tears at folds and edges.

Ref: PAI-XX, 56

33 5⁄8 x 47 in./85.5 x 119.4 cm Imp. Gueneux, Nantes Cond B/Slight tears, largely at edges.

Ah, the good life on a quadricycle built by the Orléans firm of Delaugère.

The uniformed chauffeur—in knickerbockers with natty plaid socks and gaiters—pedals away on the dusty road while Madame, her hat tied on with a veil, enjoys the fine day and riverside view from the front seat of this new and short-lived contraption.

This little-known bicycle and automobile company, based in Angers, proudly displays both of their transportive options in this cheerful design. In 1893, Malinge & Laulan patented a protective system for pneumatic rubbers or wheels mounted on pneumatic rubbers, but little other information exists on the brand. Rare!

Est: $2,000-$2,500.

Est: $1,400-$1,700.

74. Benzo-Moteur. 1900.

Artist: Jules Chéret (1836-1932) 33 x 46 7⁄8 in./84 x 119 cm Imp. Chaix, Paris Cond A. Framed.

Ref: Chéret, 1369; Broido, 1031; DFP-II, 201; Affiches Automobiles, p. 14; Abdy, p. 52; Gold, 22; PAI-LXXXII, 249 “In 1900 cars were still pretty much a hobby for the venturesome. That meant mostly men, but Chéret shows one daring young woman at the wheel in the foreground and another in the smaller background image. The poster is for one of the first European brands of gasoline, sold at the time in canisters at general and hardware stores” (Gold, 17).

Est: $2,500-$3,000.

AUTOMOBILES

75

74

76

75. Dunlop. ca. 1895.

Artist: Anonymous

76. Ausstellung Moderner Verkehrsmittel. 1909.

Artist: Julius Klinger (1876-1942)

25 x 19 in./63.4 x 48.2 cm Publicité Doumenq-Lochard Cond B/Slight tears at folds and edges.

Ref: Discount, p. 54

37 3⁄8 x 28 in./95 x 71.3 cm Hollerbaum & Schmidt, Berlin Cond A-/Slight tears at edges.

Ref: DFP-III, 1671; Wember, 481; Klinger, 4.23; PAI-III, 319

“John Boyd Dunlop, a Scottish veterinary surgeon, invented the pneumatic tire in 1888 after noticing that his young son was uncomfortable riding a tricycle on a cobbled road. Convinced that its solid-rubber tires were causing the problem, he wrapped them in thin sheets of rubber, which he then inflated with an air pump to create a cushioning effect. In 1889 Dunlop opened his first tire factory in Dublin and, in 1893, a plant in Hanau, Germany. By 1895, he was selling products in France and Canada. In 1898, having outgrown the Dublin factory, the company opened a facility in Coventry, England, and, four years later, moved production to Birmingham. In this image Dunlop, with cane and doffing his top hat, stands beside the tire-shaped letter O; rising behind the enormous letters is the Dunlop factory and, below, a list of Dunlop products, including ‘tires for bicycles, motorcycles, cars, and solid tires for trucks’” (Discount, p. 54). Rare!

This forceful image zooms in on the gloved hands of a driver who grips the wheel with resolved control. For this exhibition of modern means of transportation, Klinger maintains a spare color palette and composition which nevertheless gives the illusion of speed and grandeur.

Est: $1,400-$1,700.

DOWNLOAD OUR MOBILE BIDDING APP AT POSTERAUCTIONS.COM

Est: $3,500-$4,000.

AUTOMOBILES

78

77 77. Dansk Motor Klubs / Fanø. 1920.

Artist: Thor Bøgelund (1890-1959)

79. Salmson. ca. 1922.

Artist: Anonymous

23 7⁄8 x 35 in./60.5 x 89 cm Andreasen & Lachmann, København Cond A. Ref: PAI-LXXV, 53

30 1⁄ 2 x 46 in./77.5 x 116.8 cm Ateliers Riegel, Paris Cond B-/Restored tears at folds and edges.

Ref: U.S.A. 1929, 11; PAI-LXXI, 25

Bøgelund was “the pioneer of the Danish poster. His clear-cut letters, his vivid colors, his innate sense of simplification make him the first true Danish poster artist and the one whose work is most important” (Weill, p. 272). Here, the rays of the bright, long daylight of a northern June shines down upon Fanø, a little hangnail of an island off the southwest coast of Denmark, where an early auto race was held in 1920.

Although it began as an airplane engine company, Salmson quickly brought the prowess of the skies to the common automobile. Launching its first car in 1919 at the Paris Salon, Salmson, like Amilcar, was considered a fashionable, sporty-chic brand possessing both style and power. The text along the stone wall indicates that the brand won the 1921 Grand Prix.

Est: $1,000-$1,200.

79

Est: $2,000-$2,500.

78. Route des Pyrénées. ca. 1920.

Artist: Louis Tauzin (ca. 1845-1914) 29 1⁄4 x 41 1⁄2 in./74.3 x 105.5 cm Imp. F. Champenois, Paris Cond B/Tears at folds and edges.

Ref: Pyrenées, p. 37; Perpignan, p. 57; PAI-LXVI, 485 Connecting to its rail services, the Chemins de fer du Midi offered an open-air motor couch to negotiate the winding route within the Pyrénées for adventurous sightseers. Tauzin offers us a picturesque view of the landscape in a dreamy Impressionist style.

Est: $1,200-$1,500.

80. Voisin. 1922.

Artist: Joë Bridge (Jean Barrez, 1886-1967) 23 x 31 7⁄8 in./58.2 x 81 cm Ateliers Joë Bridge, Paris Cond A. Ref: Auto Show III, 75; PAI-LXXX, 182 Just imagine how difficult it must have been to make a romantic fool of yourself before the arrival of the automobile.

Not only would the element of surprise be diminished, but one has to assume that travel time would often cool the mood. Here, this pajama-clad Romeo couldn’t even wait to change out of his bedclothes to see his delighted Lady Love, a sight altogether shocking to her decorous Jack Russell.

And the transport of choice? Why, a Voisin of course—the perfect luxury vehicle for the well-heeled amorous impulsive.

New York-born Bridge spent most of his professional career as an illustrator, humorist, posterist, and publisher in Paris, where he passed away in 1967.

Est: $1,400-$1,700.

80

AUTOMOBILES

81 81. La Voisin. ca. 1925.

Artist: René Vincent (1879-1936) 29 x 20 1⁄2 in./73.7 x 52 cm Imp. Draeger, Paris Cond A. Framed.

Ref: Auto Show III, 68; PAI-XXVIII, 24 Vincent mixes two of his favorite subjects—cars and fashion—with a fine touch of elegance. The Voisin model with open front and chauffeur; the soignée woman being handed into the back seat; the classic black and white afternoon dress complimenting the tiled driveway and the suggestion of an architectural column—it all adds up to the kind of luxury and refinement that a top-of-the-line car aspires to in its publicity. After World War I, Gabriel Voisin—who with his brother Charles were the pioneers of the French aviation industry—took over a prototype from Citroën to develop his own luxurious model.

The make shown here is, in all probability, the “Lumineuse” of 1925. Rare!

Est: $2,500-$3,000.

82. Peugeot. 1925.

Artist: Leonetto Cappiello (1875-1942) 46 7⁄8 x 60 5⁄ 8 in./119 x 154 cm Imp. Devambez, Paris Cond A. Ref: Cappiello/Rennert, 417; PAI-XXXVI, 197 “The lion has been Peugeot’s symbol since 1858, and so Cappiello has one leaping out at us over the car, with its French tricolors forming a halo around it. Surely one of the boldest and most startling designs. The boat tail, a design featured on automobiles in the 1920s, resulted in what was considered to be one of the raciest of the roadster-type models. It was also highly impractical, as the odd-pointed shape at the back left no room for storage” (Cappiello/Rennert, p. 261).

Est: $3,000-$4,000.

82

AUTOMOBILES

83

84 83. Brémsit. ca. 1929.

Artist: Paul Gustave Mohr (1890-1959) 23 3⁄4 x 32 3⁄4 in./60.4 x 83.2 cm Affiches Paul Mohr, Asnières Cond B/Slight tears at folds.

For Brémsit’s brake lining, Mohr anthropomorphizes the component’s strength with an Adonis forcefully wielding control. Brake lining is a crucial element in allowing the vehicle to slow down and stop, making this muscular man’s role all the more important.

Est: $2,000-$2,500.

84. Bougie Pognon. ca. 1925.

Artist: Paul Gustave Mohr (1890-1959) 23 x 32 1⁄4 in./58.2 x 82 cm Affiches Paul Mohr, Asnières Cond B-/Tears at folds; recreated bottom border.

Once again, Mohr employs a svelte athlete to demonstrate the strength of a small but mighty automotive component. The Bougie Pognon spark plug was reviewed in the 1906 issue of La Vie automobile: “This spark plug will be a sensation... you must not forget that it is one of the few which gives the perfect spark, igniting well... All manufacturers, all drivers, all car garages will have to demand the Pognon spark plug. Here are its last victories: in the heavyweight competition, 1st place for the Delahaye truck, Seine Motorboat Championship. 1st of the 8-meter races: the Rapiére... 1st of the 12-18 meter racers: the Delahaye.”

Est: $2,000-$2,500.

85. Selnau 77.77. ca. 1928.

Artist: Charles Kuhn (1903-1999) 35 1⁄2 x 50 1⁄ 2 in./90.2 x 128.3 cm Wolfsberg, Zürich Cond B+/Slight creasing at edges.

Ref: Die Bugattis, 51; Affiches Suisses, 41; Swiss/Basel, 168; PAI-LXXV, 60 Although this very Deco design easily predates ride-hailing apps, getting a cab in Zurich was just as easy: just dial 77-77, and you’re on the road.

85

Est: $3,000-$4,000.

AUTOMOBILES

86 86. Salone dell’Automobile. 1930.

Artist: Giacinto Mondaini (1903-1979) 55 x 78 3⁄4 in./139.6 x 200 cm Gros Monti, Torino Cond B+/Slight tears at folds and edges.

Ref: Crouse/Deco, p. 66; Bolaffi, p. 151; Raccontano, 22 “For the third Milan International Auto Show, Mondaini creates a sparse, powerful Art Deco collage composed of three interconnected elements: bold text, an extremely appreciative colossus, and an elegantly simply vehicle. The artist utilizes the flat white of the paper to create a featureless background, which immediately draws the viewer’s attention to the composition in the foreground. It’s a wonderful combination of subtle artistry—especially the use of foreshortening, which thrusts the car toward the viewer—and humor: not only does the stylized embodiment of automotive appreciation hold the sedan (obviously a Fiat) aloft, he unabashedly sings its praises as well. The 1930 Milan Expo featured eighty-three parts and accessories makers as well as fifteen automotive manufacturers who exhibited forty-two different models and thirty-four makes of industrial vehicles” (Crouse/Deco, p. 66).

Est: $7,000-$9,000.

AUTOMOBILES - WAR & PROPAGANDA

87

89 87. Flexible CFA. ca. 1935.

Artist: Francis Bernard (1900-1979) 20 3⁄4 x 31 1⁄4 in./52.8 x 79.4 cm Editions Paul Martial, Paris Cond B/Slight tears at folds and edges.

Bernard takes a plunge into minimalist Sachplakat aesthetics with this sharp design for a flexible steering wheel. The wheel, hovering sturdily above a wintry road, assures us that our journey will be safe and smooth.

Est: $1,700-$2,000.

88. American Gas. ca. 1945.

Artist: Lucian Bernhard (1883-1972) 26 3⁄8 x 42 3⁄4 in./67 x 108.7 cm Cond A. Ref: PAI-LXXXII, 162 Bernhard exchanges his Jugendstil aesthetic for a streamlined American look in this advertisement for American Oil Company, better known as Amoco. Bernhard emigrated to the United States in 1922; he quickly found that his style was too advanced for American tastes and struggled to get his footing.

Finally, in the late ’20s, he caught his design stride with the consortium Contempora and began producing advertisements for a number of companies, including Amoco. He created the company’s logo and, for nineteen years, he designed one 24-sheet poster each month, alongside other materials.

In this unsigned work, Bernhard proves that being “the best of the regulars” is still a success.

Est: $1,200-$1,500.

89. Citroën / L’Année Champion. 1982.

Artist: Raymond Savignac (1907-2002) 41 1⁄2 x 33 3⁄8 in./105.4 x 84.7 cm St. Martin, Asnières Cond A. Ref: Savignac/Affichiste, 375; PAI-LXXV, 71 This design is part of a series Savignac created for Citroën during the early 1980s; here he utilizes the company’s chevron logo as the runner’s torch in a nod to that year’s Olympic games.

88

Est: $1,000-$1,200.

WAR & PROPAGANDA

90

91

90. Spirit of the North. 1861.

Artist: Anonymous

91. W. J. Bryan. 1899.

Artist: Anonymous

15 1⁄2 x 23 in./39.3 x 58.4 cm Sarony, Major & Knapp, New York Cond A-/Slight stains at edges. Framed.

19 1⁄4 x 29 3⁄ 8 in./49 x 74.8 cm Strobridge Litho., Cincinnati Cond A. Framed.

Ref: PAI-XX, 108

A very young Zouave soldier flies the Union flag amidst a violent battlefield scene.

The French/North African light infantry regiments inspired American Zouave regiments on both sides of the Civil War; the Union army had more than seventy volunteer Zouave regiments, and the Confederates fielded about twenty-five Zouave companies. The text at bottom here reads: “The flag of our Union forever.” The Sarony, Major & Knapp firm, located at 449 Broadway, were “key New York lithographers during their half century of operation. They began to produce color lithography in the 1840s and were probably the largest American producer of colored sheet music covers from the 1840s to the early 1870s” (Color Explosion, p. 133). Rare!

Est: $2,000-$2,500.

William Jennings Bryan (1860-1925) was the Democratic candidate for President in 1896, 1900, and 1908, and was Secretary of State in Woodrow Wilson’s cabinet from 1913 to the time of his resignation in 1915. He originally won fame with his “Cross of Gold” speech at the Democratic Convention of 1896, calling for free coinage of silver. A believer in fundamental religion, Bryan aided the prosecution at the Scopes evolution trial of 1925.

Bryan was chosen unanimously on the first ballot by his party in July 1900 and went on to accuse McKinley of imperialism in Cuba and the Philippines, and of being a tool of big business. He got 45% of the popular vote and again lost to McKinley. This magnificent poster, printed by America’s foremost printer, was used primarily as a fundraising souvenir, published by Neville Williams of Columbus, Ohio, who sold them for 25 cents each. On the back of this poster is Williams’ original letter, which details the imagery representing the principles of the Democratic Party: “the Old Liberty Bell-1776, pealing forth the notes of freedom to our forefathers; the New Bell-1900, sounding the alarm against Imperialism; ... the Democratic Rooster, the Plow and Hammer of the People’s Party, the Mountain Daisy of the Silvery party of the West, the Goddess of Justice of the Silver Prohibition party; ‘E Pluribus Unum,’ many united, supporting Wm. J. Bryan, who stands as firm as Gibraltar for the Declaration of the Independence...” and many more notable symbols. Rare!

Est: $2,000-$2,500.

WAR & PROPAGANDA

93

92 92. YWCA / For Every Fighter a Woman Worker. 1918.

Artist: Ernest Hamlin Baker (1889-1975)

93. Care for Her through the YWCA. 1918.

Artist: Adolph Treidler (1886-1981)

27 1⁄2 x 41 1⁄4 in./70 x 104.7 cm U.S. Printing & Lithography Co., New York Cond A-/Slight tears at edges.

Ref: Theofiles, 208; Rawls, p. 164

30 x 41 1⁄4 in./76.2 x 104.8 cm American Lithographic Co., New York Cond A-/Slight tears at edges.

Ref: Theofiles, 217; Rawls, p. 164

The YWCA had an enormous impact in elevating women’s equality and societal value, particularly during the first World War. And posters promoting the organization helped to send the message that women could provide crucial contributions to the war effort.

Here, a veritable army of women floods the page; dressed in military uniforms and laborer’s clothes, they form a united front of workers whose femininity is beside the point. The YWCA is the oldest and largest women’s organization in the U.S.; during the War, they advocated for women workers around the world and coordinated and provided relief services in conjunction with the Red Cross and Salvation Army.

“Women may not have fought on the front lines in World War I, but as more and more men joined up, they were needed in the defense industries and military support jobs. [This poster] depicts a female munitions worker with the symmetrical poise and beauty of a classical statue; she bears a miniature war-plane in one hand and a bomb-shell in the other. In reality the work she advertised was dirty, dangerous, physically demanding, and attended by frequent explosions and instances of chemical poisoning. Such injuries and fatalities did not come with medals and war pensions. The poster emphasizes the need to ‘Care for Her Through the YWCA,’ but ultimately the concern seems to be as much about her moral as physical welfare. The classical beauty of the figure helped to reassure women that their femininity would not be compromised by such work” (Gallery label from Designing Modern Women 18901990, Museum of Modern Art, New York).

Est: $1,200-$1,500.

94

Est: $1,200-$1,500.

95

WAR & PROPAGANDA

96 94. Your Work Means Victory / Build Another One. ca. 1918.

Artist: Fred J. Hoertz (1889-1978) 27 7⁄8 x 38 1⁄8 in./70.8 x 96.8 cm Ketterlinus, Philadelphia Cond A. Ref: Theofiles, 265; PAI-XLI, 268 Straightforward and colorfully industrial, this poster directly appeals to the workers arduously striving to achieve the United States Shipping Board’s goal of launching one hundred ships a day. The equation was simple: production equals supremacy. The text in the lower left mentions that this Hoertz design received an Honorable Mention (Citizen’s Class) in a poster contest sponsored by the New York Sun. Est: $1,000-$1,200.

95. Teamwork Wins. ca. 1918.

Artist: Hibberd V. B. Kline (1885-1959) 26 3⁄8 x 41 3⁄ 8 in./67 x 105 cm Thomsen-Ellis Co., Baltimore Cond A-/Slight tears at edges.

Ref: Rawls, p. 189; PAI-XLI, 266 This Kline design simply overflows with muscular Americanism. It was clearly created at a time when the population still felt that it took more than jingoistic bumper stickers and partisan catch phrases to institute a change—it took actions, which they were more than proud and willing to undertake.

Est: $1,000-$1,200.

97

98

96. War Savings Stamps / Share in the Victory. 1918.

Artist: Haskell Coffin (1878-1941)

97. Third Liberty Loan / U.S.A. Bonds. 1918.

Artist: Joseph C. Leyendecker (1874-1951)

20 x 29 7⁄8 in./51 x 75.8 cm Rusling Wood Litho., New York Cond A-/Slight creasing in background.

Ref: Theofiles, 184; PAI-LXXX, 93

20 x 30 in./51 x 76.2 cm American Lithographic Co., New York Cond A. Ref: Rawls, p. 211; Darracott, p. 30; Rickards, 50; Leyendecker, p. 75; PAI-LVIII, 553

“The rationale most often offered [for the War Savings Stamps campaign] was that no contribution to the war effort was too small, that even collected in nickels and quarters the money could be used by the government to hire workers and purchase raw materials that would help win the war... Committees, or War-Savings Societies, were set up all over the country to sell Savings stamps, which were in effect small-denomination securities available in stores, hotels, theaters, and even in booths set up on the sidewalks... By means of inventive campaigning, the government was able to bring in more than a billion dollars through the sale of Thrift and War Savings Stamps” (Rawls, p. 219-222). And while the economic realities of the initiative were unquestionably shrewd—that no amount is too small an amount when it comes to funding a just cause—it certainly couldn’t have hurt that this particular angelic embodiment of certain victory is drop-dead sexy: an alabaster-skinned, scarcely draped vision guaranteed to make every red-blooded American male dig deep.

Est: $1,000-$1,200.

Just as Girl Scouts are today known for their cookie sales, Boy Scouts were enlisted to sell Liberty Bonds during World War I. Est: $1,000-$1,200.

98. Join the Cavalry. 1920.

Artist: Horst Schreck (1885-1967) 18 3⁄8 x 24 7⁄8 in./46.7 x 63.2 cm Engineer Reproduction Plant, U.S. Army, Washington Barracks, D.C. Cond A. Framed.

“As the Cavalry slowly faded away, the last cavalry poster, like a dying swan’s exquisite last song, is exceptional.

Elegant cavalrymen are seen watering their horses on a placid river bank. After the introduction of cars, trucks, and planes the cavalry transitioned into a mechanized force” (Meehan Military Posters, Cat. 53). Rare!

Est: $1,400-$1,700.

WAR & PROPAGANDA

99

102

100

99. Lest We Perish. ca. 1915.

Artist: Ethel Franklin Bettsbains (1877-1959)

101. More Ships / Send the Eagle’s Answer. ca. 1918.

Artist: James H. Daugherty (1889-1974)

20 x 28 in./50.8 x 71.3 cm Conwell Graphic, New York Cond A. Ref: Theofiles, 254; Rawls, p. 41; PAI-LXXX, 87

37 1⁄2 x 56 1⁄2 in./95.5 x 143.6 cm Cond B+/Slight tears at folds.

Ref: Rawls, p. 77; PAI-LXXVI, 104

Beginning in 1915, the Ottoman Empire systematically exterminated 1.5 million Armenians in an event we would come to know as the Armenian Genocide. The inhumanity continued with death marches through the Syrian Desert, as well as other ethnic mass murders of Assyrians and Greeks. In this poster, a raven-haired girl, adorned in traditionally patterned clothes of the region, extends her hands pleadingly—her fingertips extend beyond the frame of the image, centering on the words “Lest We Perish,” for an American drive for a $30 million fundraiser for survivors. It’s a doubly poignant image today.

This stunning work blends tropes of industrial power with early Modernist color schemes and compositions for a total effect that is awe-inspiring. “By the summer of 1918, the Emergency Fleet Corporation had a great array of shipbuilding facilities under its direction, including the huge Hog Island shipyard near Philadelphia, which could launch seventy-eight ships at once. The country was fast approaching the goal of launching one-hundred ships a day, and it reached a total of ninety-five on the fourth of July” (Rawls, p. 77). This poster was published by the Emergency Fleet Corporation in Washington, D.C. Est: $1,200-$1,500.

Est: $1,200-$1,500.

100. They Shall Not Perish. 1918.

Artist: Douglas Volk (1856-1935) 30 x 40 3⁄8 in./76.2 x 102.6 cm American Lithographic Co., New York Cond A. Ref: Theofiles, p. 174; PAI-LXXXII, 24 In this poster—which also addresses the Armenian Genocide—Lady Liberty, armed with a sword, shelters a Middle Eastern girl under the American flag in a $30 million fundraiser for survivors. Over 100 years later, the message still resonates.

Est: $1,200-$1,500.

101

102. U.S. Official War Pictures. 1917.

Artist: Louis Fancher (1884-1944) 28 1⁄4 x 40 7⁄8 in./72 x 103.8 cm The Hegeman Print, New York Cond A-/Unobtrusive folds.

Ref: Rawls, p. 139; Modern American Poster, 26; PAI-LXXXII, 34 Because film was the most effective way of reaching and eliciting a response from the American public during the War, “the Committee on Public Information became the official distributor for movies taken by military cameramen... When films began to arrive from France (censored of hardship, mutilation, and atrocity), the Committee would make duplicate prints of those thought most useful to the war effort and distribute them to the news media, to libraries, and to historical societies. The bulk of the motion picture footage shot at the front was made available, for a fee, to the weekly film-news syndicates. Experienced film editors did what they could to put the remaining footage into stirring movies to distribute free among state councils of defense and various patriotic societies” (Rawls, p. 141 and 143).

Provenance: Hans Sachs collection.

Est: $3,000-$4,000.

WAR & PROPAGANDA

104 103 103. Official United States War Films. 1917.

Artist: Harry Stoner (1880-?)

28 x 40 3⁄8 in./71.2 x 102.5 cm Alcoa Litho. Co., New York Cond B+/Slight tears and stains in margins.

Ref: Rawls, p. 142 During World War I, film footage of war was a novel development; the technology was not primed for shooting action from the air, and the footage that was available from France was censored of “hardship, mutilation, and atrocity” (Rawls, p. 141). Stoner’s poster accomplishes two goals: it announces the endeavors of the American War Films Division while offering a sense of the true devastation of war. Rare!

Est: $2,000-$2,500.

104. That Liberty Shall Not Perish. 1918.

Artist: Joseph Pennell (1857-1926) 30 x 41 1⁄4 in./76.2 x 104.6 cm Imp. Ketterlinus, Philadelphia Cond A. Ref: Rawls, p. 227; Theofiles, 161; Rickards, 61; Darracott, p. 35; American Posters, 61; PAI-LXXXII, 25 This is a shocking and apocalyptic portrayal of what the Great War would look like if it came to American shores: Lady Liberty headless, destroyers foundering upon the rocks of Liberty Island, bombers streaming unchallenged overhead, and Manhattan a wall of flame. This image was created on behalf of the 4th Liberty Loan drive to fund the U.S. war effort. This is the larger format.

Est: $2,500-$3,000.

105. That Liberty Shall Not Perish. 1918.

Artist: Joseph Pennell (1857-1926) 21 5⁄ 8 x 31 7⁄ 8 in./55 x 81 cm Alco-Gravure, New York Cond A. Ref: Rawls, p. 227 (var); Theofiles, 161; Rickards, 61; Darracott, p. 35 (var); American Posters, 61 (var); PAI-LXXXII, 26 This is the smaller format version of the previous lot.

Est: $1,700-$2,000.

105

WAR & PROPAGANDA

106

109

107

106. Victory Girls. ca. 1918.

Artist: Edward Penfield (1866-1925)

108. Be Ready! Join Now. 1915.

Artist: Anonymous

22 1⁄4 x 28 1⁄ 8 in./56.5 x 71.4 cm Cond A. Ref: Plakatkunst, p. 80; Theofiles, 195; Rawls, p. 24; PAI-LXX, 580

24 3⁄4 x 38 7⁄ 8 in./63 x 98.8 cm David Allen & Sons, Middlesex Cond B-/Slight tears at folds and edges.

While occasionally lacking a solid definition, a Victory Girl was typically a young woman or teenager who patriotically offered her services during the war. By World War II, this term would come to be synonymous with a “good time girl;” however, here, it still maintains all the wholesomeness expected in a Penfield poster by simply showcasing a girl rowing her way toward (American) victory amidst the choppy waters.

Est: $1,200-$1,500.

107. Our Regular Divisions. 1918.

Artist: James Montgomery Flagg (1870-1960) 20 1⁄2 x 28 in./52 x 71 cm The Sackett & Wilhelms Corp., Brooklyn Cond A. Ref: Flagg, p. 67; Rawls, p. 235 Flagg attempts to dissuade any trepidation about enlistment by showing the awe and respect that will be showered on infantrymen who join their fellow men overseas. This model citizen bears the American flag, a rifle, and a laurel wreath to symbolize victory ahead. Rare!

Est: $1,400-$1,700.

108

At the outbreak of World War I, England was the only European country without a compulsory military system, making posters a crucial motivating force.

This poster, which was commissioned by the Parliamentary Recruiting Committee in London, takes a “less-is-more” approach that certainly caught the attention of would-be recruits.

Est: $800-$1,000.

109. Deutsche Luftkriegsbeute. 1917.

Artist: Julius Gipkens (1883-1968) 18 x 27 1⁄8 in./45.8 x 69 cm Hollerbaum & Schmidt, Berlin Cond A. Framed.

Ref: Rawls, p. 37; Rickards, 97; Weapons, 78; Imperial War Museum I, p. 30 For an exhibition of captured aircraft, the German Imperial eagle perches atop a cracked British Royal Flying Corps identification roundel. Identified by its acronym, Delka, the exhibition showed captured Allied aircraft in an attempt to promote German airpower and celebrate the country’s air heroes. A later installment, in 1918, was held in Munich; this year’s edition only names a Zoo as its location, but given that the poster was printed in Berlin, the venue was likely that city’s zoo. This poster also notes the patron as His Royal Highness Prince Henry of Prussia.

Est: $1,000-$1,200.

WAR & PROPAGANDA

110. Junk Rains Hell on Axis. 1942.

Artist: Boris Artzybasheff (1899-1965) 19 1⁄2 x 41 3⁄8 in./49.5 x 105 cm Cond A-/Slight tear at horizontal fold. Framed.

Ref: PAI-LXXXII, 38 Potbelly stoves, anvils, air pumps, water heaters, engine blocks, plows, radiators, spigots, axes. Take your pick.

It might seem like junk to you, but as this humorously literal poster published by the Wickwire Spencer Steel Company astutely points out, it’s just this sort of scrap that gets turned into the “vital ingredients for each batch of new steel” used against the Axis forces during World War II. And while the bottom text dutifully conveys all the practical information, it’s Artzybasheff’s wondrous up-top cartoon that delivers the real persuasive payload, with the lethal detritus raining down upon Hitler, Hirohito, and that crybaby Mussolini, as well as three literal vermin just in case the subtlety of the allusion evaded you. Artzybasheff was a Ukrainianborn illustrator active in the United States. During the 1920s, he illustrated several books, with his efforts culminating in a 1928 Newbery Medal. However, it’s his artwork done for magazines for which the illustrator was best known during his lifetime, including Life, Fortune, and Time—with 200-plus covers for that particular publication credited to him over a 24 year period.

During WWII, Artzybasheff served as an expert advisor to the U.S. Department of State, Psychological Warfare Branch. Once the war was over, he applied that knowhow to commercial art, including campaigns for Xerox, Shell Oil, Pan Am, Alcoa Steamship lines, Scotch Tape, and Parker Pens. His graphic style is striking and his commercial work often explored grotesque experiments in anthropomorphism, where toiling machines displayed distinctly human personalities and characteristics.

Est: $1,700-$2,000.

111. Buy War Bonds / Dear God Keep Them Safe! 1942.

Artist: Anonymous

110

112

47 x 35 3⁄4 in./119.3 x 90.8 cm Cond A-/Slight tears at edges.

This harrowing image was published by the Kroger Company, based in Cincinnati, Ohio. Apparently, the grocery store chain decided that blood and gore were unsuitable for their propaganda purposes, so this anonymous artist found another terrifying method of spurring passersby into action. After all, if the battle field feels too distant, then Americans could at least relate to the urgent message of keeping their children safe, and hopefully buy war bonds to support the effort.

Private companies produced a number of propaganda posters during World War II, but since they were printed in much smaller numbers than posters issued by the U.S. government, few copies remain. Rare!!

Est: $7,000-$9,000.

112. Avenge December 7. 1942.

Artist: Bernard Perlin (1918-2014) 22 1⁄4 x 28 in./56.4 x 71.2 cm U.S. Government Printing Office, Washington, D.C. Cond A-/Unobtrusive folds.

Ref: PAI-LXXVII, 94 As a solemn reminder of the Pearl Harbor attack—and as an effort to promote patriotism—Bernard Perlin has depicted a sailor with his fists clenched, looming above a sinking naval ship. Perlin attended the New York School of Design, National Academy of Design, and the New York Arts Student League before joining the Office of War Information in 1942. He created a wide array of WWIIrelated posters during this time, and continued to create paintings and advertisements for the Government after the war ended.

Est: $1,000-$1,200.

111

WAR & PROPAGANDA

113

114

113. So Long Gang / Texaco. ca. 1945.

Artist: Anonymous 18 x 24 1⁄4 in./45.6 x 61.6 cm Cond A. A white-collar worker marches off to war lugging his new uniform and combat gear. Despite the strained look on his face, the text adds some tongue-in-cheek good humor: “So long gang—don’t forget to write!” The lack of severity associated with this decision to enlist may have in fact been just what young recruits needed to see.

Est: $800-$1,000.

114. Production. 1942.

Artist: Jean Carlu (1900-1997) 40 1⁄4 x 30 in./102.4 x 76.2 cm U.S. Government Printing Office, Washington, D.C. Cond A. Ref: Carlu, 49; Modern Poster, 197; Affiches 1000, 0312; Takashimaya, 232; PAI-LXII, 329 Arguably America’s most substantive role in World War II was supplying the sheer material preponderance that eventually overwhelmed the much more aggressive and better trained German and Japanese forces. This is one of the first posters that mobilized Americans and made them aware of the way they could help to end the bloodshed. Carlu worked in the United States from 1939 to 1952.

When he first submitted this design, in the pre-Pearl Harbor summer of 1941, it was a mobilization poster; it became a war poster when it was reissued in 1942.

Est: $1,700-$2,000.

115. Pacifique 45. 1945.

Artist: Jean Carlu (1900-1997) 40 1⁄4 x 59 3⁄4 in./102.3 x 152 cm Imp. Courbet, Paris Cond A-/Slight tears at folds.

Ref: Carlu, 60; PAI-XVI, 180 After the fall of Germany in World War II, there was still need to finish the war by taking care of Japan. In Paris, a gala was organized at the Opéra which was part victory celebration and part reminder that it wasn’t quite over yet; on the program was the showing of “Pacific 45,” an American film about aerial combat in the Pacific area. Jean Carlu, who had just returned home from the U.S., took this as his first postwar assignment, and proved he was up to the challenge by showing masterfully that the Rising Sun was rapidly setting.

Est: $2,000-$2,500.

115

WAR & PROPAGANDA

116

117

118

116. Saigon. 1944.

Artist: Pierre Baudouin (1921-1971)

117. China and Japan are like Brothers. ca. 1938.

Artist: Anonymous

118. Never Was So Much Owed. ca. 1940.

Artist: Anonymous

15 1⁄2 x 23 7⁄8 in./39.6 x 60.6 cm Imp. Dureysen Cond A. Ref: PAI-LXXVI, 125

20 3⁄4 x 30 3⁄ 8 in./52.6 x 77 cm Cond A-/Slight tears at edges.

19 7⁄ 8 x 30 1⁄4 in./50.5 x 76.8 cm Lowe & Brydone, London Cond A-/Unobtrusive folds.

“Yesterday, Strasbourg; Tomorrow, Saigon,” announces this poster as a tank rumbles through the jungle near an Angkor-esque temple. It’s a shocking reminder of a completely forgotten element of World War II: the 1944-45 bombing campaigns in Southeast Asia, ordered because the French Vichy government’s outposts in Vietnam were sheltering Japanese troops and ships. In 1944, the British air-dropped Free French operatives into Vietnam, delivering intelligence used for air strikes for the remainder of the war. The poster is chillingly prescient, of course, of the conflict to come.

Est: $1,200-$1,500.

The full title of this poster is “China and Japan are like Brothers in Building Peace in East Asia.” This is one of many posters created at the onset of World War II to try to stem peace between China and Japan despite mutual attacks on both countries. “[This poster] draws on a very famous story about the Song Dynasty historian and politician, Sima Guang (1019–1086)... When Guang was a child, one of his playmates fell into a large ceramic vat and was about to drown. The other children scattered in panic, but Guang cracked the vat with a rock and saved the child. His calm decisiveness won him considerable praise... The poster has altered the story slightly so as to fit its propaganda agenda. A giant vat, set in a traditional Chinese garden landscape, has been broken by a little Japanese boy, dressed in the JIA uniform; he appears calm, decisive and smart, like the original figure in the story. A Chinese boy is depicted flowing out of the broken vessel along with a stream of water. The rock used by the Japanese boy to break the vat lies nearby.

The vat itself is topped by the Japanese national flag together with the Chinese five-colored flag. The obvious message of this poster is that smart and brave Japanese are saving the Chinese from their own mistakes and ignorance. The Japanese are the elder brothers, the Chinese are the younger brothers. Further symbolism is added by four characters inscribed on the vat, reading ‘ronggong zhi weng’ (Vessel containing Communism).

Thus, the Chinese people have drowned themselves in a political structure tolerating Communism, and this ‘vessel’ must be broken by the Japanese to save China” (Combat and Collaboration by Shaoqian Zhang, accessed online).

Est: $1,000-$1,200.

In 1940, as England prepared for the German invasion of Great Britain, Winston Churchill gave a famous speech that included this line. “The few” refers to the nearly 3,000 young pilots and air crew in the Air Force’s Fighter Command who participated in the Battle of Britain. Over the three and a half months of battle, the British were able to keep the Germans at bay, resulting in a large setback for the German troops.

Est: $1,700-$2,000.

WAR & PROPAGANDA - CIRCUS & WILD WEST

119. Mai ’68: Collection of 21 Posters. 1968.

Artist: Anonymous Size: Various Overall excellent condition.

Ref: Mai 68; Encyclopedie/Weill, p. 370; PAI-LXXIV, 180 Fifty years ago, a small student anti-capitalist movement in Paris quickly escalated into mass protests, a general strike across France, and street battles against police and university administrators. To this day, it’s considered a cultural, social, and moral turning point in the history of France. The best and most important documents that survive from that time, by far, are posters like these: simple silkscreens that speak volumes through bold graphics and brutal slogans. Most were created by the student-run Atelier Populaire in the Ecole des Beaux-Arts.

All posters are linen-backed; several have the stamp of the Atelier Populaire.

Est: $5,000-$6,000. (21)

119

CIRCUS & WILD WEST

121 120. General Tom Thumb. 1867.

Artist: Anonymous 4 x 12 1⁄4 in./10 x 31 cm Cond B/Slight staining; tears at edges. Framed.

Before Chéret revolutionized the aesthetic possibilities of the poster, handbills laden with type were commonplace promotions. This very small notice packs in a whole lot of information about the American return of General Tom Thumb, his wife Miss Lavinia Warren, and the married couple Commodore Nutt and Minnie Warren. The text details their European adventures, which include meeting Queen Victoria at Windsor Castle and appearing before Napoleon and the French Court at the Tuileries. And for their one-dayonly performance at Eckel Hall in Hanover, PA, entertainment abounds: impersonations, duets and dances, elaborate costumes, a magnificent miniature coach drawn by the smallest ponies in the world, and more. Ladies and children are urged to attend the day exhibition so as to avoid “the crowd and confusion of the evening performances.” The text also tell us that this will be the last performance of the Tom Thumb Troupe before they retire into private life. Rare!

Est: $1,200-$1,500.

121. Leavitt’s Minstrels. 1884.

Artist: Macry 32 1⁄4 x 22 3⁄4 in./82 x 57.8 cm Courier Lith. Co., Buffalo, New York Cond A. Framed.

Seen in entirely offensive caricature is Leavitt’s Gigantean Minstrels, a troupe willing to play other genders as well as races. The troupe’s impresario M. B. Leavitt has perhaps one applaudable claim to fame: he allegedly introduced lithographic theatre posters to the United States in 1872 after visiting Europe.

120

Est: $1,700-$2,000.

CIRCUS & WILD WEST

122 125

123

124

126

122. Barnum & Bailey / The Paldrens. 1915.

Artist: Anonymous

123. Ringling Bros & Barnum & Bailey.

Artist: Anonymous

124. Ringling Bros & Barnum & Bailey.

Artist: Anonymous

27 3⁄8 x 36 7⁄8 in./69.6 x 93.8 cm Strobridge Litho., Cincinnati Cond B+/Slight tears at horizontal folds. Framed.

Ref: PAI-LXXVI, 4

28 x 46 in./71 x 116.6 cm Cond A/P.

28 x 42 in./71 x 106.8 cm Cond A/P.

Unlike most other circus posters, this design keeps it simple: a terrifying tiger and lion soar through the empty space, previewing some of the shocking delights to behold at the circus.

In a similar vein to the previous lot, this anonymous designer spares unnecessary information in favor of a snarling jaguar’s face boasting dramatic whiskers. If it’s exotic feline wildlife that you’re interested in, this circus will surely be a treat.

The Paldrens! “Sensational jumping, balancing and pyramiding on burning lamps. Their first appearance in America.” Why the Paldrens took to balancing themselves on and between lamps, especially when suspended from propeller planes, is beyond us. Apparently they were still performing in 1921, according to a California paper, but they had gained two men and apparently lost several women from their act. Small cameos of Barnum & Bailey occupy the upper left corner.

Est: $1,400-$1,700.

Est: $800-$1,000.

Est: $800-$1,000.

CIRCUS & WILD WEST

127 125. Alexandroff Troupe. ca. 1910.

Artist: Anonymous

127. Lord John Sanger / Troupeau d’Éléphants. ca. 1898.

Artist: Pal (Jean de Paléologue, 1860-1942)

26 3⁄4 x 18 1⁄8 in./68 x 46 cm Adolph Friedlander, Hamburg Cond B+/Unobtrusive folds.

113 3⁄4 x 81 1⁄ 8 in./289 x 213.7 cm Imp. Paul Dupont, Paris Cond A-/Slight tear at right edge.

While most circus troupes employed an animal tamer, this Russian dance group instead employed a human trainer, as seen in this unsettling group portrait. The 1910 Spokane Press wrote, “One of Europe’s most noted dancing acts heads a splendid vaudeville program... It is the Alexandroff troupe of Russian dancers and singers. They have a dancing spectacle that has seldom if ever been equaled on any stage. They present dances that thrill and delight, and the act is gorgeously dressed.” Presumably, this poster was created for a tour in Germany. Rare!

This is one of at least two massive and impressive designs Pal created for Lord John Sanger (for another poster, see PAI-LXXXII, 122). This billboard allows us to take in the magnificence of “the largest herd of trained elephants in the whole world” as they engage in music orchestration and military exercises. Sanger’s circus career started as a child, when he and his brother, George, assisted their father with peep shows and magic tricks. In 1845, the brothers launched their own circus in London, focusing mostly on equestrian acts. The Sanger Circus went on to become one of the most well-known and beloved troupes in England. But after 1871, the brothers—who both added “Lord” to their names as adults—decided to forge their own paths in the circus. It was at this point that John added elephants and lions to his menagerie. This is a four-sheet billboard, lined in two units—and the only known copy!

Est: $800-$1,000.

126. Cirque Palmarium.

Artist: Anonymous 11 3⁄4 x 15 1⁄8 in./29.8 x 38.4 cm Cond A-/Slight tears at edges. Framed.

The little-known Cirque Palmarium is seemingly best remembered for its performances of sawing beautiful women in half—and for their horrifying guillotine acts. Here, a more cheerful ballet show is announced with Loïe Fuller-esque plumes of colorful fabrics performed by the not-so-subtly dubbed “Loïse Fürler.” Rare!

Est: $1,400-$1,700.

Est: $7,000-$9,000.

CIRCUS & WILD WEST

128 Photos of printed posters courtesy of The John & Mable Ringling Museum of Art, Tibbals Collection.

129

CIRCUS & WILD WEST 128. Buffalo Bill’s / Pawnee Bill’s / Cowgirl : Maquette. 1912.

Artist: Anonymous 8 1⁄ 2 x 38 in./21.6 x 96.5 cm Watercolor, gouache, and ink painting. Framed.

This painting is the preparatory work for a poster advertising Buffalo Bill’s Wild West and Pawnee Bill’s Far East (see inset). Towards the end of Buffalo Bill’s career, he teamed up with Pawnee Bill for one last hurrah. But instead of depicting the male leaders—as most posters did—this artist focused on a lovely female member of the troupe, which reinforces her vigor and independence. The final poster, a 1⁄ 3 sheet upright, was printed by the United States Lithograph Company’s Russell-Morgan plant.

Est: $4,000-$5,000.

129. Buffalo Bill’s / Pawnee Bill’s / Indian Maiden : Maquette. 1912.

Artist: Anonymous 8 1⁄ 8 x 38 in./20.2 x 96.5 cm Watercolor, gouache, and ink painting. Framed.

A companion piece to the previous lot, this sublime painting was also a study for a finalized poster for Buffalo Bill and Pawnee Bill’s combined performances (see inset). As in the previous painting, this portrait celebrates feminine strength and sovereignty, but the emphasis here is on Native American prowess. In fact, Buffalo Bill was a strong advocate for Native Americans.

In closing his autobiography, “Buffalo Bill’s Own Story,” he wrote: “The Indian makes a good citizen, a good farmer, a good soldier. He is a real American, and all those of us who have to share with him the great land that was his heritage should do their share toward seeing that he is dealt with justly and fairly, and that his rights and liberties are never infringed by the scheming politician or the shortsighted administration of the law” (p. 327-328). That sentiment is just as relevant today. The final poster from this image was also printed by the United States Lithograph Company’s Russell-Morgan plant, and its title (“Indian Maiden”) also appears verso in the printer’s notation.

Est: $4,000-$5,000.

130. S. F. Cody / War Kite. ca. 1910.

Artist: Anonymous

130

20 x 30 in./50.8 x 76.2 cm David Allen & Sons, Belfast Cond A-/Slight tears at edges.

Ref: PAI-XXVI, 102 A heroic bust—with auburn locks flowing, uniform glistening, and the gaze purposefully set on some distant adventure—rises out of an ominous, bat-like device on a pedestal. The inscribed column informs us that the gizmo is in fact the Famous War Kite and the gentleman is none other than S. F. Cody of Texas.

Sam Cody, whose Buffalo Bill-like shows were popular in Europe, “became an aviation pioneer in England, underwriting his ventures with a Wild West show.

He played off his name, was a Buffalo Bill look-alike, and had some specialorder Colt firearms in his arsenal” (Buffalo Bill/Legend, p. 115). He was a most versatile man: in addition to his Wild West shows, he developed what were known as Cody War-Kites, which were used by the British before World War I as a small alternative to balloons for artillery spotting. Interestingly, Cody was also the first man to fly an airplane built in Britain in 1908, and also died in a plane crash.

Est: $1,700-$2,000.

131. The Life of Buffalo Bill in 3 Reels. 1912.

Artist: Anonymous 28 1⁄4 x 48 3⁄8 in./72 x 123 cm Buffalo Bill-Pawnee Bill Film Co., New York Cond A-/Unobtrusive folds.

Ref: PAI-LXXIX, 173 “In 1912, ‘The Life of Buffalo Bill’... told Cody’s life story, beginning with a scene in which he rides through a river, looking for Indians or game. Cody rides up to the camera, with hat back, left hand up... his trusty Winchester ’73 rifle clutched in his right hand... Since there is a story line to the sequence... the film is much more advanced than the Wild West [shows] and is classified as one of the first Westerns. Cody was attempting to move the Wild West show from the arena into movie theaters. But in his sixties, he was a bit old to become a cinema star and capitalize on the new medium, try as he did” (Buffalo Bill/Legend, p. 227-228). The top scene is “First Scalp for Custer,” and the poster promises “Thrilling incidents in the life of the last of the great scouts.” The film was produced by Buffalo Bill-Pawnee Bill Film Co., and this image includes a tip-on for its distributor, Barnsdale Films.

Est: $3,000-$4,000.

131

CIRCUS & WILD WEST - FILM

132. Custer’s Last Fight / Anheuser-Busch / Budweiser. 1896.

Artist: Otto Becker (1890-1986) 39 1⁄ 2 x 29 5⁄8 in./100.3 x 75.2 cm Milwaukee Litho.

Cond B/Slight tears and stains in bottom text area. Framed.

Ref: Color Explosion, p. 142; Democratic Art, 125; PAI-LVIII, 166 (var)

132

Twenty years after the Battle of Little Bighorn, Anheuser-Busch appropriated this image by Otto Becker from a painting by Cassilly Adams to promote Budweiser, a beer founded the same year as the fight. Depicted at center is General Custer, brandishing a saber and holding a gun. While the other officers appear in military uniform, both he and his brother are wearing fringed buckskin. The majority of the dead appear in the foreground, the most famous of which are noted in the text below. Also shown are the General’s various medals and banners alongside a small scene of a Native American on horseback in front of a monument.

The original painting was a gift by Anheuser-Busch to the Seventh Regiment of the U.S. Cavalry. This poster is in the original Anheuser Busch promotional frame.

Est: $1,000-$1,200.

133. National Circus / Carnival of Animals. ca. 1930.

Artist: E. Holstein 35 x 23 7⁄ 8 in./88.8 x 60.6 cm MEI, Moscow Cond A-/Unobtrusive folds.

This whimsical menagerie advertises the Russian National Circus presented by Evgeny Eduardovich Rogalsky (1926-1996), a renowned animal trainer. The Russian circus rose to world acclaim during the Soviet period, thanks in part to tours in the United States. Their acts tended to be more focused on Eastern European culture with an emphasis on narrative and danceoriented performances.

133

Est: $1,200-$1,500.

134. Knie: Two Circus Posters. 1965 & 1972.

Artist: Hans Erni (1909-2015) Each: 35 3⁄4 x 50 1⁄8 in./91 x 127.5 cm Rentsch, Trimbach-Olten Cond A. Ref: Circus Posters, 79 (horses); PAI-XLIX, 269 “Although his paintings and lithographs are held in high esteem by collectors and museums the world over, Erni’s style is one which works especially well in the medium of the poster... Erni is in a class by himself and his style, although it can be compared to Picasso, or Braque, or the Surrealists, is in fact his own unique Erni style... Erni’s strength is that he is able to take an abstract notion and quickly and directly make it understandable and do so with such bold graphic impact that its impression remains with us for many years. Once seen, it’s difficult to forget an Erni poster” (Circus Posters, p. 13). A distinct blueprint quality is evident in his line work in these posters for Knie, the Swiss national circus.

These are, to be sure, blueprints for excitement. The image of two horses—real, yet mythic, in yin-yang black-and-white— whirl through a tonal kaleidoscope, while the other, featuring the unlikely pairing of a tiger and a rhinoceros, provides a furious flourish.

134

Est: $1,200-$1,500. (2)

FILM Since its inception in 1946, the Cannes Film Festival has been highly influential in the world of cinema, heralding European and international releases for their artistic and conceptual qualities. The posters announcing each year’s event have become almost as highly anticipated as the list of nominated films, and they provide a fascinating look back into the shifting art movements and technological progress of each era.

135

136

135. Cannes / Festival du Film. 1947.

Artist: Guy Serre

136. Cannes / Festival du Film. 1947.

Artist: Jean-Luc

15 3⁄4 x 23 3⁄4 in./40 x 60.4 cm Imp. Robaudy, Cannes Cond A. Ref: PAI-LII, 329

24 1⁄2 x 39 1⁄4 in./62 x 99.8 cm Havas Cond A.

Of all the posters designed for Cannes, this is among the rarest. Serre combines photomontage with hand-drawn graphics to highlight the seaside resort and all its filmic flair. Serre is best known for his poster for the 1937 Monaco Grand Prix (see PAI-XLV, 491).

For another 1947 Cannes Film Festival poster, Jean-Luc created this glitzy vision of cinematic wonder, wherein the coastal town of Cannes is projected onto a film camera. In 1947, there was not just one top winner, but five Grand Prix awards in various categories: cartoon, adventure and crime films, psychological and love films, social films, and musicals.

Est: $1,700-$2,000.

Est: $2,000-$2,500.

FOR A SEARCHABLE DATABASE OF EVERY POSTER WE’VE EVER SOLD AT AUCTION, VIEW OUR POSTER PRICE GUIDE AT POSTERAUCTIONS.COM

FILM

137

138

140 137. Cannes / Festival International du Film. 1949.

Artist: G. C. Chavanne

139. Cannes / Festival International du Film. 1952.

Artist: Jean Don (1900-1985)

15 3⁄8 x 23 1⁄8 in./39 x 58.7 cm Imp. Darboy, Paris Cond A.

14 7⁄8 x 23 7⁄8 in./38 x 60.6 cm Imp. Robaudy, Cannes Cond A. Ref: PAI-LIX, 341

The flags of the world unite to form the ensemble of a svelte woman wielding a spool of film. It’s a powerful invitation to join the 3rd edition of the Cannes Film Festival. The Grand Prix was awarded to Carol Reed’s film noir piece, “The Third Man.” Est: $1,200-$1,500.

138. Cannes / Festival du Film. 1951.

Artist: Paul Colin (1892-1986) 24 3⁄4 x 39 in./62.8 x 99 cm Imp. Darboy, Paris Cond A-/Unobtrusive folds.

Ref: PAI-LXXIX, 307 This very rare Colin poster for the 4th Cannes Film Festival has stylized trees bursting up through the Côte d’Azur night; a spool of film, caught in the branches, frees itself just enough to beckon us to join in.

Est: $1,700-$2,000.

139

This deceptively simple design employs a victory torch bursting with film reels which bear the flags of the many countries featured in the 5th annual Cannes Film Festival. The winner of that year’s Grand Prize was Orson Welle’s “Othello,” which triumphantly reinterpreted the Shakespearean tragedy.

Est: $1,700-$2,000.

140. Cannes / 6eme Festival International du Film. 1953.

Artist: Jean-Luc 24 1⁄4 x 39 1⁄4 in./61.7 x 99.5 cm Imp. Robaudy, Cannes Cond A. Reality and the alternate world of film collide in this collage-style design announcing the 6th annual Cannes Film Festival. That year’s Grand Prix winner was “The Wages of Fear” by Henri-Georges Clouzot.

Est: $2,000-$2,500.

FILM

142

141

143

141. Cannes / VII Festival International du Film. 1954.

Artist: Michèle Piva (1931-2013)

142. Cannes / VIIIe Festival International du Film. 1955.

Artist: Marcel Huet

143. Cannes / IXe Festival International du Film. 1956.

Artist: Marcel Huet

24 x 39 in./61 x 99 cm Imp. Robaudy, Cannes Cond A. Ref: PAI-XLV, 458

24 1⁄ 2 x 39 1⁄4 in./62.2 x 99.6 cm Imp. Robaudy, Cannes Cond A.

24 3⁄4 x 39 3⁄ 8 in./62.8 x 100 cm Imp. Robaudy, Cannes Cond A.

The Cannes Film Festival poster designers often employed reels of film and international flags, but what makes this design unique is the circumstance of this year’s event: the 60th anniversary of cinema. This year’s Palme d’Or was “Marty” by Delbert Mann.

Huet’s advertisement for the 9th annual Cannes Film Festival has the world engulfed by film, which is a likely encapsulation of the effect of cinema in the mid-1950s.

The Palme d’Or that year went to “Le Monde du Silence”

by Louis Malle and Jacques-Yves Cousteau, a pioneering nature documentary of Cousteau’s encounters with a variety of aquatic creatures.

Piva gives us a meta movie moment: against the Mediterranean Sea, a camera sets its sight on the Palais du Festival, which is reflected back to us with its myriad flags. Without a frame of film or an excess of frill, Piva’s design focuses on the monumental nature of an event well on its way to becoming an institution.

Est: $2,500-$3,000.

Est: $1,400-$1,700.

Est: $1,200-$1,500.

FILM

144

147

145

144. San Sebastian. 1953.

Artist: Alfredo Arjona

147. Norman Film Co.: Bill Pickett / Bull-Dogger. 1923.

Artist: Anonymous

13 x 18 3⁄4 in./33 x 47.6 cm Graficas Az-Ar, San Sebastian Cond A.

27 1⁄8 x 40 3⁄4 in./69.2 x 103.8 cm Ritchy Lith. Corp.

Cond B-/Restored tears, largely at folds. Framed.

Ref: Separate Cinema, p. 2; Separate Cinema/100 Years, p. 29; Close Up in Black, p. 24; PAI-XXII, 453

This poster announces the inaugural edition of the San Sebastián International Film Festival. To this day, it is held in the Spanish city of Donostia-San Sebastián in the Basque Country. Though lesser known than the Cannes Film Festival, it’s no less impactful on the world of film: Alfred Hitchcock’s “Vertigo” premiered here, and it was the first festival attended

by Roman Polanski. Here, Arjona rolls out the film reel with ocean views to lure in film lovers.

Est: $1,000-$1,200.

145. San Sebastian. 1955.

Artist: Roberto Bort (1933- ) 24 3⁄4 x 39 3⁄8 in./63 x 100 cm Laborde y Labayen, Tolosa Cond A. Athena, bearing a film reel and her peaceful olive branch, invites us to the second annual San Sebastián film festival.

An oversized seashell below likely refers to the Spanish city’s well-known Playa de la Concha, or Shell Beach, which is home to a picturesque bayfront promenade.

Est: $1,200-$1,500.

146. San Sebastian. 1956.

Artist: Tzoza 24 1⁄2 x 39 3⁄8 in./62.4 x 100 cm Laborde y Labayen, Tolosa Cond A.

146

A charming mermaid sings her siren song to attract filmgoers to San Sebastián’s third annual film festival. The text here advertises awards for color film; this was, after all, a fairly novel invention in the world of cinema. Color negative films and corresponding print films were first introduced around 1940 but were not widely used for commercial motion pictures until the early 1950s.

Est: $1,200-$1,500.

Bill Pickett was an amazing person: an authentic Black American cowboy whose specialty was “bulldogging”— jumping from a horse onto a running steer and forcing it to the ground by biting the tender part of its lip (a technique he learned from watching his dog herd cattle). Working at the famous Miller Bros. 101 Ranch Circus in Oklahoma, he gave Will Rogers and Tom Mix early breaks by hiring them as his rodeo assistants. For this film, made when Pickett was 61, the Norman Film Co. simply added a thin plot to a lot of documentary footage of Pickett in action. He continued working into his seventies, was inducted into the Black Cowboy Hall of Fame in 1971, and was honored with a statue unveiled in Fort Worth in 1987. Although there is at least one other poster for this film (see PAI-XVI, 78), this engaging portrait, finely painted in rich, warm colors, suggests why Pickett was nicknamed “The Dusky Demon.”

Est: $1,000-$1,200.

FILM

148

149

150

148. Race for Moonshine. 1924.

Artist: Anonymous

149. Tell it to Sweeney. 1931.

Artist: Anonymous

150. Lavinen. 1929.

Artist: Anonymous

35 x 26 7⁄8 in./89 x 68.2 cm Glavlit, Moscow Cond A-/Unobtrusive folds.

24 1⁄2 x 34 3⁄ 8 in./62.2 x 87.3 cm Cond A-/Unobtrusive folds.

27 5⁄8 x 39 3⁄8 in./70 x 100 cm J. Olsens, Stockholm Cond A. Ref: PAI-LXXI, 50

“Race for Moonshine” was the first film directed

by Abram Room. The comedy follows a journeyman shoemaker who hands over an ordinary moonshiner to the police, only to later realize that it was all a dream. Here, the three main characters are bathed in an eerie glow of yellow light; the playful typography —as well as the lithography—are credited to Goskino, the predecessor of the Soyuzkino Committee for Cinematography.

“Tell it to Sweeney” was a 1927 American comedy silent film directed by Gregory la Cava and starring Chester Conklin and George Bancroft. For its Russian debut as “Chrysanthemum” a few years later, this anonymous artist created a surreal Constructivist design of the two men locked in a locomotive battle with a runaway train.

The film was sponsored by Soyuzkino, a state agency for cinematography in the USSR; the poster was produced in partnership with the Ukrainian Academy of Sciences in Kiev.

Est: $1,400-$1,700.

Est: $1,400-$1,700.

“Lavinen” (The Avalanche) is the rather pithy Swedish re-titling of “The White Hell of Pitz Palu,” a 1929 German silent film starring Leni Riefenstahl. The New York Times wrote of the film, “Despite its surface simplicity there is a swift undercurrent of tenseness and anticipation that carries one along through the avalanches, up the precipitous and threatening mountainside and finally to the climax of the rescue.” That white-knuckle tension is reflected in this brilliant image, which contrasts the suspended rappeller with a sensation of mighty down force, which could be both crevasse and avalanche —the twin threats upon Pitz Palu’s peak.

Est: $1,200-$1,500.

FILM

151

152

153

151. Ungt Blod. 1929.

Artist: Hugo Borgström (1903-1976)

152. Parisiskor. 1929.

Artist: Anonymous

153. Butterfly. ca. 1939.

Artist: Anonymous

26 7⁄8 x 39 1⁄8 in./68.2 x 99.5 cm J. Olséns, Stockholm Cond A.

26 3⁄4 x 39 3⁄ 8 in./67.8 x 100 cm Hæggström Lito.

Cond B+/Unobtrusive folds.

27 1⁄4 x 39 1⁄4 in./69 x 90.7 cm A. B. Kopia, Stockholm Cond A.

Originally titled “Quartier Latin” (Latin Quarter), this German silent film was directed by Augusto Genina and was based on a novel of the same title by French writer Maurice Dekobra. Despite the lack of information regarding a plot, this sunshiny design for the Swedish release suggests a tale of romance and glee in the City of Lights.

Known alternatively as “Parisiennes” or “The Doctor’s Women,” this German-Swedish silent film was directed

by Gustaf Molander and set in Paris, where two families living in the same house have the same surname, leading to some confusion and emotional dramas. We’re not sure where the cabaret star fits in to this narrative, but she sure gives the poster some alluring flair.

Est: $800-$1,000.

Est: $1,400-$1,700.

This elaborate Japanese-inspired design is for the Swedish release of “Il sogno di Butterfly” (The Dream of Butterfly), a 1939 film from Carmine Gallone. The operetta-style movie follows opera diva Rosa Belloni, who stars in a production of Puccini’s “Madame Butterfly.” As her personal life begins to mirror that of her stage role, drama unfolds, including the return of her estranged lover.

Est: $1,700-$2,000.

FILM

154

154. Zouzou. ca. 1934.

Artist: Anonymous 23 1⁄4 x 30 3⁄4 in./59 x 78 cm Imp. Harfort, Paris Cond B/Slight stains, largely at folds. Framed.

This French film chronicles the lives of orphans Zou-Zou and Jean—played

by Josephine Baker and Jean Gabin—who were 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, ZouZou eventually becomes a star performer in her own right. This poster advertises a screening of the short film “En Avant la Musique” with Christiane Delyne before the main event.

Est: $2,000-$2,500.

155. Walt Disney / Fantasia. ca. 1969.

Artist: Jouineau Bourduge 47 x 62 7⁄8 in./119.2 x 159.6 cm Imp. Saint Martin, Paris Cond B/Slight tears at folds.

“Fantasia” made its debut in 1940 with a series of road shows that opened in New York’s Broadway Theatre. Ever since, the symphonic animated film has been continuously re-cut, re-recorded, and rereleased in tandem with technological developments that allowed for better visual and audio qualities. The 1969 release gained renewed appreciation—and longawaited profits—thanks in large part to young viewers who appreciated its psychedelic vibes. And while Bourduge’s design for the ’60s French release is just shy of full LSD-infused hallucinations, the blue tie-dye splatter and quasi-3D typography are an appropriate nod to the thriving countercultural fan base.

Est: $1,700-$2,000.

155

PSYCHEDELIC ROCK The 1960s counterculture revolutionized music, art, spirituality, and psychedelic experiences. There is perhaps no better representation of this immense cultural awakening than the rock poster, which integrated the LSD trip with free love, Eastern mysticism, experimental imagery, and the body high of a groove that hits you right in your gut. The following posters, created for the Family Dog and Bill Graham gigs in San Francisco, represent the best designs of this era, and they are all in mint condition. References to Art of Rock and King provide the printing edition for each work.

156

157

156. The Blues Project. 1966.

Artist: Wes Wilson (1937-2020)

157. Quicksilver Messenger Service. 1967.

Artist: Victor Moscoso (1936-)

14 1⁄4 x 20 3⁄8 in./36.2 x 52 cm Cond A/P. Ref: Art of Rock, (FD 5); King (FD-5-RP-3)

14 x 20 in./35.5 x 50.8 cm Cond A/P. Ref: Art of Rock (FD 51); King (FD-51-OP-1); PAI-LXXIII, 132

This poster marks the first event organized by Family Dog at the Avalon Ballroom.

The Blues Project headlined with The Great Society as the opening act; “lights and stuff” were provided by Tony Martin. The photograph of a Native American man was altered to make it look like he’s smoking a joint; this image and the text below it (“May the baby Jesus shut your mouth and open your mind”) would become the official logo for Family Dog. Additionally, this printing is on stock which glows or fluoresces under black light.

The Summer of Love began with the Springtime of Strut, and Victor Moscoso’s poster for the March 10-11, 1967 Peacock Ball at the Avalon—with the Quicksilver Messenger Service, the Steve Miller Blues Band, and The Daily Flash—certainly delivers the majesty. Today, the famous fashion designer Anna Sui embraces Moscoso as one of her favorite artists and this piece holds pride-of-place in her kitchen, according to a New York Times Profile in Style.

Est: $700-$900.

Est: $1,700-$2,000.

REGISTER FOR ONLINE BIDDING AT POSTERAUCTIONS.COM

PSYCHEDELIC ROCK

158 158. Chaotic License. 1967.

Artists: Rick Griffin (Richard Alden Griffin, 1944-1991) & Victor Moscoso (1936- ) 14 x 19 7⁄8 in./35.6 x 50.5 cm Cond A/P. Ref: Art of Rock (FD D-12); King (FD-D12-OP-1) “Rick Griffin and Victor Moscoso collaborated on a number of psychedelic posters. On this particular occasion Griffin had the idea to surround an oval with what appeared to be psychedelic lettering but was in fact gibberish. He was unsure of what to put in that oval, and he brought the partially completed drawing for the poster to Moscoso who added a very flattering portrait of Griffin as a tribute both to his respect for Griffin as an artist and to his affection for him as a person. Griffin and Moscoso then added to the portrait an assortment of their own characteristic psychedelic designs including stars, overlapping arcs, and curlicues in vibrating colors. The actual lettering for the poster appeared in a small oval at the lower right” (King, p. 209). Chuck Berry and Sons of Champlin performed at this concert in Denver, Colorado.

159

Est: $1,000-$1,200.

159. Grateful Dead. 1966.

Artists: Stanley Mouse (1940- ) & Alton Kelley (1940-2008) 14 x 20 in./35.6 x 50.6 cm The Bindweed Press, San Francisco Cond A/P. Ref: Art of Rock (FD 26); King (FD-26-RP-3); American Posters, 11; Images of an Era, 43; Mouse & Kelley, p. 49; Encyclopédie/Weill, p. 261; PAI-LXXIII, 131 This rare concert poster for the Grateful Dead has become iconic and emblematic of the group’s 1960s effect on rock ’n’ roll. In 1966, Mouse took over from Wes Wilson at Family Dog. “He was responsible—alone or in collaboration with associate Alton Kelley—for twenty-six of the next thirty-six Family Dog posters during a nine month period that firmly established the ‘psychedelic’ style as an expression of the times...

His weapon of choice was the airbrush, with which he produced hot-rod-era cartoons that brought him early grassroots fame” (Art of Rock, p. 74). As for the imagery, Mouse and Kelley adapted a black and white drawing of a skeleton by Edmund Joseph Sullivan which illustrated one of the quatrains of the Rubaiyat of Omar Khayyam.

Est: $2,000-$2,500.

160. The Doors (“Pay Attention”). 1967.

Artist: Rick Griffin (Richard Alden Griffin, 1944-1991) 12 3⁄4 x 21 1⁄2 in./32.3 x 54.6 cm Cond A/P. Ref: Art of Rock (FD D18.1); King (FD-D18-OP-1); High Societies, 83; PAI-LXXX, 194 In one of Griffin’s most ambitious images, an alien figure emerges from his ship to offer a “pay attention” pill to the viewer. This is the rare pre-concert printing of the design, featuring the red upper left corner with the Family Dog logo etched in black. This poster also marked the last concert presented in Denver by Family Dog under the auspices of Chet Helms.

Est: $1,700-$2,000.

160

PSYCHEDELIC ROCK

161

163

162

161. Goldrush / Quicksilver Messenger (“Pot”). 1967.

Artist: Rick Griffin (Richard Alden Griffin, 1944-1991)

163. The Yardbirds & The Doors. 1967.

Artist: Bonnie MacLean (1939-2020)

14 x 20 in./35.6 x 50.6 cm Cond A/P. Ref: Art of Rock (FD 58.1); King (FD-58-OP-1); High Societies, 58; PAI-LXXX, 192

14 x 21 1⁄8 in./35.5 x 53.8 cm Cond A/P. Ref: Art of Rock (BG 75); King (BG-75-RP-2); PAI-LXXIII, 135

Griffin enlists the Native American from the Family Dog’s logo to create a bold double-entendre: “gold” refers to a strain of marijuana called Acapulco Gold, while “rush” refers to the sensation of being high—and obviously, our smoking Indian is placed within a large pot. It’s a classic example of Griffin’s love of puns, as well as his passion for symmetrical compositions.

Est: $1,400-$1,700.

Est: $1,200-$1,500.

164. Grateful Dead. 1970.

Artist: David Singer (1941- )

162. Iron Butterfly. 1968.

Artist: Bob Schnepf (1937- )

13 7⁄8 x 21 7⁄8 in./35.4 x 55.5 cm Tea Lautrec Litho., San Francisco Cond A/P. Ref: Art of Rock (BG 216); King (BG-216-OP-1); PAI-LXX, 143

13 1⁄8 x 19 7⁄8 in./33.4 x 50.6 cm Cond A/P. Ref: Art of Rock (FD 122); King (FD-122-OP-1) This very trippy design announces the 1968 performance of Iron Butterfly with the Velvet Underground and Chrome Circus at the Avalon Ballroom. “This is only the second psychedelic poster to employ the colors purple, green, and black. Although women as butterflies have appeared in art for centuries, the eerie quality of the tongue and the spider as well as the psychedelic coloring make this an interesting and original poster which was quite popular in the ’60s and continues [to be] in demand today” (King, p. 181).

164

Psychedelia has Art Nouveau in its ancestral blood.

Here, Bonnie MacLean appropriates the Cognac Jacquet peacock as a symbol for The Yardbirds. They played three days of this summer bill; The Doors played the weekend; and James Cotton and Richie Havens had all six days.

Est: $1,200-$1,500.

Known amongst collectors as “The Mushroom Man,” this poster for the Grateful Dead, Taj Mahal, and Bigfoot performing at the FIllmore West remains one of Singer’s most iconic psychedelic works.

Est: $1,200-$1,500.

PSYCHEDELIC ROCK

165

166 165. Grateful Dead / Junior Wells Chicago Blues Band. 1967.

Artist: Wes Wilson (1937-2020) 14 x 22 in./35.5 x 56 cm Cond A/P. Ref: Art of Rock (BG 45); King (BG-45-OP-2); High Societies, 35; Revolution, p. 177; PAI-LXXX, 200 “Is this face leering or smiling? The poster audience was highly suggestible, and the posters’ imagery provided opportunities for widely diverse interpretations. Many people see this as a demonic face. It’s the figure’s size, perhaps—the looming presence in hot red that flashes a devilish gleam and a wry smirk. Wilson was surprised that people found this face menacing. He had drawn a smiling old man with a twinkle in his eye, inspired by the work of an African artist. Yet it doesn’t matter what you see. For the audience, involvement in the art was a trip, and one way or another it took you to where you were coming from” (High Societies, p. 69). Along with two impressive headline acts, this concert was also the San Francisco debut of The Doors.

Est: $1,200-$1,500.

167 166. Grateful Dead. 1966.

Artist: Wes Wilson (1937-2020) 14 x 22 1⁄4 in./35.7 x 56.3 cm Cond A/P. Ref: Art of Rock (BG 41); King (BG-41-RP-2); International Plakate Kat. Nr. 710; PAI-LXXXIII, 126 Wes Wilson only made posters for Bill Graham at the Fillmore from February 1966 to May 1967, when money disputes severed the relationship. This poster is from the midpoint of that fabled run, with the Grateful Dead in their first sole headlining gig at the Fillmore. The idea for this poster is symmetry and balance: the Dead and Big Mama Mae Thornton balancing each other out.

Coastal hippies might not have been tuned in to Big Mama Thornton, but she’d recorded the first—and the supremely bluesiest—version of “Hound Dog.” Est: $1,200-$1,500.

167. Jefferson Airplane / Quicksilver Messenger / Santana (“Winterland”). 1970.

Artist: Randy Tuten (1946- ) 14 x 21 in./35.5 x 53.3 cm Cond A/P. Ref: Art of Rock (BG 222); King (BG-222-TYP-2); High Societies, 105; PAI-LXXX, 202 A sea of the dead—or rather, the Grateful Dead—shove their way through the audience to the front of the stage, where an even grimmer skeleton has been bound by ball and chain. The Dead, as it turns out, had just been busted for drug possession in New Orleans, and in the spirit of rock ’n’ roll community, this benefit concert was held to raise funds to bail them out. Getting arrested had another benefit: it gave rise to the now infamous line in “Truckin’,” “Busted, down on Bourbon Street.”

Est: $4,000-$5,000.

PSYCHEDELIC ROCK

168

169

168. The Association / Quicksilver Messenger Service. 1966.

Artist: Wes Wilson (1937-2020)

169. Monterey Pop Festival. 1967.

Artist: Tom Wilkes (1939-2009)

13 7⁄8 x 20 in./35.3 x 51 cm Cond A/P. Ref: Art of Rock (BG 18); King (BG-18-OP-1A); PAI-LXX, 134

12 1⁄4 x 21 1⁄4 in./31.2 x 54.2 cm Cond A/P. Ref: Art of Rock, pg. 258 (3.5); High Societies, 67; Revolution, p. 114; PAI-LXXX, 191

Supposedly shaped like a human head on fire, this iconic Wilson design announces The Association, Quicksilver Messenger Service, The Grass Roots, and The Sopwith Camel performing at the Fillmore Auditorium.

According to King, “This is perhaps the best of the pure lettering posters” (p. 329).

The Monterey Pop Festival was a seminal moment in ’60s rock; it introduced local fans to Otis Redding, Ravi Shankar, The Who, and Jimi Hendrix—and it piloted many San Francisco musicians, including Grace Slick and Janis Joplin, to superstardom.

“As a result of the phenomenal success of Monterey Pop, the two fundamental values of the San Francisco counterculture—love and psychedelic consciousness —were broadcast across the nation and beyond” (High Societies, p. 77). Similarly, this poster heralded the American rock ’n’ roll movement and helped to aesthetically demarcate this phenomenon from its British predecessor. Rare!

Est: $3,000-$4,000.

Est: $3,500-$4,000.

DOWNLOAD OUR MOBILE BIDDING APP AT POSTERAUCTIONS.COM

A-Z | ANONYMOUS

170

171

Anonymous 170. IV Centenario del Descubrimiento de América. 1892.

171. Plages d’Ault-Onival. ca. 1897.

37 ⁄4 x 103 ⁄ 2 in./96 x 263 cm Lit. Portabella y Ca., Zaragoza Cond C+/Several tears.

Ref: España, 154 (var)

35 7⁄ 8 x 51 1⁄ 8 in./91 x 130 cm Imp. G. Dreule, Paris Cond A-/Unobtrusive folds.

Ref: PAI-LXIX, 169

This very detailed design announces the fourth centenary of the discovery of America and corresponding celebratory events across Madrid. Occurring on October 12, events included: the coronation of the monument of Christopher Columbus; a five-part civic-historical parade with the Catholic Monarchs; artificial fires in various plazas; an exhibition of student work; band competitions, choral societies, and theatrical performances; a distribution of alms; and a reception in the first town hall. The images show Columbus receiving the King’s blessing for the journey, the cross-ocean venture, and the arrival on American soil. Rare!

Located along the English Channel in Northern France, Ault-Onival boasts pebble beaches and dramatic chalk cliffs.

Est: $1,200-$1,500.

A pair of animated dolls have got the right idea: they’re going to grab whatever’s nearest at hand and bang away as hard as they can to draw attention to the merchandise available at this Parisian department store. And while the wares on display seemingly skew towards playthings and kitchen necessities, the lithographic hubbub put forward by an uncredited designer is so charming, so refreshingly enthusiastic, that one can’t help but feel compelled to check out the outlet’s merchandise. This is a two-sheet poster.

3

1

Est: $1,700-$2,000.

172. Bazar des Halles & Postes. ca. 1893.

87 1⁄2 x 31 1⁄4 in./222.2 x 79.5 cm Imp. Charles Verneau, Paris Cond B/Slight tears at folds and seam.

Ref: PAI-LXXVIII, 152

Est: $1,200-$1,500.

ANONYMOUS | A-Z

172

173 173. Emigranter till Jerusalem. 1902.

22 x 15 3⁄4 in./56 x 40 cm Cond B+/Slight stains. Framed.

Whether fictional or real, this very detailed design advertises Christian emigration from Sweden’s “City of Destruction” to a New Jerusalem, the location of which is not disclosed. The destination could be one of many: Erik Jannson’s Pietist movement encouraged Swedes to settle in a “New Jerusalem” in western Illinois in 1846; in the late 19th- to early 20th century, Scandinavian Mormons made the pilgrimage to Salt Lake City’s “New Jerusalem;” during the same time period, many Swedes joined the American Colony in Jerusalem. At any rate, The Savior’s Royal Line will take you there. The text lets us know that the departure is today and tickets are free, but travelers are urged to book quickly as only one ship is destined to depart. At the center of the Gospel ship, Jesus is at the helm; his crew is the Lord’s apostles and the passengers are denoted as “chosen strangers.” The key at bottom also identifies the lighthouse as “The word of God,” the compass as “Faith and love,” the seal as “Truth,” the flag as “The blood of Jesus,” and the wind as “The Holy Spirit.”

And in case there is any hesitancy, we’re told that “The ship has never suffered a shipwreck. The captain sails in both storm and silence.” Rare!

Est: $4,000-$5,000.

A-Z | ANONYMOUS

176

174

175

Anonymous

177

(Continued)

174. Aster / Pétrole de Luxe.

175. Chapellerie Trois-Six. ca. 1908.

13 3⁄4 x 31 3⁄ 8 in./35 x 79.7 cm Cond A.

47 1⁄2 x 34 1⁄4 in./120.7 x 87 cm Imp. Bonabaud & Bruyère, Saint-Etienne Cond A-/Unobtrusive folds.

While most of us wouldn’t even know where to purchase lamp oil—let alone use it safely—it was a hugely innovative product for its time, and it inspired a wealth of luxurious poster designs. This image is no exception: a lovely goddess in Grecian garbs looks towards the heavens in awe while the subtle glow of lamp light illuminates her golden dress from below. Rare!

Est: $1,700-$2,000.

Don’t let PETA see this poster! Bunnies are being magically transformed into hats at this Marseile millinery shop, which the company proudly claims is a “direct sale from production to consumption.” We’re rooting for the one bunny that managed to hop away from this terrifying machine.

Est: $1,200-$1,500.

ANONYMOUS | A-Z

179 178

176. Cognac Otard. ca. 1910.

179. Transports Maritimes. ca. 1930.

41 1⁄2 x 62 1⁄8 in./105.5 x 157.7 cm Imp. F. Champenois, Paris Cond B-/Slight creasing and tears.

Ref: Boissons, 110; Pierrot, 37; Poitou-Charentes, p. 125; PAI-LI, 85

40 1⁄8 x 27 3⁄4 in./102 x 70.3 cm Richter & Cie., Napoli Cond A-/Unobtrusive folds.

The origins of Cognac Otard can be traced back to the Vikings in 849 A.D. The marvelous chateau, depicted in the background, was purchased by Jean Baptiste Antoine Otard in 1796, and became the new home to his cognac trading firm, founded the year prior. At that time, the cognac was aged in the chateau’s humid cellars for a minimum of two years. As the bottom text indicates, Otard is the best, for Pierrot has finally managed to woo the ever-distant Columbine with the beverage’s powers.

Est: $1,700-$2,000.

177. Bock Orbec.

42 1⁄4 x 57 1⁄2 in./107.3 x 146.2 cm Imp. P. Vercasson, Paris Cond A. This “trendy carbonated drink” certainly has all these tipplers a bit tipsy—even the server appears to be having a fantastic time. Very little information exists on Bock Orbec champagne; the brand is probably most famous for a design Pal created for them (see PAI-XXI, 359). At left, an artist’s mark appears to read ESTA; a J. Hirsch is credited with lithography.

Est: $2,000-$2,500.

178. Exposition de Charleroi. 1911.

23 3⁄4 x 34 1⁄4 in./60.4 x 87 cm Aug. Gilles, Bruxelles Cond B+/Slight stains at edges.

A menagerie of odd delights awaits us at the 1911 Charleroi Exhibition: a regal Spanish village, a mountaintop roller coaster, a hillside gnome, a ride called the happy wheel (which is a bit of a conundrum, as the participants have landed in a massive dog-pile), and a water chute that seemingly plummets its riders right into the water. It’s all part of a massive exhibition meant to highlight the economic, industrial, and cultural achievements of the Walloon region.

180

Est: $1,200-$1,500.

As smoke streams out of Mount Vesuvius, the Valdivia’s steam pushes ahead while a crowd of passengers take in the view. The French passenger ship was built in 1911 and operated as a hospital ship in World War I. The Société Générale de Transport Maritimes was formed in 1865 principally to carry iron ore from Bône (currently Annaba, Algeria) to Marseilles and Sète on the Mediterranean; it initiated passenger services to South America in 1867. A monthly service to the West Indies was introduced in 1915 and was shortly afterwards extended to Gulf of Mexico ports and New Orleans. The company suffered considerable losses in World War I, yet managed to rebuild their fleet. They finally ceased passenger operations in 1964 mainly due to the rising popularity of air travel, but continued with cargo trade.

Est: $800-$1,000.

180. Krietsch’s Biscuits / Wurzen.

20 1⁄2 x 49 1⁄4 in./52 x 125 cm Quack & Fischer, Düsseldorf Cond B/Slight tears at folds.

Ref: PAI-XLVIII, 36 Gimme, gimme, gimme!! Truthfully it’s what’s not shown in this cookie poster that makes it so appealing. The wondrous tease withholds baked goods altogether—from both the viewer and the design’s hungry Krietsch’s Biscuits lover. And though the appearance of the name alone against the flat black background can make this Saxon tike reach for the sky in hopes of crunchy-sweet recompense, its exclusion craftily appeals to the viewer’s consumer curiosity. It’s interesting to note that the main commercial focus of the German town of Wurzen where these treats were manufactured is the production of pastries and candies.

Est: $1,400-$1,700.

A-Z | ANONYMOUS

181

182

Anonymous

(Continued)

181. Pennsylvania Railroad / Glorious West.

184. Persil. ca. 1930.

24 7⁄ 8 x 39 7⁄8 in./63 x 101.3 cm Cond A.

37 3⁄4 x 57 in./95.7 x 144.6 cm Henkel & Cie, Düsseldorf Cond A.

Mountains, forests, waterfalls, and rainbows: what more could you ask for from a trip out West? This anonymous artist offers up a most enticing landscape for weary travelers looking to engage in nature’s splendor.

Est: $1,400-$1,700.

183

182. Tee-Konzert.

27 x 39 1⁄4 in./68.7 x 99.6 cm Cond A-/Slight tears at edges. Missing bottom margin. P. Ref: PAI-XXXI, 251 The unifying factor in this promotion for Rinner’s Viennese Cafe’s 4 o’clock Tea Concert can be distilled down to one brief syllable: class. Regardless of age or beverage selection—where tea, incidentally, would hardly seem to be the refreshment of choice—the masses gather ’round the string quintet, drawn by the elegant ambiance and teeming socialization. Unfortunately, the creator is identified only as “AMB.” Est: $1,700-$2,000.

183. Morocco.

25 5⁄8 x 39 3⁄8 in./65 x 100 cm Gaillard, Maroc Cond A. A local Berber guides us through a sea of blue towards a Moroccan city against a backdrop of snowcapped mountains, which are likely the Atlas Mountains. It’s a simultaneously succinct and exotic image to attract travelers to this fascinating African country.

184

Est: $1,400-$1,700.

If a laundry detergent is capable of imparting us with the sunny glow and relaxed attitude of this young lady, then sign us up! Persil was, in fact, the first commercially available laundry detergent that combined bleach with detergent—a breakthrough product which allowed women like this muse to wear a white dress without a care.

Goodbye, stains—hello, easy-breezy swinging.

This is a two-sheet poster.

Est: $1,200-$1,500.

185. NY Central Lines / The “Commodore Vanderbilt.” 1934.

24 x 35 3⁄8 in./61 x 89.8 cm Cond A-/Slight stains.

Ref: Travel by Train, 134 (var) “In December 1934, NYC made its move by unveiling the Commodore Vanderbilt, the ‘World’s first streamlined high powered steam locomotive.’ It rated an exhibition poster: a modern photo collage that contrasted the gunmetal gray and aluminum Commodore with the line’s first locomotive, the diminutive DeWitt Clinton” (Travel by Train, p. 105).

The Commodore, named for New York Central’s most famous leader, served the New York to Chicago market with powerful speed, streamlined cars, and opulent accommodations. With the onset of diesel locomotives, all Hudson trains were retired by the late 1950s. This poster has metallic silver ink.

Est: $1,700-$2,000.

ANONYMOUS | A-Z

185

186

187

188 186. Harringay Arena. ca. 1938.

187. Johnnie Walker : Maquette.

188. Danmarks Akvarium : 2 Posters.

19 1⁄4 x 29 1⁄2 in./49 x 75 cm Cond A-/Slight tears at edges.

Ref: PAI-LXXXII, 145

9 3⁄4 x 14 3⁄4 in./24.8 x 37.5 cm Gouache and ink maquette. Framed.

Each: 24 1⁄2 x 33 3⁄8 in./61.5 x 84.8 cm J. Chr. Sørenson & Co. Cond A-/Slight tears at edges. P.

As it turns out, Canadians are not the only ones to love ice hockey—the Brits do, too. This Greyhound directs the puck with utmost ease during a match at North London’s Harringay Arena. The venue was in operation from 19361958 and was famous for ice hockey and boxing until the 1940s, when programming shifted to classical music and ballet. The artist’s initials are E.R.B.; match dates and times are part of a tip-on.

Est: $1,200-$1,500.

Slàinte Mhath! This charming chap is the mascot of the Scottish whiskey maker Johnnie Walker; he was first introduced to the world in 1909 by cartoonist Tom Browne. Known as the Striding Man, he is still employed as the brand’s mascot to this day. And, as the text reminds us, Johnnie Walker recently celebrated their 200th anniversary.

Est: $1,700-$2,000.

Opened in 1939, Denmark’s Aquarium was the second largest in Europe at the time. In 2012, its 3,000 fish and 70 aquariums were relocated to Den Blå Planet (The Blue Planet), a new and much larger aquarium in the Copenhagen suburb of Kastrup. Here, a sea turtle and a sea horse remind us of the simple joys of observing marine life.

Est: $1,200-$1,500. (2)

A-Z | ANONYMOUS - D’ARGENCE

Anonymous

(Continued)

189. George Foreman vs. Muhammad Ali. 1974.

38 1⁄2 x 54 1⁄2 in./98 x 138.2 cm Passantino Printing Co., New York (not shown) Cond A. Ref: PAI-LXX, 104 (var) This is the English language printing of the poster promoting the legendary “Rumble in the Jungle,” held in Kinshasa, Zaire on October 29, 1974. One of the truly titanic events in the history of sports, the underdog (but crowd favorite) Ali played rope-a-dope with the sledgehammer-fisted Foreman before delivering the knockout blow in the 8th round. This fight was the world’s most-watched live television broadcast at the time with an estimated audience of 1 billion viewers worldwide, including a record estimated 50 million viewers watching the fight pay-per-view. This poster includes a tip-on for the date change from September 25 due to an injury Foreman experienced.

Est: $5,000-$6,000.

190. Count Basie. 1940.

13 3⁄4 x 22 in./35 x 56 cm Cond B/Tears at top edge. Framed.

Count Basie—“the sepia swing sensation”— announces his performance at Vann’s Tobacco Warehouse in Abingdon, VA. Advance tickets cost $1; there was limited space for white spectators, whose admission cost 75 cents. The performance went from 10pm to 2am, so we can only imagine it was a sensational night of dancing to jazz music.

Est: $1,400-$1,700.

Hanne-Birgitte Aasted

(1929-?)

191. Dansk Chrysanthemumselskab.

24 7⁄8 x 33 3⁄ 8 in./63 x 85 cm Henrik Sandberg, København Cond A/P.

189

The Danish Chrysanthemum Company has left few traces of their business, but this elegant design whisks us away to the native lands of this flowering plant, where, presumably, a local will help transport the blooms to Copenhagen.

Est: $1,400-$1,700.

Jack Abeillé

(1873-1949)

192. Parisiana / T’en Auras. 1903.

38 5⁄8 x 55 5⁄ 8 in./98.2 x 141.3 cm Imp. Atelier Jack Abeille Cond B+/Slight tears at folds.

Ref: PAI-XXIV, 140

191

190

Abeillé was an illustrator known primarily for his numerous contributions to French humor magazines.

This revue poster reveals his clear admiration for Grün: the buxom coquette with her rump partially exposed has reduced the official to a quivering idiot. Her stance and smile say even better than the title does that “You’re gonna get it!” The Parisiana was located at 27 Blvd.

Poissonière in the Montmartre area (this address was also the first Paris home of Frederic Chopin in 1831-32).

Set up in 1894 as a circular room with a stage, large balcony, and strolling gallery, it originally charged no admission; the public paid only for drinks. In 1897 the Isola brothers established a different format: a singer before intermission and a play or revue such as this one afterwards. New management changed the policy to revues-only in 1905, and the building was turned into a movie house in 1911. This is the larger format.

Est: $1,700-$2,000.

ANONYMOUS - D’ARGENCE | A-Z

193

192

195

Pierre Andry-Farcy

(1882-1950)

193. Le Petit Dauphinois. ca. 1925.

63 ⁄4 x 47 ⁄4 in./160.5 x 120 cm Imp. Générale, Grenoble Cond B/Tears at folds.

Ref: Crouse/Deco, p. 105; PAI-XLVI, 111 1

Ottomar Anton

(1895-1976)

For another by Anton, see No. 44.

1

Le Petit Dauphinois, “the largest daily newspaper of the French Alps,” was founded by Pierre Baragnon in 1885; its avowed aim was to keep an eye on the world and report back to its readership. And while Cappiello took a literal global eyeball approach to convey this concept (see PAI-IX, 103), Andry-Farcy takes an incredible graphic approach to show that the publication had a firm grasp of every single bit of information that was worthy of being telegraphically transmitted. “The monumental crimson hand and the exacting geometry of the converging transmission lines are strokes of genius, a rousing visual analogy for taking command of one’s own informational destiny” (Crouse/Deco, p. 104). The paper earned a reputation as one of the better regional publications in France. From 1919 on, Andry-Farcy served as the curator of the Museum of Grenoble.

Est: $2,500-$3,000.

194. Hamburg-Amerika Linie / Deutscher Schnelldienst / Cuba und Mexico.

23 1⁄8 x 32 5⁄ 8 in./58.8 x 83 cm Cond A. Framed.

Ref: Crouse/Deco, p. 244; PAI-LXXV, 220 While its service extended from the Arctic to the tropics, this poster for Hamburg-Amerika Line focuses on its Latin American destinations, specifically Cuba and Mexico. The design itself is pure Art Deco, forcefully pushing the hull of the ship into the viewer’s face, so large that it extends well beyond the confines of the poster.

Est: $1,700-$2,000.

194

Eugène d’Argence

(1853-1920)

195. Transatlantique / “France.” 1911.

57 1⁄4 x 29 in./145.4 x 73.6 cm Soc. Gle. d’Impressions, Paris Cond B/Slight tears, largely at edges. Framed.

Ref: PAI-XXII, 75 D’Argence was a marine and landscape painter who created several posters for the Transatlantique company between 1900 and 1911. This image, probably commissioned to celebrate the ship’s launch, is the twin of another which d’Argence did a year earlier for the company’s Espagne (see PAI-XXVI, 152). Completed in January of 1912, the France was one of the fastest ships in the CGT fleet at the time, making her maiden crossing in five days and 17 hours. She was also the most luxurious French liner of her day as well as the only four-stacker. A bonus to the awesome sight of her here: the spatter-printed border with frolicking winged fish and ornate mini-map of France.

Est: $2,500-$3,000.

A-Z | ATCHÉ -BERNARD

Jane Atché

(1872-1937)

196. Rêverie / Méditation. 1897.

Each: 18 1⁄2 x 19 3⁄ 8 in./47 x 49.2 cm Cond A. Framed.

Ref: Atché, p. 48 & 49; PAI-LXXX, 223B

196

Created the same year as Mucha’s more famous Têtes Byzantines, Atché’s similar diptych Rêverie & Méditation may actually be superior to the Czech master’s work. These two feminine profiles appear to be designed with the Pre-Raphaelite aesthetic in mind, rather than the Byzantine; Atché employs a greater sense of the English medieval, and a greater concentration on foliage as organic form rather than as aesthetic embellishment. Their presence is absolutely radiant.

Est: $3,500-$4,000. (2)

Marcellin Auzolle

(1862-1942)

197. De Française.

12 1⁄2 x 16 3⁄4 in./31.8 x 42.8 cm Steendrukkerij Marci, Bruxelles Cond B/Slight tears at edges. Grommets at top.

Framed.

This fabric dye is so powerful that it will instantly color any fabric—including the fur of puppies. It’s an oddly charming marketing tactic from Auzolle.

Est: $800-$1,000.

Lester Beall

(1903-1969)

198. United States Lines / Europe. ca. 1952.

22 1⁄2 x 30 1⁄8 in./57 x 76.6 cm Cond A. Ref: PAI-LXXIV, 192

197

198

Lester Beall’s work “is a good illustration of how the simplified forms, direct message, and smooth surfaces of Cassandre found an echo here” (Word & Image, p. 62). Beall has all his tricks—arrows, stripes, angles, and an exciting dramatic thrust —on display for the brand new S.S. United States.

This may have been the poster introducing the S.S. United States for its inaugural voyage, before its Blue Riband triumph over the H.M.S. Queen Mary in trans-Atlantic speed.

Est: $1,400-$1,700.

Anders Beckman (1907-1967) & Bengt Lundström 199. Top of Europe. ca. 1950.

24 5⁄8 x 39 1⁄4 in./62.5 x 99.7 cm Helsingborgs Lito., Sweden Cond A.

200

199

Published by the Finnish and Swedish tourist associations, this delightful design advertises the joys of visiting Scandinavia: fishing, skiing, boating, and reindeer sledding. But above all, visitors of any athletic (or non-athletic) discipline will be able to soak up the Midnight Sun. This natural phenomenon occurs near the Arctic Circle around the summer solstice, when the sun remains visible at midnight for a 24-hour period. For a more intense effect, we suggest visiting northern Finland in the summertime, where the sun does not set at all for 60 days straight.

Est: $1,000-$1,200.

ATCHÉ -BERNARD | A-Z

202

Jacques Bellenger

(1903-1985) & Pierre

Bellenger (1909-?)

200. Bally. 1938.

45 3⁄8 x 62 1⁄4 in./115.3 x 158.2 cm Vasselais, Paris Cond A. This striking Art Deco design uses a smart play on words: “the best step in quality” shoes literally cascade down a bold, geometric staircase which occupies the entire poster. We don’t need to know who the wearers are or where they’re going; the vital message is that Bally will get them there comfortably. Founded in 1851 in Switzerland, Bally continues to produce luxury leather shoes to this day.

Est: $1,400-$1,700.

201

Bender 201. Krell-Ucko. ca. 1926.

34 3⁄4 x 46 7⁄8 in./80.2 x 119 cm Hermann Sonntag, München Cond B/Slight tears at folds; restored tears at edges.

The 1920s fashionable set are strutting their stuff in Munich’s Odeonsplatz, and they’re making a strong case for the revival of thick stoles, feathered caps, and furtrimmed coats. The square, developed in the early 19th century, was the home of the Krell-Ucko clothing store. And should you find yourself strolling towards the square along the historic Theatinerstraße, the store politely suggests: “please do not forget to visit our interesting displays, which will give you many valuable suggestions for inexpensive shopping in our store.” Don’t mind if we do.

Est: $2,500-$3,000.

Edouard Alexandre Bernard

(1879-1950)

202. Drunken Guests.

17 x 14 3⁄ 8 in./43 x 36.5 cm Cond A. Our guests have had far too much champagne—or perhaps we haven’t had enough!

It’s the witching hour for partiers, and decorum is no longer abided by: put your feet up on the table, sing loudly, flirt with the rich old man, have a ball. There doesn’t seem to be a promotional reason for this design, but it sure looks like a riotous event.

Est: $800-$1,000.

203. Mayol : Maquette. ca. 1916.

8 5⁄8 x 12 3⁄8 in./22 x 31.5 cm Gouache, watercolor, and ink maquette. Framed.

Ref: PAI-XLVI, 195 (var) Mayol, one of the all-time music hall greats who remained a top draw for over forty years, was touted by Barrère in a previously seen poster as “Paris’ Premiere Comic Singer” (see PAI-LII, 199). Bernard also created a whimsical design for the performer (see PAI-XLVI, 195), and this, although unsigned, is his preparatory work for the poster. While some details have been modified—the Lily of the Valley boutonniere here is fuller and the wooden frame less flushed out—the essence remains the same. Both images feature the blithe smirk that always seemed to be at play on his visage, his improbable cowlick, and his trademark corsage as the performer is once again trotted out in all his flamboyant glory.

203

Est: $1,700-$2,000.

A-Z | BERNARD - BOUCHER

204

205

Francis Bernard

(1900-1979)

Paul Berthon

206

(1872-1909)

204. Maroc. ca. 1933.

205. Les Roses. 1900.

206. La Femme aux Chrysanthèmes. 1902.

24 1⁄2 x 39 3⁄4 in./62 x 101 cm Editions Paul Martial, Paris Cond A-/Slight tear at paper edge.

Ref: Bernard, unnumbered; Orientalist, p. 31; Tourism/Suntory, 148

18 1⁄2 x 14 1⁄ 2 in./47 x 36.8 cm Cond A. Framed.

Ref: Berthon & Grasset, checklist, 56

16 x 20 7⁄8 in./40.6 x 53 cm Cond A. Matted to image. Framed.

Ref: Berthon & Grasset, checklist, 66

“The basic pattern devised by Grasset was clearly capable of being put to repeated good use: a maiden in a sylvan setting; a cluster of decorative flowering plants in the immediate foreground, a device derived from Hiroshige and Hokusai; a solid, unbroken line to outline the whole composition, while the details are very lightly sketched in: solid blocks of colour to emphasize the outlined sections” (Berthon & Grasset, p. 129). Here, Berthon adopts his tutor’s method to show a maiden being lulled into tranquility by a sepia-toned throng of roses.

“Grasset’s modest maidens give way to Berthon’s sensual creatures: bare-armed, sometimes bareshouldered, occasionally nude, the skin is creamy, firm, ever so slightly plump au goût du jour; open-eyed, they look straight out, challenging, weighing, calculating... in his decorative panels... the flowers are often transformed into almost unnaturally perfect and overgrown specimens which further contribute to the hot-house atmosphere of the whole image” (Berthon & Grasset, p. 129-130). Rare!

Although the boat in the far distance is only a tiny photographic fragment, this poster marks the beginning of Bernard’s revolutionary experimentation with photocollage. It’s a clean and dynamic image advertising trips to Morocco via Compagnie Paquet’s passenger ships. “It is safe to say that the Compagnie Paquet alone accounted for over a third of all the posters for Morocco...

Although the company’s domination of maritime transport to and from Morocco was the reason for this apparent fascination, no other country can claim to have been promoted with such sustained enthusiasm by a shipping company. A possible explanation for this lies in the history of a company which, from the moment of its creation, had always been closely linked to Morocco. Today, a square in Casablanca still bears the name of the founder of the company, Nicolas Paquet” (Orientalist, p. 27).

Est: $1,400-$1,700.

Est: $1,700-$2,000.

Est: $2,000-$3,000.

BERNARD - BOUCHER | A-Z

208

207

Pierre Bonnard

(1867-1947)

207. Salon des Cent. 1896.

17 3⁄8 x 25 in./44.2 x 63.5 cm Imp. Chaix, Paris Cond B+/Slight tears at folds. 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-LXXXIII, 173 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: $6,000-$7,000.

Mario Borgoni

(1869-1936)

208. Capri. ca. 1927.

25 1⁄ 2 x 40 1⁄ 2 in./64.8 x 102.7 cm Richter & C., Napoli Cond A. Ref: Viaggio, p. 121; Manifesti Posters/Travel, p. 121; PAI-LIX, 145 From our balcony overgrown with ancient vines and flora, we gaze across the rocky landscape at the mythical island of Capri, a famous resort area since Roman times.

Est: $1,700-$2,000.

209

Pierre Boucher

(1908-2000)

209. Ducretet-Thomson. 1938.

30 5⁄8 x 46 1⁄2 in./78 x 118.2 cm Printel, Paris Cond B/Stains at edges.

Ref: PAI-II, 248 A montage of photo-offset and lithography gives us a somewhat surrealistic treatment for the radio that is your door to the world. The motto is: “The voice of the world in every home,” which forces a clear distinction between the technology of yesteryear and the domination of 21st century devices like Alexa.

Est: $1,000-$1,200.

ROGER BRODERS

210

Roger Broders

(1883-1953)

210. Monte-Carlo. ca. 1930.

211. Golf de la Soukra Tunis. 1932.

24 ⁄8 x 39 ⁄8 in./63 x 100.8 cm Imp. Monegasque, Monte-Carlo Cond A-/Slight creases in top area.

Ref: Broders, p. 97; Broders/Travel, p. 39; Affiches Azur, 311; Deco Affiches, p. 91; PAI-LXVI, 156

24 1⁄2 x 39 1⁄2 in./62.2 x 100.5 cm Imp. de Vaugirard, Paris Cond A/P. Ref: Broders, p. 111; Broders/Travel, p. 89; Golf, p. 43; PAI-LXVIII, 269

7

5

In one of Broders’ best posters for the Riviera, a swank Art Deco couple gazes down at the full tennis courts below. Meanwhile, the packed stadium seating provides ample views of the sporting activities and the Mediterranean beyond.

Est: $10,000-$12,000.

In collaboration with the Tunisian tourist bureau, the PLM railroad entices golfers to cross the Mediterranean and play at the then-French colony in North Africa.

Est: $2,000-$2,500.

BRODERS | A-Z

212

211 212. Villard de Lans / Le Paradis des Enfants. 1930.

24 1⁄2 x 39 1⁄4 in./62.2 x 99.5 cm Imp. Lucien Serre, Paris Cond A-/Slight tears in bottom text.

Ref: Broders, p. 63 (var); Broders/Travel, p. 72; Montagne, p. 180; PAI-LXIII, 124 One of Broders’ trademarks is foreground elements framing or commanding a panoramic view. Here, he shows children bravely going through some openair calisthenics on a terrace overlooking the slopes of Villard de Lans, a resort in the northern French Alps. He would recycle this design some six years later for the National Society of French Railways.

Est: $1,400-$1,700.

213. Corne d’Or. ca. 1930.

24 1⁄2 x 39 3⁄8 in./62.4 x 100 cm Imp. Lucien Serre, Paris Cond A. Ref: Affiches Azur, 178; Broders, p. 93B; Train/Favre, p. 139; PAI-LIX, 159 Showcasing a set of sun-dappled villas, Broders promotes the Golden Horn, an area along the Côte d’Azur between Nice and Monaco, now readily accessible by way of the new coastal road.

Est: $2,000-$2,500.

213

A-Z | BRODERS

214

Broders

215

(Continued)

214. Agay. 1928.

215. Marseille / Côte d’Azur. 1929.

216. Antibes. 1930.

30 ⁄8 x 41 ⁄4 in./76.5 x 106 cm Imp. Lucien Serre, Paris Cond A. Ref: Broders, p. 84; Broders/Travel, p. 24; PAI-XXXVII, 152

24 ⁄4 x 39 ⁄ 8 in./63 x 100 cm Imp. L. Serre, Paris Cond A-/Slight tears at bottom edge.

Ref: Broders, p. 82; Broders/Travel, p. 36; Train à l’Affiche, 241; Voyage, p. 38; Affiche Reclame, 82; Deco Affiches, p. 95; Crouse/Deco, p. 294; Marseille, p. 56; PAI-LXXV, 243

31 x 42 1⁄2 in./79 x 108 cm Imp. Lucien Serre, Paris Cond A. Ref: Broders, p. 91; Broders/Travel, p. 27; Affiches Riviera, 60; Mer s’Affiche, p 116; PAI-LXIII, 125

1

3

In one of his most striking posters for his longtime client, the PLM railway, Broders frames a view of golden beach, azure sea, and green hills with trees; the sublime tones suggest a moody sunset.

Est: $2,500-$3,000.

3

3

The message here is that the Marseilles rail terminal is the departure point for other destinations along the Côte d’Azur—and by PLM limousine, if passengers so wish.

The sleek simplification of forms and the way that the angled text works into the design, serving as the “road” up which the car and train travel out of the tunnel and to the sea ahead of them, makes for a powerful design.

Est: $2,700-$3,000.

While creating a posh, inviting atmosphere of luxurious Antibes, Broders’ figures also manage to echo the shape of the surrounding landscape in this masterful composition.

Est: $8,000-$10,000.

BRODERS | A-Z

216

A-Z | BRODERS - CAMPS

217

Broders

(Continued)

Alexy Brodovitch

(1898-1971)

Charles Livingston Bull

(1874-1932)

217. Dunkerque. 1929.

218. Bières Petit & Fils. ca. 1926.

219. Bathe / Learn to Swim. 1931.

24 x 39 1⁄8 in./61 x 99.3 cm Imp. Lucien Serre, Paris Cond A. Framed.

Ref: Broders, cover & p. 37; Broders/Travel, p. 30; PAI-LXXIV, 209

27 1⁄4 x 38 5⁄8 in./69.2 x 98 cm Grau Nerfi, Lille Cond B/Slight tears.

Ref: PAI-LVI, 57

15 1⁄4 x 19 1⁄ 2 in./38.6 x 49.5 cm Cond A/P.

The rarest of all Broders posters, it’s also the only image Broders created for the Chemin de Fer du Nord—though the railroad is nowhere to be seen. Instead, he gives us the view from an elegant couple’s yacht pulling out of the harbor. The contrast between the modern (both people and ships) and the medieval (the spire of the Old Town Hall and the little skiff at right) makes Dunkirk all the more interesting and mysterious.

Est: $17,000-$20,000.

We don’t know much about this French brewery, but the five grinning faces tell us all we need to know: the beer is delicious. Below the glass of cold frothy ale, we see a detailed depiction of the malt house and adjoining brewery. Brodovitch was born in the Russian Empire (now Belarus) and joined the Russian army during World War I when he was 16. He then moved to Paris to become a painter, which led him to graphic design and some notable successes in the field of poster art. Most notably, he later became the art director for Harper’s Bazaar from 1934 to 1958. This early work from his career is also rare!

Est: $1,000-$1,200.

This is one of four posters Bull designed for the Michigan Tuberculosis Association (the others were “Sleep,” “Eat,” and “Play”). For “Bathe,” he gives us an incredibly heartwarming scene of a mama bear teaching her younguns to swim. Bull was considered to be the top wildlife illustrator of his time; he gained renown for illustrating famous books like “The Call of the Wild” and “White Fang.” He lived on four lots of land in Bergen County, New Jersey and often traveled to the South and Canada to study wildlife and draw them.

Est: $1,000-$1,200.

BRODERS - CAMPS | A-Z

Byron Huff

218

219

220

221

222

Gaspar Camps

(1949- )

(1874-1942)

220. Shinnecock / 86th U.S. Open. 1986.

221. Shinnecock / 86th U.S. Open. 1986.

222. Pharmacie Bentalou / Printemps. 1920.

22 1⁄4 x 29 7⁄8 in./56.5 x 75.8 cm Byron Sports Productions Cond A/P. Ref: PAI-LXXX, 377 (var)

22 1⁄4 x 29 7⁄8 in./56.5 x 75.8 cm Byron Sports Productions Cond A/P. Ref: PAI-LXXX, 377 (var)

13 3⁄8 x 29 1⁄2 in./34 x 75 cm Imp. B. Sirven, Toulouse Cond A-/Slight stains at edges.

Ref: PAI-LXXXII, 184

The sport of golf is equally embedded in tradition and attuned to the future. To that end, Huff created a series of nostalgically evocative designs which includes this image for the 1986 Open at Long Island’s Shinnecock Hills Golf Club (won by Raymond Floyd). Byron Huff is widely known for his accomplishments in the field of golf posters and graphic arts design. His work has been featured in Golf, Golf Digest, and Golf Illustrated, as well as numerous regional publications. He was the first artist ever commissioned by the United States Golf Association to create official posters for their championship event, which he executed in what he calls his “depression-moderné” style.

Huff offers us another view of the action at the oldest clubhouse in America. Shinnecock hosted the second ever U.S. Open in 1896 but did not host the event again until this edition, almost a century later. At that time, Raymond Floyd’s victory made him the oldest winner of the U.S. Open at 43.

To advertise the Bentalou pharmacy, Camps brings out one of his dreamy maidens, lost in thought on the river bank, and basking in rose buds, orchids, and birds. We’d be hard pressed to find an advertisement for a pharmacy this decadent today! This poster includes a tip-on at lower right with the December 1920 calendar.

Est: $800-$1,000.

Est: $1,700-$2,000.

Est: $800-$1,000.

LEONETTO CAPPIELLO For another by Cappiello, see No. 82.

223

Leonetto Cappiello

224

(1875-1942)

223. Mele. 1902.

225. La Marquisette. 1901.

59 x 80 ⁄8 in./149.8 x 204.8 cm Ricordi, Milano Cond A-/Slight tears in top text area.

Ref: Cappiello/Rennert, 26; Mele, Fig. 247; Ricordi, 23; Cappiello, 249; Wine Spectator, 306; PAI-LIX, 443

38 5⁄8 x 79 in./98 x 200.7 cm Imp. P. Vercasson, Paris Cond A-/Restored tear in black hair.

Ref: Cappiello/Rennert, 19; PAI-LXXX, 207

5

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 design by Cappiello showcase attainable glamour and elegance without making it seem pedestrian or cheap. Here in particular, Cappiello captures that moment of pure self-satisfaction as a woman finds the perfect dress to make her stand out in a crowd. This is a two-sheet poster.

Est: $5,000-$6,000.

224. Fleur des Neiges / Biscuits Pernot. 1905.

41 3⁄4 x 63 in./106 x 160 cm Imp. P. Vercasson, Paris Cond A-/Unobtrusive folds.

Ref: Cappiello/Rennert, 82; Wine Spectator, 196; PAI-LXVIII, 282 “Fleur des Neiges is one of the products of Biscuits Pernot; since it means ‘snow flowers,’ Cappiello creates a verbal association by giving us two lovely ladies worthy of the name, their scarlet coats like blossoms in the vast whiteness. Their placement at the bottom of the vertical design with a snowy landscape allows the artist to create a brilliant impression reminiscent of classical Japanese prints of similar configuration” (Cappiello/Rennert, p. 83).

Est: $7,000-$9,000.

This charming little slice-of-life moment reveals the more daring of the two girls introducing the other to the joys of Marquisette dessert liqueur. It’s a delightful scene played out on this larger, two-sheet version of the poster. This is a two-sheet poster.

Est: $3,000-$4,000.

226. Cognac / La Grande Marque.

46 x 61 7⁄8 in./117 x 157.2 cm Imp. P. Vercasson, Paris Cond B+/Unobtrusive folds; slight tears in bottom text.

Ref: Cappiello/Rennert, 76 “‘La Grande Marque’ was the boastful name given by an ambitious vintner, Jean-Baptiste Camus, to a consortium he created in 1863 in Cognac to produce a superior type of brandy. The product was so good that it was soon simply referred to as ‘cognac’ and the company earned various honors, including the title of exclusive supplier to the court of the Russian czars. After half a dozen generations in the hands of the same family, the company still prevails and its product, now known as Cognac Camus, is widely sold.

But why a veiled woman in green proffers it to us remains a mystery. But then that’s Cappiello—always enigmatic, always intriguing” (Cappiello/Rennert, p. 79).

Est: $3,000-$4,000.

CAPPIELLO | A-Z

226

225 227. Cognac Pellisson. 1907.

45 1⁄4 x 61 3⁄4 in./114.8 x 156.7 cm Imp. P. Vercasson, Paris Cond B/Slight tears in black background.

Ref: Cappiello/Rennert, 121; Karcher, 112; PAI-LXXXII, 192 “Cognac Pellisson is one of Cappiello’s best and earliest in the overstatement department— shocking and surprising us with its incongruity—and it provided the visual punch of lasting impact... The company, founded in 1836, remained in the Pellisson family’s hands until 1980 when they sold it to the Hennessy conglomerate. Yet Cappiello’s magnificent barrel-carrying imp survived all changes of hands and is still lugging the huge cask on the product’s logo” (Cappiello/Rennert, p. 101). This is the larger format.

Est: $1,400-$1,700.

227

A-Z | CAPPIELLO

Cappiello

(Continued)

228. Cognac Gautier Frères. ca. 1907.

46 1⁄4 x 63 in./117.5 x 160 cm Imp. P. Vercasson, Paris Cond B+/Slight tears and stains at folds and edges.

Ref: Cappiello/Rennert, 124; PAI-LXXXI, 214

228

“Although Gautier is one of France’s oldest cognac distillers, there’s nothing old-fashioned about this ebullient eyeful bringing forth her vineyard-fresh bounty. You’d think that she’d appear at least slightly burdened beneath the heft of these hardy bunches as she trips the vine fantastic; the knowledge that she’s delivering a taste this enormous, however, keeps the spring in her step.

This enterprise, which survives to this day, was established by Guy Gautier in 1697... Gautier’s success was partly due to the fact that he sided with the insurrectionists in one of the religious wars that took place in his time; when they won, he was named governor of the Cognac province, and he in turn passed its name to the brandy he had produced” (Cappiello/Rennert, p. 103).

Est: $7,000-$9,000.

229. Zeste. 1906.

44 3⁄4 x 62 in./113.6 x 157.3 cm Imp. P. Vercasson, Paris Cond A-/Unobtrusive folds.

Ref: Cappiello/Rennert, 102; Wine Spectator, 180; PAI-XLVI, 225 “It’s the incongruity—the wild exaggeration—of the woman struggling with an oversized potted lemon tree that gives the design its unmistakable Zeste.

Attention must be paid. This is the first of three designs by Cappiello for the Fournier-Demars distiller; they also called on him to advertise their Triple-Sec in 1907 and their regular Curacao in 1921” (Cappiello/Rennert, p. 91).

Est: $6,000-$8,000.

230. Chocolat Klaus. 1903.

76 3⁄4 x 99 in./195 x 251.5 cm Imp. P. Vercasson, Paris (not shown) Cond B+/Slight tears at folds.

Ref (all var): Cappiello/Rennert, 49; DFP-II, 120; Timeless Images, 102; Menegazzi-II, 192; Wine Spectator, 199; Cappiello, 257; Weill, p. 125; Gold, 61; PAI-XL, 274A This is the extremely rare 2-sheet format, without the bottom two sheets that displayed the product’s name. “It is with this poster, printed in 1903, that Cappiello firmly established himself as the master of the modern poster—if not modern advertising itself. He begins to slowly distance himself from caricature, not only in preoccupation but also in its form. With a newfound flamboyance of style and imagination, the artist pursued the posterist’s goal with a clarity and purpose that was to set him apart from all his colleagues. A green lady on a red horse... to sell chocolate! Preposterous! Precisely! So very preposterous, so very incongruous in fact, that the message would be indelibly etched in the consciousness of the viewer. So powerful was the graphic message that it became the trademark of the Chocolat Klaus company—and remains so to this date. With this poster, Cappiello declared—for all future posterists and commercial artists—a new freedom from the restrictions and limitations of the previous realist and idealized realist renderings” (Cappiello/Rennert, p. 66).

Only one other copy of this printing is known to exist.

229

Est: $17,000-$20,000.

CAPPIELLO | A-Z

230 FOR A SEARCHABLE DATABASE OF EVERY POSTER WE’VE EVER SOLD AT AUCTION, VIEW OUR POSTER PRICE GUIDE AT POSTERAUCTIONS.COM

A-Z | CAPPIELLO

233

Cappiello

(Continued)

231. Louise Balthy / Folies-Bergère. 1902.

231

39 1⁄2 x 54 1⁄8 in./100.2 x 137.5 cm Imp. P. Vercasson, Paris Cond A-/Slight tear at bottom edge.

Ref: Cappiello/Rennert, 31b; PAI-LXXXII, 191 “Louise Balthy (1869-1926), like Réjane, got off to a precocious start, being hired by the Eldorado at 17, and getting favorable notices in the revue ‘Taraboum’ in 1892. She became best known for comic songs that she delivered while maintaining a somewhat stern demeanor.

However, her talents also included parodying various styles of dancing, impersonating other actresses (most notably Sarah Bernhardt), and playing a mean xylophone. A native of Bayonne near the Spanish border, she sometimes affected the occasional Spanish mannerism, a fact that Cappiello makes clear in this design for the revue’s opening at the Folies-Bergère on March 8, 1902” (Cappiello/Rennert, p. 57).

Est: $2,500-$3,000.

232. Fernet-Branca / The King of Bitters. 1909.

50 1⁄4 x 78 in./127.7 x 198 cm Imp. P. Vercasson, Paris Cond A-/Slight tears in bottom text area.

Ref: Cappiello/Rennert, 146; Cappiello/St. Vincent, 4.36 (var); PAI-LXXIV, 221 “In a number of posters, Cappiello animated the advertised product by conjuring up a personality for it. He found a way either to breathe life into a commodity by adding arms, legs or a face to it or, more subtly, creating a semi-human being which stood for the thing itself— the spirit of the product, if you will. One of his most conspicuous successes in this category is the artwork he created for one of Europe’s most popular apéritifs, Fernet-Branca. Since it already called itself ‘The King of Bitters,’ Cappiello simply gave that dream a two-dimensional reality. The drink, developed by herbal expert Dr. Fernet, was put on the market in 1845 by the Branca Brothers of Milan” (Cappiello/Rennert, p. 115). The text of the poster was printed in a number of languages, and the jubilant glass monarch became famous throughout the world.

This is the rare English version.

Est: $2,500-$3,000.

233. Docteur Rasurel. ca. 1911.

46 x 60 3⁄4 in./116.7 x 154.5 cm Imp. P. Vercasson, Paris Cond B+/Slight tears at folds.

Ref: Cappiello/Rennert, 108; PAI-IX, 20

232

Docteur Rasurel was a line of thermal underwear, union suits, and other warming textiles for the home. Cappiello designed five posters for the brand; this one and a 1906 design (see PAIXLIX, 153) each shows an ideal family gathering which only seems to be lacking the slogan, “‘The family that wears long-johns together, stays together.’ Cappiello shows that he could always manage to find an interesting angle, whether he showed the clan striding determinedly into the future or striking a pose for a family undergarment portrait to leave for posterity” (Cappiello/Rennert, p. 95). Rare!

Est: $2,500-$3,000.

CAPPIELLO | A-Z

234

235

234. Le Cacao Poulain. ca. 1911.

47 3⁄4 x 62 3⁄4 in./121 x 159.2 cm Imp. P. Vercasson, Paris Cond A. Ref: Cappiello/Rennert, 173; Chocolate Posters, p. 30; PAI-XLIII, 197 “Cacao Poulain boasts that it is ‘inundating the world,’ a statement that inspired the artist to produce a winsome image of a kid gleefully doing just that... August Poulain started to learn about cocoa products at age 13, when he entered an apprenticeship at a Paris confectionary.

He started his own business ten years later in 1848, at a time when chocolate was still regarded as an exotic delicacy. The firm stayed in the family and is still in business, making more than 30,000 tons of cocoa products annually” (Cappiello/Rennert, p. 127). This is the finest specimen we’ve ever seen!

Est: $2,500-$3,000.

235. Bougies à Pied Cannelé. 1912.

49 5⁄8 x 78 in./126 x 198 cm Imp. P. Vercasson, Paris Cond B+/Unobtrusive folds.

Ref: Cappiello/Rennert, 178; PAI-XLIX, 163 “It’s a clever idea L. F. Fournier came up with: ridging the bottom end of its candles so that they stand upright and perky in their candleholders. That lack of wobble in the Bougies à Pied Cannelé is creating one happy butler” (Cappiello/Rennert, p. 130).

Est: $2,500-$3,000.

236. Merlus au Naturel. 1913.

43 1⁄8 x 62 7⁄8 in./109.6 x 159.7 cm Imp. P. Vercasson, Paris Cond A-/Unobtrusive folds.

Ref: Cappiello/Rennert, 256; PAI-LIX, 199 (var) “The lusty giant in the plumed hat, plucking an entire cod out of its can, is another reference to Cappiello’s love for the stage, as he costumes his happy oversized gourmand in the festive costume of a stage court jester. It all helps to drive home the point that Merlus, a tinned brand name in the Gargantua line, is a fish whose freshness is assured” (Cappiello/Rennert, p. 172).

Est: $2,500-$3,000.

236

A-Z | CAPPIELLO

239

Cappiello

(Continued)

237. Cognac Boutelleau. 1919.

237

49 1⁄4 x 78 3⁄8 in./125 x 199 cm Imp. P. Vercasson, Paris Cond A-/Unobtrusive folds.

Ref: Cappiello/Rennert, 274; PAI-LXXIV, 225 “Edmond Boutelleau gave his name to a brand of cognac he started distilling in 1849; it has been in the hands of Cognac Tiffon since 1990, but the original name has been retained on the label. The poster is dated October 1919, but the fact that Cappiello was no longer under contract to Vercasson on that date and that the Visa Number still appears there all indicate that this poster was probably designed in 1917 and production started a bit later. Wars certainly have a way of disrupting the best-laid plans” (Cappiello/Rennert, p. 183).

Est: $2,500-$3,000.

238. C. Beriot / Belle Jardinière.

49 7⁄ 8 x 77 1⁄4 in./127.2 x 196 cm Imp. P. Vercasson, Paris Cond B+/Slight tears at edges.

Ref: Cappiello/Rennert, 163; PAI-LXXVI, 180 Chicory, that wonderful rich flavoring for coffee, is being sold at La Belle Jardinière, a department store in France—which is why Cappiello has this beautiful gardener trailing a basket of blossoms as she steps forward with a caffeinated spring in her step. La Belle Jardinière is also the name of a famous 1507 painting by Raphael—which may have inspired the proprietors—and the department store clearly embraced the visual arts, as seen by Grasset’s beautiful calendar (see PAI-LXXVI, 285).

Est: $3,000-$4,000.

239. Veuve Amiot / Crémant du Roi. 1922.

47 3⁄4 x 63 3⁄8 in./121.4 x 161 cm Imp. Devambez, Paris Cond A. Ref: Cappiello/Rennert, 377; PAI-LXXX, 275

238

“It appears as if we’ve come across this rouged monarch draped in his royal robes during a transcendent moment, carried away on the exquisite proboscis-tickling bubbles of Veuve Amiot sparkling wine. A convincing design of infinite charm that effortlessly persuades without sacrificing one jot of intimate amusement. In 1884, Elisa Amiot suddenly found herself a widow (veuve) with four children to raise. As she lived in the Saumur region, an area whose sparkling wines had become all the rage, she went into the distilling business.

She proved to have a flair for so effectively promoting both herself and her bubbly that her firm prospered right from the start” (Cappiello/Rennert, p. 240).

Est: $3,000-$4,000.

CAPPIELLO | A-Z

240 240. Café Martin. 1921.

50 1⁄2 x 78 3⁄8 in./128 x 199 cm Imp. Devambez, Paris Cond A. Ref: Cappiello/Rennert, 344; Cappiello, 304; Karcher, 75; Encyclopédie/Weill, p. 34; PAI-IX, 64 One of Cappiello’s most popular designs, this image was used repeatedly by the company in various formats. At the time, anyone in a turban was referred to in the vernacular as a “Turk,” resulting in Café Martin being commonly known as “the Turk in the cup.” This is the rare, large format version of the design.

Est: $14,000-$17,000.

A-Z | CAPPIELLO

241

Cappiello

(Continued)

241. Picon Chaud : Maquette.

242. Vin de France : Maquette.

19 x 27 in./48.2 x 68.6 cm Signed gouache and ink maquette. Framed.

18 7⁄8 x 24 3⁄8 in./48 x 61.8 cm Signed gouache and ink maquette. Framed.

Employing an orange peel reminiscent of his famous 1921 Bitter Campari design, Cappiello here explores a concept for a hot and bitter cocktail. Gaetan Picon first developed the orange bitter cordial Amer Picon in 1837 in Belgium; at the turn of the century, upon returning to France, his product was met with rave reviews and he began to mass produce the cordial. Cappiello shows that some orange zest and a few cubes of sugar will turn the apéritif into a warming winter beverage. This maquette was originally gifted by Cappiello to executives at the Damour advertising agency.

Cappiello sure did love the imagery of fruits in excess: his 1919 Confitures Foucault employed a similar harvest pour; in his 1907 Cognac Gautier Frères, the oversized vineyard bounty is shouldered by a gleeful lady; his 1904 Liqueur Cordial-Médoc shows a woman emerging from a lush wall of grapes. While there is no vineyard or liqueur company association with this work, the plentiful harvest is just as promising.

Cappiello originally gifted this work to executives of the Damour advertising agency.

Est: $10,000-$12,000.

Est: $12,000-$15,000.

CAPPIELLO | A-Z

242

A-Z | CAPPIELLO

243

244

Cappiello

245

(Continued)

243. Nouvelles Affiches Cappiello / Devambez.

244. Aurore.

20 3⁄4 x 6 1⁄4 in./52.6 x 15.8 cm Imp. Devambez, Paris Cond A/Accordion fold promotion.

Ref: Cappiello/Rennert, p. 188

46 1⁄2 x 62 1⁄4 in./118 x 158 cm Imp. Devambez, Paris Cond A. Ref: Cappiello/Rennert, 484; PAI-XLVI, 234

“In 1919, Devambez became Cappiello’s exclusive agent and represented the artist for the following twenty years. Devambez had a gallery and was an art publisher, producing art prints on small hand presses. He also produced there all forms of advertising materials, including menus, programs, catalogues, and even business cards” (Cappiello/Rennert, p. 188). This accordion-fold pamphlet reproduces six of Cappiello’s posters, effectively advertising both the posterist’s and the printer’s creative capabilities. On the reverse, an additional plug for Devambez is printed.

“No doubt Aurore shoes are the Number One brand of quality footwear, but what convinces us most of all is the spring in the woman’s stride.

She’s the one that persuades us that this is the brand that solves the problem of pedestrian comfort” (Cappiello/Rennert, p. 299).

Est: $700-$900.

Est: $3,000-$4,000.

CAPPIELLO | A-Z

246

247

245. Poëles Nanquette. 1925.

246. Ramos Pinto / Vinho do Porto. 1912.

247. Cognac Monnet. 1927.

51 1⁄4 x 77 in./130 x 195.6 cm Imp. Devambez, Paris Cond B/Slight tears at folds.

Ref: Cappiello/Rennert, 420; PAI-LXXXII, 210

49 3⁄4 x 78 3⁄ 8 in./126.4 x 199 cm Ateliers Ramos Pinto, Porto Cond B+/Unobtrusive folds.

Ref: Cappiello/Rennert, 241

As the tagline at the top would imply, Nanquette stoves get hot fast so you can start cooking immediately.

Cappiello puts his clever whimsy to work by negating the sun’s self-heating power to show us just how necessary a Nanquette is for all beings, human or celestial.

“The Adriano Ramos Pinto winery boasted that it was bigger than all the others, at least in Porto.

Cappiello took this catch phrase literally and shows a giant figure striding away with an oversized bottle as Lilliputian townsfolk scatter with their port between his legs. The text is Portuguese and the firm’s own printing works is given credit at the bottom for this poster’s production; however, the Poster List of the Grand Palais exhibition credits its printing to Vercasson. Clearly he provided the design; it remains unclear if it was printed in Portugal or France” (Cappiello/Rennert, p. 164). Rare!

51 x 78 1⁄4 in./129.5 x 198.8 cm Imp. Devambez, Paris Cond A. Ref: Cappiello/Rennert, 443; Publicité, p. 92; PAI-LXXXII, 213

Est: $3,000-$4,000.

Est: $4,000-$5,000.

Founded by a group of local vintners in 1838 under the name “Company of the Vineyard Owners of Cognac,” Cognac Monnet did not obtain its current name until 1897 when Jean-Gabriel Monnet became the owner of the society. Here, the slogan “sunshine in a glass” is interpreted quite literally by Cappiello as a Bacchus-like nymph expresses adoration for the beverage. This is the larger format.

Est: $3,500-$4,000.

A-Z | CAPPIELLO - CARDINAUX

248

Cappiello

(Continued)

248. Parapluie-Revel. 1929.

78 1⁄2 x 122 1⁄2 in./199.4 x 311.2 cm Imp. Devambez, Paris Cond A. 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 larger three-sheet version of the poster.

Est: $10,000-$12,000.

CAPPIELLO - CARDINAUX | A-Z

249

Emil Cardinaux

250

(1877-1936)

249. Schuster / Teppichhaus. 1924.

250. Les Grisons. ca. 1923.

35 7⁄8 x 50 1⁄4 in./91.2 x 127.8 cm Wolfsberg, Zürich Cond A. Ref: Cardinaux, 96; PAI-LXXXII, 225

25 x 40 3⁄8 in./63.3 x 102.6 cm Wolfsberg, Zürich Cond A. Ref (both var): Cardinaux, 90; PAI-LXXI, 275

This Swiss dealer in carpets often used top artists and always encouraged them to come up with original ideas. A case in point is this quasi-Oriental idyll by Cardinaux, with the plush red rug as the featured attraction.

Cardinaux’s visceral landscape incorporates all the vibrancy of Swiss summers: hazy blue mountains in the distance, lush pine trees speckled with golden sunlight, verdant lawns and cherry-red poppies which guide us to a monumental fountain and classic columns. The image was clearly beloved, as it was used multiple times to advertise various Swiss towns and spas. In this iteration, The Grisons—or Graubünden—is the focus. The eastern canton is home to St. Moritz and Davos and famous for its dramatic Alpine scenery.

Est: $1,400-$1,700.

Est: $1,700-$2,000.

REGISTER FOR ONLINE BIDDING AT POSTERAUCTIONS.COM

A. M. CASSANDRE

251

CASSANDRE | A-Z

252

A. M. Cassandre

(Adolphe Mouron, 1901-1968)

251. Nord Express. 1927.

252. Étoile du Nord. 1927.

29 1⁄2 x 41 1⁄2 in./75 x 105.3 cm Hachard, Paris Cond A. Ref: Cassandre/BN, p. 12; Cassandre/Weill, p. 16; Mouron, 10; Brown & Reinhold, p. 9; Cassandre/Suntory, p. 49; Deco Affiches, p. 27; Avant Garde, p. 162; Word & Image, p. 80; Art Deco, p. 77; Weill, 310; Affiche Réclame, p. 80; Modern Poster, p. 155; Crouse/Deco, p. 254; PAI-LXXVII, 170

29 3⁄4 x 41 1⁄ 2 in./75.5 x 105.5 cm Hachard, Paris Cond A. 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-LXXXIII, 278

In this magnificent poster, Cassandre perfectly portrays the two most important factors in early rail travel: romance and speed. Our eyes are both focused on the geometric whirl of the wheels and the seemingly endless far-off horizon. The size and power of the engine is so brilliantly executed that one can almost feel that solid wall of hot air hitting you as it races by.

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: $20,000-$25,000.

Est: $17,000-$20,000.

A-Z | CASSANDRE

253

Cassandre

(Continued)

253. Flèche d’Argent / Aéropostale. 1929.

254. L’Atlantique. 1931.

24 ⁄4 x 39 ⁄8 in./61.6 x 100.5 cm Imp. Courbet, Paris Cond A-/Slight creases at edges.

Ref: Affiches d’Aviation, p. 112; Cassandre/BN, 32; Mouron, 95; Brown & Rheinhold, p. 53; Crouse/Deco, p. 29; PAI-LXXXIII, 280

24 1⁄2 x 39 1⁄8 in./62.2 x 99.4 cm Alliance Graphique, Paris Cond A. Framed.

Ref: Cassandre/Weill, p. 48; Cassandre/BN, 55; Mouron, pl. 34; Brown & Reinhold, 67 & pl. 31; Cassandre/Suntory, 66; Moderno Francés, p. 172; Timeless Images, 107; Avant Garde, p. 161; PAI-LXIX, 287

1

5

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.

Est: $17,000-$20,000.

“Instead of ‘a sleek oceangoing vessel,’ as writers often describe modern ships, Cassandre’s rendition [of The Atlantic] becomes a mammoth wall of steel that towers in fantastic and unreal fashion over a minuscule tugboat. He further adds to this startling effect by collapsing the upper decks and the three smokestacks so that they appear almost flat. [He] also distorts perspective in an ingenious way; the stern of the ship extends into the front of the top decks as well as down from them... into the ocean to form a reflection.

When taken together, all of these elements, along with the block of text, form one awesome rectangular shape that passes through a ‘wreath’ formed by the coming together of the smoke from the tugboat and the steamship” (Brown & Reinhold, p. 16).

Est: $35,000-$40,000.

CASSANDRE | A-Z

254

A-Z | CASSANDRE

255

Cassandre

256

(Continued)

255. Dunkerque-Folkestone-Londres. 1932.

256. S.A.G.A. 1927.

24 ⁄8 x 38 ⁄4 in./61 x 98.3 cm Imp. L. Danel, Lille Cond B/Slight tears, largely at edges.

Ref: Mouron, 111; Cassandre/Weill, 63; PAI-LXXVI, 207

28 3⁄4 x 42 7⁄8 in./72.8 x 109 cm Hachard & Cie., Paris Cond B+/Slight tears in bottom text.

Ref: Cassandre/BN, 15; Mouron, 8; Brown & Reinhold, 8; Cassandre/Suntory, 68; PAI-LXI, 189

1

3

A startling night profile of a lighthouse advertises the Folkestone-Dunkirk train ferry across the English Channel. It is signed as coming from the atelier of Cassandre, yet the master’s hand is clearly evident in this striking Art Deco design.

Est: $6,000-$8,000.

This poster’s importance lies not in what it is advertising—brokering the transport of items via ship—but in how it is designed. It “marks the beginning of Cassandre’s most consistent and dynamic period of postermaking, one that lasted until the early 1930s...

Here he begins playing with the notion of perspective in a Cubist fashion because the ocean background, which ordinarily should recede in deep perspective, is given only a slight suggestion of recession while the wood crate in the foreground is rendered as a solidly designed and faceted cube. Also this is the first poster in which Cassandre resorts to a prominent distortion of scale by making the crate many times larger in relation to the ship, than it actually should be, so that he could emphasize the primary activity of the poster’s sponsor... Worth noting also is [his] first use of gradation in rendering the sky, a device he would use often between 1927 and 1935” (Brown & Reinhold, p. 13).

Est: $3,000-$4,000.

CASSANDRE | A-Z

257

258

257. Vinay. 1930.

258. Unic. 1932.

46 x 61 ⁄2 in./117 x 156.3 cm Les Belles Affiches, Paris Cond B/Slight tears.

Ref: Mouron, 131; Chocolate Posters, p. 63; PAI-LVI, 239

47 x 63 1⁄8 in./119.2 x 160.3 cm Alliance Graphique, Paris Cond A. Ref: Mouron, 38; Brown & Reinhold, 119; Cassandre/Suntory, 26 (var); Cassandre/Weill, 126; Encyclopédie/Weill, p. 78; Publicité, p. 144; PAI-LIX, 228

1

In an effort to emphasize the milk-chocolatiness of a Vinay bar, Cassandre merges the udders of a creamy cow with the dark cacao in a green and gold wrapper. While the cow appears less than thrilled with the situation, the chocolate bar becomes tangibly tasty. This copy is hand-signed by the artist at bottom.

Est: $6,000-$7,000.

In one of Cassandre’s classic object posters, we come face-to-face with a pair of shiny brown lace-ups. Crossed in dapper nonchalance, these wool-socked feet are the ideal advertisers of the product—faceless, the wearer of these fine specimens can be anyone, any age, anywhere. And who would not want to be this suave?

Est: $7,000-$9,000.

DOWNLOAD OUR MOBILE BIDDING APP AT POSTERAUCTIONS.COM

A-Z | CASSANDRE

260 259

Cassandre

(Continued)

259. Italien. 1935.

260. Fêtes de Paris. 1935.

24 5⁄8 x 39 in./62 x 99.2 cm Coen, Milano Cond B/Slight tears at edges.

Ref (all var but Cassandre/Suntory and PAI): Mouron, 192; Brown & Reinhold, 58; Cassandre/Suntory, 63; Alpes, p. 24; Voyage, p. 47; Cassandre/Weill, 176; PAI-XXVII, 324

24 1⁄2 x 38 3⁄4 in./62.2 x 98.4 cm L. Danel, Paris Cond B+/Slight stains at edges.

Ref: Mouron, 52; Brown & Reinhold, 52; Cassandre/Weill, 142; PAI-LXXXII, 229

Cassandre designed this and two other Italian tourism posters during a working summer holiday on the shore of Lake Maggiore in northern Italy. The Mussolini regime had passed a law banning Italian companies from commissioning French artists; to get around it, Cassandre’s future publisher in Italy, Augusto Coen, invited him to work in Italy. Savignac, then Cassandre’s assistant, loyally accompanied him and collaborated on the three posters. Though the style was a dead giveaway, Cassandre had to play along with the charade and use the monogram “A.M.C.” to conceal his French name. This German-language poster advertises Italy as “the most beautiful country for every sport,” which Cassandre sums up with an orderly jumble of sports equipment against a view of the sea and mountains: a panorama of Italian topography.

From the cobalt-blue Adriatic to the azure of the sky over the Alps, the entire scene is expressed with extreme graphic economy.

Est: $2,000-$2,500.

A surrealistic face and a grouping of Parisian landmarks against an early summer sky comprise the poster for the 1935 Paris Fair. During this period, Cassandre deviated from his purely geometric lines and experimented with more decorative approaches. These posters “were designed to appeal to the eye and, to give them their due, they succeeded in doing so perfectly” (Mouron, p. 71). This is the smaller format.

Est: $2,000-$2,500.

261. Italia. 1936.

24 1⁄2 x 39 3⁄8 in./62.2 x 100 cm Coen, Milano Cond A/P. Ref: Cassandre/BN, 102; Mouron, 61; Brown & Reinhold, 59; Cassandre/Suntory, p. 179; Cassandre/Weill, 172; PAI-LIX, 238 The mate to No. 259, this image focuses on the arts and culture found throughout Italy, most notably the Renaissance paintings and Roman antiquities.

Est: $1,400-$1,700.

261

CASSANDRE | A-Z

262

263 262. Venezia. 1951.

24 3⁄4 x 39 3⁄8 in./63 x 100 cm Calcografia & Cartevalori, Milano Cond B+/Slight tear at bottom edge.

Ref: Mouron, p. 16 (var); Cassandre/Suntory, 65; PAI-LXXI, 288 Cassandre originally created this fine Art Deco design for the Venice Graphic Design Conference in 1951. The Italian Tourist Bureau rightly recognized it as an ideal signature for the city itself, and appropriated it with new text as the official destination poster for Venice.

Est: $2,000-$2,500.

263. Venezia / Italian Air Lines.

24 7⁄8 x 39 3⁄ 8 in./63.2 x 100 cm Calcografia & Cartevalori, Milano Cond A. This is the only known copy of Cassandre’s 1951 Venezia design that was used to advertise Italian Air Lines.

Est: $3,000-$4,000.

264. Colomba Motta. 1936.

27 1⁄2 x 39 1⁄2 in./69.8 x 100.3 cm Calcografia & Cartevalori, Milano Cond A. Ref: Mouron, 243 & p. 111; Cassandre/Weill, 175; PAI-XLVIII, 163 In this rare Italian poster, Cassandre ingeniously juxtaposes the cookie and its namesake, the dove (colomba). This is the larger format, and is noted as d’après Cassandre.

264

Est: $2,000-$2,500.

A-Z | CASSIERS - CHABAS

265

266

Henri Cassiers

(1858-1944)

265. Red Star Line / Antwerpen-New York. 1899.

266. Red Star Line / Anvers-New York. ca. 1908.

48 1⁄4 x 35 in./122.6 x 88.7 cm O. de Rycker, Bruxelles Cond A-/Unobtrusive folds. Framed.

Ref: DFP-II, 996; Cassiers, 67; Belle Epoque 1970, 11; Belgische Affiche, 13; Timeless Images, 53; Wagner, 56; PAI-LXVII, 248

61 1⁄8 x 44 7⁄8 in./155.2 x 114 cm O. de Rycker, Bruxelles Cond B-/Tears at folds.

Ref: DFP-II, 1006; Masters 1900, p. 99; Cassiers, p. 91; PAI-LXXXIII, 66

The rich colors and fine design of a mother and child looking over the harbor at the Red Star Line’s Westerland ship make this a poster of enduring grace and beauty. Operating from Antwerp under the Belgian flag, the Red Star Line was a serious competitor to the Holland-Amerika Line until the Depression forced the company into bankruptcy. This boat was eventually purchased by Holland-Amerika in 1939, and continued to run the Antwerp-New York route under the Red Star name.

Est: $4,000-$5,000.

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: $1,700-$2,000.

CASSIERS - CHABAS | A-Z

267

268

269

Magdeleine Cassiers

(1886-1923)

267. Exposition Universelle / Société Botanique. 1913.

25 1⁄8 x 40 1⁄8 in./63.8 x 102 cm O. de Rycker & Mendel, Bruxelles Cond A-/Slight tears at folds.

The 1913 World’s Fair in Ghent included a flower show organized by the Royal Society of Agriculture and Botany—an affair for which Cassiers summoned up a lush pastoral scene with a relaxed woman admiring a butterfly on her finger. Off in the distance, we can see the horticultural palace in Citadel Park, which was built specifically for this event. Little is known of Magdeleine Cassiers, other than that she was a bookbinder, watercolorist, and designer in Brussels.

Est: $1,200-$1,500.

Jules Cavailles (1901-1977) & Roger Limouse (1894-1989)

Maurice Chabas

268. Un Bal Masque. 1927.

58 1⁄2 x 38 5⁄8 in./148.6 x 98.2 cm Imp. Devambez, Paris Cond B/Tears at folds.

29 3⁄ 8 x 47 in./75.6 x 119.4 cm Robillon, Paris Cond B/Slight tears at folds and edges.

Clearly influenced by Cubist and Dadaist aesthetics, the duo of Cavailles and Limouse conceived of this energetic design for a Mardi Gras masked ball at the Théâtre des Champs-Elysées. This particular event benefitted the École des Beaux-Arts in Paris. Cavailles and Limouse both studied at the Académie Julian and participated in various Parisian Salons; both Post-Impressionist painters, they were members of the art group “Painters of Poetic Reality.” The two shared a studio for six years and held several exhibitions together. Rare!

Est: $1,400-$1,700.

(1862-1947)

269. Les Amis des Artistes. 1916.

Georges Petit inherited his father’s firm of art dealers in 1877; he soon began collecting Impressionist paintings, and in 1881, he opened his own gallery in the heart of Paris. As an alternative exhibition space to the Salon, it attracted many of the great artists of the time: Monet, Pissarro, Renoir, Rodin, and more. These artists also exhibited at the gallery, and in some cases, sealed their careers with these exhibitions. In 1916, the painter Maurice Chabas created this announcement for a show of Modernist works at Galerie Georges Petit, organized by the Society of the Friends of the Artists, which Chabas co-founded. A couple in the distance works on their landscape paintings while a forlorn woman sits beneath a tree; perhaps the lack of art in her life is having this woeful effect on her.

Est: $1,200-$1,500.

A-Z | CHAGALL - CHÉRET

270

271

Marc Chagall

272

(1887-1985)

270. Paris / l’Opéra. 1965.

271. Die Zauberflöte / Metropolitan Opera. 1966.

272. Metropolitan Opera / Opening September 1966.

39 x 25 in./99 x 63.5 cm Imp. Mourlot, Paris Cond A/P. Ref: Sorlier, p. 97; Weill, p. 358; PAI-LXXXII, 231

26 1⁄8 x 39 5⁄8 in./66.5 x 100.6 cm Imp. Mourlot, Paris Cond A. Ref: Sorlier, p. 107; PAI-LXXIX, 282

Romeo and Juliet fly above the Arc du Triomphe, the Place de la Concorde, and the rooftops of a dreamy Paris. It’s a detail from Chagall’s wondrous ceiling for the Opéra Garnier, which was unveiled the same year as this poster’s creation. Almost all of Chagall’s posters are taken from paintings and prints that were not originally created as posters, but many of them, because of their bold images and bright colors, turn out to make fine posters nonetheless.

Marc Chagall’s rapturous poster for the Met’s 1967 production of Mozart’s “The Magic Flute” is the final note on Chagall’s top-to-tail visual rendering, having created the sets and the costumes as well. The poster borrows a detail from “The Triumph of Music,” one of two large murals that flank the entrance to the Metropolitan Opera at Lincoln Center. A native of Vitebsk, Russia, Chagall arrived in Paris in 1910 and soon made a name for himself in art circles with his surreal and poetic dreamvisions. The “welter of color” Chagall splashed onto the Met’s stages received mixed reviews, but his visual interpretation of Mozart’s final joyous opera influenced the Met’s stagings through the 1981-82 season.

25 7⁄8 x 39 3⁄8 in./65.6 x 100 cm Imp. Mourlot, Paris Cond A. Ref: Sorlier, p. 109; Lincoln Center, 14; Theaterplakat, 223; PAI-LXXXIII, 230

Est: $1,500-$2,000.

Est: $1,400-$1,700.

This is the second poster Chagall created for the inaugural season of the Metropolitan Opera’s move to Lincoln Center in New York. According to Sorlier, the subject is the opera “Carmen;” but the central figure is Rudolf Bing, the Met’s director and the man who commissioned Chagall to create the large paintings framing the entrance to the Opera.

Est: $2,000-$2,500.

JULES CHÉRET For another by Chéret, see No. 74.

273

Jules Chéret

274

(1836-1932)

273. Théâtre Déjazet / Gaulois Revue. 1868.

274. Usine du Bazar du Voyage. 1872.

35 ⁄8 x 51 in./89.2 x 129.6 cm Imp. Jules Chéret, Paris Cond B+/Slight tears at folds.

Ref: Chéret, 285; Broido, 226; Maindron 1896, 195; Reims, 372; PAI-XXX, 460 (var)

34 x 45 1⁄2 in./86.2 x 115.5 cm Imp. Jules Chéret, Paris Cond B-/Slight tears, largely at seam.

Ref: Broido, 1013; Chéret, 1327; Maindron 1896, 836

This unsigned, early Chéret design was executed at the artist’s 18 Rue St. Marie address, the location of his second printing shop where he plied his trade for the brief period of January to August of 1868. The poster advertises a Gallic revue taking place nightly at the Théâtre Déjazet, which opened in 1770 and remains open to this day. Chéret provides hyper-detailed vignettes of the debauchery and enchantment awaiting spectators. Posters from his early printing firm (Imp. Jules Chéret) are especially rare.

Chéret provides a detailed look inside the Bazar du Voyage, a world-renowned factory and retailer founded by Alexis Godillot and M. Walker in 1843. Initially, Godillot drew on his father’s leather working business to create a general factory for travel articles specializing in trunks, camping materials, and military equipment.

During the Revolution of 1848, his company became a vital outfitter of the National Guard and the Piedmontese and French armies in Algeria. Thereafter, military production became a priority, but Godillot also adapted their offerings to suit consumer needs. By 1872, as Chéret notes, they offered tents, garden furniture, and gymnastics equipment. The factory itself was located at 42 Rue Rochechouart while the walk-in retail store found a home a 3 Place de l’Opéra. This is a rare, unsigned two-sheet poster.

1

Est: $2,500-$3,000.

Est: $1,000-$1,200.

A-Z | CHÉRET

275

278

Chéret

276

(Continued)

275. Le Drame de Poleymieux. 1883.

277. Cueilleuse Dubois. 1885.

34 5⁄8 x 49 1⁄2 in./88 x 125.7 cm Imp. Chaix, Paris Cond B+/Slight tears at folds.

Ref: Chéret, 815; Broido, 648; Maindron 1896, 535

22 7⁄8 x 31 3⁄4 in./58 x 80.7 cm Imp. Chaix, Paris Cond A. Ref: Chéret, 1317; Broido, 996; Modes & Publicité, 1

Chéret depicts a harrowing scene to promote the serialization of “Le Drame de Poleymieux” in the radical daily newspaper, Lyon-Républicain. Written by Victor Chauvet, the drama loosely recounts the Reign of Terror from 1793-1794 and its effects on the village of Poleymieux. Rare!

Before the Chérette became a famous figure of the Parisian cabaret scene, she was a humble gardener in a provincial town—but stylish nevertheless. This trio exhibits the casual joy of using Adrien Dubois’ garden cane, which promises to pick flowers and fruits up to 3 meters in height. In 1884, the Journal of Practical Agriculture, Gardening, and Home Economics put it this way: “The idea of making similar instruments... is not new... but none of these tools compare to Mr. Dubois’.

The Dubois picker is not only a flower picker and a fruit picker, but is also a bud picker, a scion picker, etc.; it can be used to pinch and remove buds, and when necessary, to cut and remove caterpillar nests in high or remote places.” This is an unsigned poster and rare!

Est: $1,400-$1,700.

276. Concerts des Ambassadeurs. 1884.

33 7⁄8 x 48 1⁄2 in./86 x 123.2 cm Imp. Chaix, Paris Cond B+/Slight tears at folds.

Ref: Chéret, 250; Broido, 199; Maindron 1896, 176; Maitres, 165; Spectacle, 913; PAI-XLI, 189 As amply demonstrated in previous Chéret creations, there certainly wasn’t a lack of variety when it came to the type of entertainment one was likely to encounter at the Ambassadeurs. But just in case you weren’t convinced, here’s another lighter-than-air salvo from Chéret’s lithographic arsenal: an effervescent swirl of ballerinas, a cymbal-clanging gitane, and a contortionist clown. And of course, as the salver at center serves to remind us, a bit of the bubbly always makes an evening at the Ambassadeurs seem even more magical.

277

Est: $1,700-$2,000.

Est: $1,700-$2,000.

CHÉRET | A-Z

279 278. L’Eau des Sirènes. 1888.

279. The Arts. 1891.

48 ⁄8 x 68 ⁄2 in./122.2 x 174.2 cm Imp. Chaix, Paris Cond B/Slight tears, largely at folds.

Ref: Broido, 925; Maindron 1896, 763; Maitres, 153 (var); PAI-XXX, 72

Each: 32 7⁄8 x 48 3⁄4 in./83.5 x 124 cm Imp. Chaix, Paris (not shown) Cond B+/Recreated borders; slight tears.

Ref: Chéret, 76-79 & p. 230-231; Broido, 60-63; Maindron 1896, p. 53-56; Maitres, 193, 197, 201, 205; Posters of Paris, p. 35-38; PAI-LXXVII, 191

1

1

In the 1880s, poster art was just emerging from the drabness of letterpress announcements showing little but black type. Chéret’s airy images were so startlingly bright and fresh on the walls of Paris that they attracted many admirers and earned his sprightly women the appellation of “Chérettes.” Note that this is the rare, unaltered version of the design that was rejected by censors. Apparently this quartet of mermaids was too alluring for the restrictionists who were just beginning to flex their puritanical muscles at this time. They didn’t accept the poster until Chéret lengthened their hair until it partly veiled their breasts. All known copies of this poster are unsigned.

This is a two-sheet poster—and rare!

Est: $2,500-$3,000.

Maindron makes it clear that it was Chéret who invented “placards décoratifs, which are neither prints nor posters, but which contain a bit of both... There is nothing to say about these designs other than that they are perfect” (Maindron, p. 178-79). Abdy calls these four decorative panels “triumphs of color and printing” (Abdy, p. 31). Being freed from having to sell a product, Chéret lets his imagination soar—and these light-footed nymphs representing the Four Arts are the first clear examples of what was to adorn the walls of Paris for the next decade: the unabashedly hedonistic, carefree spirits that became known as “Chérettes.”

Est: $20,000-$25,000. (4)

A-Z | CHÉRET

280

281

Chéret

282

(Continued)

280. Saxoléine. 1891.

281. Alcazar d’Eté / Kanjarowa. 1891.

282. Palais de Glace. 1893.

39 3⁄8 x 48 1⁄8 in./84.8 x 122.2 cm Imp. Chaix, Paris Cond B+/Unobtrusive folds.

Ref: Chéret, 1235; Broido, 945; Maindron 1896, 784; PAI-LXXVII, 180

34 3⁄4 x 49 in./88.3 x 124.5 cm Imp. Chaix, Paris Cond B/Slight tears at folds.

Ref: Chéret, 269; Broido, 214; Maindron 1896, 186; DFP-II, 215; PAI-XXXVI, 243

34 x 48 3⁄8 in./86.3 x 123 cm Imp. Chaix, Paris Cond B+/Slight tears at folds.

Ref: Chéret, 471; Broido, 362; Maindron 1896, p. 292; DFP-II, 240; Reims, p. 455; PAI-LXXXIII, 283

Over a ten year period, Chéret created more than a dozen different designs for this lamp oil company. Each consists of a single woman delicately turning on a lamp, making the most mundane of tasks suddenly appear terribly romantic and intimate. Here, in one of his earliest images for the firm, our Chérette glows in the ambient light of her gold-covered lamp.

This performing paragon of femininity poised against a turbulent background of splashing blues was used to promote her appearance at both the Alcazar d’Eté, as seen here, and at the Casino de Paris (see PAI-LXII, 350).

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: $1,200-$1,500.

Est: $1,200-$1,500.

Est: $3,500-$4,000.

CHÉRET | A-Z

284

283

285

283. Folies Bergère / Fleur de Lotus. 1893.

284. Eldorado / Courrier Français. 1894.

285. Olympia / Anciennes Montagnes Russes. 1893.

33 7⁄8 x 48 5⁄8 in./86 x 123.5 cm Imp. Chaix, Paris Cond A. Ref: Chéret, 143; Broido, 126; Maindron 1896, 114; Abdy, p. 356; Reims, 366; Dance Posters, 27; Wine Spectator, 7; PAI-LXXXII, 237

13 3⁄4 x 21 1⁄4 in./35 x 54 cm Imp. Chaix, Paris Cond A. Usual horizontal fold. Framed.

Ref: Chéret, 276; Broido, 218; PAI-LXXVIII, 242

15 7⁄ 8 x 23 3⁄8 in./40.3 x 59.4 cm Imp. Chaix, Paris Cond A. Ref (all var): Broido, 346; Maindron 1896, 278; Maitres, 133; DFP-II, 225; Folies Bergère, 28; Gold, 146; PAI-LXXXII, 242

The Folies-Bergère commissioned over 60 posters from Chéret during his prolific career. Here, six diaphanously clad ballerinas leap across the page, promoting Armand Silvestre’s ballet-pantomime, “Fleur de Lotus.”

Reviews from the premier claim that it is a Loïe Fullerlike performance populated with clowns and delicate dancers. There is also mention of a “wondrous machine” which rains diamonds down upon the audience “like tears” from electric lamps (L’Ermitage 1893).

The dancer is boundless joy personified, and the red spotlight on her adds to the impact of this vivacious work. This version is from the series Chéret contributed to the Courrier Français, a lively twelve-page weekly magazine started in 1894, which championed the work of many leading posterists. But this isn’t the design’s first appearance in that newspaper; that version hails from some six-and-a-half months prior. Apparently this airborne gypsy was popular enough to bring back for a return engagement with slightly altered text in the bottom left corner.

Est: $2,500-$3,000.

Est: $1,200-$1,500.

With éclat and élan, to say nothing of a pair of cymbals, the ebullient, unabashedly hedonistic sprite calls us to the Olympia to enjoy the “Russian mountains”—the French term for the roller coaster. The poster was used for the opening of this new establishment in April of 1893; it was one of the first places in Paris that called itself a “musichall,” borrowing a word from British show business. There was a bumpy ride as an added attraction to the usual stage spectacles, but to call it a roller coaster was probably somewhat euphemistic. This is the smaller format.

Est: $1,700-$2,000.

A-Z | CHÉRET

286

Chéret

287

(Continued)

286. Vin Mariani. 1894.

287. Théâtre de l’Opéra / 4me Bal Masqué. 1896.

34 x 47 3⁄4 in./86.3 x 121.4 cm Imp. Chaix, Paris Cond A-/Slight stains at edges. Framed.

Ref: Chéret, 1116 (var); Broido, 865; Maindron 1896, 731; DFP-II, 248; Maitres, 77; Reims, 540 (var); Wine Spectator, 3; Health Posters, 111 (var); Gold, 42 (var); PAI-XXXII, 257

34 5⁄8 x 49 in./88 x 124.2 cm Imp. Chaix, Paris Cond A-/Unobtrusive folds.

Ref (all var): Chéret, 379; Broido, 297; Maitres, 57; PAI-LXXXIII, 286

Created in 1863 by Angelo Mariani, Vin Mariani is simply a combination of Bordeaux wine and coca leaves. The restored “health and vitality” mentioned in this poster, as well as the model’s visual exuberance, are the result of the small amount of cocaine laced in the beverage—an ingredient used by many popular drinks of that era, including Coca-Cola. Mariani was also one of the first publicists to recognize the value of celebrity endorsements, and succeeded in getting Thomas Edison, Queen Victoria, and two popes, as well as then-famous musicians, doctors, public figures, and comedians to praise the product in his many advertisements. This is the rare version before the addition of text at bottom.

Est: $3,500-$4,000.

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.

288. Polichinelle et Danseuses : Drawing.

17 1⁄2 x 25 1⁄8 in./44.5 x 63.7 cm Signed pastel drawing. Framed.

Chéret often incorporated characters from commedia dell’arte in his works; here, Polichinelle is the star of the show. Born in 1620, Polichinelle became a stock character in Neapolitan puppetry and has taken many guises throughout the centuries. Here, Chéret gives him a bright red costume that makes the dancing figure appear to burst right off the page. Behind him, we find his dancing companions awash in characteristic pastels.

Est: $12,000-$15,000.

CHÉRET | A-Z

288

A-Z | CHÉRET

289

CHÉRET | A-Z

290

Chéret

(Continued)

289. Woman in Repose : Painting.

290. Femme à l’Éventail : Drawing.

6 x 9 in./15.3 x 23 cm Signed oil painting. Framed.

22 1⁄4 x 28 3⁄4 in./56.5 x 73 cm Signed pastel drawing. Framed.

Chéret was a masterful lithographer, but here he proves his mastery of painting as well.

This intimate portrait of a young seated woman is carefully composed with daubs of oil which accumulate to form a lifelike and lovely personality. The woman smiles tenderly as she gazes off into the distance; her Victorian garments are represented in detail, down to the lacy frills and floral details on her sleeves.

“[Chéret’s] use of pastels—an art that was revived at the time as an allusion to the eighteenth century and was used notably in fin de siècle portraits of ladies—reveals the same brilliance of colour and bold, vivid harmonies in fine portraits of both men and women...” (Chéret/Pioneer, p. 44). Indeed, in this sensitive pastel drawing, Chéret proves his meticulous understanding of color and composition. The woman’s teal dress is reflected in the many blues of the impressionistic background, while her orange flower adds a strong dose of contrast. And while Chéret’s muses are often whimsical and ethereal, this contemplative model allows us to see his more discerning capabilities for portraiture.

Est: $8,000-$10,000.

Est: $8,000-$10,000.

A-Z | LE CLERCQ - CRESPIN

291

Le Clercq 291. Bières de Garde. 1930.

31 3⁄4 x 47 1⁄2 in./80.5 x 120.7 cm Grua Nerfi, Lille Cond A. Ref: PAI-LXXIV, 269

292

A thespian monk is enraptured by his Bière de Garde, a type of farmhouse ale brewed in the north of France. This poster celebrates the brewery of Arnould Mochez, who in 1880 took management of a brewery which had been in operation since 1821. From 1927 onward, the brewery concentrated on high-fermentation beers, which might be why this character is so blissed out.

Est: $1,000-$1,200.

Paul Colin

(1892-1986)

292. Week End Cigarettes. 1933.

36 7⁄8 x 58 3⁄8 in./93.6 x 148.3 cm Imp. Bedos, Paris Cond B/Slight tears at folds.

Ref: Colin Affichiste, 173; Crouse/Deco, p. 220; PAI-LXXV, 300 “This is a great example of Paul Colin’s Art Deco skills, executed with complementary diagonals, inviting, soft pastels, and a sense of pure smoking pleasure” (Crouse/Deco, p. 220).

Est: $2,700-$3,000.

293. Vichy. 1948.

46 5⁄8 x 62 7⁄8 in./118.5 x 159.5 cm Imp. Bedos, Paris Cond A. Ref: Colin, 106; PAI-LXXIV, 278B Colin brings us the “water cycle,” Vichy-style: during lunch at work, at the café, or simply relaxing at home. It’s a fascinating visual style, as well, for Colin: a slow metamorphosis from Modernism into mid-century aesthetics following the war.

Est: $2,000-$2,500.

293

LE CLERCQ - CRESPIN | A-Z

294 294. Transatlantique / Atlantique-Pacifique-Méditerranée. 1937.

24 1⁄8 x 39 1⁄4 in./61.2 x 99.8 cm Imp. Courbet, Paris Cond A. Ref: Colin Affichiste, 186; Suez, p. 125; Mer s’Affiche, p. 160; Image de Mer, p. 31; Compagnies Maritimes, p. 164; Affiches Évasion, p. 48; PAI-LXII, 14

295

“Colin realized at least three posters for the General Transatlantic Company, known throughout the entire world by the name ‘French Line.’ Here, the somber ship cleaving the shimmering waters is seen sailing through a transparent drape consisting of the French colors, a delightful way to remind [the viewer] of the nationality of this transport company” (Colin Affichiste, p. 132). This is the larger format.

Est: $1,200-$1,500.

295. Katherine Dunham. 1947.

39 1⁄4 x 59 1⁄4 in./99.7 x 150.4 cm Imp. Bedos, Paris Cond A-/Slight tears at edges.

Ref: Colin Affichiste, p. 30; Müller-Brockmann, p. 94; PAI-LXXX, 39 Known as the “Matriarch of Black Dance,” Katherine Dunham pioneered the art of modern African dance, bringing it to thousands of viewers in the Americas and Europe. From the mid-1940s through the 1960s, she choreographed over 90 dances, maintained the only Black American dance troupe, and headlined dozens of shows herself. Dunham was likely inspired by the Revue Nègre of 1920s Paris, and developed a fresher and more disciplined performance group out of this tradition. Colin would go on to do all of her posters.

Est: $2,000-$2,500.

Adolphe Crespin

(1859-1944) & Edouard

Duyck (1856-1897)

296. Palais d’Eté : Maquette. 1896.

11 1⁄2 x 16 3⁄8 in./29.5 x 41.6 cm Watercolor and ink maquette. Framed.

Ref: Belgische Affiche, 49; DFP-II, 1030 (var); Belle Epoque 1970, 44; Brussels, plate XIII, cat. 26 (var); PAI-LXXI, 317 (var) The Palais d’Eté was Brussels’ answer to Paris’ Palais de Glace—a large-scale indoor ice rink with various performances and attractions. “Burned in 1891, rebuilt in 1894, it could hold 500 people—and was later enlarged. The first floor gallery was decorated by Crespin.

The celebrated Loïe Fuller performed there in 1894, and in 1897 a ‘Bioscope’ cinema sequence was the finale of the evening’s performance” (Belle Epoque 1970, p. 39). In this inviting maquette by Crespin and Duyck, there is less text than in the finalized version, allowing us to appreciate the whorls and subdued tones of the composition.

Est: $5,000-$6,000.

296

A-Z | CURR - DIMSON

297

Tom Curr

(1886-1958)

297. Cunard White Star / “Queen Mary.” 1936.

108 1⁄4 x 55 3⁄ 8 in./275 x 140.7 cm Cond A-/Unobtrusive folds. Framed.

Ref: Compagnies Maritimes, p. 154-155 The Queen Mary and Manhattan: a magnificent pairing of might and modernity. The towering New York skyline makes the ship’s stature all the more impressive, as indeed she was: her overall length was 1,019 feet and she measured 118 feet high. The Queen Mary made her maiden voyage on May 27, 1936 from Southampton to New York. During World War II, she and the Queen Elizabeth were the largest and fastest troopships, often carrying as many as 15,000 men in a single voyage. After the war, she resumed passenger service until she was retired in 1967. Curr’s depiction of the ship is both conceptually and literally impressive: this enormous poster has hand-painted text, and is one of only two known copies.

Est: $50,000-$60,000.

298

H. Czarnecki 298. Championnats du Monde de Tir / 1937 Helsinki Finlande. 1937.

13 3⁄4 x 22 1⁄8 in./35 x 56.2 cm Seuran Kirjapainon O. Kivipaino Cond A-/Unobtrusive folds.

Ref: PAI-XLV, 285 Old World meets New World Order in this Czarnecki promotion for this Helsinki world-class target-shooting championship. One has to imagine that more than the bragging rights for archery were on the line in this tournament, but merging Art Deco with one of the world’s more traditional forms of precision hunting and combat—especially considering what weaponry World War Two was about to unleash—was truly an inspired choice.

Est: $1,700-$2,000.

CURR - DIMSON | A-Z

299

Fortunato Depero

(1892-1960)

Theo Dimson

(1930-2012)

299. Bitter Campari. ca. 1932.

300. Falconbridge : 14 Posters. ca. 1960.

12 1⁄2 x 17 in./31.7 x 43.2 cm Leopoldo Baroni, Milano Cond A. Framed.

Ref: Depero, p. 74; Weill/Art Deco, p. 235; PAI-LXXIX, 194

Each: 20 x 25 3⁄4 in./50.8 x 65.6 cm Cond A/P.

Fortunato Depero was a major figure in the Italian Futurist movement, and a superb noncommercial artist within that aesthetic—his work was included in the Guggenheim’s seminal 2014 survey of Italian Futurism. In 1919, he founded the House of Futurist Art, where he began to translate the artistic precepts of Futurism into household objects like toys, tapestries, and furniture. From 1928 to 1932, Depero lived in New York City, where he created stage costumes and designed restaurants, homes, and covers for magazines. This prompted his interest in commercial design, and upon his return to Italy, he created many brilliant posters, three-dimensional objects for in-store advertising (see PAI-LXXI, 280), and a 1932 bottle design for Campari soda that’s still in production. This whimsical poster for Bitter Campari is equal parts strange and delightful: a classic Depero combination.

One may not associate mining companies with cutting edge visual materials, but Falconbridge managed to push the branding envelope with these smart designs by Theo Dimson. The Canadian natural resources company, named for the town it was founded in, explored, mined, processed, and marketed metal and mineral products, including nickel, copper, cobalt, and platinum. Here, Dimson announces each of these elements with graphic renderings of falcons against psychedelic backgrounds. Dimson was born in London, Ontario and settled in Toronto; he became well known for his Art Deco-influenced movie and theatre posters; he also designed Canadian stamps. These posters are each hand-signed by Dimson.

Est: $2,000-$2,500. (14)

Est: $3,000-$4,000.

300

A-Z | DOMERGUE - DUDOVICH

301

Jean-Gabriel Domergue

(1889-1962)

302

Kees van Dongen

(1877-1968)

301. L’Hiver à Monte-Carlo. 1937.

303. Les Petits Lits Roses. 1933.

24 3⁄8 x 39 in./61.8 x 99 cm Imp. Lucien Serre, Paris Cond A. Ref (all var): Deco Affiches, p. 103; Affiches Azur, 211; PAI-LXXVI, 259

34 1⁄2 x 51 1⁄4 in./87.6 x 130.2 cm Imp. Pilts, Chabrillac-Toulouse Cond A-/Slight stains in bottom margin.

The Gatsby is strong in Domergue’s life and work. A resident of Monte-Carlo, swanning about with the glitterati was both his artistic subject and his life’s object.

It was a rather ideal business model: illustrate the world’s most beautiful women on the Riviera, design fashion accessories for them, and organize elegant balls in which to show them all off. He became a local celebrity in the process. This is one of Domergue’s finest designs—a perfect balance of colors and forms as the flashbulb-Hollywood couple is caught by the paparazzi.

Van Dongen’s most famous poster is Bal a l’Opéra des Petits Lits Blancs, created to advertise a charity ball for a children’s hospital. In 1933, the city of Toulouse decided to host a similar event with the same charitable goal. “Les Petits Lits Roses” refers to the city’s colorful building stones, which earned it the nickname “the pink city.” Van Dongen does not take that prompt literally, but instead gives us a rosy baby with a pink rose to melt the hearts of passersby. Van Dongen was primarily a Fauvist painter before he took up portraiture. Rare!

Est: $4,000-$5,000.

Est: $7,000-$9,000.

Jacques Dropy

302. Cora Camoin. ca. 1955.

304. Charles Trenet. ca. 1950.

30 3⁄4 x 45 5⁄ 8 in./78.2 x 116 cm Atelier Girbal, Paris Cond A-/Slight stains at edges. Framed.

31 3⁄8 x 46 5⁄ 8 in./79.8 x 118.4 cm Atelier Girbal, Paris Cond B+/Slight tears at edges.

As Domergue was wont to socialize with and depict beautiful women in his art, it should come as no surprise that he would create this pinup style image of Cora Camoin (1930-2018), a French actress known for films including “Le gang des pianos à bretelles” (1953), “Jules’ Breadwinner” (1960), and “The Chasers” (1959).

It’s unknown what the goal of this promotion was, but we’re sure it piqued the interest of Parisian men at the time.

Dropy was busy from the 1950s-1970s when he worked as a cartoonist, posterist, TV cartoon illustrator, and record cover designer. Despite rubbing shoulders with other influential figures of the time, he was apparently quite shy, which is perhaps why he doesn’t have better name recognition today. This charmingly refined image was used on several promotional materials for the French singer Charles Trenet, including as the cover of a cassette tape released in 1994. Trenet composed the music and lyrics for nearly a thousand songs over a career spanning 60 years. His best known song outside the French-speaking world is “La Mer;” Bobby Darin’s cover of the song, renamed “Beyond the Sea,” was a big hit in the 1960s.

Est: $1,700-$2,000.

Est: $1,000-$1,200.

(1928-1991)

DOMERGUE - DUDOVICH | A-Z

303

305

Marcello Dudovich

(1878-1962)

305. Mele. ca. 1916.

55 x 77 1⁄4 in./139.6 x 196.3 cm Ricordi, Milano Cond B+/Slight tears and stains at folds.

Ref: Schermi di Carta, p. 95 (var) This never-before-seen design centers on a handsomely dressed couple who appear to have been caught mid-argument. It’s a sublimely dramatic scene from this master of Italian Art Nouveau. In fact, a version of this poster before text was used to promote the 1916 silent film “Anime buie” (Dark Souls), directed by and starring Emilio Ghione alongside Hesperia (née Olga Mambelli). Ghione plays Za La Mort, a a gentleman thief who, after being released from jail, finds that two women are waiting for him; this results in much pulp crime and romantic drama. Interestingly, the film poster itself lacked an artist name or printer; we can only assume that Dudovich began with that advertisement before he turned it into a promotion for Mele. This is a two-sheet poster—and rare!

Est: $3,000-$4,000.

304

A-Z | DIMITROV - DE FEURE

306

307

308

K. Dimitrov

Robert Falcucci

306. Practice Water Sports. 1950.

308. Paris-Alger. ca. 1935.

26 5⁄8 x 39 1⁄2 in./67.7 x 100.4 cm Cond A.

24 1⁄ 2 x 39 in./62.2 x 99 cm M. Dechaux, Paris Cond A-/Slight creases at edges.

Ref: PAI-LXXXIII, 74

This Impressionistic scene extols “young men and women, practice water sports!” According to our Russian language expert, the text may be in Bulgarian, but without a printer’s name, it’s difficult to pinpoint the location. If anyone out there has more information, please do share.

Est: $800-$1,000.

(1900-1989)

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.

Jean Dupas

(1882-1964)

307. Arnold Constable. 1928.

30 1⁄2 x 46 5⁄8 in./77.5 x 118.5 cm Tolmer, Paris Cond A. Framed.

Ref: Tolmer, p. 79; Art Deco, p. 24; PAI-LXXVIII, 275 In all of his posters, Dupas presents highly stylized, fashionable people in idealized and extravagant settings.

Here, he gives us a look at the past, present, and future fashions of Arnold Constable. The department store was at one point the oldest in America, operating for 150 years from 1825-1975. It was known to be a destination for the elite, and its clientele included the wives of Grover Cleveland, Andrew Carnegie, Thomas Edison, J. P. Morgan, John D. Rockefeller, and Cornelius Vanderbilt.

Est: $3,000-$4,000.

309

Cândido Aragonese de Faria

(1849-1911)

309. Fernande Balfa. ca. 1900.

31 3⁄4 x 45 1⁄ 2 in./80.5 x 115.6 cm Imp. Formstecher, Paris Cond B/Slight stains at folds and seam.

De Faria’s elaborate design credits Fernande Balfa as the “creator of the genre” of singing with a harp. Though that’s a contested claim, Balfa was a smart lady to market herself as such. Otherwise, little information exists on her life and work, aside from a few small newspaper mentions. In 1896, L’Art Lyrique et le Music-Hall wrote of her performance at the Trocadero, “Mlle Fernande Balfa has a lovely light singer’s voice and is accompanied very nicely on a harp; she details delightfully ‘Little Brunette with soft eyes,’ each verse of which was punctuated by thunders of bravos.” This is a two-sheet poster.

Est: $1,000-$1,200.

DIMITROV - DE FEURE | A-Z

310 310. Wilhelmine. ca. 1901.

24 1⁄2 x 34 1⁄2 in./62.2 x 87.5 cm Imp. E. Delanchy, Paris Cond A-/Unobtrusive folds.

Ref: PAI-LXXXII, 266 De Faria has certainly left us few clues to solve this poster mystery, so we’ll have to take a gamble. According to the National Library of France, “Reine Wilhelmine. Piano. Op. 60” was a waltz composed by André Colomb in 1901; the sheet music included an illustration by de Faria. It’s likely that this poster was meant to announce the release—and perhaps even a performance—of the opus. The song was dedicated to Queen Wilhelmina of the Netherlands, who reigned from 1890 to 1948.

311

Est: $1,200-$1,500.

Fernand Fernel

(1872-1934)

311. Belle Jardinière.

49 1⁄2 x 38 1⁄4 in./125.8 x 97.2 cm Imp. Devambez, Paris Cond A. Ref: Les Murs, p. 66; PAI-LXXXII, 267 Fernel takes the snazzy fashion sense he typically used to help promote the techno-toys of his day—bikes and automobiles—and applies them to this Parisian department store. And though there’s no evidence on display that the mother of this brood is a “Pretty Gardener,” this from-behind view marvelously conveys the all-inclusive family fare available to the everyday consumer from the Belle Jardinière department store.

Est: $1,200-$1,500.

Georges de Feure

(1868-1943)

312. Salon des Cent / 5me Exposition. 1894.

16 1⁄4 x 24 in./41.3 x 61 cm Imp. Bourgerie, Paris (not shown) Cond A. Framed.

Ref (all var but PAI): DFP-II, 343; Maitres, 10; Maindron 1896, p. 63; Abdy, p. 153; Salon des Cent, p. 21; Salon des Cent/Neumann, p. 39; de Feure, p. 61; Reims, 619; PAI-XVIII, 271 The Salon des Cent (Salon of the One Hundred) was an exhibition of commercial art in Paris—one of the very first to showcase the work of contemporary graphic artists —established in 1894 by Léon Deschamps, founder of La Plume, an avant-garde literary and artistic magazine. As such, the designs advertising the exhibition almost always featured women, whether alone, lost in contemplation, reading, or in the process of creating art. De Feure’s image for the Fifth Salon is no exception. As noted by Abdy, “She is expensively and discreetly dressed” (with a fox wrap); “the face of the woman is troubled,” or at least intelligent, thoughtful, and pensive, absent-mindedly fondling a white flower as if wishing to respond to an idea, yet still composing that answer. This is the rare proof before letters.

Est: $3,500-$4,000.

312

A-Z | DE FEURE

313

DE FEURE | A-Z

314

de Feure

(Continued)

313. Lithographies Originales. 1896.

314. Affiches et Estampes / Pierrefort. 1898.

17 1⁄2 x 23 3⁄4 in./44.5 x 60.3 cm Cond A-/Slight tears at edges. Framed.

Ref: Iskin, p. 100; DFP-II, 355 (var); Schindler, 42 (var); Wine Spectator, 88; de Feure, 75; PAI-LXXII, 214

32 x 24 1⁄2 in./81.2 x 62.2 cm Imp. Chaix, Paris Cond B-/Slight tears, largely at folds. Framed.

Ref: DFP-II, 354; Weill, 52; de Feure, p. 76; Wine Spectator, 89; Gold, 35; PAI-LXXIX, 326

This lithograph, 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: “[de Feure] 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: $4,000-$5,000.

This is possibly the rarest and definitely the most fully expressive among the few posters of this noted symbolist painter and sometimes graphic designer. “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 Japanese-influenced 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, and he often befriended promising graphic artists whose work he savored. Three of these protégés created posters for his gallery: Henri-Gabriel Ibels (see No. 349), 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: $14,000-$17,000.

A-Z | FÖLDES - GESMAR

315

316

317

Irme Földes

(1881-1948)

Claude Gadoud

(1905-1991)

Jules-Bertrand Gélibert

315. Yildiz Kávéház.

316. Vins Camp Romain. ca. 1925.

317. Exposition Canine. 1909.

36 7⁄8 x 49 1⁄4 in./93.6 x 125 cm Seidner, Budapest Cond A-/Unobtrusive folds.

Ref: PAI-IX, 266

46 1⁄4 x 62 1⁄2 in./117.5 x 158.7 cm Affiches Camis, Paris Cond A-/Slight creasing at edges.

Ref: Lopez, 47; PAI-LXIII, 278

62 1⁄2 x 47 1⁄8 in./158.7 x 119.8 cm Cond B/Tears at folds.

There’s a definite flair in this design for a coffee house by a little-known Hungarian artist: the sweep of the woman’s red dress, the golden crescent framing the scene, the arrogant pose of the monocled gentleman —somehow it all works effectively and amusingly. The text lets us know that there is music in the afternoons as well as dinner theatres.

Still in operation today, Camp Romain wine is produced in Laudun, France, part of the Côte du Rhône region.

Here, the red, rosé, and white varieties are brandished by a team of similarly colored Roman soldiers. The name of the wine itself references the fact that, hundreds of years ago, Laudun was home to a Roman settlement, which, legend has it, was headed by Caesar himself.

Est: $2,000-$2,500.

Est: $1,700-$2,000.

(1834-1916)

For the 39th Canine Exposition at the Tuileries, Gélibert lends his finesse in the art of dog portraiture to create an image that any canine lover would fall for. Gélibert was primarily a painter of hunting dogs and horses; he was awarded the prestigious medal of honor at the Société des Artistes Français several times. He also received bronze medals at the Exposition Universelle in 1889 and 1900.

Est: $2,000-$2,500.

FÖLDES - GESMAR | A-Z

318

Charles Gesmar

319

(1900-1928)

318. Maurice Chevalier. 1917.

46 1⁄2 x 63 1⁄4 in./118.2 x 160.6 cm Imp. Réunies, Lyon Cond A-/Unobtrusive folds.

Ref: Gesmar, p. 65; PAI-LXXXII, 271 Chevalier is 29 years old in this design, but Gesmar shows him with the blush of youth, which is perhaps more appropriate for the artist—he designed this at the tender age of 17. Or perhaps Chevalier is blushing because this poster is for his inaugural revue at the Casino de Paris in December of 1917, where he performed with his partner at the time, Mistinguett (Gesmar made her a separate poster for the event; see PAI-LXVII, 104).

Est: $1,700-$2,000.

319. Mistinguett. ca. 1924.

47 x 62 3⁄4 in./119.4 x 159.4 cm Imp. H. Chachoin, Paris Cond B/Slight tears and stains, largely at edges.

Ref: Gesmar, p. 105; PAI-LXXXI, 291 Ooh, what is that you’re smoking, Mistinguett? One of the rarest of Gesmar’s designs for the cabaret star, this image shows her flirtatiously smoking a pearlencrusted pipe, glancing coyly—or is that wearily?—over her shoulder. She’s shown in the “Bonjour Paris” revue of 1924-25. Gesmar also designed her costumes, beginning at the age of 16.

Est: $3,000-$4,000.

320. Mistinguett en Maillot Noir.

8 1⁄4 x 11 in./21 x 28 cm Signed watercolor, pencil, and ink drawing.

Gesmar designed thousands of costumes for Mistinguett, but this is certainly one of the sexiest garments he envisioned. He’s drawn the cabaret star all lithe and leggy with flirtatious rosy cheeks and red nails to match. But while this drawing was titled “Mistinguett in a Black Swimsuit,” it could be argued that this is, in fact, a negligee —notice the lacy details on her thighs. Tres risqué!

Est: $2,000-$3,000.

320

A-Z | GÉO - GRASSET

321

324

322

Géo

323. Coutard : Maquette. 1932.

321. Spa-Citron. ca. 1920.

15 1⁄4 x 23 3⁄8 in./39.4 x 59.4 cm Signed gouache and ink maquette. Framed.

39 3⁄ 8 x 62 3⁄8 in./100 x 158.5 cm Imp. Gouweloos, Bruxelles Cond A. Ref: PAI-LII, 368 For this French mineral water, Géo evokes the fresh spritz of citrus with a lush lemon tree and a dress to match—a striking fashion statement regardless of the century. SpaCitron came from the town of Spa, which is renowned for its natural mineral springs; their bubbly water remains a top export to this day.

Est: $1,200-$1,500.

J. P. Godreuil 322. Boussac : Maquette.

11 3⁄4 x 15 3⁄4 in./30 x 40 cm Signed gouache and ink maquette. Framed.

A shape is not merely a shape when draped with luxurious Boussac fabrics. Godreuil’s design cheekily plays with the idea of cutouts and assembly: geometric shapes undulate between two-dimensional and three, while the sewer’s triangular shape conveniently holds the textile in place.

The company was launched in 1934 by Marcel Boussac, who used screen printing techniques to create colorful and flowery prints. He became quite successful and worked with Christian Dior to create custom wallpapers. In 1978, the company collapsed, but was revitalized in 2004 when it was acquired by Pierre Frey.

323

Est: $1,700-$2,000.

Similar in concept to the previous maquette, this whimsical image advertises the services of the Coutard tailors, who will achieve “perfection in clothing.”

Est: $1,700-$2,000.

Mary Golay

(1869-1944)

324. Chanson Antique.

16 x 39 in./40.7 x 99 cm Cond B/Tears at bottom edge.

Ref: PAI-LXXX, 357 Golay was an enigmatic female artist who was utterly devoted to the precepts of Art Nouveau and all the splendid excesses which that entails. Here, she tenderly guides us into the heart of some idyllically Byzantine wonderland—a world filled with classical intoxications, where the dulcet notes of a deftly plucked harp and fleshy hibiscus transport us to an environment ripe with sensual indulgence. Ancient Song, as the design was named, is the Number 1 panel in Series #235 published

by Clément, Tournier & Company of Geneva.

Est: $1,200-$1,500.

GÉO - GRASSET | A-Z

325

Eugène Grasset

(1841-1917)

325. La Morphinomane. ca. 1894.

15 x 19 1⁄ 2 in./38 x 49.5 cm Cond A/P. Framed.

Ref: Berthon & Grasset, p. 67; Weill/Art Nouveau, p. 50; PAI-XLIV, 267 Spectacular and remarkable because of—not in spite of—its uneasy subject matter, this panel throws open a window into the world of the addicted without attempting to pretty-up or glamorize the situation in the least. In La Morphinomane (The Morphine Addict), “The girl sits forward, injecting herself in the left thigh. Her tenseness is all: the rigid posture, teeth clenched, eyes unfocused, brow furrowed, fingers gripping her thighs like claws. Except for a single upswept lock, her hair tumbles down like a monstrous octopus, framing and emphasizing the pale, drawn features. The lithograph, hand-coloured, is Grasset’s most expressive image, eschewing facility to emphasize the absolute horror which is, somehow, made even more effective by the decorative touches: the flash of gartered stocking, the richness of the colouring” (Berthon & Grasset, p. 64). This is a hand-signed artist proof.

Est: $7,000-$9,000.

A-Z | GRASSET - GRÜN

328 326

Grasset

(Continued)

326. Salon des Cent. 1894.

19 1⁄ 2 x 25 1⁄8 in./49.5 x 64 cm G. de Malherbe, Paris Cond A-/Slight stains at edges.

Ref (all var but PAI & Grasset): Salon des Cent, p. 19; Salon des Cent/Neumann, p. 38; Grasset, p. 79; DFP-II, 410; Reims, 684; Wagner, 54; Berthon & Grasset, p. 6; Weill, 39; Gold, 274; Encyclopédie/Weill, p. 41; PAI-LXXXII, 112 Russet, lemon, cerulean: the vibrant colors ring out from Grasset’s poster for his own exhibition at the Salon des Cent. In this image, Grasset’s muse contemplates a flower: an insight into the moment of inspiration. This is a hand-signed proof before letters numbered 53⁄100.

Est: $2,000-$2,500.

327. Chocolat Mexicain / Masson. 1897.

19 3⁄4 x 25 1⁄2 in./50 x 64.8 cm Imp. de Vaugirard, Paris Cond A. Ref: Berthon & Grasset, p. 37; Murray-Robertson, p. 107; Grasset, p. 139; DFP-II, 416; Weill/Art Nouveau, p. 102; PAI-LXXII, 226 Grasset created two designs for Chocolat Masson. This is the more beautiful one: a rich and pleasing mélange of patterns, textures, whorls, and tracings that frame a lovely and tender moment between mother and daughter, as the red-dressed poppet is about to be introduced to the surprising pleasures of Mexican hot chocolate.

Est: $2,500-$3,000.

328. Meditation. 1897.

21 x 33 3⁄4 in./53.5 x 85.8 cm Cond B/Restored tears, largely in top area.

Ref: Berthon & Grasset, p. 71 (var); Murray-Robertson, p. 126; Grasset, fig. 132; PAI-LXX, 381 Drawing heavily from the flat colors and broad outlines in Japanese prints, Grasset created numerous decorative panels of women in nature, and this is one of his best. Lost in her own thoughts, this dreamy young woman stares up at the cloudy sky amidst a field of wildflowers.

327

Est: $1,500-$2,000.

GRASSET - GRÜN | A-Z

329

Jacques Gruber

(1870-1939)

330

Jules-Alexandre Grün

(1868-1938)

329. Concours de Tir. 1906.

330. Menthe Pastille : Maquette.

24 3⁄8 x 34 3⁄4 in./61.8 x 88.2 cm Imp. Louis Kreis, Nancy Cond A.

45 x 61 in./114.5 x 155 cm Watercolor, ink, and gouache maquette. Framed.

A buxom goddess invites us to participate in a national and international shooting competition in Nancy. The Société de tir de Nancy (Nancy Shooting Society) was created in 1866 and drew on the heritage of the Arquebusiers de la Butte, an association of archers and crossbowmen founded in 1570. In operation to this day, it’s the oldest sports association in Nancy.

Est: $1,700-$2,000.

Grün employs a bit of Middle Eastern exoticism in this large maquette for an unrealized poster. Against a starry sky, a sip of Menthe Pastille is offered to an older man, who appears to be intoxicated by its flavor. Despite not creating a finalized poster, all the elements of a fine Grün design are in place: a seductive female figure, a comedically entranced male, and high-contrast colors. “[The] use of black is a true graphical invention and is at once linked to its creator —one could refer to a ‘black background à la Grün’” (Grün, p. 12).

Est: $12,000-$15,000.

A-Z | GRÜN - HEINEMANN

331

333

Grün

332

William Gwennet

(Continued)

331. La Revue des Folies-Bergère. 1901.

334. Littlehampton.

37 3⁄4 x 51 1⁄4 in./95.6 x 130 cm Imp. Charles Verneau, Paris Cond B+/Slight stains at folds.

Ref: Grün, p. 66; PAI-V, 184

24 3⁄ 8 x 39 1⁄8 in./62 x 99.5 cm Cond B/Tears at folds. Framed.

Ref: PAI-LXXIX, 347

Some of the best posters of the Belle Époque come from the hands of Grün—and they’re certainly the most fun.

His star is always a Montmartre woman: she is wellendowed and lusty, and her mood is always playful.

Usually she is followed by leering men, most often policemen and businessmen. Here, one of Grün’s typical temptresses—wearing red, of course—has the full attention of one such policeman.

Est: $2,000-$2,500.

332. Scala / Revue à Poivre. 1903.

16 3⁄4 x 23 3⁄4 in./42.5 x 60.2 cm Imp. Charles Verneau, Paris Cond A. Framed.

Ref: Grün, p. 63 (var); DFP-II, 436 (var); PAI-XLIV, 290 “As far as the ‘Revue à Poivre’ which opens in 1904 is concerned... [a] cheerful and exposed young lady takes up the whole picture. She is wearing the customary low-cut red dress shown against a black background. As usual the show was a major production, led by Suzanne Derval and Miss Dieterle and accompanied by a 30-piece orchestra conducted by Beretta. Appearing in supporting parts were two comedians who would become the talk of the town, Gaby Deslys and Eugénie Fougère” (Grün, p.

63). This is the smaller format.

Est: $2,000-$2,500.

Albert Guillaume

(1873-1942)

333. Les Joueurs.

21 1⁄4 x 17 1⁄ 2 in./54 x 44.2 cm Cond A-/Slight stains at edges.

Fancy a round of poker? Guillaume depicts a very serious and upscale crew paying close attention to the game.

334

Est: $1,000-$1,200.

The serene composure of this fin-de-siècle Englishwoman reflects the lovely holidays on offer around Littlehampton, a tourist harbour town in West Sussex, England, on the English Channel. “Exhilarating and bracing air, with the beautiful River Arun affording good fishing and boating” and an “extensive sandy beach, with fine common adjoining the promenade and jetty” are promised here, along with “Arundel Castle within easy distance,” “Angmering, and its picturesque village,” and “excellent cricket and lawn tennis grounds.

Also golf links.” Train service departs from London Bridge from 9:40 am onward, and the lady’s pup is rightfully expectant. Gwennet was a widely exhibited landscape painter.

Est: $1,000-$1,200.

George Hamori

(1918-?)

335. Zim Ships. 1959.

24 5⁄ 8 x 38 1⁄4 in./62.6 x 97.2 cm E. Lewin Epstein, Israel Cond A/P. ZIM Shipping Lines was founded in the 1940s, predating the founding of the State of Israel; their boats were originally used to transport new immigrants to Israel. Today, it’s one of the top 20 shipping companies in the world. This sunlight-saturated design advertises their passenger cruises from Europe and New York to Haifa. Hamori was born in Hungary and emigrated to Israel in the 1950s. He designed the state’s early postage stamps before moving to Australia, where he continued designing stamps as well as posters and advertisements.

Est: $800-$1,000.

GRÜN - HEINEMANN | A-Z

335

338

336 337

Keith Haring

Lothar Heinemann

(1958-1990)

(1911-?)

336. American Music Festival / NYC Ballet. 1988.

337. Emporium Capwell. 1985.

338. Germany / The Land of Music. 1937.

35 3⁄4 x 24 in./91 x 80.8 cm Cond A/P. Ref: Haring Posters, 67; PAI-LXXXII, 302

22 1⁄ 8 x 28 in./56.2 x 71 cm Cond A. Ref: Haring Posters, 31; PAI-LXXXII, 293

Haring created this charmingly patriotic design for the 40th Anniversary of the New York City Ballet; it was one of a series of 11 artists’ posters commemorating the event. The poster was published by Philip Morris Companies.

For the San Francisco-based department store Emporium Capwell, Haring envisions stacks of wriggling figures in bright, festive colors. The specifics of the event are unknown, but it must have been a blast.

25 1⁄4 x 39 1⁄ 2 in./64.2 x 100.3 cm Reichsbahnzentrale, Berlin Cond A. Framed.

Ref: Travel Posters, 93; V&A, 192

Est: $1,200-$1,500.

Est: $1,200-$1,500.

The imposing eagle—Germany’s national emblem—is meant to encourage tourism in Germany by drawing on its rich history of music. The intimidating effect is due to the nationalist climate of the time: the Nazi Party disapproved of avant-garde and Modernist poster design in favor of a heroic and realist style. The poster, issued by the Central German Railway Office for Tourist Traffic, found a suitable designer in Heinemann, of whom little is known.

Est: $1,400-$1,700.

A-Z | HERKOMER - HOFF

339

Hubert Herkomer

(1881-?)

René Hermann-Paul

(1864-1940)

339. Normandie. 1935.

340. Tournoi Franco-Italien. 1895.

24 5⁄8 x 39 3⁄4 in./62.5 x 101 cm Hill, Siffken & Co., London Cond A. Framed.

Ref: Mer s’Affiche, p. 155; Fantastic Voyage, 16; PAI-LXXVIII, 321

24 5⁄8 x 31 1⁄2 in./62.5 x 80 cm Imp. Edw. Ancourt, Paris Cond A. Ref: DFP-II, 707; Reims, 961; Livre de l’Affiche, 122; Circle of HTL, 88, ill. 29; PAI-VII, 267

This nighttime image of the Normandie offers a very different experience from Cassandre’s poster of the same title—here, she quietly glides away from the glimmer of New York City. With six decks of cabin lights reflecting in the water, there is an element of romance combined with the usual magnificence of the ship. After the Cunard Line’s Queen Mary beat the Normandie’s speed records in August of 1938, French Line began promoting her as “the world’s most perfect ship” rather than the fastest. Such a description could not be better expressed than in this image.

“This is one of only two known posters by Paul. It was designed to announce a fencing tournament... Printed by Ancourt in subtle pink and beige, it coincides compositionally with Lautrec’s Moulin Rouge, La Goulue... The placement of the two fencers, the linear style in which they are drawn, the tilted-up floor, the silhouetted spectators, and even the monogram have precedence in Lautrec’s 1891 poster” (Circle of HTL, p. 121). Rare!

Est: $17,000-$20,000.

Est: $2,500-$3,000.

HERKOMER - HOFF | A-Z

340

342

Léon Hingre

(1860-ca. 1929)

341

Ernst Hoff

341. Théophile Roederer & Co. / Champagne. 1897.

342. Augsburger Fastnacht. 1937.

12 3⁄4 x 26 3⁄4 in./32.4 x 68 cm Imp. d’Art Industriel, Paris Cond A. Ref (all var but PAI): Weill/Art Nouveau, p. 123; Masters 1900, p. 29; PAI-LXXXII, 310

34 7⁄8 x 47 1⁄2 in./88.8 x 120.5 cm F. Burger, Augsburg Cond B+/Unobtrusive folds; tape stains in right margin.

For one of the most beloved champagne houses in France, Hingre fuses the motifs of Mucha with the poses of Jean-Auguste-Dominique Ingres, and produces a work that perfectly balances lightness, strength, structure, and opulence. It’s a rather fine translation of the champagne itself into visual form. This is the rare smaller format.

Est: $6,000-$8,000.

This ebullient design announces the 399th year of Carnival in Augsburg. “Lach am Lech” (Laugh at the Lech) refers to the festival held along the Lech river. Unbeknownst to these revelers, World War Two would break out in just two years, so we hope the celebrations were as fantastic as Hoff makes them seem.

Est: $1,200-$1,500.

A-Z | HOHENLEITER DE CASTRO - HOHLWEIN

343

Francisco Hohenleiter de Castro

(1889-1968)

343. Sevilla. 1934.

25 3⁄4 x 38 3⁄4 in./65.5 x 98.5 cm Lit. S. Dura, Valencia Cond A. Framed.

Ref: España, 45; Spanish Posters, 10; PAI-XXV, 344 For a number of years, the annual spring festival in Seville was announced by the winner of a poster competition for the occasion. The 1934 prize went to Francisco Hohenleiter de Castro. Each year, the posters had to stay within a given theme; for this year, it was “raza brava” (gallant breed), hence the couple proudly showing off their regional costumes on a magnificently bedizened horse as they ride to Seville for the fiesta.

Est: $1,700-$2,000.

344

Ludwig Hohlwein

(1874-1949)

For another by Hohlwein, see No. 40.

344. Stuhr’s Caviar. 1909.

29 3⁄8 x 40 7⁄8 in./74.6 x 104 cm Cond A-/Slight stains in margins.

Ref: DFP-III, 1356; PAI-XXVII, 451 Hohlwein’s plump gourmand is on the verge of childlike jubilation. He is so overjoyed with the arrival of not one, but three varieties of Stuhr’s caviar that he can’t help but giggle like a schoolgirl and rub his well-rounded tummy in anticipation. The scene is such a delight that one can’t help but get swept along with its infectious ebullience, regardless of whether or not you’re a fan of the salty sturgeon treat. Rare!

Est: $6,000-$8,000.

FOR A SEARCHABLE DATABASE OF EVERY POSTER WE’VE EVER SOLD AT AUCTION, VIEW OUR POSTER PRICE GUIDE AT POSTERAUCTIONS.COM

HOHENLEITER DE CASTRO - HOHLWEIN | A-Z

345

346

345. Marco Polo-Tee. ca. 1914.

346. Gut, weil Andre Hofer drin ist. 1932.

29 1⁄2 x 43 1⁄4 in./75 x 109.8 cm Reichold & Lang, München Cond A. Ref: Hohlwein, 149; Hohlwein/Stuttgart, 148; PAI-LXV, 306

33 1⁄8 x 47 in./84.2 x 119.2 cm Kunstanstalt U.B., München Cond A. Ref: Hohlwein/Stuttgart, 307; PAI-XXXVIII, 375

Over the course of his career, Hohlwein would produce numerous designs for Marco Polo tea, many presenting the Orient with jewel-toned, dignified exoticism. In this particularly rare image, he chooses instead to showcase the beverage on a Western waiter’s tray— the height of class and sophistication.

In one of Hohlwein’s most surreal designs, the Tyrolean hero Andreas Hofer appears like a mirage from within a cup of coffee. There’s actually a bit of word play going on in this marketing campaign; Andre Hofer opened a coffee-steam roasting company bearing his name in Salzburg in 1759. In 1809, Andreas Hofer became the leader of the Tyrolean Rebellion against the Napoleonic invasion in Austria. In 1837, this military hero was honored with a namesake fig coffee at the aforementioned roastery. So, the saying “good, because Andre Hofer is in it” can be read multiple ways—though we’re still not sure why there’s a man in our coffee. Rare!

Est: $8,000-$9,000.

Est: $2,500-$3,000.

A-Z | HORAK - KROTOWSKI

347 348

350

Ladislav Horak

(1904-?)

349

Henri-Gabriel Ibels

(1867-1936)

347. Velké Karlovice. 1946.

348. L’Escarmouche. 1893.

349. Pierrefort / Affiches Artistiques. 1897.

23 ⁄2 x 33 ⁄4 in./59.6 x 84.5 cm Cond A. Ref: PAI-LXXIV, 328

19 ⁄2 x 25 ⁄ 8 in./49.5 x 64.3 cm Imp. Eugène Verneau, Paris Cond A. Ref: DFP-II, 471; Wine Spectator, 56; Reims, 745; Schardt, p. 58; Maitres, 6; Weill, 44; Color Revolution, 104; Chaumont/Politiques, p. 14; PAI-LXXV, 345

11 x 8 1⁄ 2 in./28 x 21.7 cm Imp. Eugène Verneau, Paris Cond A. Framed.

Ref (all var but PAI): DFP-II, 478; Maitres, 102; Affichiomanie, 10; Timeless Images, 61; Wine Spectator, 54; PAI-LI, 373

As one of the most notable posterists of the Belle Époque, Ibels often presented a leisurely, everyday view of Paris and its inhabitants, much in the same vein as his friend Toulouse-Lautrec. Both artists contributed heavily to L’Escarmouche (The Skirmish), a publication which appeared in print for a mere three months. “Because of mysterious laws governing placards and posters, [this image] was never displayed on the streets but could only appear inside closed rooms” (Schardt, p. 58).

This design by Ibels is arguably one of the best and most important posters having to do with the art of the poster.

Pierrefort was one of the many dealers involved in the sale of printed multiples in the 1890s, along with Sagot, Arnould, and Kleinmann. He commissioned a variety of posters to promote his shop, calling upon the talents of Lobel, de Feure (see No. 314), and Thiriet. None are quite so charming, however, as this one by Ibels, showcasing the delights of a pantomime complete with harlequin, singer, and pierrot. This is the small format of the image.

1

1

Hardy, rustic, and rogue, this determined skier brings color, strength, and fortitude to the placid hamlet of Velké Karlovice, a town in the middle of the Czech Republic’s prime winter sports areas.

Est: $1,200-$1,500.

1

3

Est: $2,000-$2,500.

Est: $1,400-$1,700.

HORAK - KROTOWSKI | A-Z

352

Iatno

Stephan Krotowski

350. Championnats du Monde. 1974.

352. PKZ / Burger, Kehl & Co. 1920.

22 ⁄4 x 31 ⁄ 2 in./56.6 x 79.8 cm St. Martin, Paris Cond B+/Slight tears at folds.

38 3⁄4 x 52 3⁄8 in./98.5 x 133 cm G. Tanner Cond B+/Very slight tears at edges; two unobtrusive horizontal creases.

Ref: DFP-III, 1892; PAI-LXXXII, 323

1

1

Although the 41st Ice Hockey World Championships were hosted by Finland, France had the honor of hosting the C group for pre-championship games.

The Soviet Union took home their 13th championship title that year.

Est: $800-$1,000.

Charles Kiffer

(1902-1992)

351. Maurice Chevalier. 1936.

Each: 45 ⁄4 x 62 in./115.2 x 157.5 cm Richier Laugier, Paris Cond B+/Slight tears at edges.

Ref: Kiffer, p. 13; Weill, 320; Musée d’Affiches, 82; PAI-LXXIII, 331 3

Chevalier, served up three ways: this lot consists of Kiffer’s Maurice Chevalier poster in its final iteration, as well as two progressive color proofs.

351

(1881-1948)

Est: $2,500-$3,000. (3)

Krotowski keeps extraneous information at bay to allow us to admire the striking form of a stylish gent walking his equally elegant hound. Along with Hohlwein and Fries, Krotowski’s sophisticated designs dominated the early days of PKZ’s advertising. Even 100 years later, we can imagine this design promoting contemporary menswear with great panache.

Est: $2,500-$3,000.

A-Z | LEFÈVRE - LOHSE

355

353

354

356

LEFÈVRE - LOHSE | A-Z

357

Lucien Lefèvre

(1850-?)

Privat Livemont

358

(1861-1936)

353. Electricine. 1894.

355. Absinthe Robette. 1896.

357. L’amateur d’art : Painting. ca. 1917.

34 3⁄8 x 96 3⁄4 in./87.5 x 245.5 cm Imp. Chaix, Paris Cond B/Slight tears at seams and edges.

Ref: DFP-II, 513; Reims, 805; Schardt, p. 115; Wember, 530; PAI-LXIX, 474

31 x 42 3⁄8 in./78.8 x 107.8 cm Goffart, Bruxelles Cond A. Framed.

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-LXXXIII, 365

14 3⁄8 x 10 7⁄8 in./36.6 x 27.7 cm Signed oil painting. Framed.

To advertise Electricine’s new “luxury lighting” color options, Lefèvre gives us a two-sheet design featuring a red-and-white Pierrette. The designer was clearly influenced by Chéret; he’s adapted the blue color splash background and redheaded Chérette right from the master’s work.

Est: $1,400-$1,700.

Herbert Leupin

(1916-1999)

354. Rolex. 1959.

24 1⁄4 x 34 1⁄4 in./61.5 x 87 cm Wolfsberg, Zürich Cond A/P. Ref: Leupin, p. 162; Swiss Posters, 10; Publicité, p. 188; PAI-LXXIII, 343 Today’s ad industry is completely insane—and even more so than in the Mad Men days—as they employ thousands of hours of consumer research, attitudinal studies, focus groups, messaging analysis, A/B tests, marketing funnels, networks, competitive PsyOps... Once upon a time, long ago, it was simple: idea, art, message.

Rolex’s logo is a kingly crown. Rolex watches are regal instruments. Rolex is the choice of kings. One and done, says Herbert Leupin—now where’s my martini?

Est: $1,200-$1,500.

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.

Est: $10,000-$12,000.

356. Tulipes : Painting. ca. 1902.

10 1⁄2 x 17 in./26.8 x 43.2 cm Signed watercolor and pencil painting. Framed.

“Around 1902-1904, Livemont produced numerous watercolors, oils on canvas, drawings, and lithographs for flower studies, whose careful and almost botanical graphics were tempered by formal flexibility and a rich chromatic palette... His taste for flowers did not go unnoticed since, in March 1903, he was appointed as teacher at the Schaerbeek Industrial School for the course in decorative painting and drawing from nature” (Schoonbroodt, p. 25).

Exhibited: Les Halles Saint Géry, Brussels, March-June, 2003.

Provenance: Artist’s studio.

Est: $3,000-$4,000.

While most of Livemont’s muses ooze with seductive femininity, this particular female art lover is only seen from behind—her less attractive, older male companion receives more facial attention—but she is nevertheless an inspiration to the artist. In his 1897 and 1917 posters for the Cercle Artistique de Rouge Cloitre, the female art aficionado appears again, first as a goddess, and then as a concentrated viewer of a painting. “In 1917, this woman discovering works of art obsessed Livemont, who reproduced her on a pastel” (Schoonbroodt, p. 44)—a pastel which is incredibly similar to this oil painting (see Schoonbroodt, p. 22).

Est: $4,000-$5,000.

Richard Paul Lohse

(1902-1988)

358. Ausstellung Musikinstrumente. 1962.

35 1⁄2 x 50 1⁄4 in./90 x 127.7 cm J. C. Müller, Zürich Cond A/P. Ref: Word & Image, p. 109; Müller-Brockmann, 167 For an exhibition of musical instruments at Zurich’s Kunstgewerbemuseum (Decorative Arts Museum), Lohse employs a sparing Swiss approach: clean photomontage, a blank white background, and an economic use of typography. Lohse was a painter, graphic designer, and writer in Zurich; he co-founded the Association of Independent Graphic Designers, the Allianz association of Swiss modern artists, and the magazine Neue Grafik (New Graphic Design) with fellow leaders of the Modernist design movement, including Josef MüllerBrockmann. He is regarded as a leading figure of the Concrete and Constructivist art movements.

Est: $800-$1,000.

A-Z | LOUPOT

359

Charles Loupot

(1892-1962)

359. St. Raphaël. 1938.

46 5⁄8 x 62 1⁄2 in./118.5 x 158.5 cm Imp. Courbet, Paris Cond A. Ref: Loupot/Zagrodski, 105; Loupot/Lyon, p. 82; Loupot/Forney, 52; Crouse/Deco, p. 192; PAI-LXXII, 281 Exceptionally rare. Loupot launched into work for St Raphaël Quinquina (an apéritif in red and white varieties) with a series of four posters using these two characters, a portly waiter in red, and a taller, thinner waiter in white.

In the first of the series, the characters are floating high above a Chagall-esque Paris; in the second, they’re leaning back, at rest in a café; this one, the third, is the first in which they are reduced to pure Cubist abstractions.

“Compared with the two previous posters, it could be said to be a call to order” (Loupot/Zagrodski, p. 104).

Due to late arrival, we have used a stock photo. Please contact us for the actual photo of the poster.

Est: $40,000-$50,000.

LOUPOT | A-Z

360

360. Valentine : Maquette. 1929.

46 1⁄4 x 60 1⁄8 in./117.6 x 152.6 cm Signed watercolor, ink, and crayon maquette.

Loupot created a number of posters for this brand of quick-drying paint; his charming harlequin mascot transformed over the years from a more solidly shaped figure (as seen here) to a flat, two-dimensional linear form. While this preparatory work was never used for a final poster, all the elements are there: the pose and shape of the painter are akin to his 1928 design (see PAI-LXIV, 351), while the rainbow effect on his body became a circular shape being spray-painted by the harlequin. It’s wonderful to see Loupot’s creative process from conception to final product.

Est: $12,000-$15,000.

A-Z | LOUPOT - MITSUMURA

361

362

Loupot

(Continued)

361. Fêtes de Paris. 1935.

24 1⁄8 x 39 3⁄8 in./61.2 x 100 cm Cond A-/Slight stains at edges.

Ref: Loupot/Zagrodzki, 93; Loupot, 54 (var); PAI-LXXXII, 340 Awash in gold ink and tiny spectators, this compound image of a caravel and a crown help promote a Paris trade fair. This is the smaller format version of the design.

Est: $1,500-$1,800.

362. St. Raphaël / Boules. 1939.

31 3⁄8 x 46 3⁄4 in./79.6 x 119 cm Imp. Spéciale du St. Raphaël Cond B+/Slight tears at folds.

Loupot was responsible for a large sum of St. Raphaël’s advertising; he designed numerous posters, created their typeface, and promoted the company with sculptures and other media. This incredibly rare image deploys his two iconic waiters into an abstract border that surrounds an image drawn by J. Lhuer of a ball game. “Boules” is a collective name for a wide range of games similar to bowls and bocce. We can only imagine what the specifics of this event were, but surely an apéritif wouldn’t hurt the game. Rare!

Est: $5,000-$6,000.

Herbert M. Luns

(1881-1942)

363. Jubileum Tentoonstelling / Rembrandt. 1923.

26 5⁄8 x 49 1⁄8 in./67.5 x 124.8 cm Conrs. Immig & Zoon, Rotterdam Cond A-/Slight stains at top edge.

Ref: PAI-LXXXII, 346

363

In 1923, Amsterdam’s Rijksmuseum wished to promote its Rembrandt Society, and Luns was the perfect artist for the commission. Among other things, he’d been a professor of art history and an author of books on art. The finely drawn design, showing half-profiles of Rembrandt and Raphael, uses gold ink in addition to the black. The same image, with very different borders and embellishments, was used by Luns to advertise an Italian travel agency.

Est: $1,400-$1,700.

LOUPOT - MITSUMURA | A-Z

364

365

Manlio

366

(Manlio Parrini, 1901-1968)

(1897-1954)

364. Foire de Milan. 1937.

366. Lourdes. 1952.

27 1⁄ 2 x 39 5⁄8 in./69.8 x 100.6 cm Instituto Italiano d’Arti Grafiche, Bergamo Cond B/Tears at folds.

24 1⁄2 x 39 1⁄4 in./62.3 x 99.7 cm Imp. Bedos, Paris Cond A. Ref: Pyrénées, p. 38

All the world directs its focus on Milan for this 1937 trade fair. Manlio wraps the international flags around a missilelike object which plummets into the Italian city. It’s an interesting time capsule of the world’s prewar identities.

Est: $1,400-$1,700.

Mather 365. Mather / Stalls Won’t Win. 1926.

35 1⁄8 x 46 1⁄2 in./89.2 x 118.2 cm Mather & Company, Chicago Cond A.

367

Hubert Mathieu

The former Téléférique du Béout (Béout cable car) soars through the open sky across the mountainous landscape of Lourdes, which is situated at the foothills of the Pyrénées. Below, we see the Sanctuary of Our Lady of Lourdes, one of the world’s most important sites of pilgrimage and religious tourism. Today, the Pic du Jer Funicular takes travelers from the Pyrénées summit to the town of Lourdes, and boasts spectacular panoramic views along the way. Mathieu was born in South Dakota and later moved to New York City to study under Harvey Dunn.

Alongside poster design, he was also an illustrator for McCall’s magazine.

The Chicago firm of Mather & Co. came up with a pretty ingenious advertising campaign to support workplace morale and productivity. Launched in 1924, these “Constructive Organization Posters” employed allegory and symbolism to subtly urge employees to strive for better results. This work uses America’s national pastime to make the point that action is always preferred over idleness. As with many in this series, no artist credit is given.

Est: $1,200-$1,500.

Est: $2,000-$2,500.

This delightful invitation to visit Japan is based on a 1936 silkscreen by Uemura Shoen titled “Jo no Mai” (Noh Dance Prelude). Shoen is one of Japan’s most famous artists, and she was the first woman to be honored with the Order of Culture in 1948. The Japan Tourist Association commissioned this design by Mitsumura to attract international tourists, and the dancing woman in traditional dress certainly seems welcoming.

Mitsumura 367. Japan. ca. 1950.

24 1⁄8 x 38 1⁄ 2 in./61.3 x 97.7 cm Cond A-/Slight stains. Framed.

Ref: Airlines, p. 43; PAI-LXXII, 113

Est: $1,200-$1,500.

A-Z | MCMANUS - MICH

368 369

F. Médaille

372. A la Place Clichy / Étrennes. ca. 1896.

369. Lecture & Reverie.

Each: 17 1⁄8 x 23 5⁄8 in./43.6 x 60 cm Cond A. Framed.

Ref: PAI-LXXXIII, 378 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.

Est: $3,000-$4,000. (2)

Georges Meunier

(1869-1942)

370. Société Philanthropique. 1897.

34 x 48 1⁄4 in./86.5 x 122.5 cm Imp. Chaix, Paris Cond B+/Unobtrusive folds; slight stains at bottom edge.

Ref: Chaumont/Politiques, p. 41

370

Blanche McManus

(1869-1935)

368. The Criterion. ca. 1900.

12 1⁄8 x 19 in./30.8 x 48.2 cm Coloritype Co., New York Cond A. The Criterion was a New York-based literary magazine published weekly from 1896-1900, and then released monthly until 1905. Blanche McManus created this fiery scene of a literary goddess observing the Earth from high up in the cosmos. McManus was born in Louisiana and studied art in Paris. She was a prolific writer, book illustrator, and graphic designer—a pioneer for women in the arts in America. She authored and contributed to some 60 titles, including illustrating Lewis Carroll’s “Alice’s Adventures in Wonderland” and producing her own children’s series called “Little Cousin.” Her posters are rare, but powerful: “[They] are boldly conceived, with a sure sense of the well-drawn line and a controlled use of contrasting color to create a positive and negative image” (Lauder, p. 189).

Est: $800-$1,000.

“The nineteenth century saw the flourishing of many charities and phlianthropic institutions that wished to work for the material and moral improvement as well as the intellectual and social improvement of humanity.

Drawn on lithographic stone by Meunier himself in the Chaix workshop, which he joined from 1894 to 1898, this poster testifies to the evolution of the artist, initially influenced by the master of chromolithography, Jules Chéret, towards an increasingly personal style” (Chaumont/Politiques, p. 41).

Est: $1,200-$1,500.

371. Job / Papel de Fumar. 1894.

33 x 93 3⁄4 in./83.8 x 238 cm Imp. Chaix, Paris Cond B/Slight tears at edges.

Ref (all var): Meunier, 1; Reims, 868; DFP-II, 579; Maitres, 167; Maindron 1896, p. 91; PAI-XLVIII, 357 The young woman flaunts her freedom by joyfully lighting up a cigarette before her company—a cat. Maindron indicates that this 2-sheet image is Meunier’s first poster, “revealing, in color and design, an original and new direction.” But Chéret’s influence is quite evident, both in the composition and in the palette. This is a rare version with Spanish text.

Est: $2,000-$2,500.

33 3⁄4 x 47 7⁄ 8 in./85.5 x 121.6 cm Imp. Chaix, Paris Cond B+/Slight tears at folds and edges.

Meunier executed several designs for Christmas sales at the Place Clichy department store, all featuring a woman or girl on a rocking horse. This one is among the liveliest and the rarest of the bunch. However, this time it’s a rocking mule called upon to serve as the stationary steed, with a Pierrot and a lady in red riding through a shopper’s fantasy field of gifts represented by Japanese dolls, masks, and assorted trinkets. Meunier, a BeauxArts trained painter and decorative artist, also designed fifty-six known posters. He was heavily influenced by Chéret, and printed most of his posters at Chéret’s plant.

What distinguishes Meunier, perhaps, is a particular lightness of spirit.

Est: $1,700-$2,000.

Henri Meunier

(1873-1922)

373. Rajah. 1897.

30 5⁄8 x 24 1⁄ 8 in./80 x 61.2 cm Lith. Gouweloos, Bruxelles Cond A. Ref: DFP-II, 1082; Maîtres, 156; Belle Epoque 1970, 93; Belgique/Paris, 47; Weill, 95; Masters 1900, p. 91; Wine Spectator, 99; Publicité, p. 33; Graphic Design/Taschen, p. 79; PAI-XXXIV, 462 “As a poster designer, Meunier knew how to organize well-observed detail to create an almost musical ambiance... [with] compositions that are gravely meditative, clean and synthetic. The artist’s interest focused on bringing out opposing light and dark values within his often large, contained, flowing masses of color to support the force and veracity of his concepts” (Belle Epoque 1970, p. 68). This design for Rajah coffee is a classic of Belgian Art Nouveau poster art; it was called Meunier’s “best work” and “a masterpiece” by L’Estampe et L’Affiche in 1898 (p. 227). Appropriately, a strong coffee tone dominates the scene.

Est: $3,000-$3,500.

MCMANUS - MICH | A-Z

372

371

373

Mich

(Michel Liebeaux, 1881-1923)

374. Bec-Kina. 1910.

46 1⁄2 x 63 in./118 x 160 cm Publicité Wall, Paris Cond A. Ref: Sportissimo, p. 102; Sport, p. 101; PAI-LXXXII, 365 With a bottle of Bec-Kina as a makeshift ball, a strapping group of agile rugby players are shown vivaciously fighting over the “athlete’s apéritif.” Compositionally, this is one of Mich’s most energetic designs, full of movement and interesting angles. As for the beverage itself, the “name was no doubt chosen as a tribute to the Bordeaux Étudiants Club (B.E.C.)” (Sport, p. 100). The club was founded in 1897 and continues to offer fencing, swimming, rugby, and more.

374

Est: $1,400-$1,700.

A-Z | MICHAEL - MOLINÉ

375

Arthur C. Michael

(1881-1965)

375. Harrogate. 1935.

50 1⁄4 x 40 3⁄8 in./127.5 x 102.5 cm R. H. Perry, London Cond A-/Unobtrusive folds.

Ref: Voyage, p. 88; PAI-V, 70 For the health resort of Harrogate, just north of Leeds, we are offered an elegant scene of revelers strolling along the promenade in aristocratic contrasting colors. The resort is also known for its flowers, decorative parks, and gardens of which we are offered a teaser in this design. Born in Wales, Michael moved to Paris in 1899 and contributed drawings to Cocorico and other publications; in 1903, he moved to London where he illustrated many magazines and weekly papers. He designed few posters, but his image for Harrogate is timelessly sophisticated.

Est: $7,000-$9,000.

REGISTER FOR ONLINE BIDDING AT POSTERAUCTIONS.COM

MICHAEL - MOLINÉ | A-Z

377

Giovanni Mingozzi

(1891-?)

376. Barbisio. 1938.

376

34 7⁄8 x 49 7⁄8 in./88.8 x 126.7 cm Litografie Artistiche Faentine Cond A-/Stains in margins.

Ref: Raccontano, 60; PAI-XIII, 318 (var) Barbisio hats have been produced in the Biella Valley since 1862, but there’s nothing traditional about this design—in fact, it still feels sharply contemporary today. The exclamation points—outfitted with felt hats, canes, and a boutonniere—appear as though they might just dance right out of the frame with jazzy bravado. This particular version of the design advertises availability at a Lucerne dealer. Mingozzi was an active Bolognese designer who ran his own studio as well as an advertising agency named Alta. Rare!

Est: $5,000-$6,000.

Paul Gustave Mohr

(1890-1959)

377. “Lustucru.” 1923.

15 1⁄4 x 23 1⁄ 2 in./38.6 x 59.5 cm Affiches Edia, Paris Cond B+/Tear at horizontal fold.

Ref: PAI-LX, 370 Founded as a local family business in 1871, Lustucru quickly became one of the most famous brands of dried pasta in France. Here, an anthropomorphized king of the product’s two main ingredients—eggs and wheat—regally presents us with both a healthy serving of the product and its iconic packaging.

Est: $1,200-$1,500.

Antonio Moliné

(1907-1937)

378. Jugad. 1933.

30 1⁄ 2 x 43 3⁄ 8 in./77.3 x 110.2 cm Imp. Ortega, Valencia Cond B+/Slight tears and folds at edges.

This striking design advertises a raffle ticket drawing to benefit the “university city” (presumably, Valencia); the grand prize is 7,500,000 pesetas, or about a whopping $135,800,000. Unfortunately, little other information exists on this event. Moliné designed a handful of posters and completed construction on a marble and bronze sculpture titled “Monument to the Spaniards,” which was given to Argentina to commemorate the centenary of the May Revolution in 1910. Moliné died prematurely in Spain’s Civil War.

378

Est: $2,500-$3,000.

ALPHONSE MUCHA

379

Alphonse Mucha

(1860-1939)

379. Salon des Cent / A. Mucha. 1897.

380. Gismonda / Théâtre de la Renaissance. 1894.

18 1⁄4 x 26 3⁄4 in./46.3 x 68 cm Imp. F. Champenois, Paris Cond A. Framed.

Ref (all var): Rennert/Weill, 36; Lendl/Prague, 101; Driehaus, p. 83; Mucha/Art Nouveau, 25; DFP-II, 638; Maitres, 114; Salon des Cent, p. 65; Salon des Cent/Neumann, p. 49; PAI-LXXXIII, 384

28 3⁄ 8 x 83 3⁄4 in./72 x 212.7 cm Imp. Lemercier, Paris Cond B+/Slight tears, largely at edges. Framed.

Ref: Rennert/Weill, 3; Lendl/Prague, p. 41; Mucha/Art Nouveau, 5; DFP-II, 624; Maitres, 27; Timeless Images, 32; Wine Spectator, 71; Posters of Paris, 66; Driehaus, p. 20; Graphic Design/Taschen, p. 65; Gold, 152; PAI-LXXXII, 374

Mucha, for his own exhibition at the Salon des Cent, drew a “life-like girl with a twinge of homesickness; it is a decidedly Slavic face, with a bonnet featuring one of the embroidered regional patterns that distinguish the folk costumes in his part of the world, and her hair is adorned with daisies—[a] symbol of the Moravian fields where Mucha spent his youth” (Rennert/Weill, p. 150). This is the very rare version before letters, and it is hand-signed by Mucha.

“This is the poster that launched Mucha’s career and introduced a new artistic style into commercial lithography.

Prepared by Mucha as a rush order for Sarah Bernhardt’s theatre during the Christmas period of 1894, when the printer could not find any other artist available, it is a sensitive portrayal of the actress in an ornate costume for a deeply religious play that has her, in the third act, carry a frond in a Palm Sunday procession. The full size of the poster gives the viewer an opportunity to get the full effect of the lengthy robe; the Byzantine mosaic decoration emphasizes the biblical background; Sarah’s pious expression of faith; and the gentle pastel hues whisper the commercial message instead of shouting it. It was a radical departure from prevalent poster styles, and Paris took notice of the fact. Sarah Bernhardt was so grateful she made Mucha one of her protégés, and for the next few years he was the darling of Parisian high society. During this period, Art Nouveau and le style Mucha were synonymous, and his ideas on composition and decoration were taught in every art school. It is doubtful that any other single poster has ever had such far-reaching consequences for its creator and his whole epoch” (Lendl/Prague, p. 41). This is a two-sheet poster.

Est: $14,000-$17,000.

Est: $20,000-$25,000.

MUCHA | A-Z

381 381. Lorenzaccio. 1896.

30 1⁄4 x 81 1⁄4 in./76.7 x 206.3 cm Imp. F. Champenois, Paris Cond B-/Tears at folds.

Ref: Rennert/Weill, 20; Lendl/Prague, p. 47; DFP-II, 626; Maitres, 144; Mucha/Art Nouveau, 7; Bernhardt/Drama, p. 62; Posters of Paris, 87; PAI-LXXXI, 381

380

Sarah Bernhardt adopts the pose of a pensive Lorenzo the Magnificent (1449-1492), the most powerful of the Medicis, in this play by Alfred de Musset. In the drama, Lorenzaccio struggles to save Florence, which had grown rich during his reign, from the grip of a power-hungry conqueror. Mucha represents this tyranny with a dragon menacing the city coat of arms (top left); Lorenzo has closed the book he was reading to ponder his course of action. Bernhardt adapted this 1863 play for herself, and the new version, represented by this poster, opened December 3, 1896.

“Never afraid to tackle a male role, Bernhardt made Lorenzaccio one of the regular parts of her repertoire” (Lendl/Prague, p. 47). Anatole France’s review says it all: “In her latest transformation she is astonishing... She has created a living masterpiece by her sureness of gesture, the tragic beauty of her pose and glance, the increased power in the timbre of her voice, and the suppleness and breadth of her diction— through her gifts, in the end, for mystery and terror” (Bernhardt/Gottlieb, p. 140).

This is the two-sheet larger format.

Est: $7,000-$9,000.

A-Z | MUCHA

382

Mucha

383

(Continued)

382. Bénédictine. 1898.

383. The Flowers / Lily. 1898.

28 7⁄8 x 80 in./73.3 x 203 cm Imp. F. Champenois, Paris Cond A-/Slight tears at top and bottom edges.

Ref: Rennert/Weill, 58; Llendl/Prague, p. 98; DFP-II, 648; Wine Spectator, 70; Collectionneur, p. 31; PAI-LXXIV, 377

16 3⁄4 x 40 1⁄4 in./42.6 x 102.4 cm Imp. F. Champenois, Paris (not shown) Cond B+/Slight stains at edges.

Ref: Rennert/Weill, 49; Lendl/Paris, 69; Mucha/Art Nouveau, 50; PAI-XXXIX, 394

“Bénédictine shows two girls pressing flowers amid book leaves, to remind us of the herbs that go into making the liqueur; the bottom part of the poster has a panorama of the Fecamp Abbey where the drink originated. Around 1510, one of the monks, Dom Bernardo Vincelli, prepared a liqueur using local wine and native herbs found in nearby woods, together with a few imported ingredients including muscat, ginger, clove and cardamom” (Wine Spectator, 70). This is a two-sheet poster.

Est: $7,000-$9,000.

“One of the fundamental premises of Art Nouveau was to look for inspiration in nature, and in The Flowers set Mucha produced one of the best arguments for it. The four ethereal sprites represent The Lily [shown here], The Iris, The Rose, and The Carnation, respectively, and it is a clear case of Beauty celebrating beauty in each instance. By using only soft pastels and a harmonious composition, Mucha imbued each scene with a sense of tranquility and quiet enjoyment” (Lendl/Paris, p. 86-87). This delicate beauty in a clinging dress is surrounded by the fleshiest of lilies that have integrated themselves into her wardrobe. The openly sensual nature of the blooms are a good match for her own.

Est: $6,000-$8,000.

MUCHA | A-Z

384

385

384. Monaco-Monte-Carlo. 1897.

385. Times of the Day / Répos de la Nuit. 1899.

29 3⁄4 x 43 in./75.5 x 109.3 cm Imp. F. Champenois, Paris Cond A. Ref: Rennert/Weill, 31; Lendl/Prague, p. 111; DFP-II, 639; Wine Spectator, 73; Affiches Azur, 194; Voyage, p. 15; Train à l’Affiche, 114; Mucha/Art Nouveau, 24; Affiches Riviera, 92; PAI-LXXXII, 376

16 x 42 3⁄4 in./40.6 x 108.7 cm Cond B+/Slight stains at lower edge.

Ref: Rennert/Weill, 62; Lendl/Prague, p. 215; Wine Spectator, 77; PAI-LXXV, 392

“Mucha went all out with a most opulent design. The shy maiden, kneeling, enraptured with the tranquility of the bay of Monte-Carlo, is completely encircled by the curving stalks of lilacs and hydrangeas, featuring some of the most intricate conflorescences ever painted by Mucha. Since the client was a railroad—Chemin de Fer P.L.M.—it is probable that the design is meant to suggest the tracks and wheels that convey the public to Monte-Carlo. The maiden is probably Spring herself, enraptured with the beauty of the seascape” (Rennert/Weill, p. 136).

Est: $7,000-$9,000.

Est: $17,000-$20,000.

This is the fourth panel in the Times of the Day series, representing Nightly Rest.

A-Z | MUCHA

386

Mucha

(Continued)

386. Plume et Primevère. 1899.

Each: 12 1⁄2 x 30 1⁄4 in./31.8 x 77 cm Imp. F. Champenois, Paris (not shown) Cond A. Framed.

Ref: Rennert/Weill, 64; Lendl/Prague, 219; Much/Art Nouveau, 51; PAI-LXXX, 428 “Plume et Primevère”—or, Quill and Primrose. “This series of decorative panels originally sold for 12 francs on paper, or 40 francs on satin. It depicts two rather pensive maidens, one blonde and one brunette, one holding a primrose, the other a goose quill and a leafy branch. Typical Art Nouveau ornamentation prevails in the background patterns and in the jewelry worn by the girls” (Lendl/Prague, p. 218). A recent exhibition catalogue rightly calls this a “masterful” work: “The beauty of this pair of panels lies in the contrast between the geometric mosaic behind the head of Quill and the floral ornamental circle inspired by nature behind the head of Primrose” (Mucha/Art Nouveau, p. 198).

Est: $20,000-$25,000. (2)

MUCHA | A-Z

387 387. The Stars. 1902.

Each: 11 3⁄4 x 31 3⁄8 in./30 x 79.7 cm Imp. F. Champenois, Paris (not shown) Cond A. Ref: Rennert/Weill, 82; Lendl/Prague, p. 236-237; Mucha/Art Nouveau, 55a-d (var); PAI-LXXXIII, 402 “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). “Mucha’s last and perhaps most unusual series of panels achieves an eerie effect of moonlight and starry wonder in four scenes with nocturnal nymphs... A few swirls of cloth and several hues of colour suggest a windswept eve; a modest hand gesture hints at the silent serenity of a lunar nightscape; a luminous band creates the impression of the Northern Lights; and the act of shedding the night wrap symbolises the advent of dawn. But although these are celestial allegories, the sturdy frames with a floral pattern anchor them firmly on Earth” (Lendl/Prague, p. 234). Seen left to right in the illustration are the moon, the Evening Star, the North Star, and the Morning Star. This is the larger format.

Est: $60,000-$70,000. (4)

A-Z | MUCHA

388

Mucha

(Continued)

388. Reverie. 1898.

19 x 25 1⁄ 2 in./48.3 x 64.8 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-LXXXIII, 391 “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).

Exhibited: Arthur Jeffries Gallery, London, 1963 (cat. 62).

Est: $17,000-$20,000.

389. Job. 1896.

17 3⁄4 x 24 1⁄8 in./45.2 x 61.4 cm Imp. F. Champenois, Paris Cond A. Framed.

Ref: Rennert/Weill, 15; Lendl/Prague, p. 118; Mucha/Art Nouveau, 20; DFP-II, 635; Maitres, 202; Weill, p. 41; Timeless Images, 33; Driehaus, p. 79; PAI-LXXXII, 373 This is Mucha’s single most famous work, though it seems impossible that such flamboyant effort would be devoted to selling cigarette papers. But the exotic tendrils of her hair conjure up the fractal whorls of smoke from an idle cigarette. The image is breathtaking; the beauty intoxicating. Photographs are seldom able to capture the metallic gold paint used for the hair, which gleams and radiates in the light, delivering an experience not unlike a religious icon.

389

Est: $20,000-$25,000.

MUCHA | A-Z

390

391

390. The Arts / Music. 1898.

14 3⁄4 x 23 1⁄8 in./37.5 x 58.7 cm Imp. F. Champenois, Paris (not shown) Cond A. Ref: Rennert/Weill, 54; Lendl/Paris, 70; Mucha/Art Nouveau, 49; PAI-LXXXIII, 398 This is one of four panels in the set titled “The Arts;” Painting (see No. 391), Poetry (see No. 392) 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).

Est: $8,000-$10,000.

391. The Arts / Painting. 1898.

14 3⁄4 x 23 1⁄8 in./37.5 x 58.7 cm Imp. F. Champenois, Paris (not shown) Cond A. Ref: Rennert/Weill, 54; Lendl/Prague, p. 206; Mucha/Art Nouveau, 49c (var); PAI-LXXI, 428 Perched upon a silvery moon-frame, the Muse of Painting holds a flower in bloom, which itself blooms rainbows in widening concentric circles, reminding us of the Sun and the spectrum of light which makes the art of painting possible. This is one of four panels in the set titled “The Arts.”

Est: $8,000-$10,000.

392. The Arts / Poetry. 1898.

14 3⁄4 x 23 1⁄8 in./37.5 x 58.7 cm Imp. F. Champenois, Paris (not shown) Cond A. Ref: Rennert/Weill, 54; Lendl/Prague, p. 204; Mucha/Art Nouveau, 49c (var); PAI-LXXXIII, 399 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.

392

A-Z | MUCHA

Mucha Travels the World Two summer exhibitions sponsored by the Mucha Foundation:

Mucha to Manga - The Magic of Line June 12-September 21 Chiang Kai-shek Memorial Hall, Taipei

Alphonse Mucha - The Beauty of Art Nouveau June 18-September 21 Musée Départemental, Breton, France

MUCHA | A-Z

393

Mucha

(Continued)

393. The Seasons. 1896.

Each: 21 1⁄2 x 41 1⁄4 in./54.5 x 104.8 cm Imp. F. Champenois, Paris (not shown) Cond A. Ref: Rennert/Weill,18; Lendl/Prague, p. 182-183; Mucha/Art Nouveau, p. 186-187; PAI-LXXXI, 385 “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 rare variant with the names of the seasons at bottom and in the larger format.

Est: $50,000-$60,000. (4)

A-Z | MUCHA

394

MUCHA | A-Z

395

Mucha

(Continued)

394. Cycles Perfecta. 1902.

395. Times of the Day / Dewez. 1904.

39 x 56 1⁄2 in./99 x 143.5 cm Imp. F. Champenois, Paris Cond A-/Unobtrusive folds. Framed.

Ref: Rennert/Weill, 81; Lendl/Prague, p. 125; Weill, 57; Mucha/Art Nouveau, 29; Petite Reine, 44; Encyclopédie/Weill, p. 44; Posters of Paris, 72; PAI-LXXIX, 65

25 1⁄8 x 20 1⁄8 in./64 x 51 cm Cond A. Framed.

Ref: Rennert/Weill, 62 (var); PAI-LXXII, 387

“It is clear that Mucha understood well the principles of selling not the object itself, but the feeling that is associated with it. Here, he is barely showing a piece of the bicycle... but as to the pleasure of riding, this sylph has it all over any dreary mechanical details.

Airily she caresses the machine, her windblown hair embodying motion and a restless spirit, a vision of idle loveliness and a perfect Mucha maiden. Her gaze at us is straight and direct, not flirtatious but inviting and challenging, daring us to take her on in a race... Mucha finally had a perfect subject that justified hair in motion, and he took full advantage of it, giving her the most dizzying configurations of his famous ‘macaroni’ [hair]. The Perfecta was an English brand bicycle, which makes this one of the very few Mucha posters for an English client. It was also sold in France” (Rennert/Weill, p. 294).

This is the larger format.

Est: $25,000-$30,000.

In subdued pastels, this “quartet of barefoot young ladies represents the different times of the day. The borders are decorated in identical patterns... and the crisscross areas at the top have different floral panels. Each girl appears in an outdoor setting, with slender trees or tall flowers emphasizing her slim figure... The borders are worked out in such an exquisite pattern that each picture appears to be mounted in an elaborate frame of its own, or else seen through a decorated window. Quite possibly Mucha’s whole concept for the series was that of gothic stained-glass windows” (Rennert/Weill, p. 232). This is the only known variant of the decorative set, here used to advertise the Dewez printing firm as a promotional calendar with a 1905 calendarium.

Est: $10,000-$12,000.

A-Z | MUCHA - NITSCHE

396

398

397

Mucha

(Continued)

396. Russia Restituenda. 1922.

17 3⁄4 x 30 1⁄2 in./45.2 x 77.3 cm Melantrich, Praha Cond A-/Unobtrusive slight tears, largely at edges.

Framed.

Ref: Rennert/Weill, 108; Lendl/Prague, p. 288; Mucha/Art Nouveau, 40; PAI-LXXXII, 390 Between 1918 and 1921, during the Russian Civil War, it was all against all. Bolsheviks, White Russians, Anarchists, and seceding nationalities had each provisioned their sides by seizing food from those who grew it, giving it to their armies and supporters, and denying it to their enemies. Drought, then severe flooding in the Volga region, made matters worse. As late as 1921, Lenin refused outside aid as interference in Russian internal affairs. Mucha’s 1922 poster, portraying a starving mother and her lifeless child, is adorned with two words: “Russia Restituenda,” i.e. “Restore Russia” (to health). It was part of an international relief effort throughout Europe and the United States once Lenin relented in 1922. “Two wounded doves in the upper corners signify a Slavic nation that would die without aid, and the hearts in the lower corners express hope

in human compassion” (Mucha/Art Nouveau, p. 181).

The aid, however helpful, was belated; an official Soviet publication concluded that about 5 million deaths occurred in 1921 from famine and related disease.

Est: $1,700-$2,000.

397. The Seasons 1900 : 4 Postcards. 1900.

Each: 3 5⁄8 x 5 1⁄2 in./9.2 x 14 cm Imp. F. Champenois, Paris (not shown) Cond A/P. Framed.

Ref: Mucha/Postcards, 50-53; Bowers/Martin, p. 69-70 Champenois commissioned 7 postcard series from Mucha; this version of the “inexhaustible” seasons was part of the third series. “A new version of this motif, this time using unpublished but very accomplished sketches, certainly originally intended for some advertising. Spring is more timid than in the other versions; Summer as lush as ever; as for the Fall (among the leafy vine branches) and Winter (muffled-up), they are a derivation of Mucha’s previous drawings on this theme” (Mucha/Postcards, p. 29).

Est: $1,200-$1,500. (4)

398. Lefèvre-Utile.

Height to top of lid: 6 1⁄2 in./16.5 cm Ref: Art et Biscuits, 37 (var); PAI-XIV, 370 The colorful tin buckets for Lefèvre-Utile biscuits have become very rare. Mucha lavished great care and detail in his design of six young maidens lounging about in a floral setting.

Est: $1,700-$2,000.

MUCHA - NITSCHE | A-Z

400

399

401

A. Muñoz

Mary E. Murray

Erik Nitsche

399. Algeciras. 1948.

400. Map of Cape Cod. 1945.

401. General Dynamics / Radiation Dynamics. 1956.

27 5⁄8 x 39 3⁄4 in./70 x 101 cm Imp. Ortega, Valencia Cond A. Ref: España, 127

33 1⁄4 x 22 1⁄4 in./84.5 x 56.5 cm Cond A.

35 1⁄2 x 50 1⁄4 in./90.3 x 127.7 cm R. Marsens, Lausanne Cond A-/Slight tears at edges. P. Ref: PAI-LXXIX, 414

This sunshiny design advertises a summer fair in Algeciras, the port city in the south of Andalusia. Though it’s not expressly stipulated here, the event is likely the Royal Fair of Algeciras, which has been held almost every June since 1850. What began as a cattle market is now considered to be the city’s most important festival.

Here, we’re promised plenty of entertainment in the forms of music and dance—flamenco, to be exact.

Est: $1,200-$1,500.

This very detailed design depicts historical landmarks and recreational activities throughout “Interesting Cape Cod.” Highlights include the 1627 Aptuxcet Trading Post; golfers, fishers, hunters, and pilots; pilgrims arriving in Plymouth; beach-goers, painters, and antique shops; the Vineyard and Nantucket Sounds; and Cape Cod Bay. It’s a delightful memento for lovers of the Cape.

Est: $800-$1,000.

(1908-1998)

The sun’s radiating beams fall upon stalks of wheat and break into a spectrum in this Arabic poster from the second Atoms for Peace series in 1956. John Jay Hopkins, CEO of General Dynamics at the time, said, “Through the use of radioisotopes as tracers, plant biologists have succeeded in determining six of the ten complex chemical and mechanical processes, known as photosynthesis, whereby plants convert sunlight into carbohydrates.” Today, increasing agricultural yields has become an urgent priority as climate change rapidly increases.

Est: $1,200-$1,500.

A-Z | NITSCHE - PAL

402

403

Nitsche

(Continued)

Louis Oppenheim

(1879-1936)

402. General Dynamics / Exploring the Universe / Nuclear Fusion. 1958.

403. S. Adam / Reit-Kleidung. ca. 1913.

35 1⁄2 x 50 1⁄4 in./90.3 x 127.7 cm R. Marsens, Lausanne Cond A/P. Ref: Modern American Poster, 84; Modern Poster, 209; Images of an Era, 22; PAI-LXXIX, 409

37 1⁄2 x 28 1⁄4 in./95.3 x 72 cm Arnold Weylandt, Berlin Cond A-/Slight stains at edges.

Ref: Advertising Postcards, p. 54; Zeit Zeiger, p. 115

Nitsche’s Exploring the Universe series was displayed during the second International Conference on the Peaceful Uses of Atomic Energy held in Geneva in September, 1958.

During this Cold War period, the nuclear arms race was fierce, and the president of General Dynamics believed that their campaigns should be presented as peaceful rather than destructive. “He further understood that presenting a good public face was endemic to this goal. Nitsche’s ads for them stood out like gems, using an abstract drawing style to give a modern aura that at once hinted at General Dynamics’ often top-secret products as well as its progressive aspirations” (I Heart Design, p. 54).

Est: $1,400-$1,700.

These duds might be meant for riding horses, but we sense there’s a more human flirtation going on in this design. Oppenheim designed several posters for this Berlin apparel house, relying on (mostly) dignified comportment rather than the flash of fashion to get his point across. And while there isn’t a sign of actual jockeying being done, these two prove that the right attire is half of the sport.

Est: $2,000-$2,500.

NITSCHE - PAL | A-Z

404

406

Daphne Padden

(1927-2009)

405

Pal

(Jean de Paléologue, 1860-1942)

404. Royal Mail Cruises / “Atlantis.” ca. 1936.

405. Olympia / Brighton. 1893.

406. Savon de la Bonne Mère. ca. 1894.

25 x 40 in./63.5 x 101.6 cm Baynard Press, London Cond A-/Slight creases at top. P.

30 3⁄ 8 x 48 1⁄2 in./77.2 x 123 cm Imp. Paul Dupont, Paris Cond A-/Unobtrusive folds.

Ref: Maitres, 35; Maindron 1896, 99; Dance Posters, 33; Reims, 929; Spectacle, 1279; Femme s’Affiche, 63; Gold, 162; PAI-LXXXII, 403

45 5⁄8 x 62 7⁄8 in./116 x 159.7 cm Imp. Chardin, Paris Cond B/Tears at folds and edges.

The Royal Mail Line, a British steamship company serving far-flung locations not on the routes of the major carriers of the time, carries the poshest of travelers aboard the Atlantis, the ship which delivered the rejuvenating warmth of coastal climes to the otherwise weather impaired inhabitants of the island sovereignty.

While this particular destination is unknown, the attitude is unmistakably exciting.

Est: $1,200-$1,500.

Just as Pal was arriving to Paris from London, the Olympia was opening its doors to the public. Here, he’s clearly enjoying introducing two Parisian cancan girls to the seashore along Brighton’s famous pier to promote Leopold Wenzel’s “grand ballet.”

Est: $1,700-$2,000.

Though Pal is known for his sensuous women, modesty is the priority when depicting the Virgin Mary standing atop the globe with a baby Jesus in her arms. “La Bonne Mère” (The Good Mother) was the face of this Marseille soap brand of the same name. Marseille is famous for its oil-based hard soaps, which use sea water from the Mediterranean Sea; production dates back as far as the year 1370. Today, the famous French brand L’Occitane sells its own line of “Bonne Mère” soaps in homage to this progenitor. This is a never-before-seen Pal poster.

Est: $1,400-$1,700.

A-Z | PAL - PÉAN

408

407

Pal

409

(Continued)

For others by Pal, see Nos. 4-9 and 127 407. Folies-Bergère / La Loïe Fuller. 1897.

23 3⁄8 x 31 1⁄4 in./59.5 x 79.2 cm Imp. F. Hermet, Paris Cond B-/Slight tears at folds.

Ref: Loïe Fuller/Traces, p. 14; Loïe Fuller/Current, p. 144e; PAI-LXXIV, 133 One of the most iconic images of Loïe Fuller, Pal’s illustration catches both aspects of Fuller’s spectacle: the upsweep of the arms in her draperies, like the Winged Victory of Samothrace in kinetic action, along with the illusion of fire created by her lighting effects. The rarest of Pal’s five Loïe Fuller posters for the Folies-Bergère, it’s also the most sensuous, illuminating the dancer barebreasted, yet whirling in fabric.

Est: $2,000-$2,500.

408. Craen Cigares.

409. Casino de Paris / Championnat de Lutte. ca. 1899.

20 1⁄4 x 28 in./51.3 x 71 cm Imp. J. E. Goossens, Bruxelles Cond A-/Slight stains at edges.

36 1⁄4 x 50 1⁄2 in./92 x 128.4 cm Affiches R. Chardin, Paris Cond B-/Slight tears at folds and edges.

Ref: PAI-XXIV, 465

Now here’s a liberated woman: donning pants (the outrage!), wearing a bow tie (radical), and smoking a cigarette (inconceivable!). The older couple in outdated frilly frocks are astounded that this lady is asking them for a light, but her female companion finds it all quite amusing. Despite advertising an Antwerp cigar shop, there is not a cigar in sight—only the hedonistic slim cigarette. Rare!

Est: $1,200-$1,500.

Here’s a far cry from Pal’s usual voluptuous female figures. Instead, mustachioed English and French wrestlers wearing trunks in their respective national colors give visual impact to the announcement of a championship match at the Casino de Paris.

Est: $1,400-$1,700.

PAL - PÉAN | A-Z

410

412

411

René Péan

(1875-1940)

410. “Standard.” ca. 1900.

411. Moulin Rouge. 1901.

412. IV International Automotive Exposition. 1913.

24 3⁄8 x 31 in./62 x 78.8 cm Imp. Agence Standard, Paris Cond A-/Unobtrusive folds.

Ref: PAI-LXII, 465

34 1⁄8 x 48 1⁄4 in./86.8 x 122.5 cm Imp. Chaix, Paris Cond A. Ref: Spectacle, 1264

29 x 41 in./73.7 x 104 cm Imp. Chaix, Paris Cond B+/Slight tears and stains at edges.

Ref: Auto Posters, p. 23 (var); PAI-XI, 340

Purchased by Singer in 1929, the Standard Sewing Machine company had been operating out of Cleveland since 1884. Here, a woman coquettishly looks out at us behind a lacy sheet of fabric to advertise its French distributor.

Joseph Oller had a knack for Parisian entertainment: he constructed a roller coaster on the Boulevard des Capucines called “Montagnes Russes.” It was a big hit. So after co-founding the Moulin Rouge in 1889, he decided to add a roller coaster to the concert hall.

The “Nouvelles Montagnes Russes” was erected in the garden of the venue, and according to this poster, it was not only a thrilling attraction, but also an opportunity for Montmartre’s most fashionable guests to strut their stuff above the crowds.

A stunning blend of fashionable Parisian sensibility and rich Russian cultural heritage combines to marvelous effect in this Péan design for the St. Petersburg 4th International Automobile Expo, arranged under the sponsorship of His Exalted Imperial Majesty (Tsar Nicholas II), at the Mikhailov Arena. Péan was a pupil of Chéret; he worked under him at the Chaix printing firm. He specialized in theatre 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. This is the rare proof before letters.

Est: $1,200-$1,500.

Est: $2,000-$2,500.

Est: $1,700-$2,000.

A-Z | PEARS - RHEAD

413

Charles Pears

(1873-1958)

413. The Isle of Man. ca. 1955.

44 1⁄2 x 39 1⁄2 in./125.7 x 100.4 cm Stafford & Co., Great Britain Cond B/Slight stains and creases in background. Framed.

Ref: Voyage, p. 77; PAI-LXXXII, 4 A joyously leaping woman with a colorful beach ball promises lots of seaside pleasure on the Isle of Man, midway between England and Ireland. Pears was a maritime painter, an Official Naval Artist in both the First and Second World Wars, and between the wars, he was a favorite posterist of the British railways and the London Underground.

Est: $3,000-$4,000.

Edward Penfield

(1866-1925)

414. Harper’s / November. 1896.

13 1⁄2 x 18 in./34.4 x 45.6 cm Cond A. Ref: DFP-I, 362; Lauder, 186; PAI-LXXX, 463 Always eager to imply that Harper’s readers are of a certain social class and educational background, Penfield gives us a smartly dressed gentleman traveling in his hansom cab.

414

Est: $1,200-$1,500.

PEARS - RHEAD | A-Z

415

417

Francisque Poulbot 416

(1879-1946)

J. L. Rey

415. Chocolat Guerin-Boutron.

417. Santa Eulalia / Invierno. 1923.

46 1⁄4 x 61 3⁄4 in./117.4 x 157 cm Phogor, Paris Cond B+/Slight tears and stains at folds.

31 1⁄4 x 49 1⁄4 in./79.5 x 125 cm Seix & Barral, Barcelona Cond B/Stains at folds and edges.

Founded in 1775 in Paris, Chocolat Guérin-Boutron continues production to this day in Brussels. Here, two young twins delight in the company’s chocolate bars.

While advertising the summer offerings at the Santa Eulalia store in Barcelona, this inventive Art Deco design could almost be the cover of a mystery novel. Using sharp angles and experimental text, Rey creates a most evocative scene. Rare!

Est: $1,200-$1,500.

Reinoso

Est: $2,000-$2,500.

416. Boris Kniaseff. ca. 1926.

46 1⁄2 x 62 5⁄8 in./118 x 159 cm Affiches Gaillard, Paris Cond B/Slight tears, largely in text area.

Ref: PAI-LXXXII, 425 Emigrating from Russia to Paris in 1924, Boris Kniaseff quickly became known as both a gifted dancer and teacher, developing the floor barre method that is still used today. Here, his lithe form is contorted to promote an Egyptian themed ballet, much in tune with the lavish Oriental style of the Ballet Russe.

Est: $1,700-$2,000.

418

Louis J. Rhead

(1858-1926)

418. The Quartier Latin. 1899.

15 1⁄8 x 23 1⁄8 in./38.5 x 58.7 cm Imp. Chaix, Paris Cond B+/Tear at horizontal fold.

Ref: DFP-I, 472; Lauder, 271; PAI-LXX, 611 The Quartier Latin was the literary arts magazine for young British and American expats in Belle Époque Paris, featuring contributors such as Jack B. Yeats, Kate Adair, and J.K. Huysmans. While American writers decried The Quartier Latin for the “total lack of decorous restraint which should exist between young people” (The Evils of the Latin Quarter, Chicago Tribune, 1899), all is elegant artistry in Rhead’s cover illustration.

Born in England, Rhead found equal success in London, New York, and Paris; his 1895 exhibition of posters in New York was America’s first.

Est: $1,700-$2,000.

A-Z | RICHTER - ROSSI

419

421

Aladár Richter

(1898-?)

Manuel Robbe

(1872-1936)

419. Megnyílt Hirdetö. 1933.

421. Corsets “Le Furet.”

37 3⁄8 x 49 3⁄4 in./95 x 126.3 cm Pogány Zsigmond, Budapest Cond B+/Slight tears, largely in bottom text.

Ref: Crouse/Deco, p. 104

39 1⁄4 x 55 in./99.6 x 139.8 cm Affiches Atlas Cond A-/Unobtrusive folds.

Ref: PAI-XXVII, 570

“Mercury—the fleet-footed Roman god of trade and communication, whose name derives from a Latin root word that applies to merchandise and wages—gets a Cubist makeover in this Richter promotion announcing the opening of Budapest’s Vállalatának public relations firm. Modern art freely intermingles with the classical motif as the artist relies on strict geometry and stark color contrast to create a Mondrian-like centerpiece. Like Robert Louis’s Pierce-Arrow and Charles Loupot’s Mira, this is one of the few posters of the era to use silver paper. It relays a pointed message that clever public relations can be used to creatively call attention to any product. The resulting artwork is smart and sophisticated yet easily understood and stylish” (Crouse/Deco, p. 104).

For Le Furet corsets, Robbe gives us a wistfully intimate portrait of a woman at her vanity, exquisitely detailed and frosted with the romance of midsummer hues. It’s a gorgeous design, from the silver-topped crystal jars on the dressing table to the unaffected demeanor of his primper. Robbe was known mainly for producing a great many decorative prints in a bold, robust style. His posters are rare, and show an incredible flair for compositions and use of simple colors.

Est: $1,700-$2,000.

Est: $5,000-$6,000.

Robys

(Robert Wolff, 1916-?)

422. Bitter Secrestat. 1935.

Alejandro de Riquer

(1856-1920)

420. The Seasons / Autumn. 1900.

22 1⁄4 x 46 in./56.5 x 117 cm Cond A. Ref: Weill/Art Nouveau, p. 54; Cataluña, 28; PAI-LXX, 614

420

“In Spain, de Riquer has executed some charming decorative panels, which are worthy to rank with the best efforts of Mucha. The set representing the four seasons... are single-figure studies in the open air, and treat the subjects from an original and unconventional point of view” (Rogers, p. 127). Here, this contemplative image represents autumn.

Est: $2,000-$2,500.

78 1⁄ 8 x 50 3⁄4 in./198.5 x 129 cm L. Marboeuf, Paris Cond A-/Slight tears at folds.

Ref: Karcher, 132; Apéritif, 72; PAI-LXXI, 475 This dynamic design announces a beverage claiming to be the oldest form of Gentian mixer.

Est: $2,000-$2,500.

RICHTER - ROSSI | A-Z

422

423

Roedel

424

425

M. Rogers

Lucius Rossi

423. Moulin Rouge. 1897.

424. Ulster for Health. ca. 1925.

425. Blossoming Affection. ca. 1905.

33 3⁄4 x 47 3⁄4 in./85.6 x 121.4 cm Imp. Chaix, Paris Cond B/Recreated borders.

Ref (all var but PAI): DFP-II, 759; Abdy, p. 69; Wember, p. 74, no. 687; PAI-LXVII, 493

25 x 40 1⁄4 in./63.6 x 102.3 cm David Allen & Sons, Belfast Cond A.

12 7⁄8 x 27 in./32.7 x 68.5 cm Imp. F. Champenois, Paris (not shown) Cond A. Framed.

Ref: Champenois, p 101 (var); PAI-LXXXIII, 446

(1859-1900)

Roedel was a caricaturist, illustrator, watercolorist, and lithographer who aligned himself with a group of artists in Montmartre including Willette, Leandre, and Caran d’Ache. He supplied drawings for Le Courrier Français and produced posters, mostly for the local cabarets and theatres. Here, a conservatively dressed young woman does up her cape after an evening at the Moulin Rouge.

This is the before-letters version of the poster.

Est: $1,200-$1,500.

Rogers gives us a simply charming image of a girl and her dog strolling on the beach in Ulster. The northern Irish province is home to Belfast and plenty of natural respites, including a massive coastline for optimal beach outings.

Est: $1,200-$1,500.

(1846-1913)

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: $2,000-$2,500.

A-Z | ROYON - SAVIGNAC

426

427A

Louis Royon

(1882-1968)

Fritz C. Rumpf

(Friedrich Carl Georg, 1888-1949)

426. Armement Deppe. 1936.

427A. Söhnlein Rheingold. ca. 1914.

41 1⁄2 x 26 7⁄8 in./105.2 x 68.2 cm E. Stockmans, Anvers Cond A-/Slight tears at edges.

34 3⁄4 x 23 1⁄ 2 in./88.5 x 59.6 cm Curt Behrends, Berlin Cond A-/Slight creases in background. P. Ref: DFP-II, 2757; Femme s’Affiche, 41; Graphic Design/Taschen, p. 155; Masters 1900, p. 169; PAI-LXXXIII, 448

The Armement Deppe shipping company was established in 1863 in Antwerp with routes to Central and South America. Royon shows the busy port activity in Antwerp with the Cathedral of Our Lady arising in the distance.

Est: $1,200-$1,500.

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. This printing boasts vivid colors!

Est: $3,500-$4,000.

ROYON - SAVIGNAC | A-Z

427B

Salon des Cent 427B. Salon des Cent : 3 Posters.

Each approx.: 16 x 23 1⁄2 in./40.5 x 59.7 cm Cond B+/Slight stains at edges.

Ref: DFP-II, 729, 756, & 766 This lot comprises three posters from the esteemed Salon des Cent exhibition series: an 1894 design by Richard Ranft, an 1895 image

by Gaston Roullet, and another from 1895 by Edmond Andre Rocher.

Stylistically and color-wise, they’re a very complementary trio.

Est: $1,700-$2,000. (3)

Raymond Savignac

(1907-2002)

428. Perrier / Pschitt. 1951.

63 x 91 7⁄8 in./160 x 233.5 cm De Plas, Paris Cond A. Ref: Savignac, 69; Modern Poster, 35; PAI-LXIV, 469 One of Savignac’s most inspired and famous designs, this poster truly made Perrier a household name. Below, the text reads “the water that goes pschitt”—the perfect articulation of the noise which occurs when you remove the bottle cap. This is the two-sheet version of the poster.

Est: $3,000-$4,000.

428

A-Z | SAVIGNY - SCHNACKENBERG

429

430

431

P. Savigny

Émile André Schefer

429. Bal des Etudiants. 1905.

430. PLM. 1935.

431. Peter Pathe / Maria Hagen. 1918.

45 ⁄8 x 73 ⁄8 in./116 x 185.7 cm Imp. Delaroche, Lyon Cond A-/Slight tears in bottom text.

Ref: PAI-XIV, 439

10 ⁄8 x 16 in./27 x 40.7 cm Cond A. Ref: Train à l’Affiche, p. 70

35 3⁄8 x 48 3⁄8 in./90 x 123 cm O. Consée, München Cond B+/Slight tears at top and bottom edges.

Ref: Schnackenberg, unnumbered; Plakate München, 419; Femme s’Affiche, p. 50; PAI-LXXVI, 414

5

1

The guard at the students’ ball is doing his best to resist the temptation of accepting a drink while on duty from a seductive siren. Unfortunately, we have not seen any other work by this Lyonese designer, but this sample shows he knew how to use humor to create an amusing scene.

(1876-1942)

5

Though not advertising a specific destination, this austere small-format design does express some of the grandeur of departing on a new journey. This image was used again with different text to promote PLM trips to the Côte d’Azur (see PAI-LXV, 466).

Est: $1,200-$1,500.

Est: $1,700-$2,000.

FOR A SEARCHABLE DATABASE OF EVERY POSTER WE’VE EVER SOLD AT AUCTION, VIEW OUR POSTER PRICE GUIDE AT POSTERAUCTIONS.COM

Walter Schnackenberg

(1880-1961)

Schnackenberg came from the generation of German artists who valued color and simplicity when creating a design. By placing figures in front of abstract backgrounds, he drew attention to and emphasized the product or celebrity being promoted by the poster without being overbearing. Here, the ballet duo Peter Pathe and Maria Hagen are portrayed with such elegance and grace that one knows the type of music to which they are performing without actually hearing it. The feather-light touch of their fingers, his chin almost brushing her hair as she leans forward, implies that this is that moment in the performance where their bodies echo the swell of the music before falling back into motion. A haunting and truly beautiful design.

Est: $12,000-$15,000.

SAVIGNY - SCHNACKENBERG | A-Z

432 432. Peter Pathe / Maria Hagen. ca. 1918.

35 3⁄8 x 48 1⁄8 in./89.8 x 122.3 cm O. Consée, München Cond B/Slight tears in background.

Ref: Schnackenberg unnumbered; Plakate München, 419; Takashimaya, 151; Encyclopédie/Weill, p. 230; Le Coultre, p. 225; PAI-LXIV, 480 One of several posters Schnackenberg created for this Munich-based ballet duo, this image promotes an act they dubbed “Light and Shadows”—a spin on the “Beauty and the Beast” theme. It is at once highly expressionistic and extremely tender, and employs a remarkable balance of emotions in a visually gripping composition. Schnackenberg borrows some of Lautrec’s silhouetting to create the menacing plane of the devil’s black shadow, while the girl’s figure—formed from the white of the paper—slashes through the darkness. The effect makes her appear candescent.

Est: $25,000-$30,000.

A-Z | SCHNACKENBERG - SOLON

433

434

Schnackenberg

(Continued)

433. Costume Design / Clowns. 1920.

434. Costume Design / Pan. 1920.

14 3⁄4 x 12 1⁄8 in./37.6 x 31 cm Watercolor, gouache, and ink drawing. Framed.

Ref: Schnackenberg 1880-1961, p. 11

14 3⁄4 x 12 1⁄ 8 in./37.6 x 31 cm Watercolor, gouache, and ink drawing. Framed.

Ref: Schnackenberg 1880-1961, p. 11

Schnackenberg was very involved in theatrical work and created numerous set and costume designs. Here, for an unknown performance, he envisions the cast in ornate costumes; annotations detail measurements of the stage and provide instructions to the stage builders.

In this design and in the following, Schnackenberg depicts famous dancers who he illustrated in other works: Lo Hesse, Joachim von Seewitz, Grit Hegesa, and Sent M’Ahesa.

In this fanciful design, Schnackenberg imagines the costumes and set design for a performance featuring Pan, the Greek god of the wild.

Provenance: Artist’s studio.

Est: $10,000-$12,000.

Provenance: Artist’s studio.

Est: $10,000-$12,000.

SCHNACKENBERG - SOLON | A-Z

435

436

437

Louis B. Siegriest

(1899-1989)

Albert Solon

(1897-1973)

435. Verliebtes Krähwinkel. 1935.

436. Indian Court. 1939.

437. St. Raphaël. 1935.

23 5⁄8 x 31 1⁄4 in./60 x 79.5 cm Kunst im Druck, München Cond A/P. Ref: PAI-LX, 473

25 1⁄8 x 35 7⁄8 in./64 x 91.3 cm Federal Art Project, WPA Cond A-/Slight tears at edges.

Ref: PAI-LXXX, 485

62 1⁄8 x 45 3⁄8 in./158 x 115.2 cm Imp. St. Raphaël, Paris Cond A-/Unobtrusive folds.

One of the artist’s more feminine and tender designs, this poster advertises a staged performance of Verliebtes Krähwinkel (loosely translated as Love in the Boondocks) at the Four Seasons Hotel.

An Eskimo mask, situated just so by Louis B. Siegriest, nearly becomes a work of abstract expressionism in this extraordinary poster for the 1939 Golden Gate International Exposition. This was a kind of “World’s Fair” on San Francisco’s Treasure Island to inaugurate both the Golden Gate and Oakland Bay bridges, which had opened in recent years. The theme was “Pageant of the Pacific.” FDR spoke: “May this, America’s World’s Fair on the Pacific in 1939, truly serve all nations in symbolizing their destinies, one with every other, through the ages to come.”

Siegriest produced a portfolio of posters for the event; this is perhaps the most fascinating of them.

Provenance: Artist’s studio.

Est: $1,700-$2,000.

Est: $1,200-$1,500.

Solon takes St. Raphaël’s waiters—originally designed by Loupot—out of the bar and out for a drive. Though he stays true to Loupot’s color scheme, Solon has added more human details to the men’s faces. The design is noted as “d’après Ray,” though we’re unsure of who Ray might be. Interestingly, we know of two more 1935 designs for St. Raphaël with the same characters; one, by Hardy, shows the waiters on water skis and is “d’après Ray,” while another anonymous design with the waiters on skis is “d’après Solon.” It would appear these artists were engaged in a bit of creative tug-of-war. We hope one of our astute readers will resolve the mystery for us.

Est: $6,000-$8,000.

A-Z | SOLON - STEINLEN

438

440

Léon-Victor Solon

(1873-1957)

438. The Studio. ca. 1897.

24 1⁄2 x 35 3⁄4 in./62.3 x 90.6 cm Cond A-/Unobtrusive folds.

An important figure of the British Modern Style, Solon lent his creative aptitude to The Studio—an illustrated fine arts and decorative arts magazine published in London from 1893-1964—with this inspired design. Solon found success mainly as a ceramist and textile designer; after emigrating to the United States in 1909, he found work at Rockefeller Center; Solon designed the color scheme for the building and was responsible for the polychroming of the sculptural decorations on its exterior.

Est: $1,400-$1,700.

439

Saul Steinberg

(1914-1999)

439. The New Yorker / View of the World from 9th Avenue. 1976.

Bernd Steiner

(1884-1933)

440. Norddeutscher Lloyd Bremen. ca. 1928.

29 x 42 1⁄8 in./73.8 x 107 cm Cond A/P. Ref: PAI-LXXXI, 450

28 3⁄4 x 41 3⁄8 in./73.2 x 105 cm Jontzen, Bremen Cond B/Slight tears at folds and edges.

Ref: PAI-XIV, 452

Steinberg’s 1976 cover for The New Yorker, also used as a poster, became legendary, iconic, endlessly copied and parodied throughout global culture, and a paragon of wit. Cover illustrations for The New Yorker have always set the bar for flashes of deep insight. But none surpass Saul Steinberg’s succinct encapsulation of a Manhattan mindset: globally self-important, yet improbably, paradoxically, deeply provincial at the same time.

The transatlantic routes of the steamship company are shown on a globe while the New York skyline dominates the upper half, and a picturesque coastal scene floods the bottom. Steiner was for a time the art director of the City Theater at Bremen, but in 1919 he started doing posters for the magazine Motor, and in the 1920s he became the house graphic designer for Norddeutscher Lloyd.

Est: $2,000-$2,500.

Est: $1,200-$1,500.

T. A. STEINLEN

441

Théophile-Alexandre Steinlen

(1859-1923)

441. A la Bodiniére / Exposition T. A. Steinlen. 1894.

31 1⁄4 x 22 7⁄ 8 in./79.5 x 58.2 cm Imp. Charles Verneau, Paris Cond A-/Slight tears at right paper edge. Framed.

Ref: Bargiel et Zagrodzki, 14; Crauzat, 492; DFP-II, 782; Steinlen’s Cats, 20; Steinlen/Genéve, 30; Reims, 1025; PAI-LXIII, 555 To advertise his important first exhibition of paintings, drawings, and posters at the Bodiniére gallery, Steinlen returns to a favorite subject: his cats. The simple but masterful sketch justly remains one of the great posterist’s most famous and beloved images.

Est: $8,000-$10,000.

REGISTER FOR ONLINE BIDDING AT POSTERAUCTIONS.COM

A-Z | STEINLEN

442

Steinlen

(Continued)

442. Chat Noir / Prochainement. 1896.

39 3⁄8 x 56 1⁄8 in./100 x 142.6 cm Imp. Charles Verneau, Paris Cond A. Framed.

Ref: Bargiel & Zagrodski, 22; Crauzat, 496; DFP-II, 787; Wagner, 63; Timeless Images, 51; Lautrec/Montmartre, 104; Posters of Paris, 82; Affiches 1000, 0027; PAI-LXXIX, 479 One of the world’s most famous posters, and an icon of Art Nouveau, Steinlen’s “Chat Noir” plays on some of Mucha’s signature flairs—the cat’s halo, the curve of the tail redolent of Mucha-maidens’ tousled hair—to create an indelible symbol at once wicked, subversive, seductive, and silly. Steinlen morphs his favorite subject into a new siren for the Parisian nightclub scene. It was so popular that it was used in a variety of forms over the years. Later, after Rodolphe Salis fell ill and was unable to perform with the company, the “avec” preceding his name was replaced with “de,” both as a tip-on and in a new edition of the poster. This is the large format version of the design.

Est: $17,000-$20,000.

STEINLEN | A-Z

443

444

443. Lait pur Stérilisé. 1894.

444. Winter Cat / Summer Cat. 1909.

38 1⁄8 x 53 1⁄2 in./96.8 x 136 cm Imp. Charles Verneau, Paris Cond A. Framed.

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-LXXXIII, 456

Each: 24 1⁄4 x 19 3⁄4 in./61.6 x 50.2 cm Imp. R. Engemann, Paris (not shown) Cond A. Ref: Crauzat, 282 & 293; Steinlen’s Cats, 15 & 16; PAI-LXXVII, 367

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.

The comfortably reclining Winter feline was originally used to announce an exhibition of artists who paint animals at the Cercle International des Arts in the spring of 1909.

Apparently, it was so warmly received that a separate lithograph without letters was published, using a different printer, with only minimal changes—for example, the background color, beige in the poster, is here grey. The publisher, Sagot, titled it “L’Hiver Chat sur un Coussin” (Winter Cat on a Pillow) and coupled it with a companion, “L’Été Chat sur un Balustrade” (Summer Cat on a Balustrade): “the cheetahlike cat of summer drops a hind leg and its tail over the edge of the railing to catch a breeze. Its yellow eyes squint less with ferocity than with lassitude” (Steinlen’s Cats, p. 48). We present both in a single lot. The Winter cat poster is hand-signed by the artist.

Est: $8,000-$10,000. (2)

A-Z | STEINLEN - THEODORO

446

445

Steinlen

Francisco Tamagno

(Continued)

(1851-1933)

445. La Veine : Drawing. 1914.

447. L’Absinthe Cusenier Oxygénée. 1896.

11 7⁄8 x 15 5⁄8 in./30.2 x 39.7 cm Signed crayon drawing. Framed.

Ref: PAI-LVII, 253

25 5⁄8 x 34 3⁄8 in./65 x 87.3 cm Affiches Camis, Paris Cond B/Slight creases.

Ref: DFP-II, 807; Reims, 1042; Absinthe, p. 107; Boissons, 285; Célébrités, 208; PAI-LXXVIII, 456

This sympathetic treatment of an elderly man is labeled “La Veine” on the verso. It is not clear if this was intended for a book or magazine illustration, or meant to be a stand-alone print; in any case, it is a wonderfully expressive rendering.

Est: $2,500-$3,000.

447

A young woman peering into a café 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 smaller format.

Est: $1,400-$1,700.

Niklaus Stoecklin

(1896-1982)

446. Binnenschiffahrt / Wasserkraftnutzung. 1926.

35 1⁄2 x 50 1⁄4 in./90 x 127.5 cm Cond B+/Slight tears and stains at edges.

Ref: Stoecklin, p. 55; PAI-XVI, 469 An international navigation exhibition in Basel is announced by a blue figure holding up a boat. Stoecklin was a leading exponent of the style that came to be known as the New Objectivity, in which clean and forcefully depicted products are the sole carriers of the advertiser’s message. As can be seen here, the same bold simplicity works even when there is no product to be sold.

Est: $1,700-$2,000.

448. Cachou Lajaunie. ca. 1900.

38 1⁄2 x 50 3⁄4 in./97.7 x 128.8 cm B. Sirven, Paris Cond A-/Slight tears at edge.

Ref: Health Posters, 220; PAI-LXXIV, 445 Tamagno’s truly remarkable work here is in the background. Each one of the six gentlemen is a fully formed, individual personality—despite representing “a sample of the professions where the Cachous were deemed particularly indispensable, notably: chauffeurs... racing cyclists, magistrates and tobacco vendors.” Their winning smiles and witty glances show Tamagno’s “great technical virtuosity, and faultless artistic sense” (Health Posters, p. 169) in promoting breath fresheners for tobacco smokers.

Est: $1,700-$2,000.

448

STEINLEN - THEODORO | A-Z

449

450

Lance Thackeray

(1869-1916)

Theodoro

451

(Théodore Pfeifer, 1896-1973)

449. Nestlé’s Swiss Milk.

450. Chemins de Fer de l’Est. 1929.

451. France-Algerie-Maroc. 1933.

29 5⁄8 x 20 1⁄8 in./50.4 x 51 cm Eyre & Spottiswoode, London Cond A-/Unobtrusive folds.

Ref: PAI-LXXXI, 459

24 5⁄8 x 39 1⁄4 in./62.5 x 99.6 cm Imp. C. Courtois, Paris Cond B+/Slight tears at bottom edge.

Ref: PAI-LXX, 657

Thackeray presents a strong case for the freshness of Nestlé’s Milk: a plump man on a walk through the farm asks, “Where are you going to my Pretty Maid?”

The similarly robust woman responds with a smile, “A Milking for Nestlé’s, Sir.” Equal parts charming and tongue-in-cheek, it’s a rare work by the littleknown Thackeray, who specialized in comic sporting illustrations and postcard prints.

This marvelous Art Deco design superimposes the Chemins de fer de l’Est’s dual routes on top of a powerful image of a train against the Alps.

24 1⁄8 x 39 in./61 x 99 cm Imp. Courtois, Paris Cond B/Slight tears at folds.

Ref: Tourism/Suntory, 142; Shackleton, 133; PAI-VI, 277 (var)

Est: $1,000-$1,200.

Est: $1,700-$2,000.

This railroad offers trips to Morocco and Algiers on a package basis including rail, ocean, and air travel.

A map of the system is superimposed on stylized silhouettes of all three means of transit. “The world has become much closer with the advent of steam ships, steam locomotives, and planes. Although the means of transportation are competitors to each other, they probably cooperated in this way to promote tourism.

The design makes you feel the speed of locomotives and airplanes” (Tourism/Suntory, p. 98).

Est: $1,400-$1,700.

HENRI DE TOULOUSE-LAUTREC

452

Henri de Toulouse-Lautrec

(1864-1901)

452. Moulin Rouge / La Goulue. 1891.

48 ⁄4 x 67 ⁄4 in./124 x 171 cm Imp. Ch. Levy, Paris Cond A-/Slight tears at top edge. Framed.

Ref: Wittrock, P1B; Adriani,1; DFP-II, 822; Maitres, 122; Wagner, 1; Weill, 46; Wine Spectator, 40; PAI-LXXXII, 447 3

1

Both Lautrec’s first poster as well as his first lithograph, the Moulin Rouge design marked not only a new direction for the artist, but for art and advertising in general. It is a masterpiece in every respect of the word, magnificently capturing the essence of two popular performers at the music hall: the dancer La Goulue and her partner Valentin le Désossé. By leaving the paper blank, Lautrec captures at dead center the heart and soul

of the cancan: the rush and swirl of layer upon layer of lacy petticoats, erotically calling to the viewer. In a letter to his mother, Lautrec writes: “I am still waiting for my poster to come out—there is some delay in the printing. But it has been fun to do. I had a feeling of authority over the whole studio, a new feeling for me” (Lautrec by Lautrec, p. 90). This is the two-sheet version of the poster, without the top text banner. It should be noted that this is the way that it was sold in the 1890s. With the missing banner, it would have been too large for the print galleries and print collectors who began the collecting craze of the era. And how prized was this image at the time? Arnould, in his 1896 catalogue, sold it for the highest price of any French poster: 25 francs, which was 10 times the price of the Elles poster and five times the price of La Revue Blanche. It was rare then—and it’s rarer still today!

Est: $230,000-$260,000.

TOULOUSE-LAUTREC | A-Z

453

453. Reine de Joie. 1892.

37 ⁄8 x 56 in./95.5 x 142.3 cm Imp. Edw. Ancourt, Paris Cond A. Framed.

Ref: Wittrock P3; Adriani, 5; DFP-II, 823; Wagner, 4; Posters of Paris, 88; Wine Spectator, 49; PAI-LXXXII, 450 5

Victor Joze, a Polish writer of cheap erotic novels and a friend of Lautrec, in 1892 published “Reine de Joie/Moeurs du Demi-Monde” (Queen of Joy, or, The World of Easy Virtue). It was a perfect subject for Lautrec. The episode shown is one in which the

heroine of the novel, Hélène Roland, kisses the corpulent Olizac on the nose at dinner.

At the insistence of Baron Rothschild—who believed the main character in the novel, a Baron Rosenfeld, to be modeled on himself—attempts were made to suppress the entire edition. This did not, however, prevent the publishers of Fin de Siècle from riding on the publicity of such a scandal and selling parts of the story. As Ebria Feinblatt notes: “The poster is one of the most piquant and popular that the artist produced... Aside from the acutely realistic characterizations, the impact of the composition lies in the skillful use of pure color to model the forms, which assume an abstract quality” (Wagner, p. 19).

Est: $60,000-$70,000.

A-Z | TOULOUSE-LAUTREC

454

Toulouse-Lautrec

(Continued)

454. La Goulue et sa Sœur. 1892.

15 x 19 ⁄4 in./38 x 50.2 cm Imp. Edw. Ancourt, Paris Cond A. Framed.

Ref: Wittrock, 1; Adriani, 6; PAI-XXIX, 498 3

This is the very first limited edition print by Lautrec, one of 100 signed and numbered copies, with Ancourt’s stamp. It was published “by the art-dealers Boussod, Valadon et Cie., where Lautrec’s old friend and later biographer, Maurice Joyant, was manager. The print was offered for sale in October 1892 for 20 francs... As early as July the artist claimed to be so far highly satisfied with the results of his experiments in the field of colour lithography:

‘My little efforts have turned out perfectly and I’ve caught onto something which can lead me quite far—so I hope” (Adriani, p. 28). Shown entering the Moulin Rouge is La Goulue (Louise Weber, 1870-1929) with her sister, Jeanne Weber. As opposed to her audacious cancan in the prior year’s Moulin Rouge poster, she is demurely entering the music hall with her trademark chignon piled high on top of her head. Much as he did with Aristide Bruant, Lautrec shows us La Goulue from behind and the effect in both cases is to strengthen the position and personality of the performer—so well-known, so self-assured that they can show us their backs and get away with it. It’s a rare and exquisite print.

Est: $60,000-$70,000.

TOULOUSE-LAUTREC | A-Z

455

455. Confetti. 1894.

16 ⁄2 x 22 in./42 x 56 cm Imp. Edw. Ancourt, Paris Cond A/P. Framed.

Ref: Wittrock P13; Adriani, 101; DPF-II, 834; Wagner, 14; Wine Spectator, 53; Driehaus, p. 105; Reims, 799; PAI-LXXX, 496 1

Confetti has been with us since the Middle Ages, for weddings, triumphs, and seasonal red-letter days. But in the 19th century, “confetti” took the form of plaster lozenges. They made a mess. They hurt people. J. & E. Bella paper manufacturers of London had a better way: flecks of paper that were as pretty as they were harmless. The J. & E. Bella Co.

commissioned this poster from Lautrec, then featured it as the catalog cover for one of the poster exhibitions the company hosted at the London Aquarium. “Confetti epitomizes Lautrec’s conceptual simplicity; broad masses are effectively defined with utmost economy of means. His deftly inflected lines emerge more calligraphically by virtue of the light-colored image, with its broad sweep of billowing, off-white dress. In this poster Lautrec’s dematerialization of form borders on abstraction” (Wagner, p. 2526). The result: Toulouse-Lautrec’s delightful, gladdening design popularized the new form of confetti, literally transforming the way the world celebrates.

Est: $40,000-$50,000.

A-Z | TOULOUSE-LAUTREC

456

Toulouse-Lautrec

(Continued)

456. May Milton. 1895.

24 1⁄8 x 31 in./61.3 x 78.8 cm Imp. Edw. Ancourt, Paris Cond A. Framed.

Ref: Wittrock, P17A; Adriani 134-I; PAI-LXXVIII, 461 With a banjo-playing clown as a remarque in the lower right corner, this distinctive version of May Milton was printed in an edition of just 25 copies. “Extremely rare,” says Wittrock (p. 788). An English dancer at the Moulin-Rouge, May Milton was in an affair with May Belfort (see No. 457). 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). This is hand-signed and numbered 6 from an edition of 25 copies, and extremely rare!

Est: $70,000-$90,000.

TOULOUSE-LAUTREC | A-Z

457

457. May Belfort. 1895.

24 x 30 7⁄8 in./61.5 x 78.5 cm Imp. Edw. Ancourt, Paris Cond A-/Slight stains at edges. Framed.

Ref: Wittrock, P14A; Adriani, 126-III; PAI-LXXXII, 455 This limited edition print includes Lautrec’s cat remarque, and is one of 25 copies. “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. According to Wittrock, this is the “extremely rare” version: number 6 of 25 hand-signed and numbered copies with the cat remarque.

Est: $80,000-$100,000.

A-Z | TOULOUSE-LAUTREC

Toulouse-Lautrec

(Continued)

458. Marcelle Lender, en Buste. 1895.

10 3⁄4 x 14 1⁄4 in./27.5 x 36.3 cm Cond A/P. Framed.

Ref: Wittrock, 99-IV; Adriani, 115-IVa; PAI-LXXXII, 460A

458

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). This is the Pan edition.

Est: $8,000-$10,000.

459. La Revue Blanche. 1895.

36 7⁄8 x 50 3⁄4 in./93.7 x 128.8 cm Imp. Edw. Ancourt, Paris Cond A. Ref: Wittrock, P16B; Adriani, 130-II; Driehaus, p. 117; PAI-LXXXIII, 468 “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).

Provenance: Vincent Price Collection.

Est: $17,000-$20,000.

460. Aristide Bruant Dans Son Cabaret. 1893.

38 7⁄8 x 53 1⁄2 in./98.8 x 136 cm Imp. Edw. Ancourt, Paris Cond A. Ref: Wittrock, P9C; Adriani, p. 130; Maitres, p. 82; DFP-II, 827; PAI-LXXXI, 477 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, with his red scarf forming an exclamation point on it. The pose itself makes a complete, self-contained statement—Toulouse-Lautrec at his very best.

459

Est: $40,000-$50,000.

TOULOUSE-LAUTREC | A-Z

460

A-Z | TOULOUSE-LAUTREC

Toulouse-Lautrec

(Continued)

461. Aristide Bruant.

461

15 x 19 3⁄4 in./38 x 50 cm Cond A/P. Framed.

Ref: PAI-LXXXIII, 469 (var) This is a rare variant of the previous lot, without text, numbered 51⁄100, with the signature of Bruant.

Est: $8,000-$10,000.

462. Le Deuxième Volume de Bruant. 1893.

22 3⁄4 x 29 7⁄8 in./57.8 x 76 cm Imp. Chaix, Paris Cond B/Slight tears at folds. Framed.

Ref: Wittrock, P10C; Adriani, 57-IV; DFP-II, 832; PAI-LX, 513 In one version of this poster, we see the chansonnier with text announcing the opening of his new cabaret (see PAI-LXXVI, 444), and in another the text gives us the price of beer at the Mirliton (see PAI-LXXIV, 463). In this one, the sale of a songbook by Bruant, illustrated by Steinlen, is promoted. Both are distinguished

by Bruant’s insolent stance: the point made is that we can recognize the famous performer not only despite his turning his back to us, but because of it.

Est: $7,000-$9,000.

463. Divan Japonais. 1893.

23 3⁄4 x 37 1⁄4 in./60.3 x 79.4 cm Imp. Edw. Ancourt, Paris Cond A-/Slight stains at edges. Framed.

Ref: Wittrock, P11; Adriani, 8; DFP-II, 824; Maitres, 2; Wagner, 3; Modern Poster, 5; Wine Spectator, 42; Posters of Paris, 92; Lautrec/Montmartre, 164; Reims, 780; PAI-LXXXII, 462 Pictured at the Divan Japonais café concert, Jane Avril “appears to be almost smiling, as if the whole thing were an inside joke. Jane is accompanied—or, more likely, being accosted—by noted critic Edouard Dujardin, no doubt with amorous intentions, but Avril’s faintly bemused expression indicates that she is used to this, and will be able to handle him without any trouble. Note that the performer—although it is a great celebrity, the famous Yvette Guilbert—is not the focus of the poster, and Toulouse-Lautrec makes sure of it not only by placing her somewhat indistinctly in the poorly lit background, but even by going to the length of deliberately cutting her head off... Toulouse-Lautrec has made good use of spatter, a technique which adds another dimension to poster art: here, for example, it effectively separates the solid black of Jane’s dress from the less important dark mass of the bar and the orchestra” (Wine Spectator, 42).

462

Est: $25,000-$30,000.

TOULOUSE-LAUTREC | A-Z

463

A-Z | TOULOUSE-LAUTREC

464

TOULOUSE-LAUTREC | A-Z

Toulouse-Lautrec

(Continued)

464. Salon des Cent. 1896.

16 x 24 1⁄8 in./40.7 x 61.2 cm Imp. Bourgerie, Paris Cond A. Framed.

Ref: Wittrock, P20; Adriani, 137-III; Salon des Cent, p. 37; Wagner, p. 31; Gold, 195; Reims, 790; PAI-LXXXI, 475 Summer, 1895. Lautrec and fellow artist Maurice Guibert are on board the steamer Le Chili, en route along the Atlantic coast from Le Havre to Bordeaux.

Lautrec cannot keep his eyes off the young woman berthed in cabin No. 54.

She’s meeting her husband in Senegal. Lautrec, suddenly obsessed, ignoring pleas from Guibert, refuses to get off the boat at Bordeaux. Finally, he is persuaded off the boat at Lisbon. But not before he’s captured a photograph of the unknown woman, which he turned into a lithograph of the exact same pose, “exquisite both in its execution and in the remoteness of the subject’s personality” (Wagner, p. 31): ideal for the Salon des Cent, with its running themes of meditation, admiration, and preoccupation.

465

Est: $25,000-$30,000.

465. La Dépêche / Le Tocsin. 1895.

16 1⁄2 x 21 5⁄ 8 in./42 x 55 cm Imp. Cassan Fils, Toulouse Cond A-/Slight tears at edges. Framed.

Ref: Wittrock, P19C; Adriani, 143-II; Wagner, 19; DFP-II, 839; PAI-LXXXIII, 474 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).

Est: $4,000-$5,000.

466. L’Argent. 1895.

10 1⁄ 8 x 13 3⁄ 8 in./25.7 x 34 cm Imp. Eugene Verneau, Paris Cond A. Framed.

Ref: Wittrock, 97 (theatre program edition); Adriani, 133-II; PAI-LXXIV, 458 A program for the comedy L’Argent (Money) by Émile Fabre is distinctly uncomedic—the gentleman leading the woman out the door, the woman’s eyes narrowed to a slit, both rising from a table with a half-finished glass of wine and lingering carafe... “Henriot and Arquillière (as Monsieur and Madame Reynard) are only coloured shapes” (Adriani, p. 186). Both show us their formless backs in an image reminiscent of a Degas or even an Edvard Munch, and create a beautiful composition out of basic forms in an acerbic comment of society and manners. “L’addition, s’il vous plait.”

Est: $6,000-$7,000.

466

A-Z | TOULOUSE-LAUTREC

Toulouse-Lautrec

(Continued)

467. Le Matin / Au Pied de l’Echafaud. 1893.

24 x 32 7⁄8 in./61 x 83.5 cm Imp. Chaix, Paris Cond A-/Unobtrusive folds.

Ref: Wittrock, P8; Adriani, 14; DFP-II, 830; Reims, 787; PAI-LXXXII, 456 This design advertises the serialization of the 1891 book “At the Foot of the Scaffold” in the newspaper Le Matin. Written by a former prison chaplain, the book carried a “true crime” quality which would have been particularly appealing at the time. The poster perfectly echoes this feeling: the prisoner’s gritty face is contorted as the giant hand of the executioner weighs down upon his shoulder. Beyond him, faceless shadows on horseback will be the last thing he sees before death. All known copies of this image are trimmed at the bottom.

Est: $6,000-$7,000.

468. Elles. 1896.

18 3⁄4 x 25 3⁄8 in./47.5 x 64.5 cm Cond A. Ref: Wittrock, 155-III; Adriani, 177-IV; DFP-II, 842; Reims, 782; PAI-LXXXII, 453

467

This poster announces Lautrec’s “Elles” collection, his famous brothel series, an edition of lithographs depicting prostitutes simply referred to as “Elles” (Them). This ambiguous title both recalls the common phrase ces dames (these ladies), and at the same time is the pronoun indicating all females. Although the women of the “Elles” series are prostitutes, they appear desexualized, shown in postures that emphasize the everyday and unglamorous nature of their occupation. In this instance, putting her hair back up after finishing with a client; the only indication that a man is even in the room is his top hat resting gingerly on her bed. It was the pictorial epilogue to what the artist had experienced in the maisons closes of the rue des Moulins, the rue d’Amboise, and the rue Joubert. “They” are “women to my liking,” as he used to say, and he often lived with them for weeks at a time during the years 1892 to 1895, a constant witness of their daily lives, of their suffering and intimacy.

Est: $10,000-$12,000.

469. Femme au Tub. 1896.

20 1⁄ 2 x 16 in./52.2 x 40.5 cm Cond A. Framed.

Ref: Wittrock, 159; Adriani, 175 This is one of ten images included in Lautrec’s “Elles” suite, which were created from his observations of women at the maisons closes from 1892-1895, and issued in an edition of 100 numbered copies. “Attentively he noted their monotonous routine at the wash-stand, ‘in the humble pose of bodily hygiene,’ as Huysmans called it...

Lautrec showed the prostitute marked by the meaninglessness of her acts—gone are the poses of the desirable temptress—and he gave back to his Olympias and Nanas their humanity, as he showed them in their daily routine... Yet Lautrec does not take a moral stand. His sense of decency lies hidden in the graphic detail, in the beauty and reserve of the colour in these sheets” (Adriani, p. 222). This print is numbered 34⁄100 and includes the paraph of Peletier, deckled edges, and Lautrec’s stamp at lower left.

There is also a handwritten inscription on the backing of the print from the famous entrepreneur and collector, Lessing Rosenwald, to the well-known American portrait painter, Gardner Cox, dated 9/7/55. This print was given to Cox as “a souvenir of our ‘session’ and with kindest regards,” signed by Rosenwald.

Est: $40,000-$50,000.

470. Femme Couchée / Reveil. 1896.

20 3⁄8 x 15 3⁄4 in./51.7 x 40 cm Cond A/P. Framed.

Ref: Wittrock, 158; Adriani, 174 Adriani calls this “Elles” suite image “Woman Waking Up in Bed,” and it again depicts the daily activities, however banal, of the women at the maisons closes. Frey contrasts these images with Lautrec’s posters, which “although not about explicitly sexual subjects, contain many sexual allusions, while the women in Elles, although prostitutes, are desexualized, shown in postures that emphasize the everyday and unglamorous nature of their occupation: sleeping, getting up in the morning, bathing, dressing, combing their hair, lying exhausted across a bed after the last client has gone” (Frey, p. 421). The images in this series were exhibited at the Salon des Cent; see Lautrec’s design for that exhibition’s poster, No. 464. This print is numbered 14⁄100 and includes the Pellet stamp and deckled edges.

468

Est: $12,000-$15,000.

TOULOUSE-LAUTREC | A-Z

469

470

A-Z | TOULOUSE-LAUTREC

471

TOULOUSE-LAUTREC | A-Z

472

Toulouse-Lautrec

(Continued)

471. Caudieux. 1893.

472. Babylone d’Allemagne. 1894.

36 1⁄4 x 50 in./92 x 127 cm Imp. Chaix, Paris Cond B+/Slight tears at folds and edges; exceedingly fresh colors. Framed.

Ref: Wittrock, P7; Adriani, 15; Wagner, 8; Reims, 776; PAI-LXXXI, 468

33 5⁄8 x 47 7⁄8 in./85.4 x 121.5 cm Imp. Chaix, Paris Cond A-/Slight tears at edges. Framed.

Ref: Wittrock, P12B; Adriani, 58; DFP-II, 832; PAI-LXXX, 495

A well-loved cabaret personality in Montmartre, Caudieux was a large, floppy ball of a man, shown here with coattails billowing behind him as he exits, stage right. As the actor purses his lips in self-satisfaction after what we can imagine to be a fine performance, a hollow-cheeked audience member gawks curiously up from the orchestra pit. Feinblatt calls this “a study in dynamic motion and concentrated energy... and his bustling sweep across the boards is an unparalleled rendering of movement among Lautrec’s posters” (Wagner, p. 20).

The subject is a book exposing the decadence of Berlin society, written by Lautrec’s friend Victor Joze. His “poster focuses the spectator’s attention on the hindquarters of four horses, the largest of which [is] also being closely observed by a caricature of the Kaiser standing in a guardbox. The implications of this, along with the book’s title, provoked a protest from the German ambassador to France and nearly caused an international incident. Joze, too, wrote Lautrec asking for him to withdraw the poster, as he felt the depiction of a German officer, together with the anti-German tone of the book, would not be tolerated by the police and could get him in trouble. Lautrec, however, refused to stop distribution of the poster, and as he had paid for it [himself], the publisher was not able to stop the distribution. [Thereafter], according to art dealer Edmond Sagot, the value of [Lautrec’s] work quadrupled” (Frey, p. 398).

Est: $40,000-$50,000.

Est: $20,000-$25,000.

A-Z | TOULOUSE-LAUTREC

473

Toulouse-Lautrec

(Continued)

473. The Ault & Wiborg Co. / Au Concert. 1896.

474. Jane Avril. 1899.

12 1⁄4 x 16 7⁄8 in./31.2 x 42.9 cm Cond A. Framed.

Ref: Wittrock, P28B; Adriani, 196-II; Wagner, 27 (var); PAI-LXXIX, 498

14 1⁄2 x 21 1⁄2 in./37 x 54.7 cm Cond A-/Slight tears at edges. Framed.

Ref: Wittrock, P29B; Adriani, 354-II; Abdy, p. 80; DFP-II, 851; Driehaus, p. 111; Wagner, 30; PAI-LXXIII, 464

Lautrec’s smallest poster—and one of his rarest—is also the only one executed by him on zinc plates and the only one printed in the United States. He sent the plates to the Cincinnati ink and printing company, Ault and Wiborg, who commissioned it from him.

It represents the actress Emilienne d’Alençon and Lautrec’s cousin, Dr. Gabriel Tapié de Céleyran in a loge. Lautrec also printed a small edition under the title “Au Concert” in Paris. This is the extremely rare French version before letters, and executed before the plates were sent off to the Cincinnati printing house. According to Adriani, only 20 copies were printed.

Est: $60,000-$70,000.

DOWNLOAD OUR MOBILE BIDDING APP AT POSTERAUCTIONS.COM

This 1899 lithograph of Jane Avril, one of the landmark works of the Art Nouveau period, is the second-to-last poster Toulouse-Lautrec would ever design. It was a fitting, poetic coda for the artist. Avril and Lautrec’s friendship blossomed with their careers. Beautiful but shy, elegant but melancholic, Avril was the opposite of La Goulue, her boisterous rival at the Moulin Rouge. But with several superb early posters, Lautrec elevated her fame such that Avril replaced La Goulue as the star of the show in 1895. In the early months of 1899, Toulouse-Lautrec had a nervous breakdown and was confined to a sanatorium. Out of friendship, Avril commissioned this work from him. Working from a photograph as an aidemémoire, Lautrec “distilled the very essence of Avril, where the serpentine nature of her dancing is emphasized by her swaying body... and the wrap-around snake motif” (National Gallery of Australia). “She liked the poster very much, but her impresario refused it, and it was never shown” (Abdy, p. 80-81). For this poster, Lautrec used an innovative process which required only three printings for the four colors used (Adriani, p. 411).

Est: $70,000-$90,000.

TOULOUSE-LAUTREC | A-Z

474

A-Z | TOULOUSE-LAUTREC - UNGERER

477

Toulouse-Lautrec

(Continued)

475. Musicien Chauve Jouant du Haut-Bois. 1894.

475

5 x 8 1⁄4 in./12.8 x 21 cm Drawing. Framed.

Ref: Joyant, Vol. II, p. 207; Dortu, Vol. 5, D.617 With just a few strokes, Lautrec captures the intensity of a man playing the bassoon.

We can only imagine who this man was, or what his relationship to Lautrec was.

This intimate drawing was originally in the collection of Lautrec’s close friend, Maurice Guibert.

Est: $10,000-$12,000.

476. Au Bal des Etudiants. 1901.

14 1⁄4 x 17 1⁄2 in./36 x 44.5 cm Cond A. Framed.

Ref (all var but PAI): Wagner, p. 34; Delteil, Vol. X, Intro; Dortu, D.4.636, Vol. VI; Joyant, p. 240; Lautrec by Lautrec, p. 71; PAI-XLIX, 501 With a self-satisfied smirk, a gentleman escorts an extremely over-endowed lady to a social event where they are bound to create quite a stir. Lautrec knows that once we catch a glimpse of the lady’s ample charms, we will not take notice of anything else— and so everything else is, quite appropriately, almost indistinct and insignificant. This is Lautrec’s last poster; he designed it a few months before his death for a students’ ball in Bordeaux, where he was living at the time. This is the rare proof before letters.

Est: $6,000-$8,000.

477. Jeanne Granier. ca. 1901.

9 3⁄4 x 12 5⁄ 8 in./24.8 x 32 cm Cond A. Framed.

Ref: Wittrock, 250; Adriani, 264 “The operetta star Jeanne Granier (1852-1939) may be shown here in the play Le Nouveau Jeu (The New Game) which opened on 8 February 1898. Lautrec mentions a drawing of her in a letter to the London publisher Sands on 5 March 1898, but he adds a question mark and goes on to say: ‘I shall do a better one’” (Adriani, p. 326).

This lithograph is from the 1898 series “Treize Lithographies,” published in an edition of 400 copies between 1901 and 1906.

476

Est: $2,000-$2,500.

TOULOUSE-LAUTREC - UNGERER | A-Z

479

478

Abel Truchet

(1857-1918)

478. “L’Optique.”

23 1⁄2 x 33 3⁄8 in./59.5 x 84.7 cm Lithograph: Eugène Verneau, Paris Woodblock text: Camproger, Paris Cond A. The 1900 Paris World’s Fair featured a novel device of the time: the largest refracting telescope ever constructed. Known as the “Great Paris Exhibition Telescope of 1900,” it was created more for entertainment than scientific usage, and was rendered inefficient by light and urban pollution. Though it delivered the message of scientific progress, the telescope became the butt of many jokes and a derisive object for Parisian scientists; it was later scrapped, save for a few archival parts. Here, Truchet advertises the event with exaggerated possibilities.

Rare!

Est: $1,700-$2,000.

Tomi Ungerer

(1931-2019)

479. Black Power / White Power. 1967.

19 5⁄8 x 28 1⁄8 in./49.8 x 71.4 cm Cond A. Ref: Ungerer Posters, 39; Images of an Era, 69; Ungerer/Willer, cover & 160; Ungerer Exhibitions, 189; Ungerer Musée, p. 199; Ungerer/All in One, 46; PAI-LVIII, 585 “Black Power/White Power” is an intentionally uncomfortable design that zeroes in on American racial conflicts of the 1960s—but, as we’ve all

realized this past year, those issues are far from resolved. This poster is perhaps more relevant than ever, but Ungerer never could have imagined that when he designed this in 1967. The image is “Ungerer’s graphic response to racial injustice. Now an icon of political posters, this inflammatory image targets not simply racism against African Americans, but extremism on both sides. Of [his political posters] Ungerer observes, ‘I create political drawing because I feel the need for it. Because I am angry’” (Ungerer/ All in One, p. 99).

Est: $1,200-$1,500.

480. Paris Review : 2 Posters. 1968.

Each: 22 x 27 7⁄8 in./56 x 70.8 cm Cond A-/Slight tears at edges.

Ref: Ungerer Posters, 168 & 169; Ungerer Exhibitions, 292 “George Plimpton, the editor of the Paris Review, visited Tomi’s 42nd Street studio, in New York, in 1968.

In the course of the conversation, Plimpton noted a set of sketches of a sharpshooter and his female target.

Since he was planning a series of posters devoted to contemporary artists of note, to be sold in a limited and signed edition to raise money for his magazine, Plimpton asked his friend to finish this art so that it could be used for this upcoming series. This was done and an edition of 150 sets was printed and sold at $75.00 per set. The uniqueness of these posters is that they are a set and really ‘work’ only as a set, the gunman and his target, side by side. Two posters. One thought” (Ungerer Posters, p. 94-95).

Est: $1,200-$1,500. (2)

480

A-Z | UNGERER

481

Ungerer

(Continued)

481. Fete de la Musique : 5 Posters. 1985-1989.

482. The Village Voice. 1968.

483. Give. 1967.

Each: 15 3⁄4 x 23 5⁄ 8 in./40 x 60 cm Imp. d’Haussy-Imprimeurs, Tourcoing Cond A/P. Ref: Ungerer Musée, p. 144 (var);

29 3⁄8 x 44 7⁄8 in./75.5 x 114 cm Cond A. Ref: Ungerer Posters, 141; Ungerer Musée, p. 125; PAI-LVIII, 527

The annual World Music Day event was conceptualized in 1981 by Jack Lang, France’s Minister of Culture. The idea was to have “music everywhere and the concert nowhere,” and local musicians were encouraged to take to the streets and parks to perform free concerts. Today, the event is celebrated around the world. Ungerer was a natural choice to design several of their posters; his ebullient joy is palpable in these winsome images. This lot includes 5 posters: one from 1985, three from 1986, and one from 1989.

In the late 1960s, Ungerer created a series of posters for The Village Voice, all implying that the “unexpected” non-mainstream news and events were to be featured within its pages.

21 x 27 1⁄8 in./53.2 x 68.8 cm Cond A. Ref: Ungerer Exhibitions, 187; Ungerer Musée, p. 200; Ungerer Posters, 24; Ungerer/All in One, 45; PAI-LVIII, 590

Est: $1,700-$2,000. (5)

Est: $600-$800.

In this dark-humored protest poster against the Vietnam War, Ungerer shows a US plane sending “gifts” of bombs and destruction down on an anonymous village.

Est: $1,000-$1,200.

UNGERER | A-Z

482

484

483

485

486

484. The Bait. 1967.

485. Choice Not Chance. 1967.

486. USA. 1967.

20 7⁄8 x 26 3⁄4 in./53 x 68 cm Cond A. Ref: Ungerer Exhibitions, 185 Ungerer Posters, 7

21 x 26 3⁄4 in./53.3 x 68 cm Cond A. Ref: Ungerer Exhibitions, 188; Ungerer Posters, 26; Ungerer/All in One, 42; PAI-LXIX, 687

21 x 28 1⁄4 in./53.2 x 71.6 cm Cond A. Ref: Ungerer Posters, 33

The Russian hammer and sickle poses as the lure for a Vietnamese combatant in this uncomfortably comedic design. In true Ungerer form, he expresses his discontent with the Vietnam War through absurdist imagery with the aim being to “shock us, compel us to thought, and there is just the possibility that they move us to action.

And while Tomi may speak in middle-class terms of the stupidity, senselessness, and high cost of America’s Asian and other military adventures, he cannot hide what is a most apparent and obviously deep-felt humanistic conviction about the worth of the individual” (Ungerer Posters, p. 13).

Est: $800-$1,000.

In this eerie design, a US pilot is painting the images of howling Vietnamese babies on the nose of his plane, indicating the number that he has proudly killed.

USA! USA! Ungerer embraces the rural American stereotype with this satirical image. We’re not exactly sure what his criticism is, but it’s a sardonic and tongue-in-cheek depiction nonetheless.

Est: $1,000-$1,200.

Est: $800-$1,000.

A-Z | VANDIÈRES - VILLEMOT

488

487

Vandières

Bernard Villemot

487. Gréolières. 1963.

489. Cinzano Blanc. 1955.

61 3⁄4 x 47 in./157 x 119.2 cm Publicitor, Nice Cond A-/Slight creases.

Ref: PAI-LXXII, 385

45 7⁄8 x 63 1⁄4 in./116.5 x 160.5 cm De Plas, Paris Cond A. Ref: Bon Salle, 427; Villemot/Forney, 101

Just “two steps from the Mediterranean,” Gréolières Les Neiges is a large ski resort boasting easy access from numerous rail lines. Illustrations of Cannes, Juan les Pins, Nice, and Monte Carlo are at bottom. This is a two-sheet design.

“Apéritif posters do not always seek surprise or spectacular effect. It is mainly a question of maintaining notoriety in the field and of maintaining market shares.

Villemot plays with a Venetian motif which he treats economically” (Villemot/Forney, p. 90).

Est: $1,200-$1,500.

Est: $1,400-$1,700.

Véelle

490. Gitanes. 1955.

488. St. Nazaire.

29 1⁄2 x 41 3⁄4 in./75 x 106 cm Imp. Courmont Frères, Paris Cond A-/Slight stains at edges.

A trio of prim and proper travelers float along the harbor of Saint-Nazaire in traditional Brittany. Being situated near the Atlantic Ocean, the town has a long tradition of fishing and shipbuilding; the Chantiers de l’Atlantique, one of the largest shipyards in the world, is responsible for the construction of the Normandie, SS France, and RMS Queen Mary 2.

Est: $1,400-$1,700.

(1911-1989)

489

46 1⁄8 x 63 3⁄8 in./117.2 x 161 cm Imp. Courbet, Paris Cond A. Ref: Bon Salle, 456; Villemot/Forney, 60 In 1947, the maker of one of France’s best known cigarettes approached designer Max Ponty to create a new logo for them. The silhouette of a Spanish style dancer which evoked the Gypsy (la Gitane) that he drew became the firm’s trademark and product identification, still used to this day. Properly, Villemot gives credit to Ponty by placing the gypsy in the center of the image, and then dots the scene with cigarettes that mirror her shape.

Est: $1,200-$1,500.

490

VANDIÈRES - VILLEMOT | A-Z

For others by Villemot, see Nos. 46-47.

491

493

492

491. La Côte d’Azur. 1968.

492. Perrier / c’est fou... 1976.

493. Bally. 1979.

24 1⁄4 x 39 1⁄4 in./61.5 x 100 cm Hubert Baille, Paris Cond A/P. Ref: Affiches Azur, 32; Mer s’Affiche, p. 229; Bon Salle, 271; PAI-LIV, 331

47 x 68 1⁄4 in./119.4 x 173.2 cm Saint Martin, Asnières Cond A. Ref: Bon Salle, 394; Publicité, p. 201; PAI-LXV, 528

47 5⁄8 x 69 in./121 x 175.3 cm Imp. IPA, Champigny Cond A. Ref: Bon Salle, 307; Villemot/La Femme, p. 68; Villemot/A to Z, p. 27; Villemot/Forney, 121; PAI-LXXII, 394

Villemot enjoyed enlisting couples in his designs; here, the two sit so closely that they almost appear to be a single figure. Neon palm trees and bold splashes of red creates a seductive chromatic scene on the Côte d’Azur.

Est: $800-$1,000.

One of Villemot’s most whimsical designs for Perrier, this one features two bottles of the beverage as spectacles on a wild redhead.

Est: $1,200-$1,500.

It shouldn’t work, but it does: this tripping, off-kilter jumble of reds, blacks, blues, browns, and the palest pink amid Villemot’s tangle of legs and shoes manages to be witty, flirtatious, and a little erotic at the same time.

This is the larger version of the poster.

Est: $1,200-$1,500.

A-Z | VILLEMOT - WIERTZ

494

495

Villemot

496

(Continued)

494. Bally : Maquette.

495. Perrier / fou de soif? 1980.

496. Hollywood / Chicle Americano. 1992.

24 x 18 ⁄4 in./61 x 47.6 cm Signed watercolor and ink painting. Framed.

Ref (all var): Bon Salle, 306; Villemot/Forney, 120; PAI-XLI, 581

47 ⁄2 x 68 ⁄ 8 in./120.7 x 175 cm Lalande-Courbet, Wissous Cond A. Ref: Bon Salle, 399; Villemot/A to Z, p. 112 (var); Villemot/Forney, 139 (var); PAI-LXXII, 400

27 1⁄2 x 19 5⁄8 in./70 x 50 cm Imprenta Abadia, Madrid Cond A/P. Ref (both var): Bon Salle, 330; Villemot/Forney, 80

3

Villemot’s preparatory work for his 1974 poster shows a fairly seamless transition from conception to final product, with many of the compositional elements remaining in tact. The duo were inspired by Villemot’s wife, who he had previously represented in a similar coiled up position. Villemot called this work “Lotus,” and in the finalized version, the negative space between the women’s backs takes on a more floral resemblance. The poster was later called “Les Femmes-Fleurs,” in keeping with the practice of titling Villemot’s Bally images.

Est: $3,000-$4,000.

1

7

Perrier has been bottled from its source in Vergèze since 1898, but in the late 1970s to early ’80s the brand began its ascent to one of the international touchstones of 1980s culture and lifestyle. One of the main ways Perrier accomplished that was through its advertising: modern, stylish, slightly irreverent—and deliberately championing the pop moment, rather than resting on tradition.

Villemot’s art was a critical part of this strategy, and this piece—“Crazy with thirst?”—is a perfect example of it. Formally and compositionally, it’s perfect, but it goes much further. In this and in other pieces for this campaign, Villemot was one of the first commercial artists to directly counter racist attitudes, making this a very early statement of the universal “love is love is love.”

Villemot originally created this image around 1958 to advertise this brand of American chewing gum in France; in 1992, it was then used again for Spanish audiences. “This poster is a fine example of American popular culture which spread to Europe as a result of the liberation armies. Advertising is always quick to capture and exploit the movements of society. In this poster everything comes together: words, proper names and common names, all American, and things (chewing gum—this new kind of rubbery confection, which is chewed up and thrown away afterwards—blue jeans, the T-shirt). We note a possible influence of the style of Jean Colin or Guy Georget’s studios in the drawing and coloring of the faces” (Villemot/Forney, p. 73). This is the rare, smaller Spanish language version.

Est: $1,200-$1,500.

Est: $800-$1,000.

VILLEMOT - WIERTZ | A-Z

497

499

498

Dorothy Waugh

(1896-1996)

Joseph Walter West

(1860-1933)

Jupp Wiertz

(1881-1939)

497. Historic National Parks. ca. 1934.

498. International Studio. 1897.

499. Der Junggeselle. ca. 1922.

27 ⁄8 x 40 in./69 x 101.5 cm U.S. Government Printing Office Cond A. Ref: Crouse/Deco, p. 292; Graphic Design/Taschen, p. 289

15 ⁄ 2 x 21 ⁄4 in./39.5 x 54 cm Cond A. Ref: PAI-LXXXII, 110

24 7⁄8 x 33 3⁄4 in./63 x 85.6 cm Hermann Baswitz, Berlin Cond A. Ref: PAI-LXXVI, 456

1

“The all-American color scheme of red, white, and blue makes it impossible to ignore the patriotic feel of the message. However, this poster’s ‘stars’ don’t represent the states in the union; rather, in classic bust form, they represent the individuals who helped form the union, including Davy Crockett, Robert E. Lee, Abraham Lincoln, George Washington, and Captain John Smith.

Each figure is associated with a park or monument... It’s a wonderful historic document, but more than anything it’s a spectacular synthesis of styles—the conventional busts set against a gently undulating background that in turn contrasts with the bold Art Deco lettering. It’s Modernism in the service of tradition—and vice versa” (Crouse/Deco, p. 292).

Est: $1,700-$2,000.

1

1

As the text reads, The Studio was a journal “of fine and applied art” based out of England. It featured some of the more influential artists of the day, including Aubrey Beardsley and Charles Mackintosh. West’s delicate poster for the publication is a lovely example of American Art Nouveau: all curling lines and wintry hues embracing a lovely lady in Victorian attire. This includes the 1897 calendarium.

Est: $800-$1,000.

Der Junggeselle (The Bachelor) was a German magazine from 1919-1929, and by the looks of it every fashionable young lady wanted to pick one up. “New today, out of stock tomorrow” reads the tag line. It’s a blaze of color to arouse you to action.

Est: $2,000-$2,500.

A-Z | WIERTZ -D'YLEN

502

Wiertz

(Continued)

500. Deutschland. ca. 1927.

25 1⁄4 x 40 in./64 x 101.5 cm Deutschen Reiseverkehr, Berlin Cond B/Slight tears at horizontal fold.

Ref: Le Coultre, p. 60; PAI-XI, 428 (var)

500

This rare image shows the Berlin Gedächtniskirche in her full glory. Built in the 1890s, the church was badly damaged in a 1943 bombing raid, resulting in the severe loss of the spire. This battered spire has been retained as a reminder of the ravages of World War II, and the church is now called the Kaiser Wilhelm Memorial Church, although Berliners nicknamed it “der hohle Zahn” (the hollow tooth). Wiertz transports us back to prewar Berlin, when the city’s famous architecture was still in tact, and the broad streets were bathed in the glow of neon light.

Est: $1,400-$1,700.

Adolph L. Willette

(1857-1926)

501. Côte d’Azur. 1898.

30 x 41 3⁄4 in./76.2 x 106 cm Ateliers d’Alesi, Paris Cond A-/Slight stains and tears, largely at bottom edge.

Ref: Affiches Riviera, 108; Affiches d’Azur, 1; Karcher, 401; PAI-LXVIII, 669 Overflowing with characters, this fanciful pastel design for the PLM Railway seems more like a painting than an advertising poster. Shown are the various delights, from shopping to entertainment, by which one can get swept up along the Côte d’Azur.

Est: $2,500-$3,000.

Willmarth 502. Sun Valley.

25 1⁄4 x 36 3⁄4 in./64.2 x 93.4 cm Cond A. Ref: PAI-XLVII, 518 In the late 1930s, Averell Harriman developed Sun Valley as a show stop for the Union Pacific railroad, intended to rival the luxury of St. Moritz. Rooms at the lodge were offered free to celebrities, glamor-seekers followed, and the spot quickly became the country’s hottest winter sport playground. (A 1937 Life cover sealed its fame with a photo of its ski lift—the world’s first). “America’s Foremost Year ’Round Holiday Center” is revealed through Willmarth’s stylized door. And though the scene it opens upon is one of the sunniest winter sports scenes imaginable (a clear “American St. Moritz” reminder), the colorful doorpropping bouquet is prepared to allow access to the shapely phantoms of summertime fun waiting just around the corner. Though the relationship between the lithographic Willmarths (see PAI-XX, 512) is a mystery, this most surely would appear to be the solo work of one of their illustrative clan.

501

Est: $1,200-$1,500.

WIERTZ -D'YLEN | A-Z

503

Worden Wood

(1880-1943)

503. United States Lines / SS “Washington.” 1933.

27 x 22 1⁄4 in./68.6 x 56.5 cm Cond A. Framed.

Ref: PAI-XLVIII, 527 Surging through choppy open water with nothing but lesser schooners dotting the background horizon to add perspective to her majesty, the Washington is a sight to behold in this Wood poster portrait. Launched on August 20, 1932, the Washington sailed on her maiden voyage from New York to Hamburg on May 10, 1933. At the outbreak of war, the liner was heading for Europe, so after calls at Copenhagen and Le Havre, she returned to New York, after which time the liner made two round-trip voyages to Bordeaux in order to repatriate stranded Americans in Europe.

The Maritime Commission granted permission for the Washington and her sister ship, Manhattan, to operate a passenger and freight service from New York to Italy, which commenced on January 13, 1940. However, after Italy’s entry into the war, the service was ended. In 1941, both the Washington and the Manhattan were taken over by the U.S. Navy, with the Washington being renamed the USS Mount Vernon and sailing for Manila as a troop transport. After being released back into civilian service, she made her first postwar voyage from New York to Southampton on April 2, 1946 to bring war brides and children back to the United States. In the end, the Manhattan was laid-up in the Hudson River, sold for demolition, and broken up in 1964.

504

Est: $1,700-$2,000.

Franz Wurbel

(1896-?)

504. Olympic Games / Berlin. 1936.

25 1⁄4 x 39 7⁄8 in./64.2 x 101.2 cm Reichbahnzentrale für den Deutschen Reiseverkehr, Berlin Cond A. Ref: Olympic Posters, pl. 32; Ateny-Atlanta, 10; Affiches 1000, 0300 (var); Olympics, p. 45; Sport à l’Affiche, 92 (var); PAI-LIX, 505 The official design for the 1936 Olympics in Berlin shows the city’s Brandenburg Gate silhouetted against the golden image of an athlete wearing a triumphant crown of laurel.

The poster, sponsored by the German railways, was printed in nineteen languages and allegedly distributed in thirty-four countries. Here we see the English-language version.

Est: $2,000-$2,500.

Jean d’Ylen

(1866-1938)

505. “Ideal” Waterman. 1927.

78 3⁄4 x 123 7⁄8 in./200 x 314.7 cm Imp. P. Vercasson, Paris Cond B+/Slight tears at seams.

Ref: Crayons, 50 (var); PAI-LXXXI, 491 Power and grace: our hair-on-fire writer pirouettes his pen around in this ode to the writerly craft writ large. Waterman, established in New York in 1884, is one of the few first-generation fountain pen manufacturers left standing today. This is a three-sheet billboard.

Est: $5,000-$6,000.

505

A-Z | YRAY - BOOKS AND PERIODICALS

Yray 506. Pélican Cigarettes. ca. 1930.

23 5⁄8 x 31 3⁄4 in./60 x 80.5 cm Edia, Paris Cond A. Ref: Publicité, p. 133; PAI-LXXIV, 500 Using the brand’s namesake, Yray gives us a pelican and his inverted shadow in promotion of these cigarettes made from only the finest Virginia tobacco.

Est: $1,200-$1,500.

Arthur Zelger

(1914-2004)

507. Tyrol.

25 x 37 1⁄4 in./63.6 x 94.5 cm Wagnersche Univ., Innsbruck Cond A-/Slight tears at edges.

Ref: PAI-XLVIII, 532

508

You can celebrate the tradition of any activity ad nauseum, but it’s the actual participation in the activity that makes it popular, attractive, and fun to the public at large. Thus does Zelger relegate shadowy convention to the background while placing sunny practice front and center in his poster for the west Austrian state famous for its popular ski resorts. Though not much is known biographically about Zelger, he was a leading Innsbruck posterist during the 1950s.

Est: $1,400-$1,700.

Zig

(Louis Gaudin, 1882-1936)

508. Xantho : Costume Design. ca. 1930.

9 x 11 7⁄ 8 in./23 x 30.2 cm Signed watercolor, pencil, and ink drawing.

Zig began creating costumes for the Cigale at only about 15 years old. Here, he’s envisioned a costume for Arletty’s performance in the 1932 operetta Xantho chez les Courtisanes, based on the 1910 play by Jacques Richepin. Arletty, whose real name was Léonie Marie Julie Bathiat, played Myrrhine, the High Priestess of Aphrodite. Although Zig fashioned her in a fantastic gypsy jumpsuit and an ornate headdress, he was ultimately unsuccessful; Paul Colin was chosen to create the costumes.

506

Est: $1,700-$2,000.

509. Xantho : Costume Design. ca. 1930.

8 1⁄4 x 11 in./21 x 28 cm Signed watercolor, pencil, and ink drawing.

509

In this second conceptual design for the 1932 operetta, Xantho chez les Courtisanes, Zig envisions a more classically glamorous outfit for the actress Arletty, who played the character of Myrrhine, the High Priestess of Aphrodite. Arletty started her career as a model before becoming a music hall performer and actress. Her biggest roles were Blanche in the French version of “A Streetcar Named Desire” and Garance in “Les Enfants du Paradis.”

Est: $1,700-$2,000.

Rudolf Gerhard Zill

(1913-?)

510. Deutscher Studententag. 1938.

32 1⁄4 x 46 1⁄2 in./81.8 x 118.2 cm Müller & Co., München Cond A-/Slight stains at edges. P.

507

510

Though German Student Days date back to 1848, they gained real meaning in 1919, when the German Student Union officially commenced annual meetings in Würzburg. These were opportunities for democratic decision-making to support students with their various needs—that is, until 1931, when the organization came under the control of the Nazi party. As can be seen in this poster, the events became Nazi party rallies in 1938, and from that year until 1945, the Student Days became political rallies and sporting competitions held in all university towns. Zill advertises one such rally in Heidelberg with the German eagle carrying a bronze swastika.

Est: $1,400-$1,700.

BOOKS AND PERIODICALS

511

Books And Periodicals 511. L’Estampe Moderne. 1897-1899.

12 1⁄4 x 16 1⁄8 in./31 x 41 cm Imp F. Champenois, Paris Complete, excellent condition, with textural tissue overlays. 100 loose plates in their 24 Mucha-designed covers. The first 12 portfolios in original boxed presentation case. Slight wear at edges on a few. Overall, one of the finest specimens ever seen!

Ref: PAI-LXXX, 520 The publication contains twenty-four monthly portfolios plus four bonus plates, with twenty-four original covers by Mucha, with four original lithographs in each.

Almost all of these lithographs were commissioned especially for this series, featuring works by Mucha (2), Donnay, Evenepoele, Rassenfosse, Louis Rhead, H. Meunier, Léandre, Lepère, Grasset, Berchmans, Ibels, de Feure, Robbe, Helleu, Roedel, Steinlen, Bouisset, Gottlob, Détouche, Boutet, Bellery-Desfontaines, Lenoir, and Willette. Includes supplements as well.

Est: $14,000-$17,000.

214

SELECTED INDEX ALCOHOL

FILM

SCIENCE & TECHNOLOGY

Absinthe . . ...................... 3 55, 447

102, 103, 115, 131, 135-155, 302

174, 209, 245, 280, 353, 401, 402

Apéritifs / Digestifs......... 232, 241, 359, 362, 374, 437, 489

FOOD / DRINK

SPORTS

180, 182, 224, 230, 234, 236, 238, 240, 257, 264, 293, 315, 321, 327, 344-346, 373, 377, 398, 415, 428, 443, 449, 492, 495, 496

Golf.............................. 2 11, 220, 221

Beer............................. 2 18, 291

Champagne / Wine. . ........ 177, 202, 239, 242, 246, 286, 316, 341, 427A Liqueur s / Spirits............ 176, 187, 225-229, 237, 247, 299, 330, 382, 422

Cats............................. 24, 82, 123, 124, 134, 371, 441-444 Dogs. . ........................... 28, 60, 80, 197, 207, 317, 334, 352, 424, 449 Horses.......................... 14, 16, 98, 128, 131, 134, 230, 343, 414, 472 Other............................ 50, 53, 56, 58, 59, 65, 66, 127, 133, 175, 188, 219

LITERARY 13, 193, 275, 348, 368, 369, 414, 418, 438, 439, 445, 453, 465, 467, 472, 480, 482, 498, 499

MUSIC / DANCE Ballet. . .......................... 126, 283, 336, 405, 431, 432

THEATRE

Bals. . ............................ 268, 287, 429, 476

370, 380, 381, 433-435, 466, 471, 477, 508, 509

Cabarets / Music Halls.. ... 192, 253, 276, 281, 284, 285, 332, 405, 452, 460-463

TOBACCO

Dance........................... 125, 154, 276, 279, 284, 295, 399, 416, 433, 434, 452, 456, 457, 474 Folies-Bergère.. .............. 231, 283, 331, 407 Loïe Fuller..................... 4 07

76, 207, 269, 312, 326, 357, 358, 363, 379, 427B, 441, 464

Mistinguett.................... 3 19, 320

BEAUTY / PERFUME

Opera........................... 2 70-272, 458, 473

278, 406

Psychedelic Rock. . .......... 1 56-169

175, 307, 376, 508,

200, 201, 223, 233, 244, 258, 301, 305, 311, 320, 322, 323, 337, 352, 354, 372, 403, 417, 421, 433, 434, 493, 494, 499, 509

Winter Sports................. 282, 296, 347, 459, 487, 502, 507 Other............................ 51, 186, 189, 259, 298, 306, 329, 340, 350, 362, 365, 374, 409, 446

ART EXHIBITIONS

FASHION

Tennis. . ......................... 2 10

ANIMALS Birds.. ........................... 12, 23, 29, 43, 101, 109, 300, 506

Olympics....................... 8 9, 504

Moulin Rouge................. 4 11, 423, 452

Other............................ 121, 304, 324, 370,

POSTERS ON POSTERS 313, 349

182, 309, 338, 475,

190, 203, 273, 310, 315, 318, 342, 351, 358, 481

292, 371, 388, 408, 448, 490, 506

TRAVEL By rail. . ......................... 78, 171, 181, 185, 210, 211, 213-217, 251, 252, 308, 334, 375, 384, 413, 430, 450, 451, 488, 501 By ship.. ........................ 173, 217, 294, 404,

179, 254, 297, 426,

194, 256, 308, 440,

195, 198, 265, 266, 335, 339, 503

New York....................... 70, 71, 104, 105, 271, 272, 297, 336, 339, 439, 440, 480, 482 World’s Fairs / Expos . . ..... 178, 260, 267, 317, 361, 364, 436, 478 Other............................ 44-47, 49-71, 183, 199, 204, 208, 212, 250, 255, 259, 261-263, 301, 347, 366, 367, 400, 424, 487, 491, 497, 500, 502, 507

215

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 83 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

Affichomanie

Ateny-Atlanta

Bernhardt/Drama

The French poster, by Jane Abdy. New York : Clarkson N. Potter, 1969.

Absinthe : history in a bottle, by Barnaby Conrad, III. San Fransisco : Chronicle Books, 1988.

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.

Athens-Atlanta : 100 years of modern Olympic Games, by Jan Lis, et al. Warsaw : Polski Komitet Olimpijski, 1996. Catalogue of the exhibition held at the Poster Museum of Wilanów, Poland, under the auspices of the Polish Olympic Committee, February 15-May 12, 1996.

Sarah Bernhardt : the art of high drama, by Carol Ockman and Kenneth Silver. New Haven, Conn. : Yale University Press, 2005. Catalogue of the exhibition at the Jewish Museum, New York, December 2, 2005-April 2, 2006.

Absinthe Affiches

Ailes

Auto Posters

L’absinthe : les affiches, by Marie-Claude Delahaye. Auvers-sur-Oise : Musée de l’Absinthe, 2002.

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.

100 Years of Auto Posters, by Dominique Dubarry.

Paris : Maeght Editeur, 1991.

Sarah: The Life of Sarah Bernhardt by Robert Gottlieb. New Haven, Conn. : Yale University Press, 2010.

Auto Show III

Berthon & Grasset

L’automobile et la publicité. Catalogue of the exhibition at the Musée de la Publicité, Paris, 1984.

Berthon & Grasset, by Victor Arwas. London : Academy Editions; New York : Rizzoli, 1978.

Avant Garde

Bicycle Posters

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.

100 years of bicycle posters, by Jack Rennert.

New York : Harper & Row, 1973.

Absinthe

Adriani Toulouse-Lautrec : the complete graphic works,

by Götz Adriani. London : Thames & Hudson, 1988. The catalogue raisonné, featuring the Gerstenberg collection.

Air France Air France : affiches/posters, 1933-1983, by Jérôme Peignot. Paris : Fernand Hazan, 1988.

Advertising Postcards

Air France/Dream

Top of the World : Advertising Postcards of the Brunna Collection of Munich. Austria : Markus Weisenböck, 2006.

Air France posters : making the world dream, by Louis-Jean Calvet and Philippe-Michel Thibault.

Paris : Le Cherche-Midi, 2006.

Affiche Réclame

Airline Artistry

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.

Airline artistry : vintage posters & publicity, by Don Thomas. Dunedin, Florida : D. Thomas, 1992.

Affiches Automobiles

Ali d’Italia

100 ans d’affiches automobiles/100 years of auto posters, by Dominique Dubarry. Paris : Maeght, 1991.

Ali d’Italia : manifesti dipinti sul vulo in Italia, 1908-1943, ed. by Maurizio Scudiero & Massimo Cirulli. New York : Publicity Print Press, 2000.

Airlines Poster art of the airlines, by Don Thomas. Dunedin, Florida : D. Thomas, 1989.

Affiches Azur

Alpes

Affiches d’Azur : 100 ans d’affiches de la Côte d’Azur et de Monaco, by Charles Martini de Chateauneuf. Nice : Editions Gilletta, 1992.

Les Alpes à l’affiche, by Yves Ballu. Grenoble : Editions Glenat, 1987.

Affiches d’Aviation

Posters American style, by Therese Thau Heyman.

New York : Harry N. Abrams, 1998.

Affiches de l’histoire d’aviation, by Gerard Hartmann & Francoise Leloup-Perier (with Englishlanguage insert: The history of aviation in posters). Paris : Citadelles & Mazenod, 2009.

Affiches Évasion Affiches Évasion, by Florence Camard. Paris : Duncan, 1996.

Affiches Riviera Affiches de la Riviera, by Annie de Montry, Françoise Lepeuve & Charles Martini de Chateauneuf.

Nice-Matin : Editions Gilletta, 2001.

Affiches Suisses 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.

American Posters

Apéritif 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.

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.

Art of Rock The art of rock, by Paul D. Grushkin. New York : Abbeville Press, 1987.

Bargiel et Zagrodzki 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).

Bernhardt/Gottlieb

Boissons Les boissons : un siècle de réclames, by F. Ghozland. Toulouse : Editions Milan, 1986.

Bolaffi Catalogo Bolaffi del manifesto Italiano : dizionario degli illustratori, by Alberto Casella, Paola Morelli & Marco Cicolini. Torino : Giulio Bolaffi, 1995.

Belgique/Paris

Bon Salle

L’affiche en Belgique : 1880-1980, by Raymond Morini, et al. Paris : Musée de l’Affiche, 1980.

Catalogue of the exhibition at the Musée de l’Affiche, Paris, 1980.

Embracing an Icon: The Posters of Bernard Villemot, by George & Jeanne Bon Salle. New York: The Poster Art Library, Posters Please, 2015.

Belgische Affiche

Bonnard : the complete graphic work, by Francis Bouvet. New York : Rizzoli, 1981.

De Belgische affiche : 1892-1914, by Yolande Oostens-Wittamer. Brussels : Koninklijke Bibliotheek Albert I, 1975.

Belle Epoque 1970 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.

Belle Epoque/Belgique 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.

Bernard Francis Bernard : affichiste, by Merrill C. Berman & Alain Weill. Paris : D. Ozanne; New York : N. Bailly, 1980. Catalogue of the exhibition at the Chisholm Gallery, 1980.

Bouvet

Bowers/Martin The postcards of Alphonse Mucha, by Q. Davis Bowers & Mary L. Martin. Vestal, N.Y. : The Vestal Press, 1980.

Broders Voyages : les affiches de Roger Broders, by Annie de Montry & Françoise Lepeuve. Paris : SyrosAlternatives, 1991.

Broders/Travel 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.

216

BIBLIOGRAPHY (CONTINUED) Brussels

Cassiers

Color Revolution

Discount

Homage to Brussels : the art of Belgian posters, 1895‑1915, by Jane Block & T. Victoria Hansen.

New Brunswick, N.J. : Rutgers, 1992. Catalogue of the exhibition at the Jane Voorhees Zimmerli Art Museum at Rutgers University, New Brunswick, New Jersey, April 12-June 6, 1992.

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.

Posters from the collection of Discount Tires, by Susan Driver. Scottsdale, Ariz. : Reinalt-Thomas Corp., 2007.

Buffalo Bill/Legend

Cataluña

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.

Buffalo Bill’s Wild West : an American legend, by R. L. Wilson & Greg Martin. New York : Random House, 1998.

Cataluña en 1000 carteles : desde los origenes hasta la Guerra Civil, by Jordi Carulla, et al. Barcelona : Postermil, S.L., 1994.

Compagnies Maritimes

Driehaus

Die Bugattis

Célébrités

Affiches des companies maritimes, by Gabriele Cadringher & Anne Weallans. Paris : Citadelles & Mazenod, 2008.

L’Affichomania : Catalogue of the exhibition at the Driehaus Museum, Chicago, by Jeannine Falino.

Chicago: University of Chicago Press, 2017.

Die Bugattis : automobile, möbel, bronzen, plakate, by Conway, Fersen, Jedding, Malhotra, Saldern and Spielmann. Hamburg : Christians Verlag, 1983.

Célebrités à l’affiche, by A. C. Lelieur & R. Bachollet. Lausanne : Edita, 1989.

Crauzat

Encyclopédie/Weill

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.

Encyclopédie de l’affiche, by Alain Weill. Paris : Hazan, 2011.

Cappiello Cappiello, 1875-1942 : caricatures, affiches, peintures et projets decoratifs, by Claire FrèchesThory & Réjane Bargiel. Paris : Réunion, 1981.

Catalogue of the exhibition at the Galerie Nationale du Grand Palais, Paris, April 3-June 29, 1981.

Cappiello/Rennert Cappiello : the posters of Leonetto Cappiello, by Jack Rennert. New York : Poster Art Library, Posters Please, Inc., 2004.

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.

Cardinaux

Champenois Champenois Imprimeur : publicité et vie bourgeoise 1875-1915, by Daniel Bordet. Paris : Editions Dabecom, 2004.

Chaumont/Politiques Affiches politiques et sociales, by Alain Weill.

Paris : Somogy, 1995. Catalogue of the exhibition held at the sixth annual poster festival in Chaumont, France in 1995.

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.

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.

Circus Posters

Carlu

Close up in black : African-American film posters from the Academy of Motion Picture Arts and Sciences. Beverly Hills : The Academy of Motion Picture Arts and Sciences, 2002.

Retrospective Jean Carlu, by Alain Weill. Paris : Musée de l’Affiche, 1980. Catalogue of the exhibition at the Musée de l’Affiche, Paris, November 26, 1980-March 29, 1981.

Cassandre/BN 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 21-July 23, 2005, and the Bibliothèque Nationale de France, Paris, September 20-Dcember 4, 2005.

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.

Cassandre/Weill Cassandre, by Alain Weill. Paris : Editions Hazan, 2018.

100 years of circus posters, by Jack Rennert.

New York : Avon Books, 1974.

Close Up in Black

The art deco poster, by William Crouse & Alastair Duncan. New York : Vendome Press, 2013.

Fantastic Voyage

100 years of dance posters, by Walter Terry & Jack Rennert. New York : Avon Books, 1973.

Fantastic voyage : luxury and sophistication on the ocean liners, by Yoko Masutani. Tokyo : Suntory Museum, 1996. Catalogue of the 1996 exhibition at the Suntory Museum, Osaka.

Danish Posters

Femme s’Affiche

Den Danske plakat, by Lars Dybdahl. Valby, Denmark : Borgen, 1994.

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.

Dance Posters

Darracott The First World War in posters, by Joseph Darracott. New York : Dover Publications, 1974.

Deco Affiches

Georges de Feure : maitre du symbolisme et de l’art nouveau, by Ian Millman. Paris : ACR Editions, 1991.

Delteil

Flagg

Le peintre-graveur illustré, by Loys Delteil. (Volumes X and Xl devoted to Lautrec). Paris : [Selbstverl.], 1920. Reprinted New York : Collectors Edition Ltd.-Da Capo Press, 1969.

James Montgomery Flagg, by Susan E. Meyer.

New York : Watson-Guptill Publications, 1974.

Democratic Art

Depero

Collectionneur d’affiches, edited by Laurence Prod’homme. Paris : Editions Apogé, Musée de Bretagne, 1996.

Color Explosion The Color Explosion / 19th Century American Lithography, by Jay T. Last. Santa Ana, CA : Hillcrest Press, 2005.

de Feure

Affiches art deco, by Alain Weill. Paris : InterLivres, 1990.

100 posters of Paul Colin, by Jack Rennert. New York : Images Graphiques, 1977.

Collectionneur

España España en 1000 carteles, by Jordi Carulla & Arnau Carulla. Barcelona : Postermil, 1995.

Colin

Paul Colin : affichiste, by Alain Weill & Jack Rennert. Paris : Editions Denoel, 1989.

Toulouse-Lautrec et son oeuvre, by M. G. Dortu.

New York : Collectors Editions, 1971. In six volumes.

Crouse/Deco

The Democratic Art : Pictures for a 19th-century America, by Peter C. Marzo. Boston : David R. Godine, 1979.

Colin Affichiste

Dortu

Depero per Campari. Milano : Fabri Editori, 1989.

DFP-I 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.

DFP-II

Folies-Bergère 100 years of posters of the Folies Bergère and music halls of Paris, by Alain Weill. New York : Images Graphiques, 1977.

Frey Toulouse-Lautrec : a life, by Julia Frey. New York : Viking Penguin, 1994.

Gesmar Charles Gesmar : 1900-1928, by Angelo Luerti, Milano : Luerti, 2009.

Gold First ladies of the poster : the Gold collection, by Laura Gold. New York : Poster Art Library, 1998.

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.

Golf

DFP-III

The History of Graphic Design, by Jens Müller and Julius Weidermann. Koln : Taschen, 2017.

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.

L’affiche de golf/Golf posters, by Alexis Orloff.

Toulouse : Éditions Milan, 2002.

Graphic Design/Taschen

217

BIBLIOGRAPHY (CONTINUED) Grasset

Internationale Plakate

Le Coultre

Maitres

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.

Inlernationale Plakate 1871-1971, by Heinz Spielmann, et al. München : Ausstellungsleitung Haus der Kunst, 1972. Catalogue of the exhibition at the Haus der Kunst, Munich, October 9, 1971-January 2, 1972.

A century of posters, by Martin F. Le Coultre & Alston W. Purvis. Burlington, VT : Lund Humphries, 2002.

Grün

Iskin

Ivan Lendl : Alfons Mucha, by Jack Rennert & Karel Srp. Bratislava : Nakladatelství, 2013.

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.

Jules-Alexandre Grün : the posters/les affiches,

by Alain Weill & Israel Perry. New York : Queen Art Publishers, 2005.

The Poster, by Ruth E. Iskin. Hannover, New Hampshire: Dartmouth College Press, 2014.

Les Murs

Haring Posters

Posters of health, by Marine Robert-Sterkendries.

Brussels : Therabel Pharma, 1996.

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.

High Societies

Joyant

High Societies : Pyschedelic rock posters of Haight-Ashbury, ed. by Sally Tomlinson and Walter Medeiros. San Diego : San Diego Museum of Art, 2001. Catalogue of the exhibition at the San Diego Museum of Art.

Keith Haring – Posters, by Jürgen Döring and Claus von der Osten. Munich/New York: Prestel, 2019.

Health Posters

Hohlwein Ludwig Hohlwein, 1874-1949 : kunstgewerbe und reklamekunst, by Volker Duvigneau & Norbert Gota. Munich : Klinkhardt & Bierman, 1996.

Hohlwein/Stuttgart Ludwig Hohlwein : plakate der jahre 1906-1940,

by Christian Schneegass. Stuttgart : Staatsgalerie, 1985. Catalogue of the Hohlwein exhibition at the Staatsgalerie Stuttgart, March 2-April 21, 1985.

HTL/Rutgers The circle of Toulouse-Lautrec : an exhibition of the work of the artist and of his close associates,

by Phillip Dennis Cate & Patricia Eckert Boyer.

New Brunswick, N.J. : Rutgers, 1985. Catalogue of the exhibition at the Zimmerli Art Museum, Rutgers University, November 17, 1985-February 2, 1986.

I Heart Design I Heart Design, by Steven Heller. Beverley, MA : Rockport Publishers, 2011.

Image de Mer 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.

Images of an Era 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.

Imperial War Museum I First World War Posters: The Imperial War Museum, by Joseph Darrecott and Belinda Loftus.

London: The Corwin Press, 1972.

Ives

Lendl/Prague

Les Murs s’Affichent, ed. by Nicole d’Huart and Isabelle Six. Bruxelles : Alice Éditions, 2005. Catalogue of the exhibition at Musée d’Ixelles, October 21, 2004-January 16, 2005.

Leupin Herbert Leupin : plakate, bilder, graphiken, by Karl Lüönd & Charles Leupin. Basel : Friedrich Reinhardt, 1995.

Manifesti Posters/Travel Manifesti Posters: Traveling Around Italy, 18951960, by Anna Villari & Dario Cimorelli. Milano: Silvana Editoriale, 2010.

Marseille Marseille s’affiche : regards sur la provence, by Patrick Boulanger. Marseilles : Editions E.E.M.P., 1996.

Marx

Livre de l’Affiche

Bonnard : lithographie, ed. by Claude Roger-Marx.

Monte Carlo : Éditions du Livre, 1952.

Henri de Toulouse-Lautrec, by Maurice Joyant.

Paris : H. Floury, 1927. In two volumes.

Le livre de l’affiche/The book of the poster, by Réjane Bargiel-Harry & Christophe Zagrodzki.

Paris : Editions Alternatives, 1985.

Masters 1900

Karcher

Loïe Fuller/Current

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).

Loïe Fuller: Goddess of Light, by Richard Nelson Current & Marcia Ewing Current. Boston: Northeastern University Press, 1997.

Meehan

Loïe Fuller/Traces

Il manifesto Italiano, by Luigi Menegazzi. Milan : Arnoldo Mondadori Arte, 1989 (revised edition).

Kiffer Ch. Kiffer : Charles Kiffer et le spectacle. Toulouse : Centre de l’Affiche, 1990. Catalogue of the exhibition at the Centre de l’Affiche, Toulouse, 1990.

King The Collector’s Guide to Psychedelic Rock Concert Posters, Postcards and Handbills 1965-1973, by Eric King. Berkeley, 2018.

Traces of Light, by Ann Cooper Albright. Middletown, CT : Wesleyan University Press, 2007.

Looping the Loop Looping the loop : posters of flight, by Henry Serrano Villard & Willis M. Allen, Jr. San Diego, Calif. : Kales Press, 2000.

Lopez

Klinger / Beyond Poster Art in Vienna, by Karen Etingen. L’Affichiste, 2016.

Le temps des novateurs, 1920-1960 : exposition vente affiches anciennes, by Emanuel Lopez. Paris : Gallerie A.M., 2008. Catalogue of the exhibition at Gallerie A.M., Paris, November 20-December 31, 2008.

Lauder

Loupot

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.

Charles Loupot, by Alain Weill. Paris : Musée de l’Affiche, 1978. Catalogue of the exhibition at the Musée de l’Affiche, Paris, November 1978-March 1979.

Klinger

Loupot/Forney

Lautrec by Lautrec

Loupot: Peintre en Affiche. Catalogue of the 2018 exhibition at Bibliothèque Forney, Paris. Edited by Thierry Devynck.

Lautrec by Lautrec, by Ph. Huisman & M. G. Dortu. New York : Galahad Books, 1976.

Loupot/Lyon

Lautrec/Montmartre Toulouse-Lautrec and Montmartre, by Richard Thomson, Phillip Dennis & Mary Weaver Chapin.

Princeton, N.J. : Princeton Unversity Press, 2005.

Catalogue of the exhibition at the National Gallery of Art, Washington, D.C., March 20-June 12, 3005, and the Art Institute of Chicago, July 16-October 10, 2005.

Loupot: Peintre d’Affiches. Catalogue of the exhibition at the Musée de l’Imprimerie, Lyon, France, 2016. Text by Thierry De Vynck.

Loupot/Zagrodzki Charles Loupot : l’art de l’affiche, by Christophe Zagrodzki. Paris : Le Cherche-Midi, 1998. (American distributor: Posters Please Inc., New York)

Mai 68: Les Affiches

L’Auvergne

Mai 68: Les Affiches. Paris: S.P.M. Edition.

L’Auvergne en affiches, by Alan Weill. Thiers : Page Centrale, 2016.

Maindron 1896 Les Affiches Illustrees (1886-1895), by Ernest Maindron. Paris : G. Boutdet, 1896.

Masters of the poster 1900, by Alan Weill. Paris : Bibliothèque de l’Image, 2001.

Meehan Military Posters. Catalogue no. 53.

Menegazzi-II

Mer s’Affiche La mer s’affiche, by Daniel Hillion. Rennes : Editions Ouest-France, 1990.

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.

Modern American Poster The modern American poster, by J. Stewart Johnson. Boston : Little Brown, 1983. Catalogue of the Japanese exhibition of the posters from the N.Y. Musuem of Modern Art collection, December 14, 1983-January 22,1984.

Modern Poster 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.

Moderno Francés El cartel moderno Francés : el espectáculo está enel calle : Colin, Carlu, Loupot, Cassandre, by Carlos Pérez. Madrid : MNCARS, 2001. Catalogue for the Colin, Carlu, Loupot and Cassandre exhibition at the Museo Nacional Centro de Arte Reina Sofia, Madrid, November 15, 2001-January 21, 2002.

Modes & Publicité Modes & publicité 1885-1986 : le regard de Marie Claire. Paris : Editions Hermé, 1986.

Montagne La montagne s’affiche, by Daniel Hillion. Rennes : Editions Ouest-France, 1991.

218

BIBLIOGRAPHY (CONTINUED) Mouron

PAI-V

PAI‑XXIII

PAI-XLI

A. M. Cassandre, by Henri Mouron. New York : Rizzoli, 1985.

Poster Pizzazz. Auction held in Universal City, California, November 22, 1987.

Poster Delights. Auction held in New York City, November 10, 1996.

Matchless Posters. Auction held in New York City, November 13, 2005.

Mouse & Kelley

PAI-VI

PAI-XXIV

PAI-XLII

Mouse & Kelley, with introduction by Dominy Hamilton. New York : Dell Publishing, 1979.

Poster Splendor. Auction held in New York City, May 1, 1988.

Poster Pleasures. Auction held in New York City, May 4, 1997.

Posters Charm. Auction held in New York City, May 7, 2006.

Mucha/Art Nouveau

PAI-VII

PAI-XXV

PAI-XLIII

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.

Poster Potpourri. Auction held in New York City, November 13, 1988.

Sterling Posters. Auction held in New York City, November 9, 1997.

Posters Va-Va-Voom. Auction held in New York City, November 12, 2006.

PAI-VIII

PAI-XXVI

PAI-XLIV

Mucha/Postcards

Poster Treasures. Auction held in New York City, May 7, 1989.

Postermania. Auction held in New York City, May 3, 1998.

Winning Posters. Auction held in New York City, May 6, 2007.

Alphonse Mucha : all the postcards, by Alain Weill.

Uppsala, Sweden : Hjert & Hjert, 1983.

PAI-IX

PAI-XXVII

PAI-XLV

Müller-Brockmann

Poster Palette. Auction held in New York City, November 12, 1989.

Poster Ecstasy. Auction held in New York City, November 8, 1998.

Top Posters. Auction held in New York City, November 11, 2007.

History of the poster, by Josef & Shizuko MüllerBrockmann. Zurich : ABC Edition, 1971.

PAI-X

PAI-XXVIII

PAI-XLVI

Murray‑Robertson

Elegant Posters. Auction held in New York City, May 20, 1990.

Poster Vogue. Auction held in New York City, May 2, 1999.

Picture-Perfect Posters. Auction held in New York City, May 4, 2008.

Grasset : pionnier de l’art nouveau, by Anne Murray‑Robertson. Paris: Bibliothèque des Arts; Lausanne : Editions 24 Heures, 1981.

PAI-XI

PAI-XXIX

PAI-XLVII

Poster Passion. Auction held in New York City, November 11, 1990.

Posters for the Millennium. Auction held in New York City, November 4, 1999.

Posh Posters. Auction held in New York City, November 9, 2008.

PAI-XII

PAI-XXX

PAI-XLVIII

Poster Panache. Auction held in New York City, May 5, 1991.

Poster Allure. Auction held in New York City, May 7, 2000.

Poster High. Auction held in New York City, May 3, 2009.

PAI XIII

PAI-XXXI

PAI-XLIX

Poster Jubilee. Auction held in New York City, November 10, 1991.

Poster Power. Auction held in New York City, November 12, 2000.

Soaring Posters. Auction held in New York City, November 8, 2009.

PAI-XIV

PAI-XXXII

PAI-L

Poster Extravaganza. Auction held in New York City, May 3, 1992.

Dream Posters. Auction held in New York City, May 6, 2001.

Poster Celebration. Auction held in New York City, May 3, 2010.

PAI XV

PAI-XXXIII

PAI-LI

Rarest Posters. Auction held in New York City, November 8, 1992.

Swank Posters. Auction held in New York City, November 11, 2001.

Rare Posters. Auction held in New York City, November 14, 2010.

PAI-XVI

PAI-XXXIV

PAI-LII

Poster Parade. Auction held in New York City, May 2. 1993.

Poster Pride. Auction held in New York City, May 5, 2002.

The Winter Sale. Auction held in New York City, February 13, 2011.

PAI-XVII

PAI-XXXV

PAI-LIII

Poster Classics. Auction held in New York City, November 14, 1993.

Posters Perform. Auction held in New York City, November 10, 2002.

Rare Posters. Auction held in New York City, May 1, 2011.

PAI-XVIII

PAI-XXXVI

PAI-LIV

Winning Posters. Auction held in New York City, May 1, 1994.

Posters Persuasion. Auction held in New York City, May 4, 2003.

Rare Posters. Auction held in New York City, September 8. 2011.

PAI-XIX

PAI-XXXVII

PAI-LV

Prima Posters. Auction held in New York City, November 13, 1994.

Poster Holiday/The Wright Stuff. Dual auction held in New York City, November 9, 2003.

Rare Posters. Auction held in New York City, November 13, 2011.

PAI-XX

PAI-XXXVIII

PAI-LVI

Poster Panorama. Auction held in New York City, May 7, 1995.

Poster Style. Auction held in New York City, May 2, 2004.

Food & Wine. Auction held in New York City, February 12, 2012.

PAI-XXI

PAI-XXXIX

PAI-LVII

Timeless Posters. Auction held in New York City, November 12, 1995.

Poster Intoxication. Auction held in New York City, November 14, 2004.

Rare Posters. Auction held in New York City, May 6, 2012.

PAI‑XXII

PAI-XL

PAI-LVIII

Positively Posters. Auction held in New York City, May 5, 1996.

Posters Excel. Auction held in New York City, May 1, 2005.

American Posters. Auction held in New York City, September 6, 2012.

Musée d’Affiche 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.

Oggi Oggi si Vola! Torino : Edizioni XX Secolo, 2004.

Catalogue of the exhibition at the Museo Nazionale del Cinema, Torino, December 2003-February 2004.

Olympic Posters A century of Olympic posters, by Margaret Timmers. London : V&A Publishing, 2008. Catalogue of the exhibition at the Victoria & Albert Museum, London.

Olympics L’olympisme par l’affiche/Olympism through posters : 1896-1984, by Monique Berlioux. Lausanne : International Olympic Committee, 1983.

Orientalist The Orientalist poster, by Abderrahman Slaoui.

Casablanca : Malika Editions, 1997.

PAI – Books of the auctions organized

by Poster Auctions International, Inc. PAI-I Premier Posters. Auction held in New York City, March 9, 1985.

PAI-II Prize Posters. Auction held in Chicago, November 10, 1985.

PAI-III Poster lmpressions. Auction held in New York City, June 1, 1986.

PAI-IV Prestige Posters. Auction held in New York City, May 3, 1987.

219

BIBLIOGRAPHY (CONTINUED) PAI-LIX

PAI-LXXVII

Posters of Paris

Schardt

Rare Posters. Auction held in New York City, November 18, 2012.

Rare Posters. Auction held in New York City, February 24, 2019.

PAI-LX

PAI-LXXVIII

Rare Posters. Auction held in New York City, March 10, 2013.

Rare Posters. Auction held in New York City, June 23, 2019.

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.

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).

PAI-LXI

PAI-LXXIX

Publicité

Schermi di Carta

Rare Posters. Auction held in New York City, September 12, 2013.

Rare Posters. Auction held in New York City, October 27, 2019.

Affiches de la Publicité, by Emmanuel Lopez.

Paris : Citadelles & Mazenod, 2013.

PAI-LXII

PAI-LXXX

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.

Rare Posters. Auction held in New York City, January 12, 2014.

Rare Posters. Auction held in New York City, February 23, 2020.

Les Pyrénées s’affichent, by Jean-Loup Fricker & Philippe Tevranche. Toulouse : Edition Milan, 2004.

PAI-LXIII

PAI-LXXXI

Raccontano

Rare Posters. Auction held in New York City, May 4, 2014.

Rare Posters. Auction held in New York City, July 21, 2020.

PAI-LXIV

PAI-LXXXII

I Muri Raccontano : 100 anni di manifesti stampati della Pozzo gros Monti, ed. by Elvio Soleri.

Torino : Edizioni d’Arte Fratell Pozzo, 1991.

Rare Posters. Auction held in New York City, September 21, 2014.

Rare Posters. Auction held in New York City, November 15, 2020.

PAI-LXV

PAI-LXXXIII

Rare Posters. Auction held in New York City, January 25, 2015.

Rare Posters. Auction held in New York City, March 14, 2021.

PAI-LXVI

Perier

Rare Posters. Auction held in New York City, May 3, 2015.

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.

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.

Perpignan

Rennert/Weill

The golden age of the railway poster, by J. T. Shackleton. Secaucus, N.J. : Chartwell, 1976.

Alphonse Mucha : the complete posters and panels, by Jack Rennert & Alain Weill. Boston : G. K. Hall, 1984.

Sorlier

PAI-LXVII Rare Posters. Auction held in New York City, October 11, 2015.

PAI-LXVIII Rare Posters. Auction held in New York City, January 31, 2016.

PAI-LXIX Rare Posters. Auction held in New York City, May 15, 2016.

PAI-LXX Rare Posters. Auction held in New York City, October 30, 2016.

PAI-LXXI Rare Posters. Auction held in New York City, March 12, 2017.

PAI-LXXII Rare Posters. Auction held in New York City, June 22, 2017.

PAI-LXXIII Rare Posters. Auction held in New York City, October 22, 2017.

PAI-LXXIV Rare Posters. Auction held in New York City, February 25, 2018.

PAI-LXXV Rare Posters. Auction held in New York City, June 26, 2018.

PAI-LXXVI Rare Posters. Auction held in New York City, October 28, 2018.

Perpignan: Capitale Touristique, by Eric Forcada.

Office de tourisme de la Ville de Perpignan, 2009.

Petite Reine 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.

Pierrot Les 100 plus belles images de Pierrot, by Daniel Bordet. Paris : Editions Dabecom, 2003.

Plakate München Plakate in München 1840-1940 : eine documentation zu geschichte und wesen des plakats in München, by Gude Suckale-Redlefsen & Volker Duvigneau. München : Stadtmuseum, 1975.

Catalogue of the exhibition at the Münchner Stadtmuseum, October 16, 1975-January 6, 1976.

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.

Pyrénées

Rawls Wake up, America : World War I and the American poster, by Walton Rawls. New York : Abbeville Press, 1988.

Reims

Revolution You Say You Want a Revolution? Records and Rebels 1966-1970, ed. by Victoria Broackes and Geoffrey Marsh. London : V&A Publishing, 2016.

Rickards Posters of the First World War, by Maurice Rickards. New York : Walker & Company, 1968.

Salon des Cent 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.

Salon des Cent/Neumann 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.

Savignac Savignac, by Alain Weill. Paris : Hoëbeke, 2001.

The catalogue raisonné published to coincide with the retrospective at the Bibliothèque Forney, Paris, September 11, 2001-January 12, 2002.

Schindler Monografie des plakats, by Herbert Schindler.

Munich : Süddeutscher Verlag, 1972.

Schnackenberg Schnackenberg : kostüme, plakate und dekorationen, by Oskar Bie. Munich : Musarion Verlag, 1920.

Schoonbroodt Privat Livemont : entre classicisme et art nouveau, by Benoit Schoonbroadt. Bruxelles : C.I.D.E.P., 2003.

Separate Cinema A separate cinema : fifty years of Black-cast posters, by John Kisch, Edward Mapp & Spike Lee. New York : The Noonday Press, division of Farrar, Straus and Giraux, 1992.

Shackleton

Chagall’s posters : a catalogue raissonné, ed.

by Charles Sorlier. New York : Crown Publishers, Inc., 1975.

Spanish Posters The art of Spanish posters : an exhibition of traditional, political and artistic publicity, by Norio Shimada. Tokyo : Art Life, 1991. Catalogue of the exhibition at Tobu Cultural Event hall, October 3-29, 1991; and at Otani Memorial Art Museum, Nishinomiya City, November 2-December 1, 1991.

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).

Sport Il etait une fois le sport/Once upon a time there was sport, by Juan Antonio Samaranch, guy Drut & Jean Durry. Lausanne : Musée Olympique, 1997. Catalogue of the exhibition at the Oympic Museum, Lausanne, February 26-June 22, 1997.

Sport à l’Affiche Sport à l’affche, by Jean Durry. Paris : Editions Hoebeke, 1988.

Sportissimo Sportissimo : cent ans de grandes et petites histoires du sport, by Françoise Laget & Serge Laget. Paris : Editions du Chêne, 1996.

220

BIBLIOGRAPHY (CONTINUED) Steinlen/Genève

Tolmer

V&A

Weill/Art Deco

Théophile-Alexandre Steinlen (1859-1923),

by Carolyne Krummenacker, Philippe Kaenel & Raphaë Gérard. Paris : Fragments, 2004. Catalogue of the exhibition of the collection of the Musée du Petit Palais at the Musée de Payerne, May 14-September 20, 2004, and at the Musée de Montmartre, November 11, 2004-February 13, 2005.

Tolmer : 60 ans de création graphique dans l’Ile St. Louis. Paris : Biblithèque Forney, 1986. Catalogue of the exhibition at the Bibliotèque Fourney, Paris, May 22-July 5, 1986.

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.

L’Affiche Art Deco, by Alain Weill. Paris: Editions Hogan, 2013.

Toujours Plus Haut

Veloscopie

Die jugend der plakate : 1887-1917, by Paul Wember. Krefeld : Scherpe Verlag, 1961.

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.

Veloscopie. Knotte-Heist [Belgium] : Casino Knokke, 1977. Catalogue of the exhibition help at Casino Knokke, June 26-September 4, 1977.

Wine Spectator

Steinlen’s Cats Steinlen’s cats, by Francois Fossier. New York : Harry N. Abrams, 1990. Steinlen images from the Bibliothèque Nationale, Paris.

Stoecklin 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.

Suez Et l’au-fela de Suez, by Bernard Delvaille. Marseille : André Dimanche Editeur, 1987.

Swiss/Basel Swiss posters from historism to computer design : 450 selected works from the Basel Poster Collection, by Rolf Thalman. Osaka : Toho Shuppan 2004.

Swiss Posters 50 ans : affiches suisses preimées par le Départment Fédéral de l’Intérieur. Bern : KummerIy & Frey, 1991.

Tourism/Suntory 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.

Viaggio Manifesti : viaggio in Italia attraverso la publicità, 1895-1960/Posters : traveling around Italy through advertising, 1895-1960, ed. by Anna Villari & Dario Cimorelli. Milano : Silvana Editoriale, 2010.

Villemot

Villemot/Forney

Zeitzeiger

Travel by train : the American railroad poster, 1870-1950, by Michael E. Zega & John E. Gruber.

Bloomington : Indiana University Press, 2002.

Villemot : painter en affiches, by Thierry Devynck & Marie-Catherine Grichois. Paris : Paris Bibliothèques, 2012. Catalogue of the exhibition held at the Bibliothèque Forney/Ville de Paris, Paris, France, September 18, 2012-January 5, 2013.

Zeitzeiger : Plakate aus zwei jahrhunderten, by René Grohnert. Mainz : Verlag Herman Schmidt, 2007.

Travel Posters

Villemot/La Femme

Travel Posters, by Bevis Hillier. New York : Phaidon and Dutton, 1976.

Villemot : affiche la femme, by Bernard Villemot & Hélène Decaen-Le Boulanger. Cabourg : Editions du Temps, 2006. Catalogue of the exhibition at the Musée de Trouville, October 14, 2006-January 28, 2007.

Travel by Train

U.S.A. 1929

Ungerer/All in One

Wagner

Tomi Ungerer : All in One, ed. by Margaret Sundell. Minneapolis : BookMobile, 2015. Catalogue of the exhibition at The Drawing Center, New York, January 16-March 22, 2015.

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.

American posters of World War I, by George Theofiles. Dafran House, New York.

Timeless Images Timeless images, by Jack Rennert. Tokyo : Isetan Museum of Art, 1984. Catalogue of the exhibition at the Isetan Museum of Art, Tokyo, October 10-23, 1984.

Word & Image

Le train s’affiche, by Thierry Favre. Paris : La Vie du Rail, 2005.

Swiss sport posters : historical view of the best Swiss competition posters, by Karl Wobmann & Max Triet. Zurich : ABC Verlag, 1983.

Theofiles

Toulouse-Lautrec : the complete prints, by Wolfgang Wittrock. London : Sotheby’s, 1985.

Villemot : l’affiches de A à Z, by Guillaume Villemot. Paris : Éditions Hoëbeke, 2005.

Villemot/A to Z

Swiss Sport

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.

Wittrock

Train/Favre

Le train à l’affiche : les plus belles affiches ferroviaires française, by Florence Camard & Christophe Zagrodzki. Paris : La Vie du Rail, 1989.

Les affiches de Villemot, by Jean François Bazin.

Paris : Denoël, 1985.

Conquering the skies in Swiss poster art, by JeanCharles Giroud. Geneva : Patrick Cramer, 2008.

Takashimaya

Posters of the Belle Epoque : the Wine Spectator collection, by Jack Rennert. New York : The Wine Spectator Press, 1990.

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.

Train à l’Affiche

U.S.A. 1929 : lavora, successo, e miseria tra gli anni ruggenti e la Grande Depressione, by Tulliola Sparagni, Uliano Lucas & Pierto Bellasi. Catalogue of the exhibition at l’Università di Bologna, February 1-March 10, 2005.

Swiss Skies

Wember

Ungerer Exhibitions Tomi Ungerer : ausstellung/exposition/exhibition,

by Jean Favière, Christine Hamm & Sylvie Erb. Köln, Germany : Argo Press, 1981.

Ungerer Musée Musée Tomi Ungerer : la collection, by Thérèse Willer & Claire Hirner. Strasbourg : Musées de Strasbourg, 2007.

Voyage L’invitation au voyage, by Alain Weill. Paris : Somogy, 1994.

Weapons Weapons of Mass Dissemination: The Propaganda of War, ed. by Leslie Sternblieb. Miami Beach : The Wolfsonian-Florida International University, 2004.

Weill

Ungerer Posters

The poster : a worldwide survey and history, by Alain Weill. Boston : G.K. Hall, 1985.

The poster art of Tomi Ungerer, by Jack Rennert.

Greenwich, Conn. : Darien House/New York Graphic Society, 1971.

Weill/Art Nouveau

Ungerer/Willer Tomi Ungerer : graphic art, by Thérèse Willer.

Strasbourg, Éditions du Rocher, 2011.

The Art Nouveau Poster, by Alain Weill. Francis Lincoln Limited, 2015.

CONDITIONS OF SALE

221

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.

222 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.

223

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-LXXXIV: 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.

(Signed)

Date

Name Address City

State

Phone: Home:

ZIP

Office:

Fax:

Email Address Bank: Name Address

Account Number

Officer

Credit Card #

Exp

V-Code

Billing Zip

n Order Bid n Telephone Bid - Telephone numbers where you can be reached on Tuesday, July 20

Lot #

Artist

Title

BID (excluding premium)

$

$

$

$

$

$

$

$

$

$

START BIDDING NOW YOU CAN JOIN OUR JULY 20 AUCTION FROM ANYWHERE IN THE WORLD THROUGH THESE OPTIONS: LIVE BIDDING Join us in person on auction day. You may register for a paddle with our staff at any point during the sale.

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 223 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 July 20. 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 Monday, July 19.

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: see page 221.

Beginning at 11am on auction day, you’ll be able to access a live video feed at posterauctions.com.

Lot 474: Jane Avril, by Henri de Toulouse-Lautrec.

Poster Auctions International, Inc. 26 West 17th Street, New York, NY 10011