PAI-LXXXVII: Rare Posters

PRESENTS

TUESDAY, JULY 12 , 2022 AT 11 AM EDT VIEWING: JUNE 2 1 - JULY 11 (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 278, An East Coast Tonic, by Jean Droit.

Page 2 is a detail of lot 345, Trouville, by Maurice Lauro.

Page 228 is a detail of lot 422, Smoke Turkish Régie Cigarettes, by Pal.

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

First and foremost, our thanks to the 81 consignors in 17 states and 10 foreign countries who entrusted their finest works to us for this very special occasion.

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

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McCobb was in charge of production and design. Helping with many of

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

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director of the Poster Photo Archive.

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To all of them and to all others who offered help, suggestions, and encouragement, many thanks.

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

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

OUR NEXT SALE We are pleased to announce that the PAI-LXXXVIII sale will be held in

$100,000 — over by $10,000

November, 2022. Consignments are accepted until August 15, 2022.

Jack Rennert - License 0797440 ISBN 978-1-929530-71-7

©2022 Poster Auctions International, Inc. All rights reserved. Printed in the United States of America.

CONTENTS AND HIGHLIGHTS

AUTOMOBILES

BICYCLES

1-44

12

31

AVIATION

45A

61

WAR & PROPAGANDA

62-93

68

FILM

115-123

45A-61

37

94-114

72

108

CIRCUS, MAGIC, & WILD WEST

1924 OLYMPICS

139-140

DIE 6

124-132

118

113

133-138

124

137

INTERNATIONAL POSTERS

141-522

140

160

185

198

232

235

LEONET TO CAPPIELLO

202-229

202

219

226

JULES CHÉRET

3, 238-261

255

261

262

278

294

CONTENTS AND HIGHLIGHTS Continued

PRIVAT LIVEMONT

296A

328

349-353

342

349

365

ALPHONSE MUCHA

378-406

378

384

401

414

T. A. STEINLEN

422

432

438

447

456-460

448

457

TOULOUSE-L AUTREC

458

470-495

461

504

506

470

507

480

511

485

484

518

520

SELECTED INDE X

BIBLIOGRAPHY

CONDITIONS OF SALE

ABSENTEE BID FORM

BIDDING TIPS

PAGE 217

PAGE 218

PAGE 225

PAGE 227

PAGE 228

AUTOMOBILES

1 1. Le Pneu Michelin / Nunc est bibendum. 1898.

Artist: O’Galop (Marius Rossillon, 1867-1946) 13 3⁄4 x 19 in./35 x 48.2 cm Imp. L. Revon, Paris Cond B+/Slight stains at edges. Framed.

Ref (all var but Discount): Discount, 14; Bicycle Posters, 38; Collectionneur, p. 243; Michelin, p. 43; Siècle Bibendum, p. 26; PAI-LIII, 386 This is the very first poster to introduce the Michelin Man to the world. In 1894, while attending the Universal and Colonial Exposition in Lyon, Edouard and André Michelin noticed a stack of tires that resembled a figure without arms. Four years later, they met with O’Galop, who showed them a rejected image intended for a Munich brewery of a large figure raising a glass of beer and quoting the phrase from Horace: “Nunc est bibendum” (Now let’s drink). André suggested to create a figure made from tires, and thus, Bibendum was born. But instead of toasting with beer, he raises a goblet overflowing with nails, broken glass, and other road debris, insinuating that Michelin tires can withstand dangerous obstacles on the road. For the next fifteen years, this image was used to promote Michelin tires; further iterations included new products on the table. Rare!!

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

AUTOMOBILES

3

2 2. Essence Lesourd. 1899.

Artist: Misti (Ferdinand Mifliez, 1865-1923)

4. Automobiles Eclipse. ca. 1900.

Artist: Anonymous

36 x 49 3⁄8 in./91.5 x 125.4 cm Imp. Tourangelle, Tours Cond B/Slight tears at folds. Framed.

Ref: PAI-XLVI, 415

31 5⁄8 x 47 3⁄8 in./80.3 x 120.3 cm Imp. Ch. Wall, Paris Cond B/Slight tears and stains at folds.

Ref: PAI-LXXXVI, 31

Whereas Chéret’s poster for a different brand of storesold canistered gasoline, Benzo-Moteur, didn’t even show the product (see following lot), instead relying solely on the charm and demographic appeal of a pair of female drivers, Misti’s promotion for the Lesourd brand actually shows the product being dispensed. Since the poster comes from the early days of automotive fascination, there isn’t a drop of oily residue on display, simply an able-bodied chauffeur and his overjoyed and attentive pristine employer.

While no information exists on Automobiles Eclipse, this design is a standout: rarely do we see images of two women driving without a male companion in the days of early automobiles. The bicycle helped paved the way for female independence, and once cars became commercially available, the ladies immediately took the wheel.

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

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

5. Pneu Michelin. ca. 1900.

Artist: O’Galop (Marius Rossillon, 1867-1946)

3. Benzo-Moteur. 1900.

Artist: Jules Chéret (1836-1932)

31 x 39 1⁄2 in./78.8 x 100.3 cm G. Gerin Fils, Dijon-Paris Cond B/Slight tears at folds and edges.

Ref: Discount, p. 64

32 3⁄4 x 47 3⁄ 8 in./83 x 120.3 cm Imp. Chaix, Paris Cond B/Slight tears at folds and edges.

Ref: Chéret, 1369; Broido, 1031; DFP-II, 201; Affiches Automobiles, p. 14; Abdy, p. 52; Gold, 22; PAI-LXXXV, 58 “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: $1,400-$1,700.

4

“An accomplished French cartoonist, Marius Rossillon created comic strips for the prominent turn-of-thecentury publisher L’Imagerie d’Epinal. In this image, O’Galop, as he was widely known, labels Michelin’s competitor John Body Dunlop ‘deaf, dumb, and blind.’

Dunlop’s bearded visage is reflected on the rear of the automobile as he bends over to examine the Michelin tires. He gasps, noticing the tire is about to roll over the tail of an unsuspecting dog. The artist made two versions of this poster, integrating the present image into a larger scene in which a Parisian gendarme directs a horde of theatergoers across the street” (Discount, p. 64).

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

5

AUTOMOBILES

7

6

8 6. Vulcan / Pneu Cuir.

Artist: Walter Thor (1870-1929)

7. Automobile Club Show. ca. 1900.

Artist: W. S. Rogers

8. Automobiles Barré. ca. 1902.

Artist: Walter Thor (1870-1929)

45 1⁄2 x 61 7⁄8 in./115.6 x 157 cm Affiches Kossuth, Paris Cond A-/Unobtrusive folds.

Ref: Discount 87; PAI-XLIII, 559

20 1⁄4 x 30 1⁄8 in./51.5 x 76.5 cm Waterlow & Sons, London Cond B+/Recreated margins; tears in bottom text area.

Ref: Rogers, p. 40; PAI-LIX, 45

Leather isn’t typically associated with pneumatic tires.

And yet, before John Boyd Dunlop—the father of the modern tire­—created the inflatable tires for his son’s tricycle, Robert William Thomson, another Scottish innovator, invented the “Aerial Wheel,” which consisted of a canvas inner tube surrounded by a leather outer tire. Even Dunlop’s tire at first had a modified leather hosepipe as an inner tube under rubber treads. So even though it isn’t commonplace, we shouldn’t be surprised to see the use of leather in early tire production, as is the case with Vulcan, the winner of the “Golden Wheel” at a 1905 binding competition. And seeing as this overjoyed driver has opted to drape himself in a driving coat that matches his tire of choice, we have to assume that at least for a brief period of time, the French automotive public was pleased to roam the roads upon Vulcan leather tires. Thor, a member of the Salon des Artistes Français, is best known for his humorous turn-of-the-century transportation posters.

This advertisement for an early British auto show takes aim at the potential female motorist. With her sash and scarf flapping behind her and wings attached to the bow in her unmussed coif, she appears to be ready to take flight. It’s an interesting, and more-likely-than-not successful approach, especially in reinforcing the role of women in early automobile and bicycle posters: not only was the machine a liberating force for them, but it was meant to convey the ease with which the new contraption could be driven.

62 x 46 in./157.5 x 116.8 cm Affiches Kossuth, Paris Cond B+/Slight tears at folds.

Ref: Khachadourian, p. 12; Poitou-Charentes, p. 87; PAI-LXXXIII, 149

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

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

When seen on a road sign, “barré” means “Do Not Enter.”

This could have been a problem for the Barré automotive company. Walter Thor, however, decided to drive right through this potential marketing barrier, and as a result produced an advertising coup. This unruly rabble in the rumble seat doesn’t give a fig for unfinished road work, and even thumb their noses at the gendarme as they fly past. So many auto ads of the period emphasize elegance and luxury, but this is truly a car for the people: one that states unequivocally to those who seek to bar access, or progress, or entry, that they can go stuff it.

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

AUTOMOBILES

9

10

11 9. Labor. ca. 1903.

Artist: Fernand-Louis Gottlob (1873-1935)

10. Alpha B.R.C. ca. 1905.

Artist: Anonymous

11. Hurtu.

Artist: Ernest Montaut (1879-1936)

46 1⁄4 x 62 7⁄8 in./117.5 x 159.7 cm Imp. H. Laas, E. Pécaud, Paris Cond A-/Slight tears at folds.

Ref: PAI-LXXIII, 28

39 x 54 in./99 x 137 cm Imp. Philippe Chapellier, Paris Cond B+/Slight tears at folds and edges.

Ref: Collectionneur, p. 236; PAI-XLII, 4

54 5⁄8 x 39 in./138.7 x 99 cm L. Marcel Fortin, Paris Cond A-/Unobtrusive folds.

Ref: PAI-XL, 42 (var)

This very serious and determined image shows a mustachioed driver at the helm, barreling his vehicle over the terrain.

An inconceivably toga-ed but delightfully alluring diaphanous goddess graciously conveys the gift of illumination to mere motoring mortals in need of improved night sight, acting as a conduit between the heavens and Alpha B.R.C. acetylene instruments. Or, as the more plebeian slogan points out, the headlight lets you see obstacles. B.R.C. is an abbreviation for Boas, Rodrigues & Co., a firm founded at the beginning of the 20th century in Paris, which subsequently changed its name to Rodrigues, Gautier & Co. between the wars.

Originally advertised as “The Headlight of Kings, The King of Headlights,” Alpha B.R.C. took first prize at the 1900 Paris World’s Fair and, as noted at the bottom of this poster, at the auto competitions in Lyon, Tours, and Berlin.

A master of depicting automotive and aeronautic events, Montaut shows us his humorous side in this design for Hurtu automobiles and bicycles. Both vehicles in the design are made by the Hurtu firm, which like many other companies began by manufacturing bikes and then added automobiles.

Not that the transportation graphics are given short shrift, but it’s the trio of characters that populate Montaut’s creation that sets it apart: the buffoonish chauffeur who can’t believe he’s been nabbed for his unspecified infraction, the exalted officer who was certain he’d get his man atop a Hurtu, and the bemused female passenger who’s wise to the fact that boys will be boys. There’s also a sly implication that had this gendarme not been atop a Hurtu, this motoring rapscallion may very well have escaped the clutches of justice. It’s a delightful vehicular promotion.

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

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

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

AUTOMOBILES

12 12. Mostra del Ciclo e dell’Automobile / Milano. 1907.

Artist: Leopoldo Metlicovitz (1868-1944) 54 3⁄4 x 78 in./139 x 198.2 cm G. Ricordi, Milano Cond A-/Slight tears at edges. Framed.

Ref: Menegazzi-I, 143 & cover; PAI-LXXIII, 29 A winged seraph carries laurels of triumph in the slipstream beside a hungry red speedster, which is being flung through the wind by two determined, begoggled drivers—a fitting introduction to the 1907 Milan Auto Show. It’s one of the most magnificent posters by Metlicovitz, who managed—with no formal training—to grow from a successful portraitist to the technical director of the famous Ricordi printing house, becoming one of Italy’s greatest poster artists in the process. This is a two-sheet poster. Rare!

Est: $25,000-$30,000.

AUTOMOBILES

13. Safir. 1907.

Artist: Burkhard Mangold (1873-1950) 33 1⁄8 x 44 7⁄8 in./84.2 x 114 cm J.E. Wolfensberger, Zürich Cond A. Framed.

Ref: Mangold, cover; PAI-LXXI, 21

13

Without a doubt, this is one of Mangold’s finest designs: it brilliantly exemplifies the dark fantasies of power, speed, and sexuality so often associated with the car industry. Founded in 1906, SAFIR was a shortened version of the Swiss Automobile Factory. While the poster is extraordinary, the company itself only stayed in production through 1910, with only a few dozen cars ever produced under its name. Rare!

Est: $14,000-$17,000.

14. Automobile Club de France. 1905.

Artist: Jules-Alexandre Grün (1868-1938) 62 1⁄2 x 47 in./157.5 x 119.3 cm Imp. Charles Verneau, Paris Cond A-/Slight tears along folds.

Ref: Grün, p. 102; PAI-LXXXI, 112 “The Automobile Club de France was created on the initiative of three automobile enthusiasts, the Comte de Dion, Paul Meyran, and the Baron de Zuylen who became its president upon its inception on November 2, 1895. It is under his leadership that the competitions and the main salons took place. As proven by this poster, the salon did not only cater to races and tourism but also to the industrial and military vehicles—important markets as well. Beginning with the army maneuvers in 1900, the generalissimo only traveled by automobile. The army is outfitted with Georges Richard and Mors vehicles and Renault enters fully into the military market. In 1905 Grün discovers the world of color. He doesn’t fall into the trap of trying to describe—which would have been impossible. He decides to evoke. In the foreground a gendarme, saluting at attention, on the left a joyous crowd and in the background, standing out against the setting sun, as in a shadowgraph, a stream of barely identifiable vehicles” (Grün, p. 102).

14

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

AUTOMOBILES

15

15. Pekin-Paris 1907 / Dion-Bouton. 1907.

Artist: Emile Sevelinge (1871-1936) 30 3⁄4 x 20 1⁄ 8 in./78 x 51 cm Cond A-/Vertical fold. Framed.

This gory image is the result of a simple question asked in Le Matin in 1907: “What needs to be proved today is that as long as a man has a car, he can do anything and go anywhere.

Is there anyone who will undertake to travel this summer from Paris to Peking by automobile?” In fact, several drivers decided to partake in the 9,317 mile event, with the great prize being a magnum of Mumm champagne. First and second place were claimed by an Italian and a Dutch driver, with two French drivers finishing 3rd and 4th in their Dion-Boutons, as seen here. Sevelinge lets us know that the journey was not all sublime vistas and sunsets—the occasional decapitated head could also be found in the vast expanse of the Gobi desert.

16

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

16. Vite! Un Bris. 1904.

Artist: Franc Malzac 53 3⁄8 x 38 3⁄8 in./135.6 x 97.5 cm Imp. Charles Verneau, Paris Cond B-/Slight tears at folds.

Ref: PAI-VII, 409 In 1904, very few people owned cars, and even less were likely to snatch a glass of Kina-Bris absinthe while steering with one hand. And while we can’t endorse the maneuver, we do appreciate this coy conception. Rare!

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

17. Alcyon. 1906.

Artist: R. Gautier 42 3⁄4 x 58 1⁄4 in./108.6 x 148 cm Imp. G. Elleaume, Paris Cond A. Ref: PAI-XLIII, 18 “Alcyon” is the Latin word from which “halcyon” is derived.

But things don’t appear that serene in this Gautier scene, what with one motorist utterly befuddled by his vehicular breakdown and another chap leading a horse that doesn’t look as if it would ever entertain the idea of being mounted.

However, if you’re wise enough to purchase an Alcyon—we have to assume that this applies to the manufacturer’s bikes as well, seeing as the two cyclists are keeping up with the red voiturette with ease—it’s easy going all the way. But that doesn’t mean that driving an Alcyon will make you a better person, judging from the callous disregard being displayed by the passing passenger towards the other driver’s flustered state.

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

17

AUTOMOBILES

18

19

20

18. Automobiles Pax. 1907.

Artist: M. Stéphane

19. Mitchell. ca. 1906.

Artist: Georges Pierre Riom (1877-1970)

20. Automobiles Renault. 1910.

Artist: Anonymous

60 7⁄8 x 45 7⁄8 in./154.6 x 116.5 cm Imp. de l’Entrepot, Paris Cond A-/Unobtrusive folds.

Ref: Auto Show III, 28

62 1⁄4 x 46 1⁄ 2 in./158 x 118.2 cm Imp. Pichot, Paris Cond A-/Slight tears at folds.

Ref: PAI-LXIV, 41

45 5⁄8 x 61 7⁄8 in./116 x 157.2 cm Imp. Pierre Lafitte, Paris Cond B+/Slight tears at folds and in bottom text.

Ref: Affiches Automobiles, p. 46; PAI-LXXVIII, 54

Although this open cab stuffed with people seems perilous by today’s standards, Automobiles Pax wants to assure us that their model will protect all of its riders—including various heads of state. “Political events and politicians appear in publicity of this era; history buffs will easily recognize the characters” (Auto Show III, p. 60). Unfortunately, we are at a total loss as to who these figures are.

Based in Wisconsin, Mitchell automobiles was in operation from 1903 to 1923, specializing in carriagelike cars such as the one seen in this poster for the French market. It was later purchased by Nash Motors, which is today, after a variety of buy-outs and mergers, part of Chrysler.

In a remarkably Penfield-esque fashion, this anonymous artist delivers a stately and serene image for Renault.

The company’s persuasion to upper-class clientele is gracefully elucidated with the use of an inset frame, two elegant greyhounds on the lawn, flowering groves in the background, and the stylish woman gracefully stepping into her waiting car. This is the larger format.

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

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

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

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

AUTOMOBILES

21

22

23 21. Voitures & Motos Werner. 1907.

Artist: Smiley

22. G. Brouhot / Usines d’Automobiles. 1908.

Artist: Misti (Ferdinand Mifliez, 1865-1923)

23. L’Antidérapant Durandal.

Artist: E. Célos

45 1⁄4 x 62 1⁄2 in./115 x 158.6 cm L’Esquisse Moderne, Paris Cond B+/Slight tears at folds.

Ref: PAI-LV, 81

47 1⁄8 x 62 3⁄4 in./119.8 x 159.5 cm Affiches Misti, Neuilly Cond B+/Slight tears at folds.

Ref: PAI-XLII, 24

61 1⁄4 x 45 1⁄4 in./155.5 x 115 cm Affiches Kossuth, Paris Cond B+/Slight tears at folds.

Ref: PAI-XXXII, 113

Obviously safety is not a primary concern for those owning a Werner-made automobile, as is evident by the clueless female driver whose antics are sending man, fowl, and beast into total panic. Luckily, her male counterpart is managing to maneuver his Werner motorcycle out of her way in time to avoid a serious injury. While Werner manufactured both cars and motorbikes around the turn of the century, it is the latter, sought after by collectors, which keeps the name alive today.

A rugged Brouhot comes rumbling over a hill, looking like—or at least being driven like—an ancestor of today’s jeeps and all-terrain vehicles. And though the vehicle is clearly rendered and absolutely distinct, the implication of speed is overwhelming: a cloud of dust forms, the driver leans into the turn, and the passenger braces for a sharp one. Misti was a busy poster artist who, between 1894 and 1914, designed more than 100 images—many for bicycles, as well as department stores, railroads, publishing clients, and the Neuilly fair. Rare!

Apparently compassion is not a priority when it comes to properly outfitting one’s vehicle. Instead of helping their fellow motorist out of the froggy situation he has landed in, these two jokesters, who wisely chose Durandal anti-skid tires, seem content to revel in his misfortune.

Fortunately, no one was seriously hurt, and the cartoonish charm of the poster is delightful. Célos designed several automobile and bicycle posters at the turn of the century, frequently adding Art Nouveau touches to his designs, as exhibited in the lovely water’s edge irises seen here.

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

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

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

AUTOMOBILES

25 24. Automoto.

Artist: Anonymous 41 3⁄8 x 59 in./105 x 150 cm Imp. P. Vercasson, Paris Cond A-/Unobtrusive folds.

Ref: Auto Show III, 6; Ailes, p. 82; PAI-XLIII, 3

24

You’d think that President Carnot could have found a more dignified way of parading himself before the excited residents of this rustic town than to be chauffeured about by a military official on what, by today’s standards, would be considered rather precarious transport. But upon introduction, these demi-cars, tricycles, and quadracycles gained nearly instant popularity, and became commonplace sights on European roadways until after World War I. Automoto began operations in 1901 in St. Etienne, Loire, under the name Chavanet, Gros, Pichard & Cie. Est: $2,000-$2,500.

25. Auto-Garage Bellecour.

Artist: Francisco Tamagno (1851-1933) 38 1⁄2 x 54 1⁄4 in./97.8 x 138 cm Lith. Gallice, Paris Cond B-/Slight tears at folds and edges.

Ref: PAI-LXXXI, 114 Now that’s a look! It’s hard to say whether the shiny red automobile or its new owner—decked out in his best driving gear and flaunting a perfectly coifed beard— demands more attention from the crowd of cheering auto repairmen. His companion has also donned the latest, most extravagant fashions to celebrate the ride. Eldin & Lagier was a short-lived manufacturer of large cars and motors; their company lasted from 1898-1901 in Lyon. But Tamagno has immortalized the firm—and the fashions of the day.

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

26. L’Élégante.

Artist: Anonymous 38 1⁄4 x 57 3⁄4 in./97 x 146.6 cm Imp. Charaire à Sceaux Cond B/Restored tears at folds and edges.

Ref: PAI-XLIII, 1 Cut from the same transportational cloth as Steinlen’s Motocycles Comiot (see PAILXXXVI, 367), this anonymous creation for Élégante motors pits machine against goose.

While the Steinlen design appears to give the geese a fighting chance, we’re not sure that the same can be said here. The age-old conflict of nature versus machine is thematically appropriate for the period of the poster’s production; what sets this design apart, however, is the seeming embarrassment of the back-seat passengers and the stolid forward gaze of the front-seat military type while the driver unabashedly plows forward. Clearly bad driving skills have been a perturbation from the get-go.

26

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

AUTOMOBILES

28

27 27. Pneumatique Soly. ca. 1910.

Artist: Francisco Tamagno (1851-1933)

29. The Great Arrow. 1907.

Artist: Edward Penfield (1866-1925)

44 x 62 1⁄4 in./112 x 158 cm La Lithographie Parisienne, Paris Cond A-/Unobtrusive folds.

Ref (both var): Discount, p. 119; PAI-XXXI, 119

9 3⁄4 x 13 3⁄4 in./24.8 x 35 cm Cond B+/Slight stains.

Ref: PAI-LVIII, 227 (var)

This Soly tire “frames a scene of the busy A. Soly factory set in a landscape that is bathed in the golden light of the setting sun. Rays of advertising copy spread the message that Soly tires are ‘the best in the world.’ Using linear perspective, Tamagno expands the factory beyond the viewer’s eye, implying the large size of the company and hinting at its potential growth” (Discount, p. 119).

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

29

Once one of America’s most prestigious luxury car manufacturers, Pierce-Arrow frequently referred to their most popular car, The Arrow, as “The Great Arrow” in advertisements. It became the official car of the US President in 1909, and was often purchased by Hollywood stars and foreign royalty. Their ads, such as this one by Penfield, were understated and elegant, offering a lifestyle image rather than simply the raw power of a car.

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

28. Collier’s / Jan 17, 1903 / Automobile Number. 1903.

Artist: Edward Penfield (1866-1925)

30. The Pierce Arrow. 1910.

Artist: Edward Penfield (1866-1925)

11 x 16 in./27.8 x 40.7 cm Cond B+/Slight tears at edges.

Ref: PAI-LVIII, 497

8 3⁄4 x 10 7⁄8 in./22.3 x 27.5 cm Cond A. Ref: PAI-X, 57 (var)

One of America’s leading illustrators, Penfield created dozens of covers for Collier’s and other large scale publications. Here, we are invited to peruse the Automobile issue, led by a stylish yet demure lady driver standing beside the latest model.

This is an advertisement for Life magazine, to which Penfield contributed several fine designs for the prestigious Pierce Arrow cars. The driver and tennis player lend a sense of upper-class luxury to the automobile.

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

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

30

AUTOMOBILES

31

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AUTOMOBILES

32

33

34

31. Mercedes. ca. 1914.

Artist: Ludwig Hohlwein (1874-1949)

32. Solex.

Artist: Jean Routier

34. Protos. 1912.

Artist: Hans Lindenstaedt (1874-1928)

31 1⁄8 x 37 3⁄4 in./79 x 96 cm Greiner & Pfeiffer, Stuttgart Cond A-/Slight tears at top edge.

Ref: PAI-LXXI, 24A

43 x 14 1⁄4 in./109.3 x 36 cm Cond A. Ref: PAI-LII, 425

36 3⁄4 x 26 3⁄4 in./93.4 x 67.8 cm Reklamekunst Lindenstaedt, Berlin Cond B+/Slight stains at top.

Ref: Auto Posters, p. 21; PAI-LVII, 46

This is the only known copy of Hohlwein’s triumphant introduction to the 1914 Mercedes 28⁄95. This artwork does not appear in any book of Germany’s most famous posterist; we do not know of another copy in any collection the world over. For Mercedes’ most exclusive, most powerful auto model of 1914, Hohlwein took the cabriolet’s top down, allowing our eyes to rise from the form of the car to the craggy, sublime Alps to which the driver is pointing: “Up there! We shall take it up there!” It’s a clever allusion to the 28⁄95’s innovative engine, with its overhead camshaft and valves arranged in a V-position—a design copied from the Daimler DF-80 aircraft engine. While Hohlwein created two other Mercedes ads in 1914 (for different models), the outbreak of the Great War sharply curtailed production of the 28⁄95 and, we suspect, suspended distribution of Hohlwein’s poster. It’s quite possibly unique.

Est: $30,000-$40,000.

Possibly the most elegant advertisement ever created for a carburetor, Solex appears to be the brand of choice for the newly liberated woman and the budding entrepreneur.

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

33. F. N. / Voiture Légère.

Artist: Armand A. L. Rassenfosse (1862-1934) 30 x 41 in./76.2 x 104 cm Imp. Benard, Liège Cond B/Horizontal folds; slight tears at edges.

Ref: PAI-XVIII, 85 This cheerful motor outing for four promotes the F.N.’s “light” touring car. F.N. stands for Fabrique Nationale d’Armes de Guerre. As the name and logo (a rifle and bicycle pedals) indicate, it was Belgium’s national manufacturer of armaments and, not incompatibly, of bicycles, motorcycles, and cars: all three could carry troops—and did so in World War I. In peacetime, their production kept the factory in Liège humming and its workers employed, until more armament production was needed. This poster is unsigned.

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

In 1905, Alfred Sternberg began producing Protos automobiles, and developed a new motor, known as “kompensmotor,” or compensated motor, that resulted in a smooth, fast ride. The six-cylinder vehicle quickly garnered many fans, including Kaiser Wilhelm II. The Protos’ greatest fame came from its participation in the New York to Paris Great Race of 1908: six competitor endurance tests that covered a total distance of nearly 23,000 miles, including a crossing of the frozen Bering Strait. In 1913, the Protos became the first car to ever utilize an electrical starter, but in 1926, due to the severe economic crisis in Germany at the time, Protos ceased operations after producing 25,000 vehicles.

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

AUTOMOBILES

35

36 37 35. Éclaireurs “Extra-Plat.” ca. 1913.

Artist: Philippe Chapellier

37. Michelin. ca. 1925.

Artist: Marcello Dudovich (1878-1962)

50 3⁄4 x 78 1⁄4 in./128.7 x 198.8 cm P. Chapellier Cond B/Slight tears at folds.

Ref: PAI-LXIII, 195

39 x 54 3⁄4 in./99 x 139 cm Edizioni Star, Milano Cond A-/Slight tears at folds.

Ref: Dudovich, fig. 137

This interesting design depicts a car that so longs for its own Extra-Plat headlight that it literally grows arms with which to pluck one from the heavens.

Having already designed successful tire advertisements for Pirelli and Dunlop, it was only natural that Michelin would come knocking on Dudovich’s door. And although his Pirelli designs featured lovely women riding inside the tire, for Michelin there was no question as to who the central figure should be: Bibendum, of course!

Transported from his native France, Dudovich offers him a map of Italy for his tire-bouncing travels. And with his iconic cigar firmly clenched and a scarf flapping in the wind, Bibendum is all set for his journey. Extremely rare!

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

36. 20th Annual Automobile Show / Buffalo. 1923.

Artist: Claybaugh 26 1⁄4 x 37 in./66.7 x 94 cm Cond B-/Restored tears at edges.

Ref: Automobile/Lopez, p. 152; PAI-LXIX, 65 This rare design promotes the Buffalo Automobile Show at the 74th Armory, held annually since 1903. For the 1913 show poster, see PAI-LXIX, 49.

38

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

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

AUTOMOBILES

39 38. Donnet. 1926.

Artist: Geo Ham (Georges Hamel, 1900-1972) 46 3⁄8 x 61 7⁄8 in./117.7 x 157.2 cm Max Courteau, Paris Cond B+/Slight tears at edges.

Ref: PAI-LXXXI, 121 Full speed ahead! Geo Ham’s vivacious design for Donnet is a graphic Art Deco wonder. From the Bauhaus-style factory below, the newest make of Donnet springs forth, multiplying and zooming through the air. Founded in 1914, the Parisian auto manufacturer got its start with patrol flying boats for the French Navy before transitioning into passenger vehicles. The model seen here is likely the Zedel G2 Torpedo.

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

39. Hohnstein-Rennen. 1932.

Artist: Rudolf Warnecke (1905-1994) 38 x 27 in./96.5 x 68.5 cm Schleppers und Ludwig, Bautzen Cond B+/Slight tears at edges. Framed.

Ref: PAI-LXIX, 95 First held in 1926, the Hohnstein Rennen was an advanced automobile race featuring steep climbs and sharp turns. After taking a break in 1928 and again in 1931, the race returned for its fourth incarnation on September 18, 1932. In this thrilling design by Warnecke, we are face-to-grill with a Maserati Tipo 26M—a limited-production model only produced between 1930 and 1932.

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

40. Peugeot / 601, 301, 201. 1934.

Artist: J. Roberts Konlein (1901-?)

46 7⁄8 x 62 1⁄2 in./119 x 158.9 cm H. Chachoin, Paris Cond B/Restored tears, largely at folds.

Ref: Auto Show III, 110 (var); PAI-VII, 406

40

The blue streak of the car zooms through the numerals representing previous models, which effectively works to denote the Peugeot’s development and creates a striking visual effect.

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

AUTOMOBILES

41 41. Monaco Grand Prix 1934.

Artist: Geo Ham (Georges Hamel, 1900-1972) 31 1⁄2 x 46 7⁄8 in./80 x 119 cm Imp. Monégasque, Monte-Carlo Cond A-/Slight tears at edges. Framed.

Ref: Monaco, p. 27; Roberts, p. 109; Ferrari, p. 110; Affiches Riviera, 264; PAI-LXIV, 28 While the race would become dominated by the successes of the Alfa Romeo team, with Guy Moll in the winning car, Ham’s pastel-hued design for the 1934 Monaco Grand Prix features Lord Howe (the 5th Earl Howe, Francis Richard Henry Penn Curzon) pulling ahead in his Maserati.

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

AUTOMOBILES

42

43

44 42. Monaco Grand Prix 1966.

Artist: Michael Turner (1934- )

43. Buick. 1934.

Artist: Eric Linné (1905-1995)

44. Chrysler. 1953.

Artist: Anonymous

15 3⁄4 x 24 in./40 x 61 cm Editions J. Ramel, Nice Cond A. Ref: Monaco, p. 64; PAI-LXXV, 76

29 1⁄2 x 41 1⁄ 2 in./75 x 105.2 cm J. Olséns, Stockholm Cond B+/Slight tears at edges.

49 7⁄8 x 38 in./126.5 x 96.7 cm YPIMI Litho., USA Cond A-/Unobtrusive folds.

Although the scale might be off, this shiny new Buick Victoria Coupe is presented to us as though it were an academy award. The text here tells us to “Go ahead—a new Buick at an incredibly low price for those of you have always wanted a Buick.” Don’t mind if we do!

Chrysler’s New Yorker Deluxe was a top-of-the-line model known for its hemispherical-head combustion chambers, fondly nicknamed “Hemi.” Here, the speed and efficiency of this green sedan is compared to the race horses galloping down the track.

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

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

With a sweeping view of the Monte-Carlo seaside in the background, Turner presents one of his best Grand Prix designs. This was the first year in which three-liter engines were used, and was the debut season for the McLaren team. Adding even more excitement was that a few scenes in the movie “Grand Prix” were filmed during the race. In the end, Jackie Stewart came in first in his BRM. Est: $1,200-$1,500.

BICYCLES

45A 45A. Cycles Gladiator. ca. 1895.

Artist: Anonymous 52 5⁄8 x 38 1⁄ 8 in./133.7 x 97.2 cm Imp. G. Massias, Paris Cond A. Framed.

Ref: Bicycle Posters, 42; Petite Reine, 47; Posters of Paris, 104; Ailes, p. 11; Musée d’Affiche, 22; Reims, 154; PAI-LXXXV, 23 A lithographic masterpiece. Acclaimed as one of the world’s greatest posters, this image of a flame-tressed sylph, propelled among the stars by the Gladiator and its winged pedals, has been appropriated throughout culture ever since its debut in 1895.

Shockingly, it remains anonymous, despite the presence of the faint initials LW in the lower right corner. Even in the famed 1896 Reims exhibition, it was attributed to “Anonyme.”

Est: $30,000-$40,000.

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BICYCLES

46

45B

47

45B. Ride a Stearns and Be Content. ca. 1896.

Artist: Edward Penfield (1866-1925)

46. Clément. 1891.

Artist: Lucien Baylac (1851-1913)

47. Acatène Métropole. 1895.

Artist: Lucien Baylac (1851-1913)

42 1⁄4 x 55 1⁄2 in./107.3 x 141 cm J. Ottmann, New York Cond B-/Restored tears at folds. Framed.

Ref: Lauder, 15 & 190; Margolin, p. 43; Affichomanie, 142; Herlihy, p. 299; PAI-LXXIX, 56

36 1⁄8 x 51 in./91.6 x 129.6 cm Imp. J. Kossuth, Paris Cond A. Ref: Petite Reine, p. 87; PAI-LXXXIII, 127

49 3⁄8 x 71 5⁄8 in./125.5 x 182 cm Imp. J. Kossuth, Paris Cond B+/Slight tears at folds.

Ref (all var but PAI): Reims, 223; Maindron 1896, p. 120; PAI-XX, 37

It’s regrettable that Penfield ventured so seldom into commercial, large-format posters, for when he did, he succeeded brilliantly. The rider’s position on the bike is careless, even impudent—but it’s precisely the effect Penfield is after. He’s selling fun to the “in” crowd rather than wheels, spokes, and gears. The charming selfassured cyclist has our full and admiring attention. Rare!

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

As our competitors speed ahead, Clément advertises itself (more or less accurately) as “The Biggest and Oldest Manufacturer in France,” and as “horsconcours”—selected for jury—in the 1889 races held at the World’s Fair. “The Clément firm—one of those which determined that advertising would play a major role in the battle for fame and sales—entrusted Baylac with the task of illustrating the firm’s merits: [we see] the competitors—their calves freed of the leggings of yesteryear—rounding the turn before the attentive eyes of the spectators up in the stands and the élegants standing down on the grass” (Sport a l’Affiche, p. 91).

Baylac worked under and was heavily influenced by Chéret. Though he produced only some dozen posters, they were distinguished enough to give his name cachet among collectors of the day.

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

Baylac gives us a street scene from the days when women were required to wear long skirts—even on bicycles. But the voluminous fabric could easily tangle in the cycle’s chain drive. Métropole’s “Acatène” provides a solution: this chainless model allows the young lady to more easily mount the bike in her bloomers. The design features another Métropole poster by Baylac, also used to sell the chainless version. A smaller poster-within-theposter advertises the American-made G & J tires. There’s a lot going on in this two-sheet poster, including the shocked expressions of the old chain guard, but it’s all organized with clarity and wit.

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

BICYCLES

48

49

50

48. Deuxième Salon du Cycle. 1894.

Artist: Jean-Louis Forain (1852-1931)

49. Whitworth Cycles. ca. 1894.

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

50. Rouxel & Dubois. ca. 1894.

Artist: Misti (Ferdinand Mifliez, 1865-1923)

40 3⁄8 x 17 1⁄8 in./102.6 x 43.3 cm Imp. H. Hérold, Paris Cond A-/Slight stains at edges.

Ref: DFP-II, 362; Maitres, 51; Maindron 1896, p. 64; Bicycle Posters, 20; PAI-LXXIX, 31

58 1⁄8 x 83 1⁄4 in./147.7 x 211.5 cm Imp. Paul Dupont, Paris Cond A-/Unobtrusive folds.

Ref: Maindron, p. 120; Reims, 958; V & A, 242; PAI-LXXV, 17

36 5⁄8 x 51 5⁄8 in./93 x 131 cm G. Bataille, Paris Cond A. Ref: Reims, 884; Ailes, p. 86; PAI-LXXXV, 35

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 medium format of the image.

Pal designed at least three posters for Whitworth Cycles.

This appears to be the first, and the beginning of an astounding multipart and multiyear visual narrative that all takes place along this same brick wall. We open with a gentleman hipster, suddenly struck by the appearance of a half-dozen flirtatious young female faces which have popped up above the wall. (They appear to be more taken with him than his Whitworth Cycle).

This is a two-sheet poster.

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

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

All sorts of women flock to see the sensational Rouxel & Dubois bicycle in this charming design

by Misti. After his hectic two decades of poster designing in the early part of the century, Misti went on to open his own printing plant.

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

BICYCLES

53

51

51. Columbia Chainless. 1897.

Artist: A. Romès 40 x 87 3⁄ 8 in./101.5 x 223 cm J. Ottman Lithographic Co., New York Cond B/Slight tears at folds.

Ref: DFP-III, 4399 (var); Collectionneur, p. 206; PAI-XLVI, 501 This is surely one of the most grandiose concepts for advertising a bicycle: the woman glorifies the machine with a laurel wreath in a formal setting, and the whole two-sheet scene sits in an opulent gold frame. Columbia bicycles sponsored a poster contest in 1896; the winner was Maxfield Parrish of Philadelphia; second prize went to O. Rohn of Montclair, New Jersey; the third prize (for this image) went to A. Romes of New York City. It was so popular that it was reprinted in Germany and in France, and a frequently seen photo of an 1898 Paris street scene shows four copies of this poster on the wall next to Mucha’s Waverley Cycles.

Columbia Chainless is a brand name of the Pope Manufacturing Co. Est: $1,700-$2,000.

52. Cycles Brillant. ca. 1901.

Artist: Raymond Tournon (1870-1919) 43 3⁄ 8 x 59 in./110.2 x 149.8 cm Imp. Paul Dupont, Paris Cond A. Ref: PAI-LXXVIII, 25

52

The woman on the anvil symbolizes the manufacturer, and the laurel branch in her

hand represents the accolade the bike received at the 1900 World’s Fair in Paris—a coveted distinction all award-winning products hastened to publicize. The anvil and the laurel were highly conventional advertising motifs of the time; Mucha had used both in his famous 1898 image for Waverley Cycles (see No. 401). And if it was a good enough commercial conveyance for The Master, it was more than suitable for his lesserknown contemporary.

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

53. Omega. 1897.

Artist: Henri Thiriet (1873-1946) 39 x 55 3⁄4 in./99 x 141.5 cm Cond B+/Slight tears at folds and edges.

Ref: Bicycle Posters, 56; Petite Reine, 41; Dodge, p. 173; PAI-LXXIX, 57 Thiriet’s posters are few, but all are excellent.

“This is yet another example of the Art Nouveau poster at its stylized best. The composition has been meticulously—almost geometrically— arranged, and the influence of mythology, in both the Greek name for the bicycle brand of Kreutzberger and the winged goddess, plus the bold use of flat and vibrant colors emphasize this. The Omega is chainless (‘Sans Chaine’) even though continuous-chain-driven bicycles were being produced at this time. It worked by means of bevel gears” (Bicycle Posters, p. 9).

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

BICYCLES

54 54. Humber. ca. 1900.

Artist: Louis Oury (1846-?)

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; PAI-LXXXV, 38 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: $1,400-$1,700.

BICYCLES

57 55. Terrot & Co / Cycles Motorettes. ca. 1901.

Artist: Francisco Tamagno (1851-1933) 38 x 53 1⁄2 in./96.6 x 135.8 cm La Lithographie Parisienne Robin, Paris Cond A-/Unobtrusive folds.

Ref: PAI-L, 465

55

The trademark of Tamagno’s Terrot advertising was sheer attitude combined with a healthy dose of overstatement. Many of his designs for the company feature a young lady atop her Terrot outpacing airplanes and locomotives, or easily pedaling through mountainous terrain. Here, a different type of attitude is on display: masculine confidence and industry in action. And while this architect surveying the construction of his latest building is doing so in rapid fashion courtesy of his Terrot motorbike, Tamagno makes sure to include the previously noted predilection on the “Publicité Reservée,” which just so happens to be covered in almost every other design he created for Terrot. It’s not only a wonderful turn-of-the-century construction document, but a virtual Tamagno sampler as well. Terrot bikes were successful enough during the 1890s, but the firm really came into its own with motorcycles in 1901, and remained in business until the 1960s with one of the best makes in France.

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

56. Terrot & Co / Dijon.

Artist: Francisco Tamagno (1851-1933) 38 1⁄2 x 54 1⁄2 in./98 x 138.5 cm La Lithographie Parisienne, Paris Cond A-/Unobtrusive fold.

Ref: PAI-XXVI, 545 Tamagno was very fond of this sassy female. We’ve seen her climb mountaintops, beat out trains, and best her male companions—all with a flippant but elegant kiss-off to those she’s left in the dust. But here, for the first time, she’s edging out not only an automobile, but an airplane as well!

She’s the very picture of feminine empowerment, made all the more lovely with a golden autumnal sunset.

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

57. Automobiles et Cycles Clément. 1903.

Artist: Albert Guillaume (1873-1942) 35 1⁄4 x 50 1⁄4 in./89.6 x 127.5 cm Imp. Minot, Paris Cond B/Restored tears at folds.

Ref: PAI-LXV, 26 By 1890, Clément was the most popular bicycle brand in France. Here, its cycle and automobile offerings are shown far outside the city limits, gathered around a machine-age cacophony of light.

56

Est: $1,500-$2,000.

BICYCLES

58

59 58. La Française Diamant. 1910.

Artist: Maurice Marodon 62 1⁄2 x 45 1⁄2 in./158.6 x 115.5 cm Imp. Paul Dupont, Paris Cond A. Ref: Petite Reine, 109; Publicité, p. 44; PAI-LXXXVI, 7 Known as “les deux Emiles,” Emile Georget and Emile Friol were the French champions in two different bicycling disciplines—the former in road racing, and the latter in sprints. As national athletic heroes, it seems only natural that they should be chosen to endorse the French “Diamant” brand of bicycle while wearing their country’s colors.

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

59. Alcyon.

Artist: Charles Martin (1848-1934) 45 5⁄8 x 62 3⁄4 in./115.8 x 159.5 cm Imp. Robert, Paris Cond A-/Slight tears in margins.

Now here’s a sadistic twist on the concept of temptation: our poor friend, who appears to be amputated, is crestfallen that he will not be able to ride off on a new bicycle. And while the public may pity him, they’re also likely to take advantage of their ambulatory status and hop on their new Alcyon. Launched in 1890 in Neuilly, Alcyon produced bicycles, motorcycles, and voiturettes until 1954.

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

60. Cicli Olympia. 1919.

Artist: Plinio Codognato (1878-1940) 39 1⁄4 x 55 1⁄4 in./99.6 x 140.2 cm “La Presse,” Milano Cond A. Founded in 1893, Olympia is the second oldest Italian bike manufacturer that continues to produces bicycles.

Here, Codognato shows us a very muscular rider proudly displaying his Olympia; Dunlop tires receive a shout-out too. Rare!

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

60

BICYCLES

61 61. Harley Davidson : Maquette. 1916.

Artist: H. J. van Piggelen (1889-1961) 33 1/2 x 55 in./85 x 139.5 cm Signed gouache maquette. Framed.

Vroom, vroom! Dutch artist van Piggelen gives us a maquette full of movement and energy: you can almost feel the wind whipping around this speed-demon couple as the lady’s head scarf begins to unfurl in the wind. But that’s no matter to her, because she’s experiencing the utter excitement of riding on Harley Davidson’s new “Silent Grey Fellow.” 1915 marked a huge shift for the company, who unveiled their new 3-speed gearbox that year, featuring an automatic oil pump, new cams, larger inlet valves, 45-degree-angle valve seats, and a huge increase in power.

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

AVIATION

62 62. Première Exposition Locomotion Aérienne / Grand Palais. 1909.

Artist: Ernest Montaut (1879-1909)

63. The May Century. 1897.

Artist: Charles Hubbard Wright (1870-1939)

47 x 63 3⁄4 in./119 x 162 cm Affiches Montaut & Mabileau, Paris Cond B+/Restored margins.

Ref: Looping the Loop, 26; Affiches d’Aviation, p. 51; PAI-LXXXV, 74

12 x 20 3⁄4 in./30.5 x 52.7 cm Cond A-/Tears and creases in top text area.

Ref: DFP-I, 502; American/Virginia Museum, 111; PAI-LXXIII, 60

“On the heels of the Reims meeting... a memorable exhibition was opened to the public at the Grand Palais in Paris. Apart from a small collection previously shown at the 1908 Automobile Salon, this was the first time that aeroplanes representing the principal French manufacturers were assembled under one roof. Machines that had actually taken part in the Reims meeting were included so that interested persons who had not been able to attend could obtain a close-up view of the Antoinette, Wright, Henry Farman biplanes, Louis Bréguet, and the diminutive Demoiselle constructed by Alberto Santos-Dumont. In the place of honor was Blériot’s Model XI with which he had conquered the English Channel. The huge public response left no doubt that the show would become a well-attended annual feature. The arresting poster by Montaut, the same artist who had memorialized the meeting at Reims [see Grand Semaine d’Aviation, PAI-LXXVIII, 75], portrays in the foreground a primeval figure—seeming to be a blacksmith whose trade is hopelessly outmoded—gesturing toward those marvels in the sky. The Aviation Salon introduced by France was soon imitated in other countries, giving rise to a series of posters on the same subject” (Looping the Loop, p. 43-44).

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

Exhibited: Ils s’envolérent...! Air and Space Museum, Le Bourget-Paris, 2005.

Seven years before the Wright Brothers would achieve powered flight, the May Century turned a fascinated eye toward the possibilities of kite aerodynamics. This was the first American poster depicting “heavier-than-air” flight, illustrated by yet another Wright, Charles Hubbard Wright. It shows Lieutenant Hugh Wise at Governor’s Island in New York City, lifted skyward by a kite designed by Laurence Hargrave (1850-1915) in May 1897. England-born Hargrave invented his first flying machine box kite in 1893; his work inspired Alexander Graham Bell to begin his own experiments with a series of tetrahedral kites from 1903 to 1907.

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

AVIATION

64 63 64. Exposition Internationale / Nancy. 1909.

Artist: Ludo 25 3⁄4 x 39 5⁄8 in./65.3 x 100.7 cm Berger-Levrault, Nancy Cond B+/Slight tears at folds; stains at bottom edge.

Ref (both var): DFP-II, 553; PAI-LIII, 3 An aeronautic retrospective is the overwhelming draw in this poster for the International Science, Industry, and Art Exhibition in Nancy, the capital of the industrial area of Lorraine. This six-month event obviously featured more than avionic attractions, but who could resist the thrill of a ride in the dirigible “Ville de Nancy,” with its tremendous views, floating high above its namesake city? The short passenger joy rides offered aboard are the earliest recorded use of an airship for commercial purposes. A Wright-style glider, a tethered hot-air balloon, and the aforementioned dirigible all float through an orange sky over the silhouetted Nancy, which is bathed in the deep red and delicate pink of the setting sun. A previously seen version of this design (see PAI-LIII, 3) includes the same image and French text at top, but here the entire lower-third of the design is in German and French rather than English, spelling out an assortment of details, including that the entire event is “Under the Official Patronage of the French Government.”

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

65. 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.

Ref: PAI-LXXXIV, 38 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.

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

65

AVIATION

66

67

68

AVIATION

69

70

66. Meeting d’Aviation / Bruxelles. 1910.

Artist: Anonymous

69. Nancy. 1912.

Artist: P. R. Claudin

38 1⁄8 x 58 1⁄4 in./97 x 148 cm O. de Rycker, Bruxelles Cond B-/Slight tears, largely at folds.

Ref: Affiches de l’Aviation, p. 32; PAI-LIII, 8

31 x 45 5⁄8 in./78.6 x 116 cm Lith. Berger-Levrault, Nancy Cond B+/Slight tears, largely at edges.

Ref: Toujours Plus Haut, p. 98; Perier, 98; Looping the Loop, 53; Affiches d’Aviation, p. 38; PAI-XLIV, 196

“The Brussels Air Show took place at the Stockel racecourse, right after the Aviation Week of Reims... It seemed most promising, the weather having been beautiful the week before... The meet was completely dominated by the magical flying skills of the Belgian Jan Olieslagers, nicknamed ‘the Antwerp Demon,’ a hotheaded and talented sportsman (a cycling champion) who won all of the prizes” (Affiches de l’Aviation, p. 33). This is the larger format.

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

67. Grande Quinzaine d’Aviation. 1910.

Artist: Anonymous 28 3⁄4 x 41 1⁄8 in./73 x 104.5 cm Imp. Dondé Frères, Paris Cond B+/Slight creases.

Ref: Affiches d’Aviation, p. 63 (var); Looping the Loop, 4 (var); PAI-LIX, 12 An Antoinette soars across the Bay of the Seine, the nexus of this international air meet held in neighboring Le Havre, Trouville, and Deauville. Famous French aviator Léon Morane broke the world’s record in altitude twice: in Le Havre, he flew to 7,166 feet in a Blériot monoplane. A few days later, he beat his own record in Deauville where he reached 8,469 feet.

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

68. Bar-le-Duc / Grand Fête d’Aviation. 1910.

Artist: A. Haëg 35 1⁄2 x 27 in./90 x 68.5 cm Cond B-/Restored tears at folds and edges.

Ref: Affiches de l’Aviation, p. 60 (var); Perier, 64 (var); PAI-LIII, 7 “Held in Popey on August 14 and 15, 1910, the air show at Bar-le-Duc, the birth city of France’s President Raymond Poincaré, was nothing but a fair with balls, concerts, and festivities of all kinds. The four airplanes present were there just for show, and the pilots were only asked to pose for photographs with beautiful women” (Affiches de l’Aviation, p. 34).

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

“Nancy, a town in northeastern France, was the scene of a representative group of exhibition fliers in the spring of 1912. Noted for its university, library, and museum of archeology, Nancy also possessed historical military importance having been occupied by the Prussians in the Franco-Prussian War of 1870 and 1871. Typical of the day, spectators were regaled with various events for speed, altitude, and duration, with a variety of biplanes and monoplanes sharing in the prizes. Speed was king that year. A mile-a-minute was no longer considered exceptional and machines were more rugged in construction, more powerful, and more stable than the relatively uncertain craft of the first few years of flight... As indicated by their preponderance in the picture, monoplanes like the Blériot were rapidly coming into their own, rivaling the biplanes of Henry Farman and his imitators. Air addicts, however, were not yet prepared to decide between one or the other. The main interest of the public lay in the sheer novelty and excitement of watching man navigate the air” (Looping the Loop, p. 81).

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

70. Exposition de Locomotion Aérienne / Avions Militaires. 1912.

Artist: Georges Dorival (1879-1968) 29 5⁄8 x 41 in./75.2 x 104.3 cm Cornillo & Serre, Paris Cond B+/Unobtrusive folds.

Ref (all var except PAI): Affiches d’Aviation, p. 78; Toujours Plus Haut, p. 95; Perier, 92; PAI-LXXVI, 37 Two Blériot-style aircraft dance among the klieg lights of the Grand Palais in this magnificent portrayal of what it was like to soar above Paris in an open cockpit in the first decade of powered flight. This image was used in several different formats (see PAI-LXXIII, 72 and PAI-LIII, 16), but here it’s geared specifically toward military aviators, and there is extensive railway information in the text below. This is the smaller format of this variant.

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

AVIATION 71. Aero Exhibition / Olympia. ca. 1913.

Artist: Anonymous 23 1⁄8 x 40 in./58.6 x 101.5 cm J. Weiner, London Cond B+/Slight tears along vertical fold.

Ref: Affiches d’Aviation, p. 80; PAI-L, 51 With its echoes of the high-altitude home of the Greek gods, Olympia is a wellchosen name of the site of an air exhibition in London. The excitement of flight is shown with an image combining a biplane at the moment before flight and a scarlet-gowned beauty whose winged feet evoke Mercury, the god of speed.

Named after the Greek center of worship from which the athletic Olympic spirit sprung, the Olympia Exhibition Hall and Pleasuredrome—the British equivalent of the Grand Palais in Paris—was erected in 1886 and covered an astonishing area that totaled four acres. The Grand Hall—450 feet in length by 250 feet in breadth—was said to be the largest building in the entire United Kingdom covered by one span of iron and glass. Today, it is a part of London’s Earl’s Court Exhibition Center.

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

72. Konstanz / Bodensee-Wasserflug. 1913.

Artist: Heinrich H. Schütz (1875-1956) 27 3⁄8 x 38 5⁄8 in./69.5 x 98 cm Propaganda, Stuttgart Cond A-/Slight stains at edges.

Ref: DFP-III, 2997; Affiches d’Aviation, 75; PAI-XLV, 486 The southern German university town of Konstanz juts out into Lake Constance (or “Der Bodensee” in German), which is shared with neighboring Switzerland and Austria. Konstanz is also the birthplace of Count Ferdinand von Zeppelin, constructor of the famous Zeppelin airships. But it’s not airships being hailed in this Schütz poster—it’s a Bodensee flying boat air show. The main event of the show was a 200-kilometer flight to test the endurance of new models for the German navy. Here, the strong, allegorical figure resembling the Colossus of Rhodes holds the power of flight in his hands. Three bi-wing hydro-airplanes are depicted, and the one in flight appears to be a Curtis craft on floats. An interesting historical side note: because it practically lies within Switzerland, just one kilometer from the border, Konstanz was not bombed by the Allied Forces during World War II. The city left all their lights on at night, fooling the bombers into thinking it was actually a Swiss town.

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

71 73. Help to Buy an Aeroplane. 1918.

Artist: Bert Thomas (1883-1966) 20 x 30 in./50.8 x 76.2 cm Cond B+/Slight tears at fold and edges.

Help to Buy an Aeroplane was meant to entice the Great Britain Army War Savings associations to contribute 2,000 pounds toward the purchase of new military aeroplanes. In exchange for their contribution, army personnel could have an aeroplane named after their unit. It has been estimated that war loans covered more than 60% of the direct cost of the war. As such, war loan posters were almost certainly the largest category of posters produced between 1914 and 1919.

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

74. Elta / Amsterdam. 1919.

Artist: Brian 31 1⁄4 x 43 3⁄4 in./79.4 x 111 cm Drukkerij Kotting, Amsterdam Cond A-/Slight tears at edges.

Ref: Affiches d’Aviation, 94; PAI-XL, 242 ELTA, the “First Air Transport Exhibition,” held in Amsterdam in August 1919, was the first international aeronautic exhibition to be held in Europe after World War One, taking place one month after the Treaty of Versailles was signed. Since The Netherlands had been a neutral country during the first World War, arranging the show was not as difficult as it would have been for the other countries. Airplanes and engines from many countries were exhibited in Amsterdam, although German participation was limited because of pressure from the Allies. The exception to this rule was that the Fokker Company, which built many of the best German fighter planes during the War, was allowed to participate with airplanes that were built in The Netherlands. The ELTA exhibition was immensely popular with the Dutch public, who paid admission to see the air show that ran in conjunction with the technical exhibits. This event also stirred up enough support for commercial aviation in the business community that K.L.M., the Royal Dutch Airlines, was formed only a few months later.

72

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

AVIATION

73

75 75. S.N.E.T.A. 1921.

Artist: Samuel Colville Bailie (1879-1926)

74

24 x 39 3⁄4 in./61 x 101 cm O. de Rycker, Bruxelles Cond B/Slight tears at folds and edges.

S.N.E.T.A., the National Syndicate for the Development of Aerial Transport, was the first air transport organization in Belgium. It was formed in 1919 as an experimental commercial venture by a group of influential businessmen, and began airmail and passenger service between London and Brussels in 1920 with a fleet of nine airplanes. The company expanded its service to include flights to Amsterdam and Paris in 1921, and at the same time, pioneered air service in the Belgian Congo. Although S.N.E.T.A. only carried 95 passengers during its first two years, the investors were encouraged with the airmail business, and by 1922 the airline had bought 31 new planes, including the Farman “Goliath” pictured here. The Belgian government took over S.N.E.T.A.’s assets in 1923, creating a new airline, Sabena, which is still operating in Belgium today.

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

76. Rund-U. Sonder-Flüge. ca. 1923.

Artist: Pistarirs 24 3⁄4 x 36 7⁄8 in./63 x 93.7 cm Cond B/Slight tears at folds.

Ref: PAI-LXXIV, 51 Welcome to business class, Deco-style: amenities include a bird’s eye view of the Alps, whirring propellers, and brilliant typography. Rund-u. Sonder-Flüge, an early Austrian airline, is advertising a special flight service. The airline was founded to support banking and railway interests by providing a link between the main commercial cities of Western Europe: Zurich, Geneva, Munich, and Vienna, plus four countries in central Europe. The route became known as the Transeuropa Union.

76

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

AVIATION

78

77 77. Grande Manifestation de Propagande Aèrienne. ca. 1926.

Artist: Anonymous 34 3⁄4 x 50 1⁄2 in./88.4 x 128.5 cm Affiches Chabrillac, Toulouse Cond A-/Slight tears at edges.

Ref: PAI-LIX, 13 This poster advertises a Great Demonstration of Aerial Propaganda, though the exact dates and location are left a mystery. The event included aerial acrobatics, opportunities for the lay-person to ride in a plane, and novice flights.

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

78. Pravda. 1931.

Artist: Anonymous 40 x 28 3⁄8 in./101.7 x 72 cm Isogiz, Moskva Cond B-/Restored tears at folds and edges.

Pravda (Truth) was the official newspaper of the AllSoviet Communist Party, and with this design, they emphasized the power of aviation and journalism. The text at top tells us that “Every Soviet city should have a well-maintained airfield,” and the newspaper clipping below the plane’s right wing promotes the use of airplanes to transport copies of the paper to increase circulation.

The commercial tri-motor monoplane (a Konek-Gorb CCCP-105) is shown departing Moscow en route to provincial cities, the hinterlands, and Siberia. The history of Russian aviation is a reflection of Soviet philosophy.

From 1928 to 1933, Stalin instituted a five-year plan to expand aviation by building an air force and competing for international air records. During this period, the national airline, GVF, increased its fleet to 4,000. Aviation was also geographically crucial because of Russia’s expansiveness and severe winter climate. Rare!

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

79. Foire Orientale Internationale. 1927.

Artist: Tadeusz Gronowski (1894-1990) 24 3⁄4 x 37 3⁄4 in./62.8 x 95.8 cm Piller Neumann, Lwów Cond A. This poster for a trade fair in southern Poland belies the ravages of World War I and Poland’s efforts to revitalize itself as a new nation. The country began its initiation from scratch, with no national currency, war-torn damage, and crumbling infrastructure. By the year this poster was made, there was a glimmer of progress, as testified by the three whooshing aircraft seen here. In 1928, Poland established its first national airline carrier, Aerolot. Thanks to its position between the East and West and its naturally flat terrain, Poland became an important aviation hub. Not only did the industry grow exponentially, but aviation clubs and meets—inspired by their western neighbors—also exploded. It’s fitting that this dynamic poster was designed by Gronowski, one of Poland’s top designers of the time. In 1929, he won a contest to design the logo of the newly renamed national airline, LOT, which remains with them to this day. Rare!

79

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

80. Aux Pessimistes. 1930.

Artist: Georges Villa (1883-1965) 22 3⁄8 x 30 1⁄2 in./57 x 77.5 cm Cond B+/Slight stains, largely at edges.

Ref: Paris/New York, p. 9 Today, a flight from Paris to New York takes about 7 hours and 45 minutes. But in 1930, that same flight path amounted to a whopping 37 hours, and it was an enormous feat of the era. After many attempts to complete the Paris to New York route, French aviator Dieudonné Costes succeeded with the help of a copilot in their plane named “The Question Mark.” Here, Villa addresses the pessimists of the time with historic aviation mile markers leading up to that 1930 flight.

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

80

AVIATION

81

83

82

81. Riviera Express / Air Union. 1932.

Artist: Edmond Maurus (1900-?)

83. Administration de l’Aéronautique.

Artist: J. Michielssen

23 5⁄8 x 39 1⁄4 in./60 x 99.7 cm Creation Publix, Paris (not shown) Cond B/Slight tears and creases.

Ref: Affiches Riviera, 19; Air France, p. 27; PAI-XXXVI, 77

24 1⁄8 x 38 1⁄2 in./61.3 x 98 cm Marci, Bruxelles Cond B-/Slight tears at folds and edges.

This inspired Art Deco image comes from a designer whose few posters leave us wishing we had—and knew—more. For Air Union and its Riviera service, Maurus creates a fantastic mélange of the land, sea, and sky intertwining in an ethereal haze well suited to early passenger flight and the intoxicating relaxation offered by the Côte d’Azur. One year after this poster’s printing, Air Union, along with several other major French airlines, combined to create Air France.

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

82. Rapid Azur / Air Union. 1932.

Artist: E. Occhipinti 11 7⁄8 x 16 1⁄4 in./30.3 x 41.2 cm Creation Risacher, Paris Cond B/Slight tears and stains at folds and edges.

Ref: Air France, p. 31; PAI-XIII, 350 (var) A single-engine airplane wends its way across the dazzling blue sky in this simple but sharp poster. The Air Union was formed by a merger of three small French airlines in 1923. By 1933, it was absorbed in the single state enterprise of Air France. This is the smaller format.

84

Est: $800-$1,000.

This Belgian poster, sponsored by l’Aéro Club de Belge, sought to promote aviation as a viable alternative for the distribution of goods. Michielssen shows workers loading their single propeller cargo plane with goods while Mercury, the patron god of commerce and transport, looms in the sky.

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

84. Bayerischer Luftverein. 1932.

Artists: Anton Klotz & Eugen Kienast 32 1⁄2 x 46 1⁄4 in./82.5 x 117.5 cm Cond A-/Slight crease in background.

Ref: PAI-XV, 323 The Bavarian Flying Club held a weekend aviation fest to encourage interest in flying with aerial exhibitions, inexpensive rides, and even concerts. Klotz and Kienast headed an artists’ cooperative in Munich from 1929 to 1937, but nothing else is known about either of the two partners. Rare!

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

AVIATION

85

87 85. Esposizione Aeronautica Italiana. 1934.

Artist: Carla Albini 27 1⁄2 x 39 1⁄2 in./70 x 100.5 cm Pizzi & Pizio, Milano Cond A-/Slight tears at edges.

Ref: Oggi, p. 199 The Italian Aeronautica Exposition, held in Milan from June through October 1934, was an exhibit that documented the entire history of Italian aviation, from the helicopter drawings by Leonardo da Vinci in the Renaissance to the 1933 record-breaking Italian seaplanes. The goal of the exhibition was to illustrate the Italian connection to the milestones of aviation history through photographs, drawings, plans, motors, airplanes, models, and artwork, including the Anzani motor which powered Louis Blériot on his first flight across the English Channel in 1909, and the seaplane flown by Italian General Balbo on his historic mass flight from Rome to Chicago in 1933. Man’s desire to fly was also shown to have Italian roots, represented by the ancient myth of Icarus who drowned when his wings were burned when he flew too close to the sun.

Albini synthesizes this history by superimposing a modern airplane over a drawing by da Vinci.

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

86 86. Imperial Airways. 1934.

Artist: Anonymous 24 1⁄2 x 39 in./62.3 x 99 cm Rembrandt Photogravure, London Cond B+/Restored tears.

An unknown designer calls upon photomontage and textual brevity to promote Imperial Airways’ service to key continental metropolitan enclaves. A solidly inspirational photo of the Short L.17 Scylla, destinations named, and the guarantee of “the most luxurious air travel” with “the greatest air service in the world” is all the promotional persuasion astutely deemed necessary.

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

87. Aérodrome d’Evere / Grand Match d’Acrobatie. 1937.

Artist: Anonymous 12 1⁄ 2 x 18 3⁄4 in./31.8 x 47.7 cm F. R. de Smet, Anvers Cond B/Slight tears at folds and edges.

The Evere Aerodrome in Brussels was built by the Germans in 1914 to house their Zeppelins. After the war, it became a multi-use airfield and was also used as Brussels’ first airport in 1923. Here, we are invited to an acrobatic air show to benefit the Red Cross of Belgium.

The headlining act was French test pilot and aerobatic specialist Jérôme Cavalli.

Est: $800-$1,000.

AVIATION

88

89

90

88. Air France / Israël. 1949.

Artist: Renluc

89. TWA / Israel. 1955.

Artist: David Klein (1918-2005)

90. TWA / Africa. ca. 1955.

Artist: David Klein (1918-2005)

24 5⁄8 x 39 in./62.5 x 99 cm Hubert Baille, Paris Cond A-/Slight creases at edges.

Ref: Air France, A.37; PAI-LXXIV, 98

25 x 40 1⁄8 in./63.5 x 102 cm Cond A/P. Ref: PAI-LXXXI, 140

25 x 40 in./63.6 x 101.6 cm Cond A/P. Ref: Publicité, p. 195; PAI-LXXXV, 86

A modern interpretation of ancient religious symbolism dominates this poster promoting travel to Israel.

Z is for Zippy. Klein is best known for his destination advertisements on behalf of TWA in the 1950s and ’60s: his typography, coloration, and aesthetics were both defined by, and helped define, American style of the period. To express the idea that TWA knows Africa A to Z, he creates a hypnotic convocation of zebras in the tall Serengeti grass: a classic example of mid-century Modern design.

This is the first Air France poster for the newly formed state of Israel, which is represented by a female settler planting the flag.

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

Est: $800-$1,000.

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

AVIATION - WAR & PROPAGANDA

91

92

93

91. Northwest Airlines / New York. ca. 1950.

Artist: Anonymous

92. Air France / Africa. 1962.

Artist: Jacques Nathan-Garamond (1910-2001)

93. Pan Am / Africa. 1967.

Artist: Anonymous

25 1⁄8 x 40 5⁄8 in./63.8 x 103.3 cm Cond A.

24 1⁄2 x 39 in./62.3 x 99 cm Imp. S.A. Courbet, Paris Cond A. Ref: Air France/Dream, p. 158 (var); Air France/Fraile, p. 43; PAI-LXVIII, 25

28 1⁄8 x 42 in./71.5 x 106.6 cm Cond A. Ref: Tourism/Suntory, p. 144; PAI-LXXXI, 137

This anonymous artist enlists New York City’s trademarks—the Statue of Liberty, the Brooklyn Bridge, the Staten Island Ferry, and the high-rise buildings of Midtown—to promote flights via Northwest Orient Airlines. Founded in 1926, Northwest eventually was absorbed by Delta Air Lines in 2008. This is a silkscreen print.

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

Nathan-Garamond invites a colorful African sculpture to be the sole focus of this poster, encouraging us to see the historic art across the continent.

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

Despite the constant reproduction of this image on blogs and online shops, no record seems to exist of the artist’s name. But the reason for its popularity is clear: the image is bold, striking, and transfixing. The woman alone is a vision with her angular face and long eyelashes—and the Ankara fabric she wears simply adds to her allure. The repetition of pattern in the text below further references Pan Am’s groovier 1960s aesthetic.

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

WAR & PROPAGANDA

94

95

94. Gee!! I Wish I Were a Man. 1918.

Artist: Howard Chandler Christy (1873-1952)

95. If You Want to Fight! / Join the Marines. 1915.

Artist: Howard Chandler Christy (1873-1952)

27 x 41 in./68.6 x 104.1 cm Cond A-/Tears at paper edges.

Ref (all var but PAI): Rawls, p. 80; Theofiles, 46; Weill, 216; Darracott, 5; Rickards, 32; PAI-LXXXV, 118

30 1⁄8 x 40 1⁄8 in./76.5 x 102 cm Cond A-/Very slight tears at edges.

Ref: Rawls, p. 249; PAI-LXXXV, 119

MoMA featured this world-famous Christy poster in its exhibition “Designing Modern Women 1890-1990,” which ran from October 2013-October 2014. They wrote of it, “In World War I, the front-line was not viewed as a place fit for a woman. While kept away from direct combat, however, women were a valuable asset in recruiting men to the navy.

The winsome pin-up in ‘Gee!! I Wish I Were a Man’ (modeled by Mrs. E. LeRoy Finch) sports a fluttering naval uniform; the whole look and chatty tone was extremely effective in underscoring the masculine appeal of serving soldiers. Here was a woman worth fighting for. The poster was admired for its American ‘punch’ and ‘air of glad youth which came like a Spring wind over our war-weary spirits.’”

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

Similar to other World War I designs by Christy, we’re given an all-American lass in uniform to tempt us to join the Marines.

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

WAR & PROPAGANDA

96

97

98

96. Fight or Buy Bonds. 1917.

Artist: Howard Chandler Christy (1873-1952)

98. Clear-The-Way-!! 1918.

Artist: Howard Chandler Christy (1873-1952)

20 x 29 1⁄8 in./51 x 74 cm Forbes, Boston Cond B+/Slight tears at folds.

Ref: Rawls, p. 209 & 223; Theofiles, 156 & 167; PAI-LXXVI, 86

20 x 30 in./51 x 76.2 cm Forbes, Boston Cond A-/Unobtrusive folds.

Ref: Rawls, 223; PAI-LXXXIII, 51

Enacted on April 5, 1918, the Third Liberty Loan Act resulted in over $3 billion in revenue for the war effort. Such success is due primarily to posters like this, which showed that every American could and should do their part to protect their country—and the allure of the feminine is undeniably persuasive. In fact, after the war, “Christy Girls” became symbols of cosmopolitan sex appeal during the Roaring ’20s. This is the smaller format version of the poster.

Est: $800-$1,000.

97. I Want You For the Navy. 1917.

Artist: Howard Chandler Christy (1873-1952) 27 1⁄8 x 41 1⁄4 in./68.7 x 104.8 cm Forbes, Boston Cond A-/Slight creasing and tears at edges.

Ref: Rawls, p. 78; PAI-LXXXV, 117 This sultry Christy girl was created at precisely the same time as Flagg’s Uncle Sam, and both are saying “I Want You”—but with ever-so-slightly different inflections. Not only is this an interesting comparison to Christy’s “Gee!!

I Wish I Were a Man” (see No. 94), but the sheer sexiness with which she dons the sailor’s dress uniform anticipates the Van Heusen shirt campaigns of many years later.

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

99

A beautiful and desirable Columbia, laurels upon her temples, appears as the guiding spirit over marines manning one of the guns on the deck of a destroyer. The veracity of this picture is notable; Christy was one of the U.S.’s best war artists, and he produced illustrations to accompany the articles of war correspondent Richard Harding Davis.

Est: $800-$1,000.

99. The Spirit of America / Red Cross. 1919.

Artist: Howard Chandler Christy (1873-1952) 20 x 29 7⁄8 in./50.8 x 76 cm Forbes, Boston Cond B/Restored tears at edges.

Ref: Darracott, 6; PAI-LXXVI, 89 The American Red Cross was founded on May 21, 1881 in Washington, D.C. by Clara Barton and a circle of acquaintances.

Barton had been inspired by the Swiss International Red Cross Movement while visiting Europe following the Civil War. During the First World War, the Red Cross staffed military hospitals and ambulance companies. Christy’s humanitarian recruitment poster conveys a confident, upbeat postwar optimism; there were, however, many challenges which America and the Red Cross would face in 1919. The Spanish influenza epidemic killed some 30 million people worldwide from 1918 to 1919, with millions of Americans falling ill and more than 540,000 lives claimed. The Red Cross met the emergency by providing nurses and volunteers who set up tent cities to ease the overloaded hospitals.

Est: $800-$1,000.

WAR & PROPAGANDA

100

103

101

100. Food Will Win the War. 1917.

Artist: Charles E. Chambers (1883-1941)

102. For Action Enlist in the Air Service. 1918.

Artist: Otto Cushing (1871-1942)

19 3⁄4 x 30 1⁄4 in./50.3 x 76.7 cm Rusling Wood, New York Cond A. Ref: Rawls, p. 113; PAI-LXXXII, 32

18 3⁄ 8 x 24 5⁄ 8 in./46.8 x 62.5 cm Cond A-/Unobtrusive folds.

“Because of desperate food shortages in Europe, it was understood that America must find a way to feed the Allies—she already supplied wheat for ninety-percent of Britain’s daily bread. The generosity and compassion of the American people and the great agricultural resources of the North American continent would be called upon...

Twenty million Americans signed pledges of membership in the Food Administration, which obligated them to conserve scarce food so that our Allies in Europe would not have to go hungry. In addition to meat and eggs, Americans were urged to cut back on wheat, the single most vital food item... Meatless and wheatless days each week were patriotically subscribed to by America’s families” (Rawls, p. 112-115). This was one of the many posters published by the U.S. Food Administration aimed at pleasing recent immigrants with an inspiring New York harbor scene that shows the Statue of Liberty and lower Manhattan shimmering under a patriotic rainbow. The poster was produced in a total of five languages: English, Italian, Spanish, Hungarian, and, as seen here, Yiddish.

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

101. American War Posters. 1917.

Artist: B. Audsley 22 x 37 1⁄2 in./56 x 95.4 cm Cond B/Slight tears at folds.

Adapted from Hiroshige’s “Plain at Suzaki” woodblock print, from his 100 Famous Views of Edo series, Audsley modernizes the imagery to advertise an exhibition of American war posters in Newark, New Jersey. Hiroshige’s soaring hawk is here replaced with an American eagle, and the original snowy marshland becomes an aquatic war zone. Audsley was part of the Newark Library staff, which also published this poster and hosted the exhibition.

102

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

Otto Cushing was not only the art editor at the HeraldTribune in Europe and a cartoonist for Life magazine, but was also a captain in the Army Air Service when he designed this poster. He shows his recruits turning the propeller of a Standard J-1 aircraft to start its engine, thereby underscoring the notion of action in the slogan.

Just one year prior, Congress authorized $640 million for the U.S. Army’s air arm—the greatest sum ever dedicated to one program at that time.

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

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

Artist: Joseph C. Leyendecker (1874-1951) 20 x 30 in./50.7 x 76.2 cm American Lithographic Co., New York Cond A-/Slight tears at top.

Ref: Rawls, p. 211; Darracott, p. 30; Rickards, 50; Leyendecker, p. 75; War Posters, p. 117; PAI-LXXXIV 97 Just as Girl Scouts are today known for their cookie sales, Boy Scouts were enlisted to sell Liberty Bonds during World War I. But this is no humble boy at a folding table—Leyendecker instead creates a powerful image full of allegorical strength.

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

WAR & PROPAGANDA

104

107 105

104. That Liberty Shall Not Perish. 1918.

Artist: Joseph Pennell (1857-1926)

106. Buy War Savings Stamps / Boys and Girls! 1918.

Artist: James Montgomery Flagg (1870-1960)

28 3⁄4 x 41 in./73 x 104 cm Ketterlinus, Philadelphia Cond A. Ref: Rawls, p. 227; Theofiles, 161; Rickards, 61; Darracott, p. 35; American Posters, 61; PAI-LXXXIV, 104

20 1⁄ 8 x 29 7⁄8 in./51 x 76 cm American Lithographic Co., New York Cond B+/Slight tears at folds.

Ref: Rawls, p. 216; Theofiles, 179; Flagg, p. 78; Rickards, 57; PAI-LXXXVI, 96

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.

The cost of War Savings Stamps (W.S.S.) was set low to enable everyone—women, children, and even recent refugees—to participate in the war effort. Here, Flagg has Uncle Sam urging a pair of attractive and attentive youngsters to “Save your Quarters.”

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

107. Coming Right Up! 1945.

Artist: James Montgomery Flagg (1870-1960)

105. Our Regular Divisions. 1918.

Artist: James Montgomery Flagg (1870-1960) 20 7⁄8 x 27 7⁄8 in./53 x 71 cm Sackett & Wilhelms Corp., Brooklyn Cond B+/Slight tears at edges.

Ref: Flagg, p. 67; Rawls, p. 235; PAI-LXXXIV, 107 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.

106

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

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

24 x 35 1⁄ 8 in./61 x 89 cm Cond B+/Slight tears at edges.

Ref: Flagg, p. 86 This very rare and later design by Flagg shows him championing portraiture in the form of an eager aviator ready to take to the skies. He waves at a group of P-38 Lightnings—which were, curiously, out of use by 1945.

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

WAR & PROPAGANDA

108

109

110

108. Help Britain Finish the Job! ca. 1940.

Artist: Marc Stone

110. The Spirit of ’46. 1946.

Artist: Newell Convers Wyeth (1882-1945)

19 3⁄8 x 29 3⁄8 in./49.3 x 74.5 cm Fosh & Cross, London Cond B+/Slight tears at folds.

27 3⁄8 x 44 1⁄8 in./69.5 x 112 cm Cond A-/Unobtrusive folds.

Ref: PAI-LXXXV, 130

Issued by the British government, this rare poster shows infantrymen racing past a machine gun and toward surrendering German troops. The message is that the war is almost won—but your help is needed to complete the mission.

With a nod to Archibald M. Willard’s well-known American Revolution painting, “The Spirit of ’76” (included as a small drawing in the bottom panel), Wyeth portrays patriotism WWII-style with a factory scene at shift’s end.

Everybody is seen working together—soldiers, sailors, airmen—and all are rendered with the superb technique and composition that made Wyeth one of the favored children’s illustrators and muralists of his day. This offsetprinted piece—created using a Wyeth painting after the artist’s death—was sponsored by the Hercules Powder Co. of Wilmington, Delaware. They describe themselves at the bottom of the poster as “manufacturers of chemical materials for industry.”

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

109. Buy War Bonds. 1942.

Artist: Newell Convers Wyeth (1882-1945) 30 x 40 1⁄ 2 in./76.2 x 102.1 cm U.S. Government Printing Office, Washington, D.C. Cond A. Ref: PAI-LXXXVI, 68 This iconic World War II propaganda poster was one of the first advertisements printed for the first war bonds drives in early 1942. Uncle Sam, dramatically rising from the clouds, points toward the audience in demand of war bond investment, while fighter planes and soldiers dash across the sky above and field below.

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

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

111. Free a Man to Fight. 1943.

Artist: Leslie Ragan (1897-1972) 19 7⁄8 x 27 3⁄4 in./50.5 x 70.6 cm Brett Lithographing Co., USA Cond A/P. Ref: PAI-LXXXV, 126 While Ragan’s best work was created in promotion of travel aboard the New York Central System, here he advertises the many jobs available to women at his primary employer. From the offices and shops to the more technical positions at the stations and on the trains, each woman working at New York Central would allow another man to fight overseas.

111

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

WAR & PROPAGANDA - FILM

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112

113

114

112. Talleres Graficos de la Nacion. 1942.

Artist: Salvador Pruneda (1895-1988)

113. United. 1944.

Artist: Frederick Henri Kay Henrion (1914-1990)

114. Staline Aussi. ca. 1951.

Artist: Anonymous

38 1⁄2 x 29 7⁄8 in./98 x 76 cm Cond B+/Slight tears and stains at edges.

20 x 26 1⁄4 in./50.9 x 66.5 cm U.S.P.F. II Cond A. Ref: Guerres, p. 34, no. 13 (var); War Posters, p. 41

31 1⁄8 x 46 3⁄4 in./79 x 118.8 cm Cond A.

The Graphic Workshops of the Nation got its start in Mexico in the 1880s before becoming a government branch in the 1920s. Their work—which continues to this day—focuses generally on benefiting the working class and promoting cultural progress. Here, a printer in his shop is paired with text that reads: “Mexicans: production is the base of victory.” Above his shoulder, a poster reads: “The printing press is a fearsome weapon,” and to prove the point, another poster below shows a menacing combatant with text ascribed to Adolph Hitler: “Knowledge would corrupt my youth.” Presumably, the latter poster was not produced by this lithographer, but rather serves to underscore the potency and sensitivity of public messaging. Rare!

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

Although no official title exists for this design, the message is clear: the Allies have destroyed Hitler. Each flagged arm—representing the United States, Britain, France, and Russia—tear apart a swastika against a stormy and otherworldly background. Born in Germany, Henrion went to Paris, where he studied poster design with Paul Colin. Being Jewish, he fled to the United Kingdom following the Nazis’ rise to power. He was interned on the Isle of Man as an alien, but gradually wooed both the Ministry of Information and the U.S. Office of War Information with his graphic capabilities.

Along with his propaganda work, he created a number of corporate identities for brands like KLM, and also designed exhibitions around the world.

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

Published by the Socialist Federation of the Seine, this poster denounces the many despicable actions of fascist regimes while calling out Stalin specifically. The list of atrocities concludes with: “The French Communist Party is no longer a workers’ party, it is the Fifth Column of Stalinist totalitarian imperialism. Workers, beware!

No collaboration, neither with fascist reaction nor with Stalino-fascism. With the Socialists, preserve your homes by fighting for Liberty.”

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

FILM

116 115 115. Les Grands Films Aéronautiques. ca. 1927.

Artist: Roger Soubie (1898-1984)

117. Panne d’Auto / Woman’s Logic. 1912.

Artist: Anonymous

46 3⁄4 x 63 1⁄2 in./118.7 x 160.6 cm Imp. Francaises Réunies, Paris Cond B/Slight tears at folds; stains at edges.

54 1⁄2 x 77 in./138.6 x 196 cm Castiglione, Milano Cond B/Slight tears at fold and seam.

Ref: PAI-LVII, 18

As the Eiffel Tower arises on the horizon, a hydroplane careens toward Paris after its flight to Madagascar. The 30,000 kilometer journey was made by Lieutenant Bernard de Romanet and Officer Bougault and apparently made into a film, though no information on the documentary exists.

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

116. Les Ailes Victorieuses. ca. 1925.

Artist: Louis Galice (1864-1935) 31 5⁄8 x 47 1⁄4 in./80.2 x 120 cm Louis Galice, Paris Cond A-/Unobtrusive folds.

“The Sky Raider” tells the tale of World War I ace pilot Charles Eugène Jules Marie Nungesser, a rival of Charles Lindbergh. After the war and without a job, Nungesser decided to try out cinema in the United States, resulting in this film. It was during this time that he had the idea to make a transatlantic flight from Paris to New York.

Along with copilot François Coli, they departed Paris in their L’Oiseau Blanc (The White Bird).

Unfortunately, they—and their plane—were never seen again, having crashed either in the Atlantic or in Newfoundland. Galice gives us a terrifyingly foresightful look at an enflamed aircraft tumbling to the ground; the inset image likely shows Nungesser and his fiancée during happier times.

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

This film poster is filled with tension and drama.

Directed by then-newcomer Baldassarre Negroni, “Panne d’Auto” is a silent Italian short film starring Alberto Collo, Francesca Bertini, and Emilio Ghione. These three often teamed up with Negroni in an array of films throughout the 1910s, with Ghione typically playing the “bad guy,” Bertini the female love interest, and Collo the protagonist and hero. In this particular story, a young woman named Kitty is torn between choosing Pietro, a young officer, and Alberto, a handsome engineer. Attempting to impress her with his bravery, Pietro signs up for a daredevil automobile race against Alberto; however, at the last minute, Alberto pretends that his car breaks down, allowing him to take Kitty for a picnic while Pietro competes. Here, Kitty is just figuring out that Alberto has lied to her about his car, and turns down his subsequent proposal. This is a two-sheet poster.

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

117

FILM

118 118. 6 1⁄2 x 11. 1927.

Artist: Jean A. Mercier (1899-1995) 47 1⁄8 x 62 in./120 x 160 cm Imp. des Presses Universitaires, Paris Cond B+/Unobtrusive folds. Framed.

Ref: Mercier, 93; PAI-LXV, 55 Directed by the famous Jean Epstein (and written by his wife), “Six et Demi Onze” is a masterful work of French Impressionist cinema. It follows two brothers who are doctors, the younger of which abandons his career when he falls in love with the beautiful singer Marie.

Longing to return to the spotlight, she leaves him, resulting in his suicide. Later, the elder brother starts a relationship with her not knowing of their shared past. He then discovers a 6 1⁄ 2 x 11 photograph of Marie in his brother’s belongings, tragically ending their relationship.

Est: $20,000-$25,000.

FILM

119

119. Poupée de Paris. 1925.

Artist: G. Elisabeth 47 1⁄8 x 62 7⁄8 in./119.6 x 159.6 cm Imp. Bauduin, Paris Cond B+/Slight tears at folds.

In the heyday of silent film—where language was not a problem—there were many international co-productions in Europe combining stars from several countries to increase the drawing power of a picture. This is a strange French-German-Austrian co-production directed by Hungarianborn Mihaly Kertész. The original release title was “Célimène, Poupée de Montmartre” in France, “Das Spielzeug von Paris” in Germany, and “Red Heels” in England. Lily Damita plays a minor stripper who, thanks to the care of her agent and a rich patron, becomes the star of a major cabaret.

It’s not a particularly striking story, but it was made with such attention to atmosphere and detail that it became one of the films which brought Kertész to the attention of Harry Warner who brought him to Hollywood the following year. And Lily Damita got her invitation from Sam Goldwyn soon after that.

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

120. Poupée de Paris. 1925.

Artist: G. Elisabeth 47 3⁄4 x 62 7⁄ 8 in./121.2 x 159.8 cm Imp. Bauduin, Paris Cond B+/Unobtrusive folds.

Ref: PAI-V, 22 Whereas the previous image for this film shows Damita in full-on showgirl glory, this design poses her as a sensuous object, dripping in Jazz Age rhinestones and pearls. This is surely the scene where her agent and a rich patron transform her from an ordinary stripper to a glamorous performer, and by the looks on their faces, the evolution was a smash hit.

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

120

FILM - CIRCUS, MAGIC, & WILD WEST

121 121. Papillon d’Or. 1926.

Artist: Armand Rapeño (1858-?)

47 1⁄8 x 63 1⁄8 in./119.8 x 150.2 cm Imp. Bauduin, Paris Cond B+/Slight tears and stains at folds.

Ref: PAI-V, 23a This project was similar to “Poupée de Paris,” with Mihaly Kertész again at the helm, Lily Damita the star, and an international cast. The film was released as “Road to Happiness” in some English-speaking countries, though in England it was “The Golden Butterfly.” Lily Damita was born in 1901 in Bordeaux; her real name was Liliane Carre. She became a music hall performer at 16, and in 1926 she succeeded the famous Mistinguett as the featured star of the Casino de Paris. She also dabbled in film from 1921, appearing in French, Austrian, German, British, and, as in this case, Danish productions; in 1928, she went to Hollywood, where her biggest accomplishment was marrying Errol Flynn. But here, Damita is radiant in a hot pink dress and shoes to match.

122

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

122. L’Esclave Reine. ca. 1924.

Artist: Armand Rapeño (1858-?)

47 1⁄2 x 63 1⁄4 in./120.5 x 160.5 cm Imp. Bauduin, Paris Cond B+/Slight tears and stains at folds.

This French promotion for the release of the Austrian film “The Moon of Israel” indulges in the exotic aspects of this epic film, which was directed by Mihaly Kertész and based on the novel by H. Rider Haggard. The story takes place in the year 1230 BC, when the Israelites are enslaved in Egypt. The Jewish slave-girl Merapi, played by María Corda, falls in love with Prince Seti, son of the Pharaoh Menapta. Their taboo love affair is of course problematic, but the film offers them a resolution. The narrative ends with Moses leading his people through the Red Sea to freedom.

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

123. La Nuit Nuptiale. ca. 1927.

Artist: G. Elisabeth 47 5⁄8 x 63 in./121 x 160 cm Imp. Bauduin, Paris Cond A-/Slight stains at edges.

This Anglo-German production was originally titled “The Queen Was in the Parlour” after the Noël Coward play of the same name. But the Germans and the French clearly had a bit more fun with their titles (the German release was “Die letzte Nacht”). The tale of lost love and royal obligations almost doesn’t matter with an image as steamy as this one.

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

123

CIRCUS, MAGIC, & WILD WEST All artists are anonymous except where noted.

124 124. Buffalo Bill’s Wild West / I Am Coming. 1906.

39 x 28 1⁄2 in./99 x 72.4 cm Cond B-/Restored tears at folds. Framed.

Ref: Buffalo Bill, 60 (var); PAI-IV, 105 The buffalo is frequently seen in Wild West lithography, but here it’s even more appropriate, since Col. William F. Cody derived his pseudonym from them. In another version of this same design, Cody announced he was coming to France with the words “Je Viens.” Here, he announces his arrival in England and Germany as well. Rare!

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

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CIRCUS, MAGIC, & WILD WEST

125. An American. ca. 1894.

28 1⁄4 x 41 in./71.3 x 104.2 cm The Forbes Co., Boston & New York Cond B/Restored tears at folds and corners.

Ref: Buffalo Bill, 39 This is the original Forbes printing of this poster, which was subsequently reprinted by A. Hoen & Co. in Baltimore, with text at top that read “Congress Rough Riders of the World,” and below, “An American.” “The first change is understandable, this not being the commonly accepted subtitle of the Buffalo Bill Wild West until about 1893. But the second change is a mystery. The whole idea or message of this poster would seem to be a reminder to the spectators that the Indian is, after all, ‘An American.’ An obvious statement, but one worth making. Without it, [as seen here], it is simply a drawing of an Indian. Did the addition of this bottom line represent a change of heart on the part of Buffalo Bill and his management, or was it a response to the current enthusiasm toward Indians and an attempt to more properly place them as the rightful tenants of our western lands? Or, perhaps, it was simply a way of adding this national horseman to the list of others in the Rough Riders of the World who were gaining attention—and posters—for their country. The speculation is interesting” (Buffalo Bill, p. 8). Rare!

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

126. Custer’s Last Fight / Anheuser-Busch / Budweiser. 1936.

Artist: Otto Becker (1890-1986) 43 7⁄ 8 x 33 3⁄4 in./111.5 x 85.7 cm Otis Litho., Cleveland Cond A-/Slight stains at edges.

Ref: PAI-LVIII, 166

125

Twenty years after the Battle of Little Bighorn, Anheuser-Busch appropriated this image by Otto Becker 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.

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

127. George / The Supreme Master of Magic. ca. 1929.

26 3⁄4 x 40 1⁄4 in./68 x 102.2 cm Otis Lithographic Co., Cleveland Cond A. Ref: PAI-LXXXIII, 171 Grover George (1887-1958), an Ohio native, began performing as a magician when he was only 10. He continued to perform at small theatres across the United States, then left with his company of 18 for a five-year tour of Central and South America. He returned to the States in 1929 flushed with success, and expected to storm the theatres of his own country. This spectacular poster is one of the designs created for that “triumphant American tour.” But that triumph was out of reach—the magician Howard Thurston was intent on maintaining his territory, and brought suits against George whenever he attempted to book a venue of any distinction. Although these suits were, in fact, frivolous, George did not have the necessary funds, and was relegated to playing second-rate stages.

He returned to South America, making occasional minor trips back to the U.S., and died in São Paolo, Brazil, where he had retired. The uncredited artist pulls out all the stops to seduce the viewer with exotic and otherworldly affiliations: from demonic intervention to Oriental mysticism, the magician’s credentials are graphically laid out. Unfortunately, due to George’s legal woes, the poster may never have reached its intended audience.

126

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

CIRCUS, MAGIC, & WILD WEST

128

127 128. Carter the Great / The Elongated Maiden. 1935.

41 x 79 1⁄2 in./104.4 x 202 cm Otis Lithograph Co., Cleveland Cond A-/Unobtrusive folds.

Ref: Magic, p. 566; PAI-LIV, 222 Created for his eighth and final world tour, “Charles Carter was proud to present the latest illusions in his elaborate show. Here is his version of Selbit’s Stretching a Lady, the successor to Selbit’s famous sawing-in-half illusion. A woman was locked into elaborate stocks and seemingly stretched in every direction. In this image, Carter, dressed as an Oriental wizard, watches over the action. The stretching illusion was an instant hit with audiences” (Magic, p. 566). This is a three-sheet poster.

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

129. Sells Brothers & Barrett / Monkeys’ Trip to Derby. ca. 1890.

30 x 40 1⁄4 in./76.2 x 102.2 cm Strobridge Litho., Cincinnati Cond A/P. Ref: PAI-LXXIX, 171 This quite peculiar performance comes from the “perpetual union” of the Sells Brothers and S. H. Barrett’s New Monster Shows. The text at bottom reads: “The Monkeys’ Trip to the Derby. A laughable incident of the grand parade, with monkeys of all varieties, gaily dressed as ladies and courtiers, taking an outing in the tally-ho coach with monkey coachman, monkey foot-men and monkey postilions.”

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

129

CIRCUS, MAGIC, & WILD WEST - DIE 6

130

130. Barnum & Bailey / Twelve Most Famous Riders. 1897.

37 3⁄4 x 30 in./95.8 x 76.2 cm Strobridge Litho., Cincinnati Cond A-/Slight tears at folds and edges.

Ref: PAI-LXXV, 113 Always eager to claim to have the best of the best, Barnum & Bailey here present the “12 Most Famous Riders” in the world. This image was originally used during their tour in England, and then again in 1909 for their European tour. Of particular note in the lineup are the Mathews Sisters, known for their mounted clown act, and Miss Dunbar, the ringmistress in the center.

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

131

131. Ringling Bros and Barnum & Bailey / Magnificent Dressage. 1939.

28 x 21 in./71.2 x 53.2 cm Strobridge Litho., Cincinnati Cond A/P. Ref: PAI-LVIII, 112 With three rings filled to the brims with horses, it seems as if there is no containing this “biggest and most magnificent dressage display.”

The text also points out that the show includes “85 pure bred American horses schooled in the European manner of the world-famed Imperial Spanish Riding Academy in Vienna.”

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

132. Ringling Bros and Barnum & Bailey / Terrell Jacobs. 1939.

28 x 21 1⁄8 in./71.2 x 53.6 cm Strobridge Litho., Cincinnati Cond A/P. Ref: PAI-LVIII, 93 (var) In the 1930s, Terrell Jacobs was touted as the youngest animal trainer in any circus, accompanied by a record number of 52 lions, tigers, and leopards in a single arena on a given night. He was passed around between the better known circuses for a while before starting his own short-lived venture in the 1940s in Peru, Indiana. Here, he is unflappably composed amid dozens of terrifying big cats.

132

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

DIE 6

133

134

133. Die 6 / G. Schuh. 1914.

Artist: Franz Paul Glass (1886-1964)

134. “Die Sechs.” 1914.

Artist: Franz Paul Glass (1886-1964)

35 x 48 3⁄8 in./89 x 123 cm Vereinigte Druckereien, München Cond A-/Horizontal fold.

Ref: DFP-III, 1071; PAI-XLI, 295

35 3⁄4 x 49 7⁄8 in./91 x 126.7 cm Schuh & Cie., München Cond A-/Slight tears at edges.

Ref: Plakate München, p. 80; Wember, p. 147

Franz Glass, a member of a design collective who executed a great number of distinguished posters, announces an exhibition of this group’s work at a Munich gallery. Little more than silhouettes are used, but little more is needed to convey their artistic originality and promotional clarity. “The Six” was a group of distinguished designers who in 1914 formed a collective at Munich’s Vereinigte Druckereien printing plant that took all assignments for poster design as a unit; this way, the client received six proposed designs every time. World War I broke up the initial group in rather short order, but Glass and Valentin Zietara tried to revive it in 1928, taking in four new partners. That group was short-lived as well; nevertheless “The Six” exercised a major influence on poster art in Munich.

To advertise the artistic services of “The Six,” Glass offers up a vibrant bouquet of flowers against a rich coral red background. And who could resist freshly plucked flowers in a stunning arrangement? Not us!

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

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

DIE 6 - 1924 PARIS OLYMPICS

135

137

136

135. Die 6 / Plakate Zeichner. 1924.

Artist: Franz Paul Glass (1886-1964)

137. Die 6. 1914.

Artist: Max Schwarzer (1882-1955)

27 1⁄4 x 39 1⁄ 8 in./69.4 x 99.3 cm Meissner U. Buch, Leipzig Cond B+/Slight tears at edges.

Ref: Plakate München, p. 129 (var)

35 3⁄4 x 49 1⁄8 in./91 x 124.7 cm G. Schuh, München Cond B/Tape stains at edges.

Ref: DFP-III, 3073; Wember, 728; Internationale Plakate, 250; Plakate München, p. 79; PAI-XIV, 444

This regal design comes from the second iteration of “The Six,” who “offered companies similar conditions as before the war, however, only existed for a short time because no orders were received. That’s why everyone soon became self-employed again. Expensive artist posters were no longer in demand. The large corporations, as the most important clients, had begun to set up separate departments for their companies with advertising professionals who organized the advertising according to the most modern insights.

It wasn’t important to them to choose the most tasteful among different designs. They preferred a different form of teamwork, practiced by the new American-style advertising agencies” (München, p. 128).

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

136. Die 6 / Plakate der Sechs. 1914.

Artist: Carl Moos (1878-1959) 34 3⁄4 x 49 1⁄4 in./88.2 x 125 cm G. Schuh, München Cond A-/Unobtrusive folds.

Ref: DFP-III, 2276; Wember, 599; Plakate München, p. 79; PAI-XI, 297 As part of “The Six,” Moos banded together with his colleagues at the Vereinigte printing plant in Munich, where he executed all of his posters. Here, each artist is given his own individually colored placard. The central motif is a satisfied burgher who signals a job well done by the group.

138

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

The red-haired lady holds six winning cards with the names of each member of “The Six.” Since the group presented one poster per artist at each design meeting, it’s an apt metaphor for their collaborative “pick a card, any card” attitude.

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

138. Die 6 / Bringen Plakatschlager. 1924.

Artist: Otto Ottler (1891-1965) 27 1⁄4 x 39 in./69.2 x 99 cm Meissner & Buch, Leipzig Cond B+/Slight tears and stains in bottom text area.

Ref: Plakate München, p. 129 (var) Ottler announces that “The Six” will deliver poster hits to the German populace. A tip-on provides store locations for the Meissner & Buch printers.

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

1924 PARIS OLYMPICS

139

140

139. Paris-1924 / Jeux Olympiques. 1924.

Artist: Jean Droit (1884-1961)

140. Jeux Olympiques / Paris 1924.

Artist: Orsi (1889-1947)

30 3⁄4 x 45 1⁄4 in./78 x 114.8 cm Hachard, Paris Cond B+/Unobtrusive folds.

Ref: Olympics, p. 27; Olympic Posters, p. 34; Musée d’Affiche, 91; PAI-LXXV, 309

31 3⁄8 x 46 1⁄8 in./79.8 x 117.2 cm Phogor, Paris Cond A-/Unobtrusive folds.

Ref: Olympics, p. 29; Kauffer/Poster Purpose, p. 156; Sport à l’Affiche, 89; PAI-XXVIII, 465

This is the banner under which Harold Abrahams and Eric Liddell won the 400m and 100m events, immortalized in the 1981 film “Chariots of Fire.” It’s the poster that symbolized Johnny Weissmuller’s swimming. And it’s the Olympics that first used the motto Citius, Altius, Fortius (Higher, Faster, Stronger). “The espousal of mass physical culture became a source of national pride and strength, as perfectly exemplified in Jean Droit’s image” (Olympic Posters, p. 35). This was one of two posters selected out of 150 entries; it’s become one of the world’s most cherished items of Olympic memorabilia, and it’s all the more relevant with the centennial of the 2024 Summer Olympics taking place in Paris.

From the 150 sketches submitted in the poster competition of the 1924 Paris Olympics, the French Olympic Committee selected two: this one and the accompanying design by Droit. Orsi, a prolific poster artist— his published works number more than a thousand—symbolizes the 8th Olympics with a view of a javelin thrower about to hurl his ancient weapon out over a panorama of Paris; a globe is included to suggest the international scope of the event.

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

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

INTERNATIONAL POSTERS

141

142

Anonymous 141. Dépôt d’Eau de Cologne. 1818.

142. Aventures de Quatre Femmes / Alexandre Dumas. ca. 1847.

16 ⁄4 x 22 in./42.5 x 56 cm Cond B/Slight stains.

34 x 49 in./86.4 x 124.5 cm Imp. Morris, Paris Cond B-/Tears at folds and edges.

3

Jean-Marie Farina created his first Eau de Cologne in 1806. Containing distilled essences of petitgrain, rosemary, lavender, oregano, sweet lime, neroli, and clove, it became an iconic fragrance that is still available to purchase today. This very early poster is typical of the time: loads of text framed with a decorative border and topped with coats of arms and a few cherubs, for good measure. Rare!

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

“Aventures de Quatre Femmes et d’un Perroquet” was Alexandre Dumas’ first serious literary effort, written when he was 23 years old. Just one year later, he produced his most famous romantic novel, “La Dame aux Camélias.” Dumas was named after his father, who famously wrote “The Three Musketeers.” This is a typical poster treatment of the mid to late 19th century: black woodblock engraved text with a color lithographic tip-on, which in this case is credited to Donjean.

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

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ANONYMOUS | A-Z

143

146 143. La Jeunesse de Louis XIV. 1878.

145. Almanach. 1857.

34 3⁄ 8 x 47 3⁄4 in./87.2 x 121.4 cm Imp. Morris, Paris Cond B/Slight tears in text.

18 3⁄4 x 24 1⁄2 in./47.5 x 62.2 cm Cond A-/Unobtrusive folds.

In 1878, the Théâtre de l’Ambigu-Comique reopened its doors following restoration with performances of Alexandre Dumas’ La Jeunesse de Louis XIV. The five act prose comedy, written in 1853, explores the romances and travails of a 20 year-old Louis XIV. This poster has woodblocked text with a color tip-on.

144

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

144. Société Moncrabeau.

33 1⁄4 x 48 1⁄2 in./84.6 x 123 cm Éthiou-Pérou et A. Klein, Paris Cond B/Slight stains at folds.

Founded in 1843, the Moncrabeau company combines Namur folklore, philanthropy, and the oratorical art of lying. One of the oldest folk societies of Wallonia, the company continues to perform in the brightly colored costumes seen here as they sing folk songs, partake in a contest of lies, and organize collections for the poor and needy. This is a woodblock engraving with a lithographic tip-on printed by Carbote, Bruxelles. Rare!

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

145

The emperor has no clothes—or rather, he has no hair, as the prankster above makes clear. And what are we to make of this situation? Various almanacs surround the scene: one picturesque, one Flemish, one from Liège, and one for an unknown Tom Pouce; an 1857 calendarium flanks the edges. Surely these were a big deal in Belgium back in 1857, but piecing together the puzzle today is a bit trickier. One reference we can pick up on is the Almanach de Liège, an annual publication that dates back to 1626. Its esoteric content contemplated the stars’ influences on human affairs and also provided practical, medical, and household advice. It was a huge success, with a circulation of 60,000 in the 18th century. Rare!

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

146. La Publicité en France. 1878.

24 1⁄4 x 33 in./61.5 x 84 cm Lith. F. Appel Cond B-/Creases.

Emile Mermet’s guide book “La Publicité en France” apparently has the whole town—and its various businesses—in its good graces. Winged goddesses draw up pages and scatter them over the townsfolk below: a motley crew of the hungry, a sword swallower, business men, society women, and children. A handwritten note at the bottom right corner reads: “The book advertised by this poster (La Publicité en France) contains a very remarkable four-page article on the present collection of illustrated posters. Year 1878, p. 122 and following.

(Le Collectionneur).”

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

A-Z | ANONYMOUS

147

Anonymous

(Continued)

147. Madame le Diable. 1882.

33 1⁄8 x 48 7⁄8 in./84.2 x 124 cm Imp. Morris, Paris Cond B/Slight tears at folds and top text area.

148

Madame le Diable featured the star of the Théâtre de la Renaissance, Jean Granier, in its title role. The twelve-scene spectacle featured elaborate sets and many costume changes, and ran for over two hundred performances. One critic wrote of Granier: “The little diva, who by the by, has grown wonderfully buxom of late, has the stage to herself for a good half of the evening, and appears in about fourteen different costumes.” The black and white tip-on was printed by Fouquet and drawn by H. Mayer.

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

148. Conseil aux Sourds.

33 1⁄8 x 48 3⁄4 in./84 x 123.8 cm Imp. Morris, Paris Cond B-/Slight tears at folds and edges.

Hearing aids have come a long way since the 13th century, when hollowed animal horns were first used to amplify audio. By 1816, Parisian René Laennec created a stethoscope out of a wooden tube and realized it could be used as an ear trumpet for those hard of hearing. Here, a gentleman at the theatre demonstrates the newest development: an acoustic cane created at the Paris Academy of Medicine. Rare!

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

149. Progrès en Librairie. ca. 1886.

35 1⁄2 x 50 in./90 x 127 cm Imp. A. Legras, Paris Cond A-/Slight tears at edges.

Now here’s an interesting historical oddity: the Library of Progress is selling books, but this is not your ordinary bookseller. Those who purchase 25 booklets are eligible to receive the following bonuses: a mirror, a clock, a suspension (that one’s also lost on us), and four paintings. And the buyer of the first one-franc booklet will receive a nicely framed painting free of charge. What a deal! The kiosk here not only promotes the latest books available, but also acts as a magic passageway through which our eager readers emerge with plentiful prizes.

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

149

ANONYMOUS | A-Z

150

151 150. Entrepôt d’Ivry. ca. 1890.

152. Picture Posters. ca. 1895.

38 ⁄8 x 54 ⁄2 in./98.8 x 138.3 cm Imp. Charles Verneau, Paris Cond A-/Unobtrusive folds.

12 5⁄8 x 17 1⁄2 in./32 x 44.3 cm Cond A. Ref: American/Virginia Museum, p. 4

Monsieur, remember to hydrate! This beer emporium claims to have “all the beers on tap and in bottles,” and it seems as though our friend has been imbibing a little bit too much, as he’s wiping away some sweat. Rare!

Subtitled “A short history of the illustrated placard, with many reproductions of the most artistic examples in all the countries,” Charles Hiatt’s “Picture Posters” was published in New York in 1895. In his preface, Hiatt emphasizes his focus on the poster as an art form rather than one of commerce, and humbly asserts that his is the first book in English to cover the Pictorial Poster.

7

152

1

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

151. Gil Blas. ca. 1892.

36 1⁄2 x 49 1⁄4 in./92.7 x 125 cm Imp. Émile Lévy, Paris Cond B/Restored tears at folds.

Ref: PAI-XLIV, 50 The Parisian weekly, Gil Blas, promotes itself with roguish, nearly misogynistic swagger, which is somewhat peculiar considering that they bill themselves as the “most literary” journal available.

Perhaps reading wasn’t such a passive pastime at the turn of the twentieth century. You can’t argue with the well-rounded contents of the publication however, with a complete listing of all featured writers (including Émile Zola, Guy de Maupassant, Catulle Mendès, et al), theatrical reviews, literary excerpts, sports coverage, articles on the social scene and much, much more, including an underfoot mention of illustrated supplements. Though the work bears a strong resemblance to that of Choubrac, the lack of a signature or a specific reference keeps this work anonymous.

153

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

Est: $800-$1,000.

153. Bi Bo Bi. ca. 1900.

35 5⁄8 x 49 1⁄4 in./90.5 x 125.2 cm Ch. Levy, Paris Cond A-/Slight tears at edges.

Ref: PAI-LXXXV, 166 This very obscure poster plays on American patriotism and dreamlike imagery to announce a “fantasist virtuose musical.” There is some evidence that Bi Bo Bi was a popular Belgian minstrel player who performed in black-face, but the details of this event elude us.

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

A-Z | ANONYMOUS

154

156

Anonymous 155

(Continued)

154. La Charlentine.

156. Petit Journal.

25 ⁄8 x 37 ⁄4 in./64 x 94.5 cm J. Haly & Schaerer Cond A-/Slight tear at bottom edge.

46 1⁄4 x 68 1⁄4 in./117.5 x 173.4 cm Imp. Chaix, Paris Cond A-/Slight tears at edges.

This ad-within-an-ad promotes the wondrous effects of La Charlentine laundry detergent. While a bill poster hangs a lithograph for the brand, two women discuss their latest wares: “Another new dress?” “But no, my dear, it’s my dress from last year that I washed with La Charlentine. Isn’t it beautiful now? By using this good product, I have saved, for this season, the cost of an outfit. I advise you to do like me: try La Charlentine!”

This two-sheet poster-within-a-poster provides us with a wonderful time capsule of 19th century Paris, replete with horse-drawn carriages and a kiosk plastered with posters. The Parisian newspaper Le Petit Journal uses this advertisement to tout its credentials: “The best informed of all newspapers” and the “largest circulation in the universe.”

1

1

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

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

157. E. Pichot.

155. Divan Japonais.

24 3⁄4 x 37 1⁄8 in./62.7 x 94.3 cm J. Weiner, Wien Cond B-/Slight tears at folds and edges.

Peekaboo! The mysterious brothers Gemon are performing at the illustrious Divan Japonais caféconcert. This stock poster, printed in Vienna, was imprinted to advertise this Parisian show.

157

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

47 x 63 1⁄ 2 in./119.2 x 161.5 cm E. Pichot, Paris Cond A. Ref: Imprimerie, 78 The E. Pichot printing firm receives a mythical treatment, intoning that the art of lithography is not just a mundane necessity, but a luxury practice near godliness. Inserted is a cameo of the printing facility, which allows us to see their large-scale operations.

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

ANONYMOUS | A-Z

158

159

160

158. E. Pichot / Cognac.

159. E. Pichot / Specialité d’Affiches.

160. Imprimerie A. Poméon. 1901.

47 1⁄4 x 61 1⁄4 in./120 x 155.6 cm Imp. E. Pichot, Paris Cond B/Slight tears at edges.

46 x 61 3⁄4 in./116.6 x 156.7 cm E. Pichot, Paris Cond A. Ref: Imprimerie, 66

12 5⁄8 x 20 7⁄8 in./32 x 53 cm Imp. A. Poméon, Saint-Chamond Cond A.

To advertise their sister facility in Cognac, the E. Pichot printing firm embraces all things cognac-related in this fruitful design.

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

The E. Pichot printing firm advertises their offerings by showcasing a Moulin Rouge poster they printed on a Morris column as the streets of Paris fade to dusk.

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

While little information exists on the Imprimerie A. Poméon et ses Fils, the Saint-Chamond printer got its start around 1855. This anonymous artist gives us a decadent Art Nouveau image with a female print connoisseur eagerly flipping through a portfolio.

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

A-Z | ANONYMOUS

161

162

Anonymous

163

(Continued)

161. G. Ricordi. 1903.

162. Melrose Cheveux. 1905.

163. Bellus / Défense d’Afficher. 1907.

23 x 17 3⁄8 in./58.5 x 44.2 cm G. Ricordi, Milano Cond A. Framed.

24 3⁄4 x 39 3⁄4 in./63 x 101 cm Imp. F. Champenois, Paris Cond A-/Restored tears in bottom text area.

62 3⁄4 x 47 in./159.3 x 119.4 cm Imp. Aussel, Paris Cond B+/Slight tears at folds.

The illustrious G. Ricordi printing firm allows us an intimate look at their inner workings. While a lithographer demonstrates his craft, two inquisitive women observe the process of creating a poster. Rare!

Two Art Nouveau darlings gaze off in wonder as their gray hairs virtually disappear with the help of the Melrose hair regenerator.

If you ever doubted the popularity of posters in their heyday, well, here’s your proof: even the poster pasters were featured in their own board game, designed by Jean Bellus. Now, where can we get our own set?

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

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

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

ANONYMOUS | A-Z

165 164. British Tobacco. ca. 1910.

21 1⁄4 x 30 3⁄8 in./54 x 77 cm Cond B+/Slight fold marks. Framed.

Ref: PAI-LXXI, 183 This remarkable piece appears to be a Chinese promotional calendar for British and American tobacco for the year 1910. It features images at top and bottom for Rugby Tobacco, Three Castles Cigarettes, Old Rip, “Pirate,” Possette Brand, “Wild Woodbine,” and Cycle Cigarettes. The central image presents an aged patriarch, seated upon a wicker or knotted-wood chair, attended by concubines who are adorned in fabrics as intricately illustrated as the wallpaper of the room. The banner text appears to beckon those with divided hearts toward Britain and the United States. The block of text may reference the illustration below it, perhaps with a joke about paternity. The entire piece may present a coded reference toward both a piece of domestic gossip and the politics of colonialism. This is printed on silk.

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

165. Cognac Otard. ca. 1910.

164

40 1⁄ 2 x 61 in./103 x 155 cm Imp. F. Champenois, Paris Cond A-/Slight tear at horizontal fold.

Ref: Boissons, 110; Pierrot, 37; PAI-LI, 85 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: Pierrot has finally managed to woo the ever-distant Columbine with the beverage’s powers.

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

166. Edison Mazda Lamps. ca. 1910.

54 3⁄4 x 35 7⁄8 in./139 x 91 cm The Massillon Co., Ohio Cond B/Stains.

166

Mazda borrowed its name from Ahura Mazda, the transcendental and universal God of Zoroastrianism whose name means “light of wisdom” in the Avestan language. Clearly, they thought highly of their new Edison Mazda lamps, which promise “more light for less money.” Below a twilit sky, we can see the General Electric Company and Edison Lamp Works warehouses.

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

A-Z | ANONYMOUS

168

167

Anonymous

(Continued)

167. Panama Pacific International Exposition / San Francisco. 1915.

14 x 24 7⁄8 in./35.5 x 63 cm Cond A/P. Ref: PAI-XXXIX, 90 In 1915, San Francisco hosted what was arguably the most-beloved World’s Fair that the United States had ever seen, and was admired by the millions who came from around the world to be a part of it. Taking over three years to construct, the fair had great economic implications for a city that had been almost destroyed by a staggering earthquake nine years earlier. Officially, the exposition was a celebration of the completion of the Panama Canal, and also commemorated the 400th anniversary of the discovering of the Pacific Ocean by the explorer Vasco Núñez de Balboa. This anonymous designer shuns gaudier representations of the Fair—such as the Tower of Jewels or the Palace of Fine Arts—creating instead a colossal vision of man conquering nature with this gargantuan forcing his will on the surrounding cliffs. The artist also incorporates the well-muscled behemoth into the craggy opening, making him a part of the rugged landscape, which, in truth, is an utterly appropriate image to laud the canal on the isthmus of Panama that revolutionized world shipping patterns.

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

168. Modena-Express. ca. 1920.

169

39 1⁄4 x 27 3⁄4 in./99.8 x 70.5 cm Minarelli, Bologna Cond A. Ref: PAI-LXXII, 110 Two comic figures herald the arrival of the ModenaExpress in a poster often erroneously attributed to Umberto Tirelli. Modena, home to Italian sports car manufacturers Lamborghini and Ferrari, rebuilt its train station in 1920 and this poster was likely accomplished around that time.

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

169. Das Plakat / Lithographie Pilatus.

27 1⁄4 x 39 1⁄8 in./69.2 x 99.3 cm Lithographie Pilatus, Luzern Cond A-/Unobtrusive folds.

A group of artisanal lithographers show us their behindthe-scenes procedures, from sketching to laying the stone and printing the final poster. This printer in Luzern promises that “Pilatus Lithography delivers the poster with artistic discipline and captivating effect.”

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

171

ANONYMOUS | A-Z

172

173

170. No lot.

173. Manifesti Coen : Maquette.

171. Lebensbedürfnisverein. ca. 1925.

19 1⁄4 x 28 3⁄8 in./48.8 x 72 cm Gouache and ink maquette. Framed.

28 1⁄4 x 39 1⁄4 in./71.7 x 99.8 cm Arthur Albrecht, Karlsruhe Cond A. The Karlsruhe Association for Life Needs is promising that 351,000 Marks will be reimbursed to its members this year. Our stylish grocery shopper is visibly pleased with the knowledge that she’ll earn back on her purchases.

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

172. Marabu : Maquette.

39 1⁄2 x 47 1⁄4 in./85 x 120 cm Gouache and ink maquette.

To promote lithographic tints, this anonymous artist presents a delightful crisscrossing of gradients, forming a neat and graphic composition. There’s no record of a final poster created from this preparatory work, which is a shame—we think it’d certainly catch the eyes of frenzied passersby.

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

Milan’s Manifesti Coen & C. printers get a lovely preparatory work featuring a pipe-smoking bill poster reporting for duty. A label on the verso indicates it came from the Officine Grafiche in Coen.

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

A-Z | ANONYMOUS - BAILLE

174

175

Anonymous

176

(Continued)

174. Nach Südamerika. ca. 1935.

176. Pennsylvania Railroad / New York. ca. 1952.

33 1⁄ 2 x 46 3⁄4 in./85.3 x 118.8 cm Mühlmeister & Johler, Hamburg Cond A-/Slight stains at edges.

24 7⁄ 8 x 40 3⁄4 in./63.3 x 103.5 cm Cond A.

The Hamburg-Amerika line advertises trips to South America aboard its “beloved middle class boats.” A handsome Latin American couple watches as a trio of cruise ships pass by.

Opened in 1952, the gleaming high-rise of the United Nations building serves as the backdrop to this Pennsylvania Railroad promotion for travel to New York.

Based on the attire on display, we can assume that the poster was designed shortly after its opening.

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

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

175. Union Pacific / Las Vegas. ca. 1950.

177. Philips.

55 1⁄ 2 x 41 1⁄2 in./141 x 105.2 cm Cond A.

45 3⁄8 x 61 1⁄4 in./115.2 x 155.6 cm Elvinger, Paris Cond A. Ref: Cat Cabinet, p. 83 (var); Le Coultre, p. 32 (var); PAI-LXXVII, 122

The neon lights are all right in Vegas, particularly in this ’50s era enticement to travel by Union Pacific. Many of the highlights seen here are still in operation, including the Hotel Apache, Golden Nugget Gambling Hall, Fremont Hotel & Casino, and Golden Gate Hotel & Casino.

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

The cat made several appearances in mid-20th century Philips advertisements, always as a whimsical and endearing creature. In this French poster for the Dutch electronics company, our friendly feline is enchanted by a large fish, whose details are so clearly rendered on this television screen that the cat believes it to be real. As Philips kindly reminds us in the text below, their images are indeed “more real.”

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

177

ANONYMOUS - BAILLE | A-Z

178

Louis Anquetin

(1861-1932)

Bac

(Ferdinand Bach, 1859-1952)

178. Marguerite Dufay. 1894.

179. Ambassadeurs / Yvette Guilbert. 1895.

49 3⁄4 x 36 1⁄4 in./126.5 x 92 cm Imp. Edw. Ancourt, Paris Cond B/Slight tears at folds and edges.

Ref: Maindron, p. 33; Reims, 205; Maitres, 150; Hiatt, p. 113; Kauffer/Poster Purpose, p. 111; Weill, 76; PAI-LXV, 113

30 x 78 3⁄4 in./76.2 x 200 cm Affiches Camis, Paris Cond A. Ref: DFP-II, 31; PAI-LXXXII, 155

Among the highly specialized terms used to distinguish Paris music-hall entertainers, Dufay fell into the category of “comique excentrique.” To some, she was “merely a woman of impossible fatness who performs at various Paris music-halls on the trombone.” The poster itself, however, drew wide contemporary praise: “It is safe to say that, once seen, it will never be forgotten... The mirth of the thing is victorious and infectious; one seems almost to hear the coarse laugh; the ample body in the green dress seems to move as one stares at it. In line, in movement, this poster is... a veritable masterpiece” (Hiatt, p. 113). This is a two-sheet poster.

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

179

A lifelong friend of the performer, Bac created numerous designs for Yvette Guilbert. This elegant image shows her in noble profile for her nightly revue on the Ambassadeurs’ stage.

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

Hervé Baille

(1896-1977)

180. The French Riviera. 1949.

24 1⁄2 x 39 1⁄4 in./62.3 x 95.4 cm Éditions Hubert Baille, Paris Cond A. Ref: PAI-LXXXV, 187 (var) A bronze bikini belle femme, a beach playground, a glistening Mediterranean Sea, and a sun that’s simply happy to be there: it’s possibly the most evocative illustration of the French Riviera’s pleasures we’ve seen.

Others clearly thought so too: this delightful vision was produced in 1949, just a few years before the Cannes Film Festival would introduce its Palme d’Or, and Grace Kelly and Cary Grant romanced the Riviera in “To Catch a Thief.” Also produced with French and German text, this is the English language version.

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

180

A-Z | BAILLE - BÉRINGUIER

183

181

182

Baille

(Continued)

Adrien Barrère

(1877-1931)

Edmund Ludwik Bartlomiejczyk

181. Montparnasse. ca. 1950.

182. Cinéma Pathé. 1909.

(1885-1950)

23 ⁄4 x 31 ⁄8 in./59 x 79.7 cm Leroy & Hervé Baille, Paris Cond A-/Unobtrusive folds.

59 ⁄4 x 45 ⁄2 in./151.6 x 115.5 cm Affiches Robert, Paris Cond A-/Slight tears at folds.

Ref: Célébrités, 151; PAI-LXXVII, 132

183. W. Glowczewski. 1920.

Barrère, with his jaundiced eye and deft hand, seldom seemed to illustrate anything without an ironic edge to it, and this poster for Cinéma Pathé does not appear to be an exception. “Everyone brings their children there!” says the legend above, as wealthy industrialists and military officers and their children (all in exceptionally vibrant colors) watch a parade of wealthy industrialists and military officers on the silver screen, in what might be a promotion for Cinéma Pathé’s new home motion-picture-camera technology.

Founder Charles Pathé was the first international cinema mogul, and from the company’s inception through World War I, he helped produce more film footage than all other European and American producers combined.

Bartlomiejczyk is considered to be one of the early masters of the Polish poster. Together with his colleague Tadeusz Gronowski, they co-founded the Graphic Artists Advertising Circle (KAGR) in 1933, which organized poster shows and competitions. Here, he offers his lithographic services to the W. Glowczewski printers with a call to arms: “Citizens of the universe! The way to success rests upon an effective advertisement. An advertisement that in its outlines is conspicuous and convincing. Hasten with your placards to Poland and order them at Lit. Art. W. Glowczewski.”

1

3

Although the caricatures probably wouldn’t be considered politically correct today, Baille certainly wanted to demonstrate the diversity and inclusivity of Montparnasse, the “capital of Paris.” Indeed, artists from all over the world flocked to Montparnasse, among them Picasso, Hemingway, Marcel Duchamp, Diego Rivera, Salvador Dalí, Henry Miller, and many, many more. Rare!

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

3

1

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

25 1⁄4 x 33 3⁄4 in./64.3 x 85.8 cm W. Glowczewski, Warsaw Cond A-/Unobtrusive folds.

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

BAILLE - BÉRINGUIER | A-Z

184

Eugène Beaudoin (1898-1983) & Marcel Lods (1891-1978) 184. Paris 1937 / Exposition Internationale. 1936.

15 1⁄2 x 23 1⁄2 in./39.5 x 59.7 cm Imp. Jules Simon, Paris Cond A. Ref: Purvis, p. 84; PAI-XXXIX, 137 Winning first prize in a competition held by the French Ministry of Commerce for the Paris 1937 World’s Fair, this poster magically combines romance and futurism in a haunting and dreamy design.

Its co-creators were architects who, in addition to working together on various projects in Paris, were also in charge of the overall design for the upcoming World’s Fair. As poster design was not their passion, this is the only result of their combined artistic talents. This is the smallest format.

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

Leon Benigni

(1892-1948)

185. Brides les Bains. 1929.

25 x 39 1⁄4 in./63.4 x 99.5 cm Office d’Editions d’Art, Paris Cond B+/Tears at top and bottom edges.

Ref: Golf, p. 4; Train à l’Affiche, 250; Montagne, p. 186; Deco Affiches, p. 101; Voyage, p. 50; Chemins de Fer, 118; PAI-LXXXIII, 214

185

This handsome Art Deco design shows off the fashionable sporting life of Brides-les-Bains, a spa town in the RhôneAlpes region of France—“the station of the elegant woman.”

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

Eugene Béringuier

(1874-1949)

186. Exposition d’Affiches Artistiques / Byrrh.

46 1⁄2 x 31 in./118.2 x 78.7 cm Imp. Charles Verneau, Paris Cond A-/Unobtrusive folds.

Ref: PAI-XLIII, 162 Give artists an opportunity to vie for glory—not to mention cash prizes, one has to assume—and chances are that they’re going to show up in droves. And that’s precisely the notion that Béringuier puts forth to the public in this promotion for an artistic poster exhibition and competition sponsored by the makers of Byrrh apéritif at the Georges Petit gallery. And with such a multitude of talent, we’d expect that more than a few exceptional posters are bound to be on display.

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

186

A-Z | BERNHARD - BONAZZA

187

188

Lucian Bernhard

189

(1883-1972)

(1873-1959)

187. 20 Jahre Deutscher Plakatkunst. 1908.

189. The Ape The Idiot & Other People. 1897.

23 1⁄2 x 17 1⁄2 in./59.5 x 44.5 cm Druckerei Schenkalowsky, Breslau Cond A. Framed.

Ref: Bernhard, p. 29 (var); Chaumont/Exposons, p. 39; PAI-LV, 160

15 3⁄4 x 23 1⁄4 in./39.8 x 59 cm Cond B+/Horizontal fold.

Better known for his more Modern object posters, this early Bernhard appears quite wordy and plain; however, the simplicity that would come to define his career is ever-present. Utilizing the Das Plakat emblem of a woman gazing through her lorgnette, the poster promotes an evening event hosted by the Breslau Friends of the Poster to celebrate 20 years of German poster design. With a promised 240 works on view, not to mention a lecture given by the illustrious Dr. Hans Sachs alongside 150 color slides, it was surely a poster enthusiast’s dream seminar.

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

Anna Whelan Betts’ design offers not only a great (and literal) posters on posters moment, but also affords us a look at peak postermania. The poster for William Chambers Morrow’s newest horror book is being pasted up right next to Pierre Bonnard’s La Revue Blanche and Aubrey Beardsley’s Avenue Theatre.

And while we can’t say that this design for “The Ape The Idiot & Other People” ranks among the greats of poster history, it’s certainly in great company. Born in Philadelphia, Betts studied art at the Pennsylvania Academy and spent some time painting in Paris. After returning to the U.S., she took up illustration, and her work was included in Century Magazine, Harper’s, and The Ladies’ Home Journal. Her posters are few, but her paintings and illustrations placed her among the top artists of the golden age of American illustration.

188. Plakate Heraus! 1915.

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

36 7⁄8 x 46 1⁄4 in./93.7 x 117.5 cm Hollerbaum & Schmidt, Berlin Cond B+/Slight tears at folds.

Ref: Wember, 116; PAI-XIII, 98

Edward H. Beyer-Preusser (1881-?) & Fritz P. Glasemann (1880-?)

A many-sided artist, Bernhard was born in Stuttgart, studied in Munich, and in 1901 became active in Berlin, where he eventually rose to foreman and part-owner of the printing firm Hollerbaum & Schmidt. By 1920, he was teaching graphic arts at the Berlin Academy, but three years later moved to New York where he remained for the rest of his life.

He continued teaching at the Art Students’ League of NYU. This is a World War I appeal exhorting all good businessmen to resume using posters again— evidently a ploy to shore up the sagging fortunes of the firm. The little stamper guy is “Stehauf” (roughly “Get-up-and-go”), representing the text: “Bring out posters—the banners of revived business.”

190

Anna Whelan Betts

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

190. Reklame-Plakate von Wilh. Fiek. 1911.

19 5⁄8 x 25 5⁄8 in./49.8 x 65 cm Wilh. Fiek, Augsburg Cond A. Ref: DFP-III, 319; PAI-XIII, 99 Lithographer Wilhelm Fiek of Augsburg advertises his printing services with a dapper gentleman checking out samples. The signature “BPG” was used by the two artists who had a studio near Frankfurt.

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

BERNHARD - BONAZZA | A-Z

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191

Jean Carlu

(1900-1997)

192

Luigi Bonazza

(1877-1965)

191. Stop ’em to Sell ’em / Subway Posters. 1943.

192. Trentino. 1903.

29 3⁄8 x 44 7⁄8 in./74.7 x 114 cm Cond A. Ref: Carlu, 63; Takashimaya, 231; PAI-XI, 157

56 x 80 3⁄4 in./147.3 x 205.2 cm G. Ricordi, Milano Cond B+/Slight creases.

Ref: Menegazzi-I, 197 (var); Menegazzi-II, 57 (var); PAI-XIX, 119

In 1943, the New York Subway Authority commissioned a series of posters from different artists to promote commercial advertising in its stations.

Carlu’s entry was one of the best of the lot: the red, white, and blue hands simultaneously stop us in our tracks and convey the power of poster advertising. Carlu came to the United States in 1939 to work on the World’s Fair and remained here for 13 years.

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

The Alpine Society of Trentino (a region of the Italian Alps) advertises its recommended shelters, inns, and lodges with a mother and child being borne up into the mountains on the wing of a gigantic mythological eagle.

Bonazza gives us a view of sport, nature, and indeed the world that is unbridledly, gloriously romantic. Bonazza was born in the town of Trento, for which the surrounding region is named. He studied in Vienna, where he remained for some 15 years. He specialized in watercolors, but upon his return to Trento, he left his mark in a different art form: by decorating the Church of Valsugana. He remained in Trento and taught design until his death. This is a two-sheet poster.

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

A-Z | BONNARD - BROWN

193

Pierre Bonnard

(1867-1947)

193. France-Champagne. 1891.

23 ⁄4 x 31 ⁄2 in./60.3 x 80 cm Imp. Edw. Ancourt, Paris Cond A. Framed.

Ref: Marx, 1; DFP-II, 76; Bouvet, 1; Musée d’Affiche, 23; Word & Image, p. 27; Maindron 1896, p. 40; Weill, 42; Encyclopédie/Weill, p. 10; Posters of Paris, 7; Timeless Images, 57; Wine Spectator, 57; Reims, 233; PAI-LXXX, 235 3

1

“Bonnard was just 24 when he made his first foray into lithography and poster design, but his initial effort, France-Champagne, was a stunning success. The great poster connoisseur, Maindron, immediately called it ‘one of the most interesting works to be seen on the walls of Paris.’ It created

a marked contrast to Chéret’s colorful fairyland: it was sparse and subtle, making the most of a few strokes of black against a muted yellow and pink background, with ingenious composition and fluid lettering. Some saw in it the first major advance in the art of poster-size prints since the work of Daumier a generation earlier” (Wine Spectator, 57). Jane Abdy adds this interesting note: “He received a hundred francs for this ebullient design, in which the froth of the champagne foams like a bubble bath. Toulouse-Lautrec so admired it in the hoardings that he sought an introduction to Bonnard, and the two artists were intrigued by each other’s talents. Bonnard took ToulouseLautrec to Ancourt, his printers” (Abdy, p. 90).

Est: $25,000-$30,000.

BONNARD - BROWN | A-Z

195

194

Firmin Bouisset

(1859-1925)

194. Chocolat Menier. 1893.

196. London-Baghdad / Simplon-Orient-Express. 1931.

33 3⁄8 x 49 1⁄8 in./84.8 x 125 cm Imp. Camis, Paris Cond B/Restored tears, largely in top text area.

Ref: DFP-II, 85; Reims, 237; Maindron 1896, p. 42; Musée d’Affiche, 49; Weill, 75; Masters 1900, 75; Chocolate Posters, cover & p. 20; Karcher, p. 75 (var); PAI-LXXXVI, 1893

24 1⁄2 x 39 1⁄8 in./62.4 x 99.5 cm Imp. Lucien Serre, Paris Cond A. Ref: Broders/Travel, p. 107; Broders, p. 98; PAI-LXII, 142

“Originally seen from the back in an 1892 design writing the words ‘Chocolat Menier’ on a wall, she returned many times over the years, sometimes scrawling different words in other languages, but always cutting an irresistible tomboyish figure” (Gold, p. 43).

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

Roger Broders

Located in present-day Iraq, the Taq Kasra are the last visible remains of the ancient city of Ctesiphon. Here, the 3rd to 6th century site is being used to promote the eight-day London to Baghdad journey on the Orient Express.

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

Harold Haven Brown

(1869-1932)

197. Poster Show. 1895.

(1883-1953)

195. Tunis. 1920.

30 5⁄8 x 42 3⁄4 in./78 x 108.4 cm Imp. Daude Frères, Paris Cond A. Ref: Broders, p. 110; Broders/Travel, 88; PAI-LXII, 94 Rather than focus on the examples of Western entertainment available in this cosmopolitan city, this poster shows the more exotic sights of Tunisia, located a relatively short distance off the coast of Marseille.

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

196

19 1⁄2 x 26 5⁄8 in./49.7 x 67.6 cm Courier Litho., Buffalo, New York Cond B/Slight tears at folds.

Ref: Reims, 126; Chaumont/Exposons, p. 43 Hear ye, hear ye! This medieval crier has important news to announce: a poster show will be held in Quincy, Massachusetts in May, 1895.

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

197

A-Z | BUCAN - CAMPS

198

Boris Bucan

Sydney Richmond Burleigh

(1947- )

(1853-1931)

198. Otelo. 1983.

199. Lizistrata. 1982.

200. Poster Show / R. I. School of Design. 1895.

76 5⁄8 x 78 3⁄4 in./194.7 x 200 cm Cond A. Ref: Bucan, p. 134

76 5⁄8 x 80 in./194.6 x 203.5 cm Cond A. Ref: Bucan, p. 29

24 1⁄ 8 x 18 in./61.3 x 45.6 cm Providence Lith. Co., Rhode Island Cond A-/Slight tears at edge.

Bucan had previously designed a poster for Verdi’s Nabucco, employing a lioness shaped from details of Assyrian art. This inspired him to further experiment with animal forms, leading to the black and white tigers seen here for a production of Shakespeare’s Othello.

These animals reference one line in the play: taunted by Queen Margaret, the Duke of York exclaims, “O tiger’s heart wrapped in a woman’s hide!”—referencing the fierceness and deviousness of these wild cats. The slashed stripes of the tigers are echoed in the tall grasses surrounding them, creating a stunning, vibrating effect. This six-sheet silkscreen poster is hand-signed.

Bucan adds a contemporary twist to the ancient Greek comedy Lysistrata, written by Aristophanes and first performed in 411 BC. The comedy traces a woman’s extraordinary mission to end the Peloponnesian War by denying all men of land and sex. She encourages all women to withhold sexual privileges from their husbands and lovers to force them into peace negotiations. Bucan’s inspiration for this design was a Richard Avedon photograph of four naked women who appeared to be marching. He added heads that look like Greek vases and boom: an unforgettable image was made. This six-sheet silkscreen poster is hand-signed.

Rhode Island native Sydney Burleigh studied art in Paris before returning to his home state where he became an advocate for and representative of the American Arts and Crafts movement. Here, two Victorian femme posterists help announce a poster show at the Rhode Island School of Design.

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

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

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

BUCAN - CAMPS | A-Z

199

200

Gaspar Camps

(1874-1942)

201. Pharmacie Bentalou / Printemps. 1920.

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

Ref: PAI-LXXXV, 207 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 calendarium.

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

201

LEONETTO CAPPIELLO

202

Leonetto Cappiello

(1875-1942)

202. La Caisse Simon / Huîtres Exquises. 1901.

54 1⁄2 x 33 in./138.5 x 83.8 cm Imp. P. Vercasson, Paris Cond B+/Slight tears, largely at vertical folds.

Ref: Cappiello/Rennert, 9; Cappiello, 235; DFP-II, 128; Wine Spectator, 193; Gourmand, p. 62; PAI-LXXII, 152 A brisk day by the seashore—and the delirious, aphrodisiacal taste of freshshucked oysters right on the pier: that’s the promise of La Caisse Simon.

Exquisite oysters that arrive in a perfect state, anywhere in Europe. Cappiello adds the eye-winking touch of the ladies’ skirts blown by the breeze, while the gentleman waits in anticipation as his companion slurps a shell.

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

CAPPIELLO | A-Z

203

205

204

203. Le Cri de Paris. 1901.

204. Mele. 1902.

205. Charbon Chimique Rubaudo. 1903.

44 1⁄4 x 62 5⁄8 in./112.5 x 159 cm Imp. P. Vercasson, Paris Cond B/Slight tears and stains at folds.

Ref: Cappiello/Rennert, 7; Cappiello, 230; PAI-LIII, 121

55 1⁄4 x 80 in./140.3 x 203 cm G. Ricordi, Milano Cond B+/Slight tears at edges.

Ref: Cappiello/Rennert, 26; Mele, 247; Ricordi, 23; Cappiello, 249; Wine Spectator, 306; PAI-LXXXV, 208

38 7⁄8 x 52 1⁄8 in./98.7 x 132.3 cm Imp. P. Vercasson, Paris Cond A-/Slight tears at edges.

Ref: Cappiello/Rennert, 41; Wine Spectator, 209; PAI-LXXXV, 211

One of the main selling points of the Mele department store was that the average woman could obtain highfashion 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.

An experiment in color: from “rubaudo,” Cappiello sets the scene in nothing but tones of red and splashes of white, creating a vibrant, homey warmth that is radiant but not overpowering. The scene, though, is empowering: these charcoal briquettes are so easy to light, the lady of the house will do it herself—to the surprise of the attendant maid.

Beginning publication in 1897, Le Cri de Paris was a satirical weekly put out by Louis-Alfred Natanson, who was also the co-director of La Revue Blanche. Between August of 1898 and June of 1902, Cappiello would contribute numerous front and back covers, as well as this poster showcasing a “Who’s Who” of artists, writers, and actors.

This is the rare smaller format of the poster.

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

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

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

A-Z | CAPPIELLO

206

Cappiello

207

(Continued)

206. Automobiles Charron Ltd. / Puteaux. ca. 1906.

207. Moi Gramophone. 1904.

50 1⁄2 x 78 3⁄8 in./128.3 x 199 cm Imp. P. Vercasson, Paris Cond B/Slight tears at edges.

Ref: Cappiello/Rennert, 99; Auto Show I, 30; PAI-LXXXII, 193

62 3⁄4 x 93 1⁄8 in./159.4 x 236.5 cm Imp. P. Vercasson, Paris Cond B+/Slight tears at folds and seam.

Ref: Cappiello/Rennert, 73A

“Fernand Charron, who won the first Gordon Bennett cup in a car of his own design in 1900, eventually took over the Automobiles Charron firm and manufactured large, comfortable—and expensive—sedans. The closed cab shown in the poster was the natural automotive evolution from a carriage design—it was very popular with the aristocracy as it exuded elegance and luxury. All of this is reinforced in Cappiello’s design, showing an elegant lady giving directions to her driver before entering the cab.

The frame around the image, including the title plate, suggests that the Charron automobile is a masterpiece” (Cappiello/Rennert, p. 90).

Here’s a fresh advertising tactic: the Gramophone, from the Voix de son Maître company, is standing trial against the evil machines who have discredited the most surprising invention. The record player continues: “I swear that the Gramophone of the Compagnie Française du Gramophone, creator of the Needle Disc, is the only scientific instrument that faithfully reproduces the human voice. Compare!!” The three judges lean in closely to better absorb the player’s human-like voice. This is a two-sheet poster and rare!

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

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

CAPPIELLO | A-Z

208

209

208. Le Thermogène. 1907.

209. Mechero Holandés.

77 1⁄2 x 122 1⁄4 in./197 x 310.8 cm J. E. Goossens, Lille Cond A-/Unobtrusive folds.

Ref (all var but PAI): Cappiello, 218; Cappiello/St. Vincent, 4.30; Weill, 210; PAI-XXXV, 205

46 1⁄4 x 62 1⁄ 2 in./117.5 x 159 cm Imp. P. Vercasson, Paris Cond B-/Restored tears.

Ref: Cappiello/Rennert, 106

This is the original larger, four-sheet version of the popular 1909 design that has become firmly and indelibly associated with this product. It’s just the kind of bold overstatement that Cappiello believed would most effectively deliver the message, even with regard to so humble a product as a heating pad. It became so well-equated with the product, in fact, that this image was reprinted in many versions and editions for more than 30 years.

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

“The Spanish language poster for Mechero Holandés/Manguito Holandés lamp burners and sleeves is another stellar example of Cappiello’s perfect understanding of how to draw an uninformed public’s eye directly to a previously unseen promotional poster; the dazzle of the personified sun versus the razzle of the advertised lighting element fascinates us on its own merit, and before we realize that we’re being lured into perusing the message, we’ve already become potential customers” (Cappiello/Rennert, p. 93). Rare!

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

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A-Z | CAPPIELLO

210

211

CAPPIELLO | A-Z

212

Cappiello

(Continued)

210. Cigarettes Araks. ca. 1910.

211. Tout-Paris / Hôtel Astoria. ca. 1910.

212. Péro / Papier à Cigarettes : On Silk. ca. 1911.

46 3⁄4 x 62 3⁄4 in./119 x 159.5 cm Imp. P. Vercasson, Paris Cond B+/Slight tears at folds.

Ref: Cappiello/Rennert, 162; Tabac, 2; PAI-LIII, 138

25 5⁄8 x 15 1⁄ 2 in./65 x 39.2 cm Cond A-/Usual vertical folds. Framed.

47 x 60 3⁄4 in./119.5 x 154.4 cm Imp. P. Vercasson, Paris Cond B+/Slight tears at edges.

Ref (both var): Cappiello/Rennert, 190; PAI-LIII, 140

Most popular before World War I, Araks was an Egyptianstyle brand of cigarette manufactured in Belgium. Other designs for the company consist of a camel walking through the desert at night, and while Cappiello has obviously traded in the camel for a sultry lady, the color of her wrap dress echoes that of the sand, while the sky maintains its traditional midnight blue. He has added sex appeal without diverging from the brand’s preestablished visual identity.

This rare pochoir print shows all of Paris motoring in their open cabs to the Hôtel Astoria—not to be confused with New York’s Waldorf Astoria hotel. Designed by Gustave Rives in 1907, this hotel on the Champs-Élysées was built in the dramatic, over-the-top department store style of the era (one critic noted that “The exaggerated and aggressive elevation of this hotel destroys the beautiful harmony of the place de l’Étoile”). But the hotel did not last long; with the onset of World War I, it was converted into a military hospital. The hotel itself continues operations at a different Parisian address.

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

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

Taking its name from the Greek myth, Péro cigarette papers was founded in 1909 by Causemille Jeune. This reference to the allure of the East is further emphasized in Cappiello’s design, which draws from the alreadyestablished graphic tradition of placing an exotic-looking figure on a sea of Oriental carpets, smoke wafting enticingly through the air. This image is printed on silk and rare!

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

A-Z | CAPPIELLO

Cappiello

(Continued)

213. Chaussures Perrouin Frères. ca. 1912.

45 3⁄4 x 62 3⁄4 in./116.2 x 159.3 cm Imp. P. Vercasson, Paris Cond B+/Slight tears at folds.

Ref: Cappiello/Rennert, 194; PAI-XXX, 419

213

Comprehensible allegory be damned! Cappiello wanted to draw a courtier astride a dragon to advertise a shoe store, and so he did. Can you imagine the pitch Cappiello’s agent Vercasson must have had to give at a good number of his client meetings? “Look, I know that this image has nothing to do with your product, but I’m telling you, the guy knows what he’s doing.” Fortunately for contemporary eyes, the Perrouin Brothers bit on this impressive design. Originally bookmakers in the 1920s, the brothers went on to open a Nantes store specializing in expensive men’s and women’s shoes.

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

214. Je ne fume que Le Nil. 1912.

63 x 47 in./160 x 119.4 cm Imp. P. Vercasson, Paris Cond A. Ref: Cappiello/Rennert, 227; PAI-LXXX, 267 Although the slogan reads “I only smoke Nil,” Nil isn’t actually a cigarette, but rather a brand of cigarette rolling paper. Nil claimed to be as “tough as an elephant’s hide,” which is how the company’s spokes-elephant came into being.

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

215. Vin : Maquette.

19 1⁄2 x 26 1⁄2 in./49.5 x 67.4 cm Signed gouache maquette. Framed.

Although this exuberant image was never realized as a poster, it’s classic Cappiello. He loved to depict beautiful women bursting forth from—or flying over—exaggerated bunches of grapes, as seen in his 1904 Liqueur CordialMédoc, 1907 Cognac Gautier Frères, 1920 Asti Cinzano, and, more humbly, in his 1933 Buvez du Vin.

214

Est: $30,000-$40,000.

CAPPIELLO | A-Z

215

A-Z | CAPPIELLO

217

216

Cappiello

218

(Continued)

216. Montre Election. 1922.

217. De Milanaise. ca. 1922.

218. Pneu Dunlop. ca. 1922.

31 3⁄8 x 47 in./79.6 x 119.5 cm Imp. P. Vercasson, Paris Cond A. Ref: Cappiello/Rennert, 281; PAI-LXXXII, 207

12 1⁄2 x 17 in./31.7 x 43 cm Marci, Bruxelles Cond B+/Slight tears at edges.

Ref: Cappiello/Rennert, 284 (var)

16 7⁄8 x 27 3⁄4 in./43 x 70.5 cm Imp. Devambez, Paris Cond B/Slight tears at horizontal fold.

Ref: Pneu, 71; PAI-LX, 172

Founded in 1905, this Argentinean watchmaker employed Cappiello to create a brand identity of both elegance and class. Here, a different muse for each of the hours glides out of the pocket watch, implying that each Election product is a thing of beauty.

“In many schools in Europe, children had their hair washed by the teacher on the first day back after summer; those found with head lice got treated with a disinfectant. The La Milanaise product claims that it also cleans, fortifies, and beautifies hair at the same time. Cappiello uses a simple—and for him, unusual— approach: a narrative/illustrative, rather than graphic approach. La Milanaise was headquartered in Brussels, adjacent to the Marci printing plant on rue Bara; it was taken over by the Moulaert company” (Cappiello/Rennert, p. 187). This is the Flemish variant, “d’après Cappiello.”

This rare Cappiello design shows off the gentle, light ride you can experience with Dunlop tires. For another Dunlop poster created by Cappiello around the same time, see PAI-XXX, 283.

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

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

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

CAPPIELLO | A-Z

219 219. Eno’s “Fruit Salt.” 1924.

76 3⁄4 x 115 3⁄8 in./195 x 293 cm Imp. Devambez, Paris Cond A-/Slight tears at edges.

Ref: Cappiello/Rennert, 398 “‘Fruit Salt’ is a euphemistic name for Eno, a British-made laxative distributed in France by the pharmaceutical firm of Georges Miguel. But the mundane nature of the product doesn’t deter Cappiello from invoking a veritable sun goddess to deliver a can of it right to the consumer’s windowsill. She literally brings forth the light of health into the darkness of habitual indifference” (Cappiello/Rennert, p. 251). This is a three-sheet poster and rare!

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

A-Z | CAPPIELLO

222

Cappiello 220

(Continued)

220. Fourneaux Becuwe. 1927.

78 3⁄8 x 117 3⁄4 in./199.2 x 299 cm Imp. Devambez, Paris Cond A-/Unobtrusive folds.

Ref: Cappiello/Rennert, 441 “Here, the flame-hot ‘spirit of gas’ hovers over one of the Becuwe gas stoves (‘Fourneaux’).

The common denominator between [this and another design; see PAI-X, 149] is the near-photographic approach Cappiello used to render the appliances against the paper background. He varies the composition, but achieves the same stunning effect to entice the viewer. And seeing as the firm’s stove is considerably larger than their iron, the larger foursheet format utilized here is proportionally appropriate” (Cappiello/Rennert, p. 274). Rare!

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

221. Peugeot. 1925.

47 x 62 3⁄4 in./119.2 x 159.3 cm Imp. Devambez, Paris Cond B+/Slight tear in bottom text.

Ref: Cappiello/Rennert, 417; PAI-LXXXIV, 82 “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.

222. Contratto. 1925.

54 3⁄4 x 78 7⁄8 in./139.7 x 200.3 cm Imp. Devambez, Paris Cond A-/Slight tears at folds and edges.

Ref: Cappiello/Rennert, 428; PAI-XLV, 211

221

“The lovely brunette invites us smilingly to partake of the vermouth Contratto. The oversize green leaf may be intended to remind us of the herbs that go into the preparation of vermouth, mainly gentian, but also simply to provide a color contrast in the pleasing composition. This is Cappiello’s second design for this firm: the first, in 1922, having been done to promote the firm’s sparkling wine [see PAI-LXXXVI, 166]” (Cappiello/Rennert, p. 267).

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

CAPPIELLO | A-Z

224 223 223. Nice. 1927.

31 1⁄2 x 47 3⁄4 in./80 x 121.3 cm Imp. Devambez, Paris Cond A. Ref: Cappiello/Rennert, 457; PAI-LXXXVI, 170 Cappiello, always a glutton for excess, shrouds this family in hefty doses of roses and coastal grass. These bountiful accessories provide another benefit to the design: they contrast wonderfully with the azure of the Riviera background.

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

224. Le Bas Revel. 1929.

78 1⁄2 x 124 1⁄4 in./199.4 x 315.4 cm Imp. Devambez, Paris Cond A-/Slight tears at folds and seams.

Ref: Cappiello/Rennert, 269; PAI-LXXXIII, 232 Cappiello had great success with the well-known Parapluie-Revel (see PAI-LXXXV, 225)—a cascade of three umbrellas for the Revel apparel company of Lyon—so Monsieur Revel asked him to help out with a new line of hosiery. Cappiello’s cheerful, leggy assortment picks up from the cancan kicks of Montmartre days, converts the assemblage into a five-pointed star, and makes the ladies cheery rather than titillating—although the lasses continue to blush. This is a three-sheet poster.

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

225. Royal Gaillac. 1929.

50 3⁄8 x 77 3⁄4 in./128 x 197.5 cm Imp. Devambez, Paris Cond B+/Slight tears at folds.

Ref: Cappiello/Rennert, 468; PAI-LXXVII, 161 “To support the ‘royal’ claim of Royal Gaillac, Cappiello uses the likeness of King Henri IV, one of the most popular of the French kings, a bon vivant who shows up in many posters during the artist’s time for food and drink. He is shown riding his famous white horse bareback, not spilling a precious drop of the apéritif as the steed rears dramatically across the diagonal space of the poster” (Cappiello/Rennert, 468). This is the large format version of the poster.

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

225

A-Z | CAPPIELLO

226

Cappiello

(Continued)

226. Brummell. ca. 1937.

227. Nos Actrices. 1899.

82 3⁄4 x 122 3⁄4 in./210.5 x 312 cm Imp. Bedos, Paris Cond B+/Slight tears at folds and seams.

Ref (both var): Cappiello/Rennert, 525; PAI-XVII, 161

13 3⁄4 x 17 3⁄4 in./31 x 45.1 cm Cond A. Ref: Cappiello/Rennert, p. 6; PAI-LXXXV, 213

“The impeccably fashionable gentleman is wearing Brummell brand clothing that he obtained at the Au Printemps department store. Its founder, Jules Jaluzot, was one of the most progressive merchandisers of his time. He opened his department store in 1865 in a neglected area of Paris near the Gare St. Lazare for which he correctly foresaw rapid growth. He installed elevators in 1874, electricity in 1883, and telephones in 1905. The Brummell line, named for George Bryan Brummell, a favorite companion as well as a fashion consultant for the Prince of Wales in the 19th century, was introduced by the Printemps establishment in 1930” (Cappiello/Rennert, p. 322). While previously seen versions of this design show the dapper gent alone, this never-before-seen design sees him with some fashionable companions. This poster has exceedingly fresh colors—and it’s rare!!

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

Commissioned a few months after Cappiello’s arrival in Paris in 1898, this collection of theatrical caricatures attests to the artist’s immediate popularity with the French public. The book consists of eighteen plates printed on Japon featuring seventeen noted actresses (Bernhardt is shown in two poses). Other featured actresses include Réjane, Jeanne Granier, Marcelle Lender, Lucie Gerard, Simone Girard, and Mariette Sully. In many ways, this book launched his career, and the bold outline and flat color backgrounds in them foretell the early Cappiello poster style.

This is the rare edition on Japon.

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

CAPPIELLO | A-Z

227

228 228. La Princesse de Babylone, by Voltaire. 1928.

229. Le Théatre de Cappiello. 1903.

10 x 12 7⁄8 in./25.5 x 32.6 cm Excellent condition; 14 colored etched plates plus a separate suite of the 14 plates in three further states, and one marked gouache drawing in the original box.

Ref (both var): Cappiello/Rennert, p. 13; PAI-LXVII, 228

10 3⁄4 x 13 3⁄4 in./27.3 x 35 cm Overall excellent condition.

Ref: Cappiello/Rennert, p. 11; Bernhardt/Drama, p. 131; PAI-LIX, 210

This is one of a deluxe limited edition of forty copies (No. 35), printed on Japon Impérial vellum, handsigned, and with two additional suites in blue and black. This also includes the publisher’s file with trial impressions of Cappiello’s illustrations engraved by René Lorain. Voltaire’s philosophical tale—originally published in 1752—gets a facelift in this 1928 special edition, thanks to Cappiello’s fifteen color engravings.

The results are first-rate, free of commercial constraints, and celebrate Cappiello’s artistic freedom with an even broader palette clearly brought about by a narrative utterly devoid of product placement. Rare!

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

Cappiello’s portrait of Sarah Bernhardt is a masterwork of elegant brevity: dramatic, effluvious, and overflowing with charm. It’s one of the many cover designs created by the caricaturist on the verge of becoming a master.

“In April of 1903, there was another special issue, this time in the magazine Le Théatre, titled ‘Le Théatre de Cappiello,’ with thirty-eight designs, in color, of actors and actresses either in stage costumes for roles that they had made famous, or in studio poses. Two renowned drama critics supplied the text” (Cappiello/ Rennert, p. 10). Bound in one volume, this includes 5 issues of Le Théatre with 30 images by Cappiello of the day’s celebrities, including Jeanne Granier, Gabrielle Réjane, and Polaire.

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

229

A-Z | CARDINAUX

Emil Cardinaux

(1877-1936)

230. Maskenball / Tonhalle Zürich. 1911.

230

36 1⁄4 x 48 3⁄4 in./92 x 123.8 cm Wolfensberger, Zürich Cond B+/Slight tears, largely in margins. Framed.

Ref: Cardinaux, 26; Swiss Art Nouveau, 87; PAI-XXII, 248 Before World War I, the masked ball was a favorite form of entertainment among two closely linked classes: socialites and artists. It called for a suitably enticing poster, and for this ball at the Music Hall in Zurich, Cardinaux delivers. The poses of the figures embody a spirit of intrigue, and the golden coloring suggests the view through a glass of champagne.

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

231. Salome. 1914.

39 x 55 1⁄8 in./99 x 140 cm Kunstanstalt J. C. Müller, Zürich Cond A-/Slight tears at edges.

Ref: Cardinaux, 39; Plakat Schweiz, p. 32; Plakatkunst, p. 70; PAI-XXII, 247 With hands on her hips and head tilted, this alluring dancer tempts us with the promise of unbound smoking pleasure. Cardinaux does not make the equation as clear as Cappiello did (see Cigarettes Araks, No. 210), but if this harem favorite lit up, the smoke would doubtless be as sinuous as her veils.

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

232. Palace Hotel / St. Moritz. 1920.

35 5⁄ 8 x 50 3⁄8 in./90.5 x 128 cm Wolfsberg, Zürich Cond A. Framed.

Ref: Cardinaux, 68; Schweizer Hotel, 57; Wobmann, 43; Margadant, 250; Plakat Schweiz, p. 34; Timeless Images, 149; Voyage, p. 58; PAI-LXXXV, 2 This is one of Cardinaux’s best and most evocative posters. It recalls childhood memories of snowy escapes and family photographs from vacations past. The main purpose of the poster—the promotion of St. Moritz as a winter sports hot spot—is left to the background.

Instead, an elegantly bundled lady is the focus, her party deep in lazy chitchat while skaters glide by their chairs. Cardinaux doesn’t need to overstate the Alps’ ideal climate for wintry sports—instead, he allows us to luxuriate in a relaxing getaway.

231

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

CARDINAUX | A-Z

232

A-Z | CASSANDRE - CHAGALL

A. M. Cassandre

(Adolphe Mouron, 1901-1968)

233. Exposition de la Photographie et du Cinéma. 1926.

233

7 1⁄8 x 10 1⁄4 in./18 x 26 cm Imp. Hachard, Paris Cond B+/Folds show. Framed.

Ref: Brown & Reinhold, p. 44; PAI-LIII, 170 This exceptionally rare handbill for an exhibition of photography and cinema at the famous Luna-Park in Paris claims that both those modern marvels were French inventions. No other information could be found on the event; however, the design is wonderfully Deco, employing Cassandre’s signature hand-drawn typography. This is one of only two known copies of this handbill.

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

234. Étoile du Nord. 1927.

29 x 41 1⁄4 in./73.7 x 104.8 cm Hachard, Paris Cond B/Restored tears, largely in text area. Framed.

Ref: Mouron, 22; Brown & Reinhold, p. 37; Cassandre/Suntory, 48; Cassandre/BN, 14; Cassandre/Weill, p. 55; Deco Affiches, 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-LXXXVI, 172 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.

234

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

CASSANDRE - CHAGALL | A-Z

236

235 235. Thomson. 1931.

30 3⁄8 x 47 in./77.2 x 119.4 cm Alliance Graphique, Paris Cond B/Slight tears in hand.

Ref: Mouron, 31; Brown & Reinhold, 30; Encyclopédie/Weill, p. 78; European Electricity, p. 129; PAI-LIX, 232 In this exceptionally rare and unusual design, Cassandre shows that Thomson brings the power of electricity straight to your hands.

Est: $20,000-$25,000.

237

P. A. Masui-Castricque

Marc Chagall

236. 6th International Exhibition / Rubber & Other Tropical Products. 1924.

237. Die Zauberflöte / Metropolitan Opera. 1966.

25 5⁄8 x 39 in./65.2 x 99.2 cm J. Weiner, London Cond B/Slight tears at folds.

Ref: PAI-LXXIV, 354 Beginning with the 1890s bicycle craze, and continuing with the wide adoption of the automobile, global demand for rubber was accelerating relentlessly by the 1920s.

While the most important source for rubber continued to be Brazil, rubber plantations were also established in the Belgian Congo, run by a joint Anglo-Belgian enterprise to supply European markets. That accounts for this Britishprinted, English-language poster for Europe’s largest commercial fair for rubber goods held in Brussels. The image is a triumph of corporate propaganda: servants appear to be presenting the African man with the fruits of his labor. In reality, the Congolese suffered a colonial regime of breathtaking cruelty.

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

(1887-1985)

25 3⁄4 x 39 3⁄4 in./65.5 x 101 cm Imp. Mourlot, Paris Cond A. Ref: Sorlier, p. 107; PAI-LXXXVI, 182 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. 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.

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

JULES CHÉRET

238

Jules Chéret

239

240

(1836-1932)

238. Th. Pilter. 1872.

239. Spectacle-Promenade de l’Horloge. 1876.

240. L’Horloge / Suiram. 1877.

30 3⁄8 x 40 5⁄8 in./77 x 103.2 cm Imp. J. Chéret, Paris Cond A-/Unobtrusive folds.

Ref: Chéret, 1286; Broido, 988; Maindron 1896, 812

17 x 21 7⁄8 in./43 x 55.5 cm Imp. J. Chéret, Paris Cond A. Ref: Chéret, 180; Broido, 142; Maindron 1896, 124; Spectacle, 1206; PAI-LI, 240

17 x 24 1⁄2 in./43.2 x 62.3 cm Imp. Jules Chéret, Paris Cond A. Ref: Chéret, 194; Broido, 153; Maindron, 133

Our Goddess of Agriculture is hardly dressed appropriately for the job, but her bare bosom probably caught the attention of otherwise inattentive farmers passing by. And although the image probably wouldn’t be accepted by marketing teams today, sex sells, and it always has.

Note: The first 8 posters in this section, all printed at Chéret’s first shop, are exceedingly rare.

Est: $1,500-$2,000.

Founded in 1855, the small garden pavilion café-concert on the Champs-Elysées called l’Horloge ran into hard times in the 1870s, and by 1875 it was taken over by the city of Paris. That same year, it was purchased from the city government by a Viennese businessman by the name of Stein, who was looking to place his disabled daughter in just such a tranquil setting. Stein kept the garden atmosphere and hired a stable of some of the period’s top entertainment, a bevy of which are placed upon this sly waiter’s tray. Almost two decades later, in 1892, a new owner would rename the venue the Jardin de Paris.

The café-concert L’Horloge presents “The Beijing of Beijing” created by Suiram. Although we don’t know anything about this curious fellow, this early poster

by Chéret reveals his caricature style before he evolved into the dreamy, Impressionistic style we’re more familiar with.

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

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

JULES CHÉRET AT THE MILWAUKEE ART MUSEUM More than 100 of the master’s posters, proving that they are “Always New,” are on display at the Milwaukee Art Museum until October 16.

CHÉRET | A-Z

241

243 241. Histoire d’un Crime. 1878.

243. Les Parisiennes. 1879.

35 ⁄4 x 49 ⁄2 in./89.6 x 126 cm Imp. Jules Chéret, Paris Cond B-/Slight tears and stains at folds and edges.

Ref: Chéret, 754; Broido, 590; Maindron, 479

33 5⁄8 x 46 5⁄ 8 in./85.4 x 118.5 cm Imp. Jules Chéret, Paris Cond B+/Slight tears and stains at edges.

Ref: Chéret, 756; Broido, 591; Maindron, 480; Reims, 471

While exiled in Brussels, Victor Hugo’s work focused largely on politics. “Histoire d’un Crime” is an impassioned indictment and hour-by-hour account of Napoleon III’s seizure of France. In Chéret’s depiction of the essay, a man wearing the French tricolor dies on top of a crumbling grave marked “The Law.” Rare!

Look closely, and you’ll notice that the hoop-jumping creatures here have the bodies of a dog and the heads of a woman. What does this have to do with Parisians, you ask? Well, we’re not entirely sure, but you’ll find plenty more inventive drawings in this book of illustrations by Alfred Grévin and Adrien Huart.

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

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

242. Aux Buttes Chaumont / Jouets. 1878.

244. Folies-Bergère / Miss Lala. 1880.

34 1⁄ 8 x 47 3⁄ 8 in./86.6 x 120.5 cm Imp. J. Chéret, Paris Cond B/Slight tears at folds; slight stains at edges.

Ref: Chéret, 875; Broido, 698; Maindron 1896, 581; Gold, 30; PAI-XXX, 67

16 1⁄ 8 x 22 1⁄4 in./41 x 56.5 cm Imp. J. Chéret, Paris Cond B/Slight tears at edges.

Ref: Chéret, 134; Broido, 116; Maindron, 66; Reims, 432; Négripub, p. 41; PAI-XXII, 270

This irresistible scene shows a maternal figure representing the spirit of gift-giving as she watches children enjoy the bounty of this department store toy sale. Chéret designed a number of designs over the years for this store, mostly for clothing.

A trapeze couldn’t fly as far and wide on a music-hall stage as it could in a circus, but a talented artist can find other ways to make the act more daring. Here, Miss Lala (full name Lala Kaira) wears a fetching polkadot costume while holding an exploding cannon by a chain in her mouth as she swings upside down. It’s an impressive feat, although maybe not a realistic one, and therein lies the beauty of Chéret’s imagination. Rare!

1

242

1

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

244

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

A-Z | CHÉRET

245

246

Chéret

247

(Continued)

245. Lactéoline. 1881.

247. Vino de Bugeaud. 1887.

33 5⁄8 x 48 1⁄ 2 in./85.5 x 123.2 cm Imp. J. Chéret, Paris Cond B+/Slight tears at folds.

Ref: Chéret, 1201; Broido, 923; Maindron 1896, 761; Health Posters, 299; PAI-XXVI, 241 (var)

34 x 48 in./86.5 x 122 cm Imp. Chaix, Paris Cond B/Slight tears at horizontal fold.

Ref: Chéret, 1102; Broido, 855; Maindron, 721

In this rare and charming work, Chéret enlists the aid of a lovely mermaid, fresh from the depths of the sea, to impress upon us the virtues of this particular brand of bath salts. And if the glowing visage of this radiant naiad isn’t enough to convince us that Lactéoline provides milky-soft and fresher skin, we are reminded that it is also recommended by medical experts.

This is the larger format.

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

246. David Copperfield. 1884.

33 3⁄4 x 48 1⁄4 in./85.7 x 122.5 cm Imp. Chaix, Paris Cond A-/Unobtrusive folds.

Ref: Chéret, 762; Broido, 596; Maindron 1896, 485; Reims; 326; PAI-XLI, 186 Chéret produced posters for quite a few serialized novels being sold in monthly installments to the public. This time, it was for the firmly established and beloved Charles Dickens, with his new novel “David Copperfield.” Chéret’s image for the future classic is that of a bandy-legged Copperfield arriving with more than a pinch of trepidation at the garden of Salem House under the watchful eye of the headmaster, Mr. Creakle.

248

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

This rare design for the Spanish market advertises a nutritive tonic made of quinine, cacao, and Málaga wine that purportedly cures anemia, chlorosis, fevers, and stomach aches.

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

248. Alcazar d’Hiver / Maquettes Animées. 1890.

34 3⁄4 x 48 1⁄2 in./88.2 x 123.2 cm Imp. Chaix, Paris Cond A-/Unobtrusive folds.

Ref: Chéret, 214; Broido, 171; Maindron, 151; Reims, 424; PAI-LXXXII, 241 The painter Georges-Bertrand traveled around France with his Animated Models show, in which various small sculptural creations moved in time to a phonographic recording of music.

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

CHÉRET | A-Z

249

250

251

249. A la Place Clichy / Agrandissements. 1888.

250. Librairie Ed. Sagot / Affiches-Estampes. 1891.

251. Librairie Ed. Sagot / Affiches-Estampes. 1891.

34 1⁄4 x 94 1⁄2 in./87 x 239.5 cm Imp. Chaix, Paris Cond B/Slight tears and stains at folds.

Ref: Chéret, 937; Broido, 752; Maindron, 632; PAI-LXIX, 297

33 1⁄2 x 94 1⁄4 in./85.2 x 239.3 cm Imp. Chaix, Paris Cond B+/Stains at folds.

Ref: Chéret, 669; Broido, 528; Maindron, 427; DFP-II, 218; Reims, 406; PAI-LXXVII, 185

This lovely two-sheet design announces the newly expanded women’s department at the Place Clichy.

This pert young woman with the flower basket might seem an incongruous means of advertising a bookstore.

She’s here, representing Ed. Sagot, because Chéret had originally drawn up the design for the department store La Belle Jardinière (The Beautiful Gardener). For whatever reason, management didn’t use the design. Ed. Sagot snapped it up for a bargain price, and used it to advertise his first poster catalogue. In fact, this 5-color poster, folded, came to subscribers with the 112-page catalogue for a total of 10 francs. It’s one of the loveliest of all Chéret posters—a sunny spirited design with the glow of youth and charm. This is a two-sheet poster.

33 3⁄4 x 93 3⁄8 in./85.8 x 237.2 cm Imp. Chaix, Paris Cond A-/Slight tears at edges.

Ref (all var except Chéret): Chéret, 670; Broido, 528; Maindron 1896, 427; DFP-II, 218; Reims, 406; PAI-XLVII, 188

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

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

This is the rare version, before letters, of the previous lot.

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

A-Z | CHÉRET

252

254

Chéret

(Continued)

252. Théâtre de l’Opéra / Carnaval 1892 / 2e Bal Masqué. 1892.

34 x 48 1⁄4 in./86.2 x 122.5 cm Imp. Chaix, Paris Cond A-/Unobtrusive folds.

Ref: Chéret, 362; Broido, 285; Maindron 1896, 244 (var); DFP-II, 228 (var); Reims, 29; PAI-XLII, 224 (var) On the first Saturday evening in 1892, the Théâtre National de l’Opéra sponsored a masked ball. The focus of Chéret’s announcement poster is an exhilarated couple—he in full-tilt boogie, she perched precariously on the balcony (the better to see and be seen, my dear).

The event proved to be understandably popular, and the theatre repeated it twice more in February and then again in March, using this same image all four times.

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

254. Alcazar d’Été / Lidia. 1895.

33 1⁄2 x 48 1⁄8 in./85 x 122.5 cm Imp. Chaix, Paris Cond A. Ref: Chéret, 221; Broido, 174; Maindron 1896, 154; DFP-II, 250; Maitres, 25; Gold, 171 (var); PAI-L, 182 “Using only her last name, Lily de Lidia graced some of the most popular music-hall stages of the day with her gommeuse (double-jointed) act. This poster announces Lidia’s appearance at the outdoor Alcazar d’Été. Chéret depicts the artist almost life-size in a half-length view that’s rare for him. Her expression is winsome, the creamy expanse of her décolletage appealing, and the overall design full of movement—from the sweeping ribbons of her hat to the swaying letters of her name” (Gold, p. 120).

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

253. La Cherrette. 1895.

34 x 95 1⁄4 in./86 x 242 cm Imp. Chaix, Paris Cond A. Ref (all var): Chéret, 1107; Broido, 875; DFP-II, 254; Reims, 276; PAI-LXXXII, 246 A young taster is sampling a finished product as the lass on the ladder picks this year’s vintage of grapes to be transformed into La Cherrette liqueur. The same image was used to promote Frédéric Mugnier’s Bigarreau liqueur. It’s a somewhat offbeat, but most appealing two-sheet poster by Chéret.

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

253

255. Palais de Glace. 1896.

34 3⁄ 8 x 48 1⁄4 in./87.2 x 122.6 cm Imp. Chaix, Paris Cond B/Slight tears at folds.

Ref: Chéret, 484; Broido, 368; DFP-II, 256; Wine Spectator, 19; Gold, 131; Encylopédie/Weill, p. 39; PAI-LXXXV, 256 Between 1893 and 1900, Chéret created a multitude of captivating designs for the Palais de Glace, a large skating rink located on the Champs-Élysées. Here, a brightly dressed beauty balances daintily on one foot as her partner glides her around the ice. This is the larger format.

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

CHÉRET | A-Z

255

A-Z | CHÉRET

256

Chéret

(Continued)

256. Pastilles Poncelet. 1896.

15 1⁄8 x 21 7⁄8 in./38.2 x 55.5 cm Imp. Chaix, Paris Cond A-/Slight stains at edges.

Ref: Chéret, 1183; Broido, 909; DFP-II, 260 (var); Health Posters, 29 (var); Gold, 33 (var); PAI-LXXXV, 260 “With consummate mastery, this poster does credit to the artist as both illustrator and poster designer... Its dynamic hinges on the opposition between the violence of the storm and the serene resistance of the young girl... This symbolism is engaged to support the message of the publicity slogan [‘For Colds–Coughs–Bronchitis’]. Pastilles Poncelet were made from tar, licorice, ipecac, codeine and potassium chlorate” (Health Posters, p. 31).

This is the smaller format.

257

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

257. Musée Grévin / Fête d’Artistes. 1900.

33 3⁄8 x 48 1⁄8 in./84.8 x 122.2 cm Imp. Chaix, Paris Cond A. Framed.

Ref: Chéret, 609; Broido, 471A; PAI-LXXXI, 251 The Grévin Museum was one of the many small establishments of the late 19th century which discovered that its permanent exhibits didn’t attract enough paying customers; hence, they created events to bring in bigger crowds. The Grévin specialized in recreations of recent news events, slide shows, pantomimes, magic shows, and concerts, many of which had promotional posters designed by Chéret. This particular design was used again for the puppet show of John Hewelt (see following lot), as well as the animated pseudo-film “Pantomimes Lumineuses” (see PAI-LXIV, 207), but here is the original, very rare version for an artists’ festival.

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

258. Musée Grévin / Fantoches de John Hewelt. 1900.

34 1⁄4 x 48 5⁄8 in./87 x 123.5 cm Imp. Chaix, Paris Cond A. Ref: Chéret, 607; Broido, 471; DFP-II, 267; PAI-LXXVIII, 245 This is the exception that proves the rule: a poster with letters that’s far more rare than without letters! Many copies of Fantoches de John Hewelt have survived without any imprint, but few remain with the subsequent advertising text on them. The text in this version is for a puppet show extravaganza staged at the theatre of the Musée Grévin. The poster shines with Chéret’s fine sense of composition and his great lithographic skill.

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

258

CHÉRET | A-Z

259

259. Les Belles du Carnaval : Painting.

23 1⁄4 x 28 1⁄4 in./59 x 71.8 cm Signed pastel painting. Framed.

Chéret invites us into an ethereal environment, wherein musicians and masked revelers swirl around the central Chérette in her typical yellow dress. He masterfully paints swaths of varying shades of blue to create a dreamlike background for the partygoers to celebrate in.

Est: $14,000-$17,000.

A-Z | CHÉRET

Chéret

(Continued)

260. Les Joies de Paris : Painting. ca. 1901.

21 5⁄8 x 28 in./55 x 71 cm Signed pastel painting. Framed.

Chéret concocts yet another festive and dreamlike scenario using vibrant pastels. Musicians and revelers swirl in a sea of yellow and blue strewn with confetti and ribbons. It’s an utterly celebratory vision from this master of lithography and Impressionist painting.

Est: $14,000-$17,000.

260

CHÉRET | A-Z

261 261. Les Trois Amies : Painting.

12 3⁄4 x 15 1⁄2 in./32.4 x 40 cm Signed oil painting. Framed.

Adorned with flowers and grinning through an Impressionistic haze, Chéret artistically interprets a trio of lovely ladies enjoying a spring outing.

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

A-Z | COLIN - CRESPIN

262

Paul Colin

(1892-1986)

262. Blackbirds : Painting. 1926.

34 5⁄8 x 45 1⁄4 in./88 x 115 cm Signed oil painting on canvas. Framed.

Ref: PAI-XXXV, 268 Here we have a superlative trio of sinewy minstrels from the palette of Colin, one that doesn’t waste its time wallowing in any form of political correctness, opting rather to allow exaggerated Jazz Age caricature to entertain as well as inform. And though one might naturally assume that Josephine Baker once more

was taking center stage, that wouldn’t be the case.

“Two months after she opened at the Folies-Bergère, Josephine’s domination of the review scene was threatened by Florence Mills’s arrival as one of the stars of Lew Leslie’s Blackbirds of 1926... Blackbirds opened at the Théâtre-Restaurant des Ambassadeurs... The first night, a gala special was scheduled for 12am, so the working show people of Paris could come. Josephine drifted in half an hour late, accompanied by eight white men in tails... wearing this white ermine floor-length coat, and a black velvet evening gown with a hood around her face. By October, Blackbirds had moved to London, and with Florence Mills no longer on the scene,

Josephine was once again the biggest black star in Paris” (Josephine, p. 138-139 & 143). Also known as the “Queen of Happiness,” Mills was one of the most successful entertainers of the 1920s. Many spoke about her enchanting qualities, but it was her singing that was most spellbinding. When Blackbirds moved to London’s Pavilion Theatre, it enjoyed 276 performances. The Prince of Wales was said to have seen the show more than twenty times and Mills became so popular that she became to London what Josephine Baker was to Paris.

Sadly, she perished in 1927 after a delayed surgery for appendicitis. She was only thirty-two years old.

Est: $60,000-$80,000

COLIN - CRESPIN | A-Z

263. Black Dancer : Drawing. 1925.

12 3⁄8 x 17 in./31.4 x 43.2 cm Signed gouache and ink drawing. Framed.

Although Colin has left us without a name for this silhouetted dancing figure, it’s safe to assume that the drawing is of his muse, Josephine Baker. He created a number of maquettes and drawings of her, often in a dynamic position between motions, as seen here.

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

Alfred Choubrac

(1853-1902)

264. Nectar Bourguignon. 1891.

38 x 58 1⁄4 in./96.4 x 147.8 cm Lith. F. Appel, Paris Cond A. Ref: Reims, 567; DFP-II, 273; Maindron 1896, p. 53; PAI-LXXXI, 254 Made from aged Burgundy wine, this award-winning apéritif is so delicious that Bacchus is all too eager to participate in the revelry.

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

Jules Courvoisier

265 (1884-1936)

265. Exposition d’Affiches / Genève. 1913.

25 3⁄4 x 38 3⁄4 in./65.4 x 98.5 cm Affiches “Sonor,” Genève Cond A. Ref: Chaumont/Exposons, p. 43; Swiss Art Nouveau, 121; PAI-XXXII, 285 A student of Grasset in Paris between 1902 and 1906, the French-born Courvoisier also studied in Munich, Frankfurt, Italy, and England before settling in Geneva in 1911. Although primarily a painter, he explored the field of graphic arts with book illustrations and posters, never straying from a figurative mode. This design for a poster exhibition in his adoptive city is an unusually fluid example of his work. The woman’s graceful posture is echoed in the curves of the posters unfurling about her—which is not good protocol if you’re a museum curator, but it makes for a fine image of passionate interest.

263

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

266. “Sonor.” ca. 1920.

35 1⁄2 x 50 1⁄2 in./90.2 x 128.2 cm Affiches “Sonor,” Genève Cond A-/Unobtrusive fold.

266

Courvoisier gives the Sonor printers the royal treatment by trotting out a whole Victorian crew of upper-crust society.

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

Adolphe Crespin

(1859-1944)

267. Robert B. Goldschmidt. ca. 1896.

16 1⁄4 x 21 3⁄4 in./41.3 x 55.4 cm Gouweloos, Bruxelles Cond A-/Slight tears at edges.

Ref: DFP-II, 1020; Beaumont, p. 49; Brussels, 20; PAI-XIII, 195

264

Similar in composition to his 1894 Paul Hankar Architecte (see PAI-LXXXI, 265), Crespin takes us behind the scenes of Robert B. Goldschmidt’s chemistry lab. But there is one element that makes this a less career-oriented design: the Latin phrase “Love Conquers All” is placed at the top, which immediately shifts the tone from academic discovery to love potion exhilaration.

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

267

A-Z | CUCHY - DOMERGUE

268

271

J. Cuchy

Benjamin Derby

268. Carteles Ilustrados. 1900.

271. The Bill-Poster’s Dream. 1862.

27 1⁄2 x 42 3⁄ 8 in./70 x 107.6 cm Enrich, Barcelona Cond A. Ref: Cataluña, 344

22 x 17 1⁄ 2 in./56 x 44.4 cm Cond B+/Slight tears and stains at top and bottom.

Framed.

This dashing Spanish dancer is advertising the illustrated posters of the Enrich lithographers in Barcelona. Among their specialties are designs for dances, circuses, the theatre, bullfights, and concerts.

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

Charles Eric Dawson

(1922-1993)

269. Henry Roberts / Pictorial Publicity.

269

20 1⁄2 x 31 1⁄2 in./52 x 80 cm Cond A. Dawson provides us with a truly meta-poster-moment: the Henry Roberts bill-posting company is letting potential customers know that “You have read this poster. Others would read yours if you had one.” And our allegorical goddess of Poster Publicity is an added testament to the potency of pictorial advertising.

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

David Dellepiane

(1866-1932)

270. Société des Arts Graphiques. 1899.

20 1⁄4 x 29 in./51.4 x 73.6 cm S.A.D.A.G., Genève Cond B-/Tears at folds and edges.

Ref: Génèvoise, p. 117; Dellepiane, p. 155; PAI-LXXXV, 273 In this stunning example of the best of Swiss Art Nouveau, we are presented with an early camera amidst a wall of sunflowers. This poster is noted as being the first in Europe created via the héliochrome printing method, and, as the inquisitive artist shown alongside the camera indicates, utilizing this technology does not at all remove the artistic process from color lithography.

270

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

A veritable menagerie of text-heavy posters: this is the stuff of which bill-poster’s dreams are made of. Not only is it a compilation of the era’s news, but the posters themselves form a biting and witty commentary on daily life and politics when read from top to bottom. The New York Herald ran an entire column about this poster in their April 5, 1862 issue, writing: “This humorous and mirthprovoking print which has thrown all who have seen it into convulsions of laughter, and which reached in the first few days its fifth thousand, and is still so rapidly selling, should be seen to be appreciated. The great hits upon such public characters as Horace Greeley, Henry Ward Beecher, Lucy Stone, and others, are such as would cure the most desperate attack of blues and ennui, and prove exceedingly detrimental to vest buttons... The ‘gentleman’ whose dream the lithograph embodies, is slumbering near a lamp post, with his bucket of paste and his unposted bills beside him, and in his sleep sees all sorts of bills posted together, producing the queerest descriptions of unintended announcements... in a way as ingeniously absurd as can well be imagined.”

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

CUCHY - DOMERGUE | A-Z

272

273

Jean-Gabriel Domergue

274

(1889-1962)

272. Monte-Carlo. ca. 1937.

273. Monte-Carlo. 1937.

274. Monte-Carlo / Le Beach - Le Sea Club. ca. 1937.

24 1⁄2 x 38 1⁄2 in./62.2 x 97.8 cm Imp. Nationale, Monaco Cond A/P. Ref: Affiches Riviera, 441; Affiches Azur, 216; PAI-LXXXVI, 212

24 3⁄4 x 38 7⁄ 8 in./62.6 x 98.7 cm Imp. Nationale, Monaco Cond A/P. Ref: Affiches Riviera, 440; Affiches Azur, 215; PAI-LXXXVI, 213

24 1⁄ 2 x 38 5⁄ 8 in./62.2 x 98 cm Imp. Nationale, Monaco Cond A. Ref (all var): Affiches Riviera, 440; Affiches Azur, 215; PAI-LXXXVI, 213

As if a willowy tan nude weren’t enough to lure us into the languidly beautiful world of Monte-Carlo, Domergue also presents us with a veritable cornucopia of flora to demonstrate the area’s lush bounty.

Known for his lithe, elongated women in comely poses, Domergue was the designer of choice when one wanted coy elegance to exude from an advertisement. Here, a sun-kissed nymphette is perched on a diving board, charming us into taking a swim with her.

This is a rare text variant of the previous lot which highlights Monte Carlo’s amenities: the beach, the sea club, pools, restaurants, and seaside sophistication.

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

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

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

A-Z | DOMERGUE - DROIT

276

Domergue

(Continued)

275. L’Été à Monte-Carlo. 1937.

24 1⁄2 x 39 1⁄4 in./62.3 x 99.7 cm Imp. Lucien Serre, Paris Cond A. Ref: Affiches Riviera, 102; Sport à l’Affiche, 176; Art Deco, p. 78; PAI-LXXIII, 267

275

“The most beautiful women in the world”—that’s “The Summer in Monte-Carlo.” With an image like this, we dare not disagree.

Domergue made his home in Monte-Carlo and the Côte d’Azur, where he found much inspiration for subjects like these, who he illustrated with deft sensuality and infused with the styles of Modigliani and Ingres for good measure.

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

276. Musicians. 1956.

12 1⁄2 x 16 in./32.5 x 40.7 cm Cond A. Framed.

This sumptuous hand-colored and hand-signed lithograph with a remarque is from the portfolio “La Parisienne.” Written by Cecil Saint-Laurent and illustrated by Domergue, the narrative takes us on a tour of Parisian society and its characters in the 1950s. The portfolio contained 20 original lithographs, including this scene of a Pierrot and his chanteuse singing into the night.

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

Drian

(Adrien Désiré Etienne, 1885-1961)

277. Female Golfer : Painting.

15 x 13 1⁄2 in./38 x 34.4 cm Signed watercolor painting. Framed.

Based on this woman’s long golfing dress, we can assume that this idyllic image was created sometime in the 1920s. From the 18th century until the 1930s, women were expected to wear long dresses while playing the sport, although the 1920s golfer could swing with more ease after abandoning the multiple petticoats and bustles of earlier eras. It wasn’t until 1933 that an incredibly brave woman, Gloria Minoprio, showed up at the British Ladies Championship wearing a pair of slacks. Of course, she caused a major stir, but she altered the course of women’s golfing fashion.

277

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

DOMERGUE - DROIT | A-Z

278

Jean Droit

(1884-1961)

278. An East Coast Tonic.

50 x 40 in./127 x 101.5 cm Jarrold & Sons, London Cond A-/Unobtrusive folds.

Ref: Voyage, p. 90; PAI-VII, 435 The giddy joy is palpable in this design for rail travel to England’s East Coast.

Droit captures the utter excitement of running towards the water’s edge with a crew of stylish female friends and children.

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

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A-Z | DUDOVICH - ECKERSLEY

279

Marcello Dudovich

(1878-1962)

For Dudovich’s Michelin, see No. 37.

279. Esposizione Universale di Bruxelles. 1910.

41 1⁄4 x 56 3⁄4 in./104.7 x 144.2 cm G. Ricordi, Milano Cond B/Slight tears at folds.

Ref: Dudovich, 89 To announce Italy’s participation in the 1910 Brussels International Exposition, Dudovich hearkens to an allegorical figure representing Italy. In the distance, behind her swirling tricolor, we can just make out Milan’s iconic Duomo cathedral. The powerful figures are rendered with a sculptural quality, which likely references the Renaissance theme of Italy’s pavilion. Rare!

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

DUDOVICH - ECKERSLEY | A-Z

280

282

Maurice Dufrène

(1876-1955)

281

Jean Dupas

(1882-1964)

Tom Eckersley

(1914-1997)

280. Rayon des Soieries. 1930.

281. History of Navigation : Maquette. ca. 1934.

282. Tom Eckersley. 1984.

31 5⁄8 x 47 1⁄8 in./80.4 x 119.6 cm Imp. Chaix, Paris Cond A-/Slight stains at bottom edge.

Ref: French Opera, 17; Timeless Images, 116; Femme s’Affiche, 196; Theaterplakate, 166; Spectacle, 665; PAI-LXXXV, 280

12 5⁄8 x 17 in./32 x 43.2 cm Signed crayon and chalk drawing. Framed.

25 x 39 5⁄8 in./63.6 x 100.7 cm Cullum Litho., London Cond A. Ref: Rennie, p. 206; Chaumont/Exposons, 84

This archetype of high Art Deco was created for the 1930 opening of an operetta by Manuel Rosenthal which involved intrigues in the silk department of a clothing store. Most of the design is black and white, but some of the lengths of fabric hanging from the figure’s arm are tinged with the most exquisitely pale shades of pink and yellow. Dufrène also created the operetta’s sets and costumes.

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

This is a double-sided drawing created as a preparatory work for Dupas’ “History of Navigation” mural, which is in the collection of New York’s Metropolitan Museum of Art. Dupas’ wife served as his model for the character of Amphitrite—the goddess of the sea and the wife of Poseidon—featured prominently in the finalized work.

“This extraordinary mural was one of four executed

by Charles Champigneulle in 1934 for the corners of the Normandie’s first-class Grand Salon. The history of navigation is its nominal subject, but the profusion of quasi-historical vessels and miscellaneous mythical creatures clearly was not meant to tell a story but rather to create an overwhelming decorative effect. Passengers on the Normandie paid not so much for transportation as for atmosphere, and the first-class lounge was a temple of glamour” (Met Museum website). On the verso is a signed preliminary pencil sketch.

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

Having designed posters and other materials for London Transport from the 1930s to 1995, it was only appropriate that the London Transport Museum mount an exhibition of posters by Eckersley. Employing his typically playful style, he shows two stylish passengers on a double-decker bus, presumably on their way to see the show.

Est: $800-$1,000.

A-Z | EGLER - ENSOR

Carlo Egler

(1896-1982)

283. Nauck & Hartmann. ca. 1915.

38 7⁄8 x 27 3⁄4 in./98.8 x 70.3 cm Nauck & Hartmann, Berlin Cond A. From 1880 to 1921, the Berlin stone lithographers Nauck & Hartmann had an exclusive contract with the city to manage all its columns and the posters pasted thereon. But the printers suffered financially after World War I, forcing the Municipal Assembly to terminate their contract and place the columns within the control of the government. Here, German sculptor Carlo Egler advertises the firm in their heyday.

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

Edouard Elzingre

(1880-1966)

284. Cabourg.

30 x 44 1⁄4 in./76.2 x 112.5 cm Imp. P. Lemènil, Asnières Cond A.

283

Cabourg was an exceptionally popular vacation spot in France, and far more elegant and conservative than nearby Deauville. For whatever reason, most posters promoting this destination opt for the image of a girl splashing in the waves, and this image fits the bill —although we might recommend a change of outfit before wading in any further.

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

Hans Erni

(1909-2015)

285. APG / SGA 1900-1975. 1975.

107 3⁄4 x 49 7⁄8 in./274 x 126.5 cm Cond A. Ref: Erni, p. 276; Chaumont/Exposons, 55; PAI-LXV, 226 This monumental, mural-like composition was created to celebrate the 75th anniversary of APG/SGA, the largest bill-posting company in Switzerland. This is the threesheet version of the poster.

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

R. Erny 286. Do the Black Bottom with Me. ca. 1924.

10 5⁄8 x 13 7⁄ 8 in./27 x 35 cm Cond A-/Slight stains at edges. P. Framed.

284

286

Originating among African Americans in the rural South, the Black Bottom became a dance craze that swept the nation and Europe, at one point replacing the Charleston in popularity. Here, Lew Leslie’s “Blackbirds” dance troupe are advertising a performance at the London Pavillon Theatre with words and music by Géo Meyer.

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

James Ensor

(1860-1949)

287. Salon des Cent / Exposition James Ensor. 1898.

15 3⁄ 8 x 23 in./38.9 x 58.6 cm Cond A. Framed.

Ref: DFP-II, 1039; Belle Epoque 1970, 54; Color Revolution, 77; Weill, 80; Modern Poster, 24; PAI-XXXV, 56 The great Belgian painter, James Ensor, was active in the Libre Esthétique from 1894-1914. His poster, to advertise his exhibition, is very much a personal statement and a masterful work in which Ensor is seen communing with demonic forces about him. This is the finest specimen ever seen of this image.

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

285

288. No lot.

EGLER - ENSOR | A-Z

287

A-Z | EURINGER - DE FEURE

291

289

290

292

293

EURINGER - DE FEURE | A-Z

M. T. Euringer 289. W. Eisfeller.

24 3⁄4 x 26 5⁄ 8 in./62.8 x 67.5 cm W. Eisfeller, Köln Cond B/Tears at folds and edges.

Although we don’t know anything about this artist or the Cologne printer he’s advertising, we do get a historic glimpse of German crowds gathering to inspect the newest posters on the city’s walls.

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

Candido Aragonese de Faria (1849-1911) 290. Cachat’s-Majestic / Chamonix-Mont-Blanc. ca. 1910.

62 x 46 5⁄8 in./157.5 x 118.5 cm Atelier Faria, Paris Cond A. Ref: Montagne, p. 198; Tennis Posters, p. 47; Alpes, 24; PAI-LXI, 267 De Faria offers us a busy view of a resort hotel in Chamonix at the height of its summer season, with a tennis threesome in the foreground. Faria was born in Brazil and had his art training in Rio. He worked on numerous theatrical productions there and launched two magazines before moving to Paris in 1882. His many show business posters helped immortalize such stars as Yvette Guilbert, and in 1901 he designed one of the first movie posters, for a Zola-inspired film called “The Victims of Alcoholism.” About the same year, he formed the atelier to which this poster and a companion winter scene (see PAI-XII, 207) are credited.

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

Fausto 291. Carnival “Carioca.” 1935.

21 3⁄4 x 29 3⁄4 in./55.2 x 75.7 cm Lith. Dimenta de Mello, Rio Cond A. Rio’s Carnival is considered to be the biggest in the world and dates back to 1723. This ebullient design gives us a picturesque view of Rio de Janeiro and previews some of the costumed fun that awaits us. “Carioca” refers to the locals of Rio as well as a variation of the samba, both of which are the lifeblood of this annual celebratory event.

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

Georges Fay

294 (1871-1916)

Georges de Feure

(1868-1943)

292. Le “Quartier” Cabaret-Salon. 1897.

293. Les Montmartroises. 1894.

294. Le Journal des Ventes. 1897.

31 7⁄8 x 47 in./81 x 119.2 cm Imp. P. Vercasson, Paris Cond A-/Slight tears at horizontal fold.

Ref: DFP-II, 337; Schardt, p. 103; PAI-LXXXII, 259

31 5⁄ 8 x 11 1⁄2 in./29.2 x 80.4 cm Imp. Edw. Ancourt, Paris Cond B+/Centerfold shows; slight tears at bottom edges.

Framed.

Ref: de Feure, p. 26; DFP-II, 344; Maindron 1896, p. 64; Reims, 616; Color Revolution, 79; PAI-LIII, 245

17 1⁄4 x 24 3⁄4 in./43.8 x 63 cm Cond A. Framed.

Ref (all var but PAI): de Feure, p. 74; DFP-II, 351; Affichomanie, 125; Abdy, p. 150; Maitres, 146; PAI-LXIX, 365

Whether it’s 1897 in Paris, 1967 in San Francisco, or 2022 in Brooklyn, the counterculture scene resonates in this indelible image: a Bohemian poet, orating in wild hair and tangled beard, to a gaggle of female admirers in a dimly lit night café—this one was just a block from the Jardins du Luxembourg and two blocks from the Sorbonne. It’s the first known poster of the little-known Georges Fay, and was good enough to get him noticed

by Jules Chéret, who solicited two pieces from him for inclusion in Les Maîtres de l’Affiche.

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

This poster is for the third collection of poems and songs by Jean Goudezki (Edward Goudes, 1866-1934), a regular reader at the Chat Noir and other Bohemian cafés. He was friends with both Jean Richepin and Aristide Bruant, and even got Toulouse-Lautrec to design the cover for another book of collected works, “The Old Stories” (see No. 471). Here we see a rather lively café crowd focusing more on their own private discussions than on the tuxedoed artist orating before them.

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

This poster for the Belgian Journal of the Auctions was immediately seized upon by contemporary critics and hailed as one of the finest works of its kind. Years later, Jane Abdy had the last and best word on it: “de Feure’s finest poster, and one of the most beautiful of the whole period... It is a triumph of color and design. He uses only brown, green and the dull pink of roses. Yet every possible shade of brown is in the poster, and the effect is a great richness and concentration of colour, like a mountain of brushed up autumn leaves... She is dressed in the height of imaginative fashion, and her hat is a victory of the milliner’s art” (p. 156). This is a handsigned copy of the poster before letters—and with exceedingly fresh colors!

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

A-Z | FISCHER - GAUTHIER

296A

Otto Fischer

(1870-1947)

295. Wilhelm Hoffmann / Dresden. 1896.

24 3⁄4 x 37 3⁄8 in./63 x 95 cm Wilhelm Hoffmann, Dresden Cond A. Ref: Maitres, 127; DFP-III, 908; Wember, 309; Timeless Images, 70; PAI-LXXXII, 270 The printer advertises his shop as “an art institute for modern posters,” and the designer gives him the image to go with it: that of an artisan lithographer, pipe and all, submitting a proof to the critical eye of a female customer. It’s obviously a high-class printing establishment. Fischer was born in Leipzig and worked as a painter, decorator, and lithographer; he earned an honorary title of professor at the Dresden Academy.

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

Pierre Fix-Masseau 295

(1905-1994)

296A. Philips. 1951.

63 1⁄4 x 46 in./160.5 x 117 cm Imp. Courbet, Paris Cond A. Ref: Fix-Masseau BN, p. 29 For Philips transistor radios, Fix-Masseau presents us with an idyllic beach outing accompanied by the perfect tunes. Relaxing, isn’t it?

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

Arthur Foache

(1871-1967)

296B. La Garonne. 1898.

16 1⁄2 x 23 1⁄4 in./42.5 x 59 cm Imp. Cassan Fils, Toulouse Cond B+/Horizontal fold. Framed.

Ref: DFP-II, 359; PAI-LXXXI, 290.

Though more commonly seen without text, this is the complete version of Foache’s erotic reverie to advertise the Cassan Fils printing firm. With or without text, it’s a dreamy vision with irises and daffodils that shimmer amidst metallic inks—a composition inspired by Mucha’s Salon de Cent. This copy bears text reading “Gift from the Toulouse Society of Lithographers.” Rare!

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

Gustave Fraipont

(1849-1923)

297. Chemin de Fer du Nord / Saison Balnéaire.

28 3⁄4 x 41 3⁄4 in./73 x 106 cm Affiches Artistiques, Paris Cond B/Slight tears and stains, largely near edges.

Ref: Train à l’Affiche, back cover; PAI-XVII, 276

296B

The Chemin de Fer du Nord advertises free home baggage pickup and return throughout the summer for passengers traveling to or returning from the seashore resorts. From the third floor balcony, a family watches their belongings being collected in this marvelous vignette of Fin-deSiècle Paris life, framed in Art Nouveau floral borders. It’s especially interesting to note that railway travel posters, in addition to being placed in stations, were also put on the sides of these delivery vans. The Belgian-born Fraipont achieved considerable success as a painter, watercolorist, and designer of numerous posters. He was named a Knight of the Legion of Honor in 1892.

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

FISCHER - GAUTHIER | A-Z

297

298

299

300

A. Gallice

J. J. Gaudinot

Alain Gauthier

298. L’Eclair.

299. Le Carnaval de Nice / Messageries Maritimes. ca. 1922.

300. Teppaz. 1956.

71 1⁄2 x 49 1⁄2 in./181.7 x 125.8 cm Lith. G. Bataille, Paris Cond B+/Slight tears and stains at seam and edges.

Before there were the digital billboards of Time Square, advertises got the word out by foot. This Belle Époque monsieur is trotting out the newest signage for L’Eclair newspaper, who have also posted billboards in the background. This is a two-sheet poster; some text is missing at the seam.

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

13 7⁄8 x 22 1⁄2 in./35.2 x 57 cm Imp. Réunies, Paris Cond A. Ref: Affiches Azur, 93; PAI-LXXII, 221 (var) This intriguing Deco design eschews outlines for a formal feeling of a black-and-white masquerade. It’s time for Nice’s carnival, and the best way to experience it is with this four-day package on the Côte d’Azur courtesy of Messageries Maritimes. This is the smaller format.

Est: $1,500-$2,000.

(1939-1971)

61 x 45 1⁄4 in./155 x 115 cm La Vasselais, Paris Cond A. Teppaz record players bring joy, as evidenced by this lavender daydream swelling with music. Founded in 1931, the company specializes in hi-fi equipment including amplifiers, record players, turntables, and pick-ups. It gained a cult following thanks to teenagers in the 1960s.

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

A-Z | GÉDINA - GLASS

301

302

Jan Gédina 301. Champagne Mercier.

302. Champagne Mercier.

44 ⁄4 x 64 ⁄4 in./113.8 x 163.3 cm Imp. des Arts Industriels, Paris Cond A. Ref: PAI-XXVII, 409

44 x 64 1⁄4 in./112 x 163.2 cm Imp. des Arts Industriels, Paris Cond A.

3

1

This bubbly flirt, nearly as intoxicating as the effervescent nectar she holds in a delicate pinch, perches delightfully amidst the sweep of her flowing gown, effortlessly convincing us of the delicious charms of her beverage of choice: Champagne Mercier. The designer of this sparkling promotion remains elusive.

The credit given to Camis is presumed to be for their stone engraving. Rare!

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

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Similar in tone and coquettishness to the previous design, this lady—who appears to be wrapped in a very elaborate bed sheet—beckons us to come join her for a glass of Champagne Mercier. The Épernay champagne house was founded in 1858 and today, it’s the number one selling brand of Champagne in the French market. Rare!

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

GÉDINA - GLASS | A-Z

303

305

Joseph Nikolaus Geis

304

(1892-1952)

Raymond Gid

(1905-2000)

303. Das Plakat. 1914.

305. Ballets / Peaux-Rouges. 1953.

35 7⁄8 x 47 3⁄4 in./91 x 121.3 cm Kunst im Druck, München Cond B/Restored tear at upper left.

Ref: DFP-III, 980; Plakate München, 377; Chaumont/Exposons, 45

39 1⁄4 x 58 5⁄ 8 in./99.7 x 149 cm Imp. Bedos & Cie, Paris Cond A-/Slight tears at folds.

Ref: Gid, 58; PAI-XVII, 284

Founded by Dr. Hans Sachs, Das Plakat was a highly influential publication that promoted the art of the poster by showcasing artist collections and lengthy, intellectual articles about the medium. Here, Geis provides a cheerful invitation to view an exhibition of works curated by Das Plakat at Munich’s city fairgrounds.

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

Henry Gerbault

(1863-1930)

Until the 1950s the theatrical presentation of Indian dance was limited to circuses, Wild West shows, and Western movies. Two white people—Reginald and Gladys Laubin—who had lived with Plains Indians were instrumental in bringing Indian dance to the stage as an art form, and one of great subtlety and meaning. Their Crow troupe toured the world. For their engagement in Paris they are billed as the “Redskins Ballet—American Indian Dance Pow Wow.” Gid supplies a dramatically stark image with just a red and white headdress, a tomahawk, and a squiggle of paint for a leg.

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

304. Perfume Lenthéric.

29 3⁄4 x 41 1⁄ 2 in./75.4 x 105.4 cm J. Barreau, Paris Cond B+/Slight tears at horizontal fold.

Guillaume Lenthéric opened his first perfumery in 1875, and the company continues to produce fragrances to this day. In Gerbault’s design, a gentleman is stopped dead in his tracks, entranced by the aroma wafting off this sophisticated woman.

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

306

Franz Paul Glass

(1886-1964)

306. Internationale Plakat Ausstellung / Muenchen. 1929.

33 1⁄8 x 47 3⁄4 in./84.2 x 121.2 cm Kunst im Druck, München Cond A-/Unobtrusive folds.

A member of the artist group “Die Sechs,” Glass extends his lithographic services to announce an international exhibition of posters in Munich.

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

A-Z | GOLAY - GRÜN

308

307

Mary Golay

(1869-1944)

307. Poésie de Crépuscule & Lumière Matinale: 2 Panels.

Each: 15 1⁄4 x 41 1⁄ 2 in./38.7 x 105.5 cm Cond A-/Slight tears at edges.

Ref: PAI-LXXXV, 295 Golay, never one to use her talents in the crude service of commerce, takes us on a sensual stroll into the heart of the “Poetry of Twilight” and “Morning Light.”

The enigmatic artist, an utter devotee to the precepts of Art Nouveau and all the splendid excesses which that entails, ushers us into our Garden of Eden with a pair of exotic herons. She sends us luxuriantly into the evening in the company of two Ward’s herons, both set in marshy landscapes so pristine, so free of man’s wasteful thumbprint, that they can’t help but induce a wistful longing to be transported into their realm.

Est: $4,000-$5,000. (2)

309

H. Goodwin

Eugène Grasset

308. Greyhound / Washington, D.C.

309. L’Odéon. 1890.

28 x 38 1⁄4 in./71 x 97.2 cm Cond A. Ref: PAI-LXXXII, 279

32 1⁄4 x 45 3⁄4 in./82 x 116.2 cm Malherbe & Cellot, Paris Cond B+/Slight tears at folds.

Ref (all var except Grasset): Grasset, p. 39; DFP-II, 400; Timeless Images, 26; Wine Spectator, 33; Gold, 149; PAI-LXVII, 322

Why not hitch a ride to the White House? Greyhound advertises its services to the United States capital with this picturesque view of its most iconic landmark.

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

(1841-1917)

“For the proper young woman of the Belle Époque, theatergoing—as well as virtually all other social and recreational activities—invariably involved a chaperone.

In Grasset’s design, this is expressed most eloquently: the young woman wistfully scanning the audience, the older one sternly watching” (Gold, p. 106). Whereas we usually see this image promoting the Odéon theatre, this text variant calls out the chromo-typographic posters provided by the printers Malherbe and Cellot.

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

GOLAY - GRÜN | A-Z

311

H. Gray

(Henri Boulanger, 1858-1924)

310. Affiches-Pichot. ca. 1890.

53 7⁄8 x 83 1⁄4 in./136.8 x 211.5 cm Affiches Pichot, Paris Cond B/Slight tears at folds and edges.

Ref: Wine Spectator, 135

310

Many artists have employed winged nymphs to advertise printing firms, but perhaps none have managed as much gusto and sheer presence as Gray has with this design for the Pichot printing firm.

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

Henry de Groux

(1866-1930)

311. Pierrefort. ca. 1898.

23 1⁄2 x 31 1⁄4 in./59.7 x 79.5 cm Imp. Eugène Verneau, Paris Cond B+/Slight tears at edges.

Pierrefort, is that you? This important poster and print dealer befriended young artists— including de Feure, Ibels, Lobel, and Toulouse-Lautrec—and commissioned some of these protégés to create posters for him, but none featured the lithographer at work. In 1898, one magazine wrote of this poster: “This composition, which recalls creations by Rembrandt and Gustave Doré, is much more a print than a poster. However, it retains the interest that attaches to the art of Henry de Groux, all of whose works have a character of seriousness and high consciousness” (Mercure de France, Volume 25, p. 321). Pierrefort sold this poster for 2 francs.

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

Jules-Alexandre Grün

(1868-1938)

312. Société des Peintres-Lithographes / 3ème Exposition 1901.

34 1⁄2 x 48 1⁄4 in./87.8 x 122.5 cm Imp. Chaix, Paris Cond B/Slight tears at edges.

Ref: DFP-II, 440; Grün, p. 134; PAI-LII, 241

312

Though the majority of Grün’s designs feature leering gentleman and flirtatious coquettes, he indulges a decorous muse in this poster for the third exhibition of the Society of Lithographic Artists. “From the beginning of the nineteenth century, Vivant-Denon, founder of the Louvre and advisor to the emperor, encourages and develops artistic lithography. As early as the 1880s it is on par with engraving and its centennial is triumphantly celebrated in 1889 at the Galerie Repp...

No wonder that an association of lithograph painters is created in its wake, and that their member Grün, following Grasset and Gottlob, creates a poster for the occasion. One should always bear in mind that while covering Montmartre’s walls with ‘Grünettes,’ he was simultaneously leading a very traditional career as a painter... In 1895 he is awarded a mention at the Salon and two years afterwards obtains a third medal, which is no mean feat” (Grün, p. 135). Here, Grün’s shadings, as well as the inclusion of the society’s monogram as part of the wallpaper, create a most appealing design featuring a lovely young patron studying her exhibition catalogue.

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

A-Z | GRÜN - GUILLAUME

314

313

Grün

315

(Continued)

313. Goepp : Maquette.

314. Chimay-Villegiature. 1900.

315. Cocorico! 1913.

17 1⁄2 x 23 3⁄4 in./44.5 x 60.4 cm Signed watercolor and ink maquette. Framed.

34 3⁄4 x 49 in./88.2 x 124.4 cm Imp. Chaix, Paris Cond B/Slight tears at folds.

Ref (both var): Grün, p. 125; PAI-XXXI, 469

28 1⁄4 x 43 1⁄ 8 in./71.7 x 109.5 cm Atelier Grün, Paris Cond A. Framed.

Ref: Grün, p. 88; PAI-LXXXI, 306

The two female visitors to Chimay take advantage of the free skeet shooting instructions, presumably overseen by the man at right—it’s one of the attractions offered by this Belgian resort in the Ardennes hills. You’ve got to admire the pluck of the Annie Oakley character in red, who draws a bead on her clay pigeon and is ready to step up her game. But her friend is dolled up in a much more formal getup, and seems to be there more for spectator fun than actual shooting. This printing is before the addition of text in the sandy space at left. Rare!

This’ll wake you up: an invigorating design for a comic operetta that loosely translates as “When the cock crows.” It’s filled with saucy double-entendre (a change from Grün’s typical repertoire, which specializes in single-entendre): a scarlet cock in the deep night, overanticipating the sunrise, represents the action, while a pink-ribboned fan, sword, and cockaded military hat in the upper left represent the lovers. The operetta was written by Louis Ganne, conductor at the wonderfully named Cabaret des Incohérents. The poster is likely not intended for any one performance, but to advertise the publication of the libretto.

Grün allows his buxom ladies to take a break while he focuses on this dashing tattooed man with a very striking mustache. And who was this award-winning Goepp? We would sure like to know. The text here tells us that “The tattooed man is said to cheat death—the untombable of Paris.” And that’s all he wrote.

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

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

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

GRÜN - GUILLAUME | A-Z

316

Albert Guillaume

317

(1873-1942)

316. A la Scala. 1908.

317. Palais de Glace. ca. 1896.

36 1⁄4 x 51 in./92 x 129.6 cm Imp. Minot, Paris Cond B+/Slight tears at folds.

Ref: Masters 1900, p. 57; PAI-LXXXVI, 248

45 x 61 7⁄8 in./114.5 x 157.2 cm Imp. Charles Wall, Paris Cond B+/Slight tears at folds.

Ref: Gold, 125 (var); PAI LXIII, 299

Considered one of Guillaume’s masterpieces, the painterly quality of this poster elevates it above his usual caricatures into the realm of fine art.

Rather than showcase any of the marvelous acts at La Scala, he chose instead to depict the glitterati emerging from their carriage—implying that the audience is just as interesting as the performers.

“Customarily inclined to the simple linear approach and broad humor of a professional caricaturist, Guillaume takes an unusual departure to portray two skating women with tender flattery. As with dancing, it was common—and perfectly acceptable—for two women to skate together at the same time” (Gold, p. 86). This sort of restrained elegance is most appealing, and for this artist most rare. This is the larger format version of the poster.

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

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

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A-Z | HAJDUK - HENEL

318 320

August Hajduk

(1880-Ca. 1918)

318. Robert Müller / Künstler Plakate.

38 x 28 1⁄8 in./96.5 x 71.5 cm Robert Müller, Potsdam Cond A. In operation from 1877 to 1927, the Robert Müller lithography firm receives a Grecian treatment from painter August Hajduk.

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

Carl Hap

(Karl Happel, 1819-1914)

319. Imprimerie Camis. ca. 1900.

37 3⁄4 x 27 1⁄ 2 in./96 x 69.7 cm Imp. Camis, Paris Cond B+/Slight tears, largely at horizontal fold.

319

Hap conjures up a veritable poster lover’s dream for the Camis printers. Surrounding the central painter are various muses, from angels to monsters, soldiers to mothers, and various Parisian characters. These are presumably the fodder for the finalized lithographs, examples of which are provided along the top. It’s truly a hit list of the greatest posters and brands of the era: Chocolat Menier, Maggi, Liebig, Peugeot, and Absinthe Cusenier rank among the group. Camis further endorses their brand with a list of clients along the left and right sides. Metallic silver at top and bottom add another level of godliness to this ethereal design. Rare!

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

André Hardy

(1887-1986)

320. Paris-Tanger-Casablanca. 1933.

24 1⁄4 x 39 5⁄ 8 in./61.5 x 100.6 cm M. Dechaux, Paris Cond A-/Restored tears in bottom text.

Ref: Train à l’Affiche, 276; Mer s’Affiche, p. 168 France’s Chemin de Fer railway and Paquebot ship service join forces to transport voyagers from Paris to Morocco. Hardy provides a concise design showing the two modes of transit enveloped in a dynamic arrow of forward motion.

321

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

HAJDUK - HENEL | A-Z

322

324

Keith Haring

(1958-1990)

323. Ed. Sagot : Two Posters. 1900.

43 x 24 in./109 x 61 cm Cond A/P. Ref: Haring Posters, 83; PAI-LXXXII, 303

A: 27 1⁄2 x 41 3⁄4 in./70 x 106.2 cm B: 24 1⁄4 x 31 1⁄4 in./61.5 x 79.5 cm Imp. Chaix, Paris Each: Cond. A. Ref: DFP-II, 466; Affichomanie, 3; Gold, 34; PAI-LXXXV, 314; PAI-LXX, 403

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

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

322. Century’s Prize Poster Contest. ca. 1900.

Edwin Hermann Richard Henel

The Century magazine is hosting a prize poster contest, but this is not your ordinary exhibition—instead of displaying the final works, the original drawings for the prize-winning designs were exhibited. Rare!

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

323

“The customer of Sagot’s, one of the principal print and poster dealers in Paris, considers several pieces of artwork. Even though we see only her back, we can tell from the way she leans forward how intensely she’s concentrating. Sagot was an early convert to the lure of posters and contributed substantially to the emergence of posters as collectible art in the 1890s” (Gold, p. 23).

This lot includes two versions of this poster: with text and without.

Agnes F. Harrison 11 x 14 3⁄ 8 in./27.8 x 36.5 cm Cond A. Ref: DFP-I, 266

B

(1859-1927)

321. Act Up / Ignorance = Fear. 1989.

Keith Haring spent the ’80s among the New York art world’s elite, fully in the Madonna-Basquiat-Warhol golden triangle, and was at the height of his fame when he was diagnosed with AIDS in 1988. Openly gay and a strong advocate of safe sex, he established the Keith Haring Foundation for AIDS in 1989. This poster for the AIDS organization ACT UP (AIDS Coalition to Unleash Power) is without a doubt the most famous and most impactful of all AIDS activist artworks produced during the period.

A

Paul C. Helleu

(1883-1953) 324. Allemagne Semaine Internationale de Sport d’Hiver. 1937.

24 7⁄8 x 39 3⁄4 in./63.2 x 101 cm Sonntag & Co., München Cond A. Based on the French International Winter Sports Week, Germany began hosting the event after the 1936 Winter Olympics until 1941. Among the international flags being flown, Germany’s flag has been replaced by the Nazi party’s.

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

A-Z | HINGRE - HOHLWEIN

326A

325

326B

327

HINGRE - HOHLWEIN | A-Z

328

Léon Hingre

(1860-ca. 1929)

Hofbauer-Pokorny

325. La Flèche Bréham. ca. 1900.

326B. Návrhy Plakátu.

23 ⁄8 x 38 ⁄2 in./60 x 97.8 cm Cond B+/Horizontal fold.

36 3⁄ 8 x 49 1⁄2 in./92.8 x 125.7 cm M. Schulz, Praha Cond B+/Unobtrusive folds.

5

1

Though the product may be mundane, the advertisement for this printing ink is anything but banal: Hingre turns the chemical formulation into an alchemical wonder being overseen by a long-haired goddess in the most ornate gown.

The plumes of smoke that surround her lend a dramatic and sumptuous quality to the scene.

A winsome faun acts as the spokesperson for poster designs by the Hofbauer-Pokorny team. This Prague studio was founded by J. Hofbauer, a designer and architect, and Alfred Pokorny (1906-1988), an industrial designer and former goldsmith.

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

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

Walter Koch

Adolfo Hohenstein

(1875-1915)

(1854-1928)

326A. Gebr. Fretz. ca. 1913.

327. Fiammiferi Senza Fosforo. ca. 1905.

36 1⁄2 x 48 3⁄4 in./93 x 124 cm Gebr. Fretz, Zürich Cond A-/Slight tears at top edge.

12 1⁄ 8 x 23 5⁄8 in./31 x 60 cm L. Simonetti, Torino Cond A. Ref (all var): Manifesti Posters/Advertising, p. 117; Italia che Cambia, 135; Menegazzi-III, 145; PAI-LI, 360

One of Switzerland’s greatest graphic artists, Koch most famously depicted the landscape and sporting activities of his beloved Davos. Here, he employs a Jugendstil aesthetic to dramatically advertise the Fretz brothers’ printing company in Zurich.

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

Considered to be the Chéret of Italian poster designers, Hohenstein had the ability of taking the mundane and making it elegant and allegorical, if not otherworldly.

He certainly does not disappoint here in this elaborate composition advertising Dr. Craveri’s safety matches.

Around the turn of the century, laws were being put into effect all over Europe banning the use of white phosphorus in the manufacture of matches, primarily because it stuck to the skin, causing serious burns. Therefore, safety matches,

featuring red phosphorous, were growing exponentially in popularity. Here, a fire goddess of Renaissance-worthy beauty is sending the smoky darkness, complete with ominous snake, into oblivion. This is the smaller format.

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

Ludwig Hohlwein

(1874-1949)

328. Confection Kehl / PKZ. 1908.

37 x 48 5⁄8 in./94 x 123.5 cm Wolfensberger, Zürich Cond A. Ref: Plakat Schweiz, p. 135; Modern Poster, 58; Avant Garde, p. 115; Gallo, p. 136; Word & Image, p. 43; PAI-XLIX, 311 If forced to choose the most representative, classic Hohlwein design, this one for the men’s clothier, PKZ, would be the immediate choice. It perfectly exemplifies his simplified, wallpaper-style application of pattern to complex shapes (like people), the elimination of unnecessary details and features, the flat colors. the carrying of the background color into foreground figures and text, and the virtuoso drawing. “He utilized patter to great effect in these works [for PKZ], imposing broad areas of flat pinstripe or square grid to define the dapper clothes of the models. At the same time, certain elements are rendered three-dimensionally by means of shadows and highlights, creating a tension between flatness and depth” (Modern Poster, p. 18).

Est: $20,000-$25,000.

A-Z | HOHLWEIN - IBELS

330

329

Hohlwein

(Continued)

329. Kunstgewerbehaus Gebrueder Wollweber. 1908.

331. Plakat Ausstellung. 1918.

35 3⁄4 x 48 3⁄4 in./91 x 124 cm Vereinigte Druckereien und Kunstanstalten, München Cond B/Restored tears in dress.

Ref: DFP-III, 1341; Hohlwein/Stuttgart, 11; Plakate München, 186; PAI-LXXII, 243

24 3⁄4 x 37 5⁄ 8 in./62.7 x 95.5 cm Cond A. Ref: Hohlwein/Stuttgart, 173

This poster for a jewelry store (noted as “purveyors to the court”) has a dachshund on a platter holding a miniature top hat in its teeth. It has a lovely girl with beautiful shoulders, in a pearl choker, holding up a jewel box. But you may not notice either of these things at first because Hohlwein’s checkerboard pattern palpably vibrates—an optical illusion that totally arrests one’s vision. This was a favorite design ploy: Hohlwein “added a new dimension through his use of bold patterns, rendered with complete disregard for the forms they were supposed to be covering” (Word & Image, p. 21).

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

330. Leipziger Reklamemesse. 1919.

23 1⁄2 x 30 7⁄8 in./59.6 x 78.3 cm Meissner & Buch, Leipzig Cond A-/Slight stains.

Ref: Hohlwein/Stuttgart, 174; Chaumont/Exposons, p. 46

331

Similar in tone to the previous poster, Hohlwein this time employs a photorealistic image of a screaming proletariat to announce a poster exhibition in Stuttgart.

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

Charles W. Holmes 332. Simpson Spring Beverages.

27 1⁄4 x 39 3⁄4 in./69 x 101 cm Cond B+/Slight tears at edges. Framed.

Ref: PAI-LXXXVI, 260 Simpson Spring began bottling beverages in Easton, Massachusetts in 1878, making it the oldest independent bottling plant in America. Today, they continue to blend sodas with vintage flavors, including sarsaparilla and white birch, as well as more contemporary flavors: lemon & lime, pineapple-coconut, and fruit punch. Here, our bathing beauty demonstrates just how refreshing these drinks are.

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

In this unusual Hohlwein design, a yelling salesman with a distorted face calls passersby to attend the Leipzig trade fair, which appears to have been an annual event until World War II. Est: $2,000-$2,500.

332

HOHLWEIN - IBELS | A-Z

333

Ladislav Horak

(1904-?)

333. Velké Karlovice. 1946.

23 3⁄8 x 33 1⁄4 in./59.5 x 84.4. cm Unie, Praha Cond A. Ref: PAI-LXXXV, 6

334

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: $1,400-$1,700.

Roland Hugon

(1911-?)

334. Compétitions Sportives. 1942.

31 1⁄8 x 41 1⁄2 in./79 x 105.3 cm Éditions du Ministère de l’Information Cond B/Slight tears at folds.

Ref: Sport à l’Affiche, 19 Held in occupied Vichy, this athletic competition was part of a larger Colonial Week, as exemplified by the Black runners seen here. The World War II era event was meant to inspire patriotism and exult in the greatness of the Empire, demonstrated via films, conferences, books, and events centered on various colonial countries. Sporting competitions were also held in Rabat, Casablanca, Marrakech, Algiers, Tunis, and other colonial lands.

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

Henri-Gabriel Ibels

(1867-1936)

335. Salon des Cent. 1893.

15 5⁄8 x 23 in./39.6 x 58.5 cm Imp. Eugène Verneau, Paris Cond A-/Slight stains at edges. Framed.

Ref: DFP-II, 472; Wagner, 90; Reims, 754; Salon des Cent, p. 17; Salon des Cent/Neumann, p. 55; PAI-LXXI, 356 This lovely design for the very first exhibition of the Salon des Cent gracefully references three famous characters from Commedia dell’Arte. Pining with love, the ever-sad clown Pierrot paints the beautiful ballerina Columbine as Harlequin; the man with whom she will eventually run off peers over his shoulder. It is a moment filled with romantic promise even though we know that historically this does not end well for Pierrot. Cleverly, Ibels has placed his signature on Pierrot’s canvas, possibly alluding to the sympathy he has for the character. Many comparisons have been made between the work of Ibels and Toulouse-Laturec: they both are captivated by slice-of-life moments, especially those surrounding performers and other fringe members of society who are unafraid to showcase the ugly or grotesque.

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

335

A-Z | JOSSOT - KLEIN

336

337

Gustave-Henri Jossot

(1866-1951)

338

E. McKnight Kauffer

(1890-1954)

336. Saupiquet Sardines. 1897.

337. Subway Posters. ca. 1947.

78 1⁄8 x 48 1⁄4 in./198.5 x 122.6 cm Affiches Camis, Paris Cond B+/Slight tears at right edge.

Ref: Collectionneur, p. 32; Célébrités, 201; PAI-LXXXV, 324

29 1⁄8 x 44 7⁄ 8 in./74 x 114 cm Cond B+/Slight tears at edges; grommets at top.

When L’Estampe et l’Affiche asked Jossot about his approach to creating Saupiquet Sardines, he explained: “The poster on the wall must howl, it has to force itself on the glance of the passer-by. I have to say without self-conceit that I have done an immense advertisement for the house of Saupiquet, doing as much with my noisy colors as with my grotesque drawing pushed almost to the monstrous” (Célébrités, p. 202). Curiously he didn’t speak about the celebrities he represented in the rather unflattering process of eating their sardines straight from the can with their hands. This illustrious panel includes—from left to right—Sidi-Ali Bey (notorious politico Doctor Grenier after his conversion to Islam), Yvette Guilbert, journalist and politician Henri Rochefort, Sarah Bernhardt, and Aristide Bruant.

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

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

Kauffer did several posters for the New York subway from 1947-1948. This one ranks among his rarest!

Hermann Keimel

(1889-1948)

338. Muenchner Plakat Kunst. 1931.

33 1⁄2 x 47 in./85 x 119.5 cm Chromo Litho. Kunstanstalt, München Cond A-/Slight crease at left edge.

Ref: Rademacher, p. 117; Plakate München, p. 130; Art Deco, p. 109; Kunst Kommerz Visionen, p. 189; PAI-VI, 139 This design of alternating red, white, and blue shapes forming a Cubist face lends movement and volume to this poster for the New Union of Poster Artists of Munich.

“The image’s suggestion of three-dimensionality not only

implies the many layers of the creative process but also calls to mind the impermanence of the poster medium, with its tradition of covering old placards with new ones on city walls and billboards in a continual evolution of promotional art” (Art Deco, p. 110). Keimel was one of the charter members of the association; he was a native of Munich, and was a teacher at the Advanced School for German Painting Craft there. This is one of the best posters ever created for a poster exhibition and a must for any serious poster collector.

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

JOSSOT - KLEIN | A-Z

340 339

Albert Klinger

(1862-1912)

339. Dauer-Frisch-Brot. ca. 1905.

27 1⁄4 x 37 1⁄8 in./69.2 x 94.3 cm Hollerbaum & Schmidt, Berlin Cond A. Ref: DFP-III, 1819; PAI-LXIII, 340 At first glance, you may presume this is an advertisement for an early automobile, but the car is merely there to grab your attention. The real product in question is Dauer Fresh Bread—one of the first mass-market brands of baked goods to include preservatives which kept it “fresh for weeks.”

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

Marcus King

(1891-1977)

340. New Zealand. ca. 1930.

25 x 36 1⁄2 in./63.5 x 92.7 cm W.A.G. Skinner Cond A. Marcus King created dozens of silkscreened images in promotion of his native New Zealand. Here, two travelers take in the awe-inspiring action of an exploding geyser.

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

Richard Klein

(1890-1967)

341. Festball des Deutschen Jagdmuseums. 1939.

47 1⁄4 x 67 1⁄2 in./120 x 971.3 cm H. Sonntag, München Cond A. Ref: PAI-LXV, 354 For a ball at the German Hunting Museum, Klein calls on Artemis, the goddess of the hunt and wilderness. Her perfectly idealized form is contrasted with the silhouette of a stag behind her in this two-sheet design.

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

341

A-Z | KLINGER - LAURO

342

343

344

KLINGER - LAURO | A-Z

Julius Klinger

(1876-1942)

342. Karikaturisten-Ball. 1912.

40 1⁄4 x 30 1⁄2 in./102.2 x 77.6 cm Hollerbaum & Schmidt, Berlin Cond B+/Staining in background; slight tears at edges.

Ref: DFP-III, 1749; Klinger, p. 55; Schindler, p. 122; PAI-XIII 273 The notion that caricatures can sting is made delightfully graphic in this superior design by Klinger for a caricaturists’ ball in pre-World War I Berlin. The poster also “incorporate[s] one of Klinger’s favorite visual tricks, in that [it forces] the viewer to focus on the poster more concretely because the focal point is slightly off-center...

The bald, red-nosed subject of the ball at the Admirals Palace seems unaware of the caterpillar crawling up the side of his head. Against the backdrop of a city literally vibrating with energy and plastered with posters, [Klinger’s] works couldn’t fail to stand out” (Klinger, p. 55). Rare!

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

Guillermo Laborde

345

Maurice Lauro

(1886-1940)

343. 1er Campeonato Mundial Football / Uruguay. 1930.

344. Campeonato Mundial Football / Argentina vs.

Uruguay. 1930.

17 1⁄2 x 35 5⁄8 in./44.4 x 90.5 cm Olivera Fernandez, Montevideo Cond A. Ref: Crouse/Deco, p. 114; Sportissimo, p. 94; Graphic Design/Taschen, p. 256; PAI-LXXXV, 327

15 1⁄2 x 35 1⁄4 in./39.5 x 89.5 cm Olivera Fernandez, Montevideo Cond A. Ref (all var): Crouse/Deco, p. 114; Sportissimo, p. 94; Graphic Design/Taschen, p. 256; PAI-LXXX, 382

This is the official poster for the first ever FIFA World Cup, held in Montevideo, Uruguay in 1930. FIFA selected the location in celebration of Uruguay’s centenary of its first constitution and their national football team’s continued winning streak at the 1928 Summer Olympics.

Clearly, it was a spectacular year for the country—they went on to defeat Argentina 4-2 in the finals, making Uruguay both the first ever host and first ever winner of the World Cup. And Laborde created a fantastic Art Deco design for the event: using simple and elegant lines, he depicts a goalkeeper making a save above his playful and experimental text. This poster also features a stamp from the executive committee of the first World Cup.

Using his design for the official poster for the first ever FIFA World Cup in Uruguay, Laborde also created posters like these to advertise individual matches—in this case, the final game between Argentina and Uruguay, which secured the host country as the first ever World Cup winners. Rare!

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

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

(1878-?)

345. Trouville. 1927.

28 1⁄2 x 40 1⁄4 in./72.3 x 102.3 cm Imp. Devambez, Paris Cond A. Framed.

Ref: Trouville/Deauville, p. 63; Hillier, p. 248 (var); Affiche Art Deco, p. 103; PAI-LXXX, 383 One of the finest travel posters ever created—Lauro’s Art Deco masterpiece perfects a vision of Trouville’s boardwalk as the place to see and be seen in the 1920s.

With the famed Casino in the background, every detail here is perfect: from the beauty mark on the foremost flapper’s cheek, to the exaggerated hat-doffing of the gentleman, to the whiplash of two college lads, one éminence grise, and a German Shepherd—even to the au courant stylings of the women’s footwear. All things contribute to the chic, dynamic, head-turning ambiance of France’s first resort town, a favorite of Monet, Flaubert, Proust, and Duras—now thoroughly fashioned as a place for the Great Gatsby to make an appearance. The artist, Lauro, is also known for his Le Rire caricatures and film posters.

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

A-Z | LESTY - LIVEMONT

346

347

348

de Lesty

Herbert Leupin

346. Jouventine de Junon.

347. Herbert Leupin Plakat. 1963.

348. Patin Caoutchouc-Fer.

50 3⁄4 x 39 in./129 x 99 cm Imp. de la Jouventine Cond A-/Unobtrusive fold.

35 1⁄2 x 50 1⁄ 8 in./90 x 127.2 cm Hug & Söhne, Zürich Cond A/P. Ref: Leupin, p. 182

37 x 51 1⁄8 in./93.8 x 130 cm Imp. Émile Lévy, Paris Cond B+/Slight stains at folds.

“No more gray hair” is the promise of this hair product, which apparently also helps us age backwards, as evidenced by the bill carrier seen here. As reported by one German journal in 1907, Jouventine de Junon “consists of a fragrant aqueous solution of acetate of lead and hyposulphite of sodium, alcohol, or ether in it...

The product is not presented as a beauty product but as a medicinal product... apart from hair dyeing, [it can be used] as a remedy against hair loss, etc.” Well, we’re just glad that less hazardous solutions are available today.

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

(1916-1999)

To advertise his Zurich printer, Leupin adopts a childlike approach to illustration with a charming little clown offering up a bouquet of colorful flowers.

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

Émile Lévy

Like a scene frozen in amber, Lévy transports us back to turn-of-the-century Paris, when pinstripe pants, walking canes, top hats, and monocles were all the craze. Our fellow on the right runs into a friend on the street and just has to tell him, “I have been around the world three times and the Patin Caoutchouc-Fer [shoe] makes me happy!” Another slice-of-the-era interest is the kiosk in the background with further brand promotions.

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

PRIVAT LIVEMONT

349

Privat Livemont

(1861-1936)

349. Absinthe Robette. 1896.

32 1⁄2 x 43 3⁄4 in./82.5 x 111.2 cm Goffert, Bruxelles Cond A. Ref: DFP-II, 1062; Maitres, 104; Belle Epoque 1970, 75; Timeless Images, 38; Wine Spectator, 80; Absinthe, p. 134; Masters 1900, p. 88; Weill/Art Nouveau, p. 164; Absinthe Affiches, cover & 105; Livemont, p. 93; Belle Èpoque/Belgique, 246; Schoonbroodt, 6; PAI-LXXXVI, 275 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: $20,000-$25,000.

A-Z | LIVEMONT - LORANT-HEILBRONN

Privat Livemont, Master of Belgian Art Nouveau The first retrospective of his work in the Netherlands since 1904.

On view at the Steendruk Museum, Valkenswaard through July 31, 2022.

350

351 352

LIVEMONT - LORANT-HEILBRONN | A-Z

Livemont

(Continued)

350. Cercle Artistique de Schaerbeek. 1897.

31 1⁄2 x 42 1⁄2 in./80 x 108 cm Trommer & Staeves, Bruxelles Cond B/Slight tears and stains, largely at edges.

Ref: Belle Epoque 1980, 81 (var); Maitres, 212; PAI-VIII, 417 One of Livemont’s idealized beauties appears to be holding a statuette of a girl much like herself. The poster advertises the fifth annual exhibition of the Art Circle of Schaerbeek. Gold ink adds an extra layer of luster to the design. Rare!

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

351. Cacao Van Houten. 1897.

24 1⁄2 x 60 3⁄4 in./62.3 x 154.4 cm L. Van Leer, Amsterdam Cond A. Ref: Gold, 54; DFP-II, 1065; Belle Epoque 1970, 97; Belle Epoque 1980, 93; Takashimaya, 46; PAI-LXXVI, 328 In one of Livemont’s most gorgeous designs, the Art Nouveau goddess-nextdoor is about to indulge in her first sip of Van Houten hot chocolate. Perhaps the most evocative element in this image is not the beautiful woman dripping with flowers, but the sinuous wafts of steam gliding toward the sky. This is the larger format version of the poster.

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

352. Tropon Chocolade-Cacao. 1900.

14 x 23 7⁄8 in./35.5 x 60.7 cm O. de Rycker & Mendel, Bruxelles Cond A-/Slight tears at paper edges. Framed.

Ref (all var but PAI): Livemont, 118; Belle Epoque/Belgique, 230; Schoonbroodt, 34; PAI-LXXXIII 366 Little is known about this image outside of a brief reference in the December 1900 issue of The Poster, wherein it was shown without text, and yet identified as an advertisement for Tropon Chocolade. Described as a “window-bill,” one can assume this was an in-store display and not ever a street poster, tantalizing young mothers to purchase Tropon hot chocolate for their children. From a scientific perspective, Tropon Chocolade is actually an old way of making hot cocoa by blending it with a water-soluble protein derived from fish and animal flesh. This poster is hand-signed and numbered (#9).

353

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

353. Automobile Club de France. 1903.

39 7⁄8 x 51 in./101.5 x 127 cm Imp. J. Barreau, Paris Cond B/Tears at folds and edges.

Ref: Auto Show II, 8; Auto Show III, 38; Collectionneur, p. 226; Gold, 77; Schoonbroodt, 41; Automobile/Lopez, p. 144; PAI-LXXXVI, 280 In 1902 and 1903, Livemont created several posters for the Automobile Club of France and its exhibitions using elegantly adorned Art Nouveau women as embodiments of the organization as a whole. “Here, the figure is seated on a throne in front of the Grand Palais exhibition hall, drenched in roses and hints of an international throng come to admire progress” (Gold, p. 56). She has a flywheel for a halo—a witty nod to Mucha’s goddesses—and her foot rests upon an engine block. Cyclists adorn her throne in a gesture to the history of transport manufacture.

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

Vincent Lorant-Heilbronn

(1874-1912)

354. Affiches Gaillard.

42 3⁄4 x 59 3⁄4 in./108.5 x 152 cm H. Gaillard, Amiens Cond B+/Slight tears at folds.

Ref: PAI-XXI, 266 To demonstrate its design abilities, Affiches Gaillard produced this tour-de-force poster that treats the printing and bill-posting company as if it were a tourist destination. No convention of Belle Époque travel advertising is omitted: we have a welcoming female nude; vignettes of facilities in Paris, Amiens, and Asnières; verdigris flowers and foliage; and a metal structure reminiscent of the era’s great attraction, the Eiffel Tower. Little is known of this artist who produced numerous posters for theatres, commercial products, and silent films.

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

354

A-Z | LOTTI - LUNS

355 356

Lotti 355. Le Dauré. 1924.

38 5⁄8 x 55 in./98 x 139.7 cm Imp. P. Vercasson, Paris Cond A-/Slight tears at folds.

Ref: Publicité, p. 96; PAI-LXXXII, 330 This fanciful design for a French wine producer shows a red-faced waiter walking across a sea of tables, filling each glass with an endless stream of Le Dauré’s latest vintage. This poster has incredibly fresh colors!

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

Charles Loupot

(1892-1962)

356. Stop-Fire. 1925.

50 1⁄ 8 x 77 7⁄8 in./127.2 x 197.8 cm Les Belles Affiches, Paris Cond A. Ref: Loupot/Zagrodzki, 60; Loupot, 29; Automobile/Lopez, 181; PAI-LXXII, 274 One of Loupot’s classics in high Art Deco mode, Stop-Fire makes a big deal out of a little extinguisher meant to smother car fires. Loupot uses a huge illustration of a candlesnuffer to swallow up the flames enveloping a car, which is now reduced in size to a toy.

“We see a transitional vision, one in between illustration, symbolism, and the praise of the object” (Loupot/Zagrodzki, p. 67).

Est: $7,000-$8,000.

357. Nicolas : Display. ca. 1930.

23 1⁄ 8 in./58.7 cm Wood in-store display.

Ref: PAI-LXXXI, 348 (var)

357

Even broken down into this simplified form, the Nicolas wine delivery man, Nectar, is clearly recognizable. Loupot often created three-dimensional counterparts to his twodimensional lithographs, and made at least one other sculpture for Nicolas. This wood display in blue is a charming example of his multifaceted work.

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

LOTTI - LUNS | A-Z

358

360

Jean-Luc 358. Nice. 1948.

24 1⁄4 x 39 1⁄8 in./61.7 x 99.3 cm Action Publicitaire, Monte-Carlo Cond B/Restored tears at edges.

A bright hot sun, perfectly clear waters, a sun hat, a lounge chair, and a bouquet of fresh flowers: absolute bliss! Jean-Luc doesn’t need to tell us anything else about the destination—we’re ready to book a flight to Nice.

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

E. Charle Lucas 359. Folies-Bergère / La Loïe Fuller. ca. 1894.

38 5⁄8 x 59 in./98 x 150 cm Lith. F. Appel, Paris Cond A-/Unobtrusive fold.

Ref: PAI-LXXXII, 344 In one of the rarest designs promoting Loïe Fuller, Lucas

359 captures the dancer at the moment of anticipation, with her diaphanous fabrics curled against her like oversized robes. In the next instant, she would be leaping and twirling, the sheer gowns revealing her curves, with dozens of colored lights creating a psychedelic vision of modernity long before psychedelic drugs became popular.

She was considered the perfect blend of human and machine, so much so that many art historians mark the beginning of the Modern period with her first performance.

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

Hubert M. Luns

(1881-1942)

360. Amsterdam 1275-1925. 1925.

21 1⁄4 x 35 3⁄4 in./54 x 90.8 cm Senefelder, Amsterdam Cond A. Ref: Dutch Poster, 161; PAI-XXVIII, 393 Legend has it that Amsterdam was founded by two Frisian fishermen who landed on the shores of the

Amstel River in a small boat with their dog. The boat and the dog would become part of the city’s seal in the 15th century. But regardless of the veracity of this tale, the first documented mention of Amsterdam dates from 1275, when Count Floris V of Holland granted toll privileges to the herring fishing village. This golden Luns creation comes to us in all its vaunted Byzantine splendor to commemorate the 650th anniversary of the city and a celebratory joint exhibition being held at the Rijksmuseum—the national museum—and the Stedelijk Museum, the Dutch museum of Modern art. Lighting the way for the public is none other than Dutch master Rembrandt, followed closely by his son, Titus. The bizarre portal through which they are about to lead us would appear to be the handiwork of famous 17th century silversmith, Adam van Vianen.

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

A-Z | MAIER - MATANIA

361

362

363

364

MAIER - MATANIA | A-Z

365

Johann Baptist Maier

(1881-1957)

Gaston Maréchaux

(1872-Ca. 1936)

Fortunino Matania

(1881-1963)

361. Reichhold & Lang. ca. 1913.

363. Champagne : Maquette.

365. Southport.

17 7⁄8 x 18 in./45.4 x 45.8 cm Reichhold & Lang, München Cond A. Ref: PAI-XIII, 299

18 x 23 3⁄4 in./46 x 60.4 cm Signed gouache maquette. Framed.

49 7⁄8 x 40 in./126.5 x 101.3 cm Waterlow & Sons, London Cond B+/Slight tears at folds.

Ref: Voyage, p. 89; PAI-XLIX, 363

The self-promotion for the printing firm Reichhold & Lang shows a harried caricature rushing past, papers flying, while two laser-focused customers study the samples. As a youth, Maier was apprenticed to a baker but somehow managed to switch to lithography; he soon joined the guilds Neue Vereinigung Münchner Plakatkünstler and the Deutsche Werkbund. After 1920, he adopted the signature “Hans Ibe” for all his poster work.

This charming little cherubim has a very important delivery: a bottle of champagne! The recipient, dressed in a golden frock resembling Snow White, seems completely enamored. We don’t know what Maréchaux intended for this preparatory work, but it bubbles over with intoxicating effervescence.

F. Marten

Some of the most spectacular British Railway posters are those created by Matania for the LMS Railway.

Born in Naples in 1881, he moved to London around the outbreak of World War I. He illustrated books and magazines in addition to his poster work for the railroad.

Here, Matania gives us an artfully rendered night scene with elegant theatregoers adding quite a bit more than a touch of class to the sidewalk. Astounding!

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

364. Ostdeutsche Reklameschau. 1930.

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

362. Reichhold & Lang.

32 3⁄4 x 46 7⁄8 in./83 x 119 cm Allgemeine Zeitung, Königsberg Cond A.

41 x 56 3⁄4 in./104.2 x 144.2 cm Reichhold & Lang, München Cond B/Slight tears at folds.

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

In another design for this Munich printer, Maier takes a more youthful tack, with a princely young painter riding confidently atop his galloping steed.

The first East German advertising show in Königsberg featured a special poster exhibition from the annual publication Das Internationale Plakat. Marten depicts an embellished kiosk taking off to the skies. This is a two-sheet poster.

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

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

A-Z | MATEJKO - MAUZAN

366

368

367

369

MATEJKO - MAUZAN | A-Z

370

Theo Matejko

368. Exposicion L.A. Mauzan. 1927.

(1893-1946)

29 1⁄4 x 43 1⁄8 in./74.2 x 109.5 cm Cond A-/Slight tears at bottom edges.

Ref: Mauzan/Paris, 13; Mauzan, p. 26

366. Matejko / Plakate. 1919.

49 x 37 in./124.3 x 94 cm WEAG, Vienna Cond B/Slight tears at folds.

“The war is over! The competition begins!” Matejko is clearly ready to get back to work post-World War I, and he created this self-endorsing promotion looking for poster work to design. The text at bottom lets potential employers know that they can expect “A minimum of expenses! A maximum of success!”

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

Luciano Achille Mauzan

(1883-1952)

367. Affiches Mauzan / Milano. 1926.

52 1⁄2 x 75 in./133.5 x 190.4 cm Cond B-/Slight tears at edges and seam.

Ref: Mauzan A002; Mauzan/Paris, p. 57; (var) Mauzan Cartellonista, p. 86 (var); Chaumont Exposons, p. 46; PAI-XXIV, 399 In this image which promotes the artist’s own exhibition, Mauzan makes it clear that an effective advertising poster has to shout at you. As he put it himself: “Our posters will scream the brand name; having entered one ear, it won’t be able to go out the other.” That he felt so strongly about this is confirmed by the fact that he not only used it as one of his last posters before leaving Italy, but reemployed the image for his first exhibition in Buenos Aires (see PAILXXXV, 342). This is a two-sheet poster.

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

“Part of the Museum of Fine Arts, ‘El Retiro’ was put at the artist’s disposal, and he organized a general exhibition of his work there in the spring of 1927. Thus he was soon known in both the commercial and artistic spheres. Next the municipality asked Mauzan to organize bill-posting throughout the city, something that had been utterly neglected up to that moment... But it was through his exhibition that he really entered into the cultural life of the country. The poster was no longer considered a second class art form. That was news to Argentinean artists, critics, and intellectuals. The association ‘La Peña’ dedicated en evening to Mauzan, in the course of which one of its most prestigious members, Conrad Eggers Lecour, talked on ‘El affiche moderno.’ In fact, the artist’s commercial launch in Argentina was stunning” (Mauzan, p. 26-27).

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

369. Bay Biscuit. ca. 1937.

41 3⁄4 x 61 1⁄4 in./106.2 x 155.7 cm Affiches Mauzan, Buenos Aires Cond A. Ref: Mauzan, A310 (var); PAI-XXXV, 377 One of the most supremely satisfying aspects of Mauzan’s incredible talent is his ability to keep us surprised. Here, he advertises a rather pedestrian product: a cookie. And while he could have taken any sort of wacky approach, as is more typical of Mauzan,

he decided that all he needed was a nice cold glass of milk and a beautiful snacker to enjoy the time-honored nibble. And it’s precisely that ability to catch us off guard—be it with incongruous association or utter normality—that keeps us coming back for more. This design appeared in at least one other variant, with all the mustard tones seen here being replaced with a deep red. Rare!

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

370. Dos Intrusos / Examen Médico. 1928.

39 1⁄2 x 59 1⁄2 in./100.3 x 159 cm Affiches Mauzan, Buenos Aires (not shown) Cond A. Framed.

Ref: Mauzan, 356; Mauzan/Paris, 21; PAI-XXXIII, 78 Rarely has a public service announcement been handled with such spectacular aplomb as this graphic Mauzan warning courtesy of the Argentine League of Prophylactic Professionals. Given the designer’s penchant for extremism, his understated insinuation of the two impeccably dressed representatives of ghoulishly fast living becoming an apparently unaware nuptial procession is a stroke of restrained genius. The message is perfectly clear even without the text: submit to a pre-marriage medical examination in order to avoid the mortifying surprise of unwanted sexually transmitted diseases into marital bliss. It’s grim chic at its finest.

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

A-Z | MCMANUS - MOOS

371

373

372

Blanche McManus

(1869-1935)

(1863-1932)

372. Eugénie Buffet / A La Cigale : Maquette. 1894.

15 3⁄8 x 20 1⁄ 2 in./39 x 52.2 cm Cond A-/Unobtrusive folds.

Ref: DFP-I, 303; Margolin, p. 159; Keay, p. 75

14 3⁄8 x 29 1⁄4 in./36.6 x 74.3 cm Signed watercolor and gouache maquette. Framed.

Ref (all var): DFP-II, 575; Reims, 845; Maindron, 144; Hiatt, p. 131; Gold, 172; PAI-LXXXVI, 346

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.” Here, she advertises the newest work by female author H. A. Guerber (Hélène Adeline Guerber), whose books largely focused on lively retellings of myths, legends, folklore, and history.

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

374

Lucien Métivet

371. Legends of the Rhine. 1895.

Provenance: Collection of Herbert Schimmel Exhibited: Circle of Lautrec, Zimmerli Museum, Rutgers University, 1986 This is the preparatory work for what Buffet would later use “as an announcement of her appearance at the Cigale... Buffet was quite popular in the intimate cabaret, preferring to forsake glamour and elaborate stage effects in favor of singing about common people and ordinary subjects in a down-to-earth ‘realistic’ style” (Gold, p. 120). It was an instant success: Charles Hiatt calls this design “extremely distinguished” (p. 133) and Maindron, full of praises for it, concludes that “it borders on perfection” (p. 91).

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

MCMANUS - MOOS | A-Z

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375

Georges Meunier

(1869-1942)

376

Carl Moos

377

(1878-1959)

373. Trianon Spectacle. 1897.

375. C. Wagner / Sportartikel. ca. 1909.

377. Gränicher & Co.

34 3⁄8 x 48 3⁄4 in./87.2 x 123.7 cm Imp. Chaix, Paris Cond A-/Unobtrusive folds.

Ref (all var but PAI): Spectacle, 1342; Chaumont/Musique, p. 10; Meunier, 24; PAI-LXIX, 520

36 1⁄8 x 49 1⁄4 in./91.7 x 125 cm Vereinigte Druckereien und Kunstanstalten, München Cond B/Restored tears, largely at edges.

Ref: Affiches Sports d’Hiver p. 27; Weill/Art Nouveau, p. 243; PAI-LXXVII, 64

35 1⁄4 x 50 5⁄8 in./89.6 x 128.7 cm E. Goetz, Luzern Cond A. Ref: PAI-XXVIII, 415

In 1894, the immensely popular Élysée-Montmartre café-concert decided to expand its operations to include a new venue constructed in its gardens which it called the Trianon-Concert. Before long, the new hall became so popular that it took over its founding cabaret altogether.

This poster was used to announce a variety of revues and balls during that inaugural season.

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

374. Fêtes Pour Soldats de Madagascar. 1895.

33 3⁄4 x 47 7⁄8 in./85.6 x 121.6 cm Imp. Chaix, Paris Cond B+/Slight tears at folds.

Ref: Meunier, 17; DFP-II, 583; Reims, 861; PAI-LXIX, 522 Chéret’s influence can certainly be seen in this exuberant image announcing a series of benefits sponsored by the Parisian press on behalf of the troops occupying the French colony of Madagascar.

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

It’s a little more stripped-down than a one-horse open sleigh, but it looks like great fun indeed, and the expression on the lady’s face appears to confirm it. Carl Moos later won a silver medal in the art competitions of the 1928 Olympic Games for his poster work.

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

For a men’s and boys’ clothier in Lucerne, Moos gives us a father and son in equally debonair outfits. Carl Moos was the son of the Swiss painter Franz Moos, and was raised and trained in Munich. He had a successful span of several years of poster design there, but when World War I broke out, he understandably preferred to move to his father’s home of Switzerland, which offered neutrality and peace.

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

376. Gebr. Fretz. 1912.

35 3⁄4 x 48 1⁄4 in./91 x 122.6 cm Gebr. Fretz, Zürich Cond B+/Slight tears in bottom text.

Ref: PAI-XLV, 74 The Fretz Brothers name should be a familiar one to collectors, as it’s the firm responsible for printing a number of quality Swiss posters that have come through our auctions. The full array of their services are spelled out below, but you may not take immediate notice of them since Moos’ noble, allegorical artwork should garner the lion’s share of your attention.

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

ALPHONSE MUCHA

378

MUCHA | A-Z

Alphonse Mucha

(1860-1939)

378. Fox-Land Jamaica Rum. 1897.

11 3⁄4 x 17 3⁄ 8 in./30 x 44 cm Imp. F. Champenois, Paris Cond A. Framed.

Ref: Rennert/Weill, 28; Phillips VII, 118 “The advertised product was made by Kingstown Rum and distributed

by Goodridge & Wood of Kingston, in business since 1831. This is one of Mucha’s rarest posters; only one [other] copy is known to have survived. It has many of the characteristic Mucha elements—the flowing lines of the dress, the circular aureole, and rich decoration; only the girl’s hair is unusually tame” (Rennert/Weill, p. 130). This is one of only two known copies.

Est: $80,000-$100,000.

379. La Dame aux Camelias. 1896.

30 1⁄8 x 82 1⁄2 in./76.6 x 208.3 cm Imp. F. Champenois, Paris Cond A. Ref: Rennert/Weill, 13, Var. 1; Lendl/Prague, p. 45; Mucha/Art Nouveau, 8; DFP-II, 267; Maitres, 144; Weill, p. 40; Reims, 898; PAI-LXXXV, 365 “Alexander Dumas Jr.’s drama... had been very popular since its premier in 1852. Sarah Bernhardt considered it to be the key drama in her repertoire. This is perhaps Mucha’s most beautiful poster. The story of the tragic love of the great courtesan is portrayed in the poster with shocking impact. The figure of the heroine in a white robe leans against a balustrade with a background of silver stars. Her rich swept-back hair is adorned with her favorite flower, the camellia.

This heraldic flower is repeated at the bottom of the poster, held by a mysterious hand... The tragedy is also symbolized by the hearts twined by thorny branches in the corners above the figure’s head...

Mucha’s ability to characterize the substance of the play for which he created this poster, as well as his ability to express the most beautiful features of Sarah’s personality, was brought to perfection in this poster” (Mucha/Art Nouveau, p. 146). This is a two-sheet poster.

Est: $30,000-$35,000.

379

A-Z | MUCHA

380

Mucha

381

(Continued)

380. Champagne Ruinart. 1896.

381. Lorenzaccio / Sarah Bernhardt. 1910.

23 1⁄2 x 68 1⁄2 in./59.7 x 174 cm Imp. F. Champenois, Paris Cond B+/Slight tears at edges.

Ref: Rennert/Weill, 16; Lendl/Prague, p. 89; DFP-II, 630; Timeless Images, 34; Wine Spectator, 67; PAI-LXIX, 556

34 1⁄2 x 75 7⁄8 in./87.6 x 192.7 cm Carey, New York Cond B-/Slight tears at folds.

Ref: Rennert/Weill, 20, Var. 3

In 1729, Nicolas Ruinart decided to start a champagne company, much like that of his uncle’s dear friend Dom Pérignon. It remained a family business out of Reims until it was taken over by the Baron Philippe de Rothschild in 1950, and then again by Moët & Chandon in 1963. It remains one of the largest champagne houses in Europe. In this brilliant design

by Mucha, “the lady’s face appears to be in perfect repose, and the hand holding the glass seems steady; but her hair betrays her, scampering off in wild abandon and thus conveying the notion of the effervescent effect of the champagne. Here, the hair actually has the function of subtly conveying a quality of the product, a rather novel use of a physical attribute in advertising in its day” (Rennert/Weill, p. 86). This is a two-sheet poster.

This is the never-before-seen image announcing Sarah Bernhardt’s 1910-1911 American tour. She often reused previous designs by Mucha when announcing these overseas excursions. “As was the case with all these versions, it mentioned no name of the play, nor did it mean that the plays for which the design was originally used were presented on this tour. By this time, Sarah’s appearances were more of a personality event than a regular staging of plays: more often than not, she now gave a show consisting of a number of her favorite scenes from various plays in her repertory, and on some of these so-called farewell tours, such as the one in 1913, she actually appeared on the vaudeville circuit, where she might give just a single scene in a succession of variety acts” (Rennert/Weill, p. 108). This is a two-sheet poster and rare!

Est: $14,000-$17,000.

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

MUCHA | A-Z

382

383

382. La Samaritaine. 1897.

383. Leslie Carter. 1908.

23 3⁄4 x 69 7⁄ 8 in./60 x 177.6 cm Imp. F. Champenois, Paris Cond B/Slight tears; recreated bottom text area.

Ref: Bernhardt/Drama, p. 3; Rennert/Weill, 24; Lendl/Prague, p. 51; Mucha/Art Nouveau, 10; Wine Spectator, 72; PAI-LXXX, 417

29 1⁄2 x 80 1⁄8 in./75 x 203.5 cm Strobridge Litho., Cincinnati Cond B+/Slight tears, largely at edges. Framed.

Ref: Rennert/Weill, 94; Lendl/Prague, p. 266; Mucha/Art Nouveau, 33; PAI-LXXXV, 366

This “was a play with a Biblical theme [in which Bernhardt] played Photina, a girl from the Samaria district of Ancient Palestine, who becomes a supporter of Jesus and leads her whole tribe in converting to Christianity” (Rennert/Weill, p. 118). “Bernhardt’s mother was Jewish.

For the actress, this was both a blessing and a curse. In Biblical roles such as Photine... she turned her Semitic exoticism into an alluring attribute. In the poster by Alphonse Mucha for the play, the Hebrew inscription ‘JAHWEH’ appears behind Bernhardt’s head, while ‘SHADDAI,’ another Hebrew word for God, accompanies the inset picture. Playing to the public’s appetite for beautiful Jewish women redeemed by their conversion to Christianity, Bernhardt in the role of the Samaritan woman adheres to a faith resembling pre-rabbinical Judaism. Almost Jewish, but not quite, Photine is a sort of surrogate for Bernhardt and her equivocal religious identity” (Bernhardt/Drama, p. 2). This is a two-sheet poster.

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

The great, ghostly Leslie Carter is here adorned with some of the most exquisitely detailed jewelry ever designed by Mucha for lithographic immortality. But who was this otherwise unknown goddess? Mrs. Leslie Carter was a “captivating woman who desired to become a great actress... She gained a fortune after a marriage to—and later divorce from—a billionaire, Leslie Carter, whose name she retained” (Lendl/Prague, p. 266). She conceived a vanity project, a play named Kassa, about “a Hungarian virgin ready to enter a convent, [but then] was seduced by Prince Béla, who a year later left her with a child.

Kassa became insane and entered a convent, thinking that only a single day had passed” (Mucha/Art Nouveau, p. 174). Mucha contributed over 250 designs for the project, including stage, costume, and scenery design, but the play was a failure and Carter went bankrupt. Neither Mucha nor Long, the author, received an honorarium.

Est: $9,000-$11,000.

A-Z | MUCHA

MUCHA | A-Z

384

Mucha

(Continued)

384. Precious Stones. 1902.

Each: 18 ⁄8 x 41 ⁄4 in./46.3 x 104.9 cm Imp. F. Champenois, Paris Cond A. Framed.

Ref: Rennert/Weill, 73, Var. 1; Lendl/Paris, 76 (var); Wine Spectator, 75 (var); PAI-LXXX, 436 1

1

This is one of Mucha’s best sets, and one of the rarest, with only three or four known to have survived among collectors. Each gem is represented by a lovely lady, and its characteristic color, in all its hues, is worked

into the entire pattern, including the girl’s dress and the flowers at her feet. Perhaps the most unusual exotic flavor is given to the green-eyed Emerald vixen who is wearing a green snake ornament in her hair. Note that she is also leaning on an arm rest in the shape of a ferocious beast with open jaws. The lady of the Amethyst appears to have been originally bare from the waist up, because there is a letter in Mucha’s correspondence from Champenois about the subject—the printer is asking him to cover up the lady’s breast, otherwise there might be objections on moral grounds. “This set, done

appropriately enough in the period when Mucha was associated with the goldsmith Fouquet and ventured into designing jewelry, is in Mucha’s mature style. There is still a circular motif in the background, but otherwise the design is virtually bare of adornments and ornamental borders. The name of each precious stone appears in plain print in the lower margin” (Rennert/Weill, p. 264).

This is the impressive larger format.

Est: $170,000-$200,000. (4)

A-Z | MUCHA

385

386

Mucha

(Continued)

385. Salon des Cent / XXme Exposition. 1896.

16 1⁄8 x 24 1⁄2 in./41 x 62.2 cm Imp. F. Champenois, Paris Cond A. Framed.

Ref: Rennert/Weill, 12; Lendl/Prague, p. 133 (var); DFP-II, 634; Modern Poster, 9; Wine Spectator, 74; Salon des Cent/Neumann, cover & 19 (var); Mucha/Art Nouveau, 18; Gold, 192; Reims, 901; Posters of Paris, 69; PAI-LXXXVI, 309 In 1896, Mucha was flush with success after his work for Sarah Bernhardt.

But he was about to be exhibited alongside the stars of French fin-de-siècle lithography—Toulouse-Lautrec, Bonnard, Steinlen, Grasset—in the Salon des Cent (the Salon of the One Hundred), a new series of exhibitions hosted by the literary magazine La Plume, which championed the art of lithography. “Mucha’s ambition was to become a member of this group,” wrote Victor Arwas. The artist succeeded by attracting the attention of the gallery’s owner, Deschamps. “Deschamps visited Mucha in his studio while he was designing the poster. Fascinated by what he saw, he persuaded Mucha to print it… Mucha agreed, and the publisher’s feeling, that this lightly outlined, impressive poster would make Mucha famous, proved to be correct” (Mucha/Art Nouveau, p. 156).

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

386. Job. 1896.

16 1⁄2 x 21 3⁄8 in./42 x 54.2 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; PAI-LXXXVI, 324 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.

387

Est: $20,000-$25,000.

MUCHA | A-Z

388 387. Monaco-Monte-Carlo. 1897.

388. Fruit and Flower. 1897.

29 x 42 1⁄4 in./73.6 x 107.3 cm Imp. F. Champenois, Paris Cond A-/Slight creasing at edges. Framed.

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-LXXXVI, 302

Each: 19 1⁄8 x 28 3⁄4 in./48.3 x 73 cm Imp. F. Champenois, Paris Cond A. Framed.

Ref: Rennert/Weill, 44; Lendl/Prague, p. 199; PAI-LXV, 413

“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: $14,000-$17,000.

“These two rather somber faced ladies are presented to us in a simple, straightforward design with a minimum of embellishments, which in this early period is a departure from Mucha’s usual style. There is, however, a great delicacy and tenderness in the way he pays tribute to nature’s bounty—the flowers at their fullest bloom, the fruit at its ripest, the maidens themselves representing the finest flowering of womanhood” (Rennert/Weill, p. 179).

Est: $30,000-$35,000. (2)

A-Z | MUCHA

389

390

Mucha

(Continued)

389. Le Pater. 1899.

12 x 16 in./30.5 x 40.5 cm Some wear on cover edges. Plates are complete and excellent.

Ref: Mucha/Art Nouveau, 72; Le Pater; PAI-LXXXVI, 336 Consisting of a series of seven drawings, Le Pater is considered to be Mucha’s printed masterpiece, an intense visual study of the Lord’s Prayer. The seven verses of the prayer are represented here through Byzantine symbolism, and are executed and decorated in the very best Art Nouveau style. “In the context of Mucha’s oeuvre, this artistic and literary work combines in a fortuitously unique way his philosophy, imagination, talent, and skill; reflects his past achievements in decorative design, and is also a precursor of his future artistic developments...

The ornamental pages of Le Pater allowed Mucha to represent the symbolism of the Lord’s Prayer in the extravagantly decorative style that made him famous...

Without exception, the French critics perceived Le Pater as a work of art in its own right, noteworthy for its imagery and vision... In the increasingly materialistic world, it is important for man’s spiritual growth to contemplate works that are inspired by well-known text, and have the ability

to enrich and invest it with additional meaning. Le Pater is one of such works; it challenges the imagination and the mind, and, as Mucha would have it, leads man towards the Light” (Le Pater, p. 10-20). This complete collection consists of the seven illuminated verses, the text and illustration pages, as well as the title and Amen page.

This is edition No. 461 of 510 copies.

Est: $25,000-$30,000.

390. Four Moët & Chandon Menus. 1899.

Each: 5 3⁄4 x 8 1⁄2 in./14.5 x 21.7 cm Imp. F. Champenois, Paris (not shown) Cond A. Framed.

Ref: Mucha/Bridges, p. 124; PAI-LXIX, 563 “In their relentless pursuit of excellence, Moët and Chandon was among the first business concerns to recognize the genius of Mucha” (Wine Spectator, 68), commissioning him to create a variety of posters for their many champagnes. Here, we are presented with four blank menu cards celebrating the brand, each with their own Art Nouveau muse and bright metallic gold ink.

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

391. The Arts. 1898.

Each: 14 3⁄4 x 23 1⁄4 in./37.5 x 59 cm Imp. F. Champenois, Paris (not shown) Cond A. Framed.

Ref: Rennert/Weill, 54; Lendl/Prague, p. 206-207; PAI-LXXIX, 398 This is a rare appearance of Mucha’s full Arts quartet: Music, with her songbirds on a branch and the winds of emotion through her skirts; Dance, a blush of toepoint passion and sweeping precision; Painting, with concentric rainbows emanating from a flower, plucked; and Poetry, crowned with laurels, meditating on the poplars upon Mount Olympus. “Practicing an art, no matter how well or badly, is a way to make your soul grow,” wrote Kurt Vonnegut.

Est: $45,000-$55,000. (4)

MUCHA | A-Z

391

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MUCHA | A-Z

392

A-Z | MUCHA

394 393

Mucha

(Continued)

392. The Stars. 1902.

Each: 12 x 31 1⁄4 in./30.5 x 79.4 cm Imp. F. Champenois, Paris (not shown) Cond A. Framed.

Ref: Rennert/Weill, 82; Lendl/Prague, p. 236-237; Mucha/Art Nouveau, 55a-d (var); PAI-LXXXIV, 387 “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: $100,000-$120,000. (4)

393. Chocolat Idéal. 1897.

22 3⁄4 x 34 in./58 x 86.3 cm Imp. F. Champenois, Paris Cond A. Ref: Rennert/Weill, 32, Var. 3; Lendl/Prague, p. 83; Chocolate Posters, p. 43; PAI-LXXII, 312 “Give us a little, mama!” Mucha rarely presents children in his work, but when he does, it’s a surprisingly dynamic composition compared to the idealized, motionless icons in much of his other art. It’s witty and ironic, then, that the effect of “Chocolat Idéal” is lovingly realistic.

395

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

MUCHA | A-Z

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396 394. Ages of Man Calendar. 1899.

396. Ivy & Laurel. 1901.

Each: 8 7⁄8 x 11 7⁄8 in./22.5 x 30 cm Imp. F. Champenois, Paris Cond A. Framed.

Ref: Rennert/Weill, 47, Var. 1; Lendl/Prague, p. 174-175 (var); PAI-LXXXI, 400

Each: 15 7⁄8 x 22 1⁄2 in./40.3 x 57 cm Imp. F. Champenois, Paris (not shown) Cond B/Slight tears and stains at folds and edges. Framed.

Ref: Rennert/Weill, 76; Lendl/Prague, 227; PAI-LXXXVI, 329

“This series of four panels depicting the Ages of Man [was] used as the basis for a calendar for 1898” (Rennert/Weill, p. 47). The images show a young boy growing into an old man, always accompanied by a doting female muse. This is the rare proof before letters.

“Reminiscent in concept to the Byzantine Heads, this is a coupling of two girls’ profiles in cameos. Since they represent leafy garden plants, they are framed in pale green decorative oblongs of rich foliage. The backgrounds behind the girls in their respective cameos feature mosaic patterns. The decorative use of foliage of this sort was characteristic of many of the designs which appeared in Mucha’s Documents Décoratifs portfolio, published at the same time” (Rennert/Weill, p. 280).

Est: $5,000-$6,000. (4)

395. Ages of Man / Biscuits Russes.

9 1⁄ 2 x 7 x 6 1⁄2 in./24 x 17.5 x 16.3 cm Metal biscuit container with usual scrapes.

Ref: Rennert/Weill, 47 (var) Mucha designed a number of biscuit containers for the Lefèvre-Utile company.

Here, he incorporates his Ages of Man imagery (see previous lot) in a design for the Russian market. Rare!

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

Est: $14,000-$17,000. (2)

A-Z | MUCHA

398

397

399

Mucha

(Continued)

397. Femme aux Coquelicots. 1898.

17 x 24 1⁄2 in./43.3 x 62.4 cm Imp. F. Champenois, Paris Cond B/Tears, largely in margins. Framed.

Ref: Rennert/Weill, 56, Var. 1; Lendl/Prague, p. 141; PAI-LXXXIII, 395 With text, this image advertised the sale of works by Mucha at the offices of La Plume magazine. Without text, it was offered under the title of “Femme aux Coquelicots” (Woman with Poppies) as a print. “It is a good example of Mucha’s quintessential ingredients: a languid girl, a long garment descending in graceful folds to the ground, a circular motif like a halo, plentiful flowers, and a carefully executed ornamental pattern... An unusual feature is that all known copies have hand coloring in a few areas” (Rennert/Weill, p. 219-220).

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

398. L’Art Photographique. 1899.

12 3⁄8 x 18 in./32 x 45.7 cm Cond A. Framed.

Ref: Mucha/Bridges R15, p. 173; PAI-LXX, 498 This is the cover of the April, 1900 issue of the monthly magazine L’Art Photographique. The journal claimed to be the first French publication of its type “exclusively devoted to the image itself.” For a full year beginning with the inaugural July, 1899 issue, the journal was issued with a lithographic wrapper featuring this design by Mucha.

400

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

MUCHA | A-Z

401 399. L’Illustration / Noël. 1896.

400. Lefèvre-Utile / Sarah Bernhardt. 1903.

401. Waverley Cycles. 1898.

11 5⁄8 x 15 1⁄2 in./29.5 x 39.5 cm Cond A. Framed.

Ref: Mucha/Bridges, R8; PAI-LXXXV, 383

20 x 27 1⁄4 in./50.8 x 69.3 cm Imp. F. Champenois, Paris Cond A-/Slight tears at edges; grommets at top. Framed.

Ref: Rennert/Weill, 86; Lendl/Prague, p. 75; PAI-LXXXVI, 332

42 1⁄8 x 32 3⁄4 in./107 x 83.2 cm Imp. F. Champenois, Paris Cond B-/Restored tears. Framed.

Ref: Rennert/Weill, 52; Lendl/Prague, p. 123; Bicycle Posters, 55; DFP-II, 642; Gold, 74; Dodge, p. 122; Masters 1900, p. 207; PAI-LXXXIII, 383

“As indicated by the title, 1896-Noel-1897, this edition of the magazine marks the turn of the year—the passing of the old year and its renewal. The pale figure of the dead (or dying) woman in the foreground seems to symbolise the passing year, while the winged figure is wrapping her body in a shroud. The silhouetted flower held by the passing woman is a thistle, which often symbolises sin and earthly suffering. However, the hope for renewal and redemption is indicated by the image of the silhouetted church building in the background (considering the occasion, probably the Church of the Nativity) as well as the band of decorative motifs on the left, consisting of three pairs of hands and snowy branches of a Christmas tree. In the Christian context, pairs of hands often allude to spiritual power or the conduits to convey spiritual energy, while Christmas trees represent vitality or life force. Whilst these motifs were inspired by the Christian tradition, the idea of ‘mechanical’ hands with cogs is totally unique. By this, probably Mucha expressed the power of a mysterious God who governs time and the harmonious working of Nature” (Mucha Trust).

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

“A sensitive portrait of Sarah Bernhardt in a wistful pose from one of her major stage successes, La Princesse Lointaine, is used here to promote Lefèvre-Utile’s biscuits, with Sarah’s own handwritten testimonial: ‘I haven’t found anything better than a little LU—oh, yes, two little LU’” (Lendl/Prague, p. 74). It’s one of the earliest examples of a celebrity endorsement, proving that Bernhardt was not only a great actress, but a sharp businesswoman as well.

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

One of Mucha’s most spare and dignified designs, this thoughtful muse presents American-made Waverley Cycles to a French audience. The laurels in her hand represent the many awards won by the brand, while the anvil signifies strength of craftsmanship. With nothing but the stalk and handlebars of the cycle on display, it’s radically different than virtually every other bicycle ad of the period. Its success depends upon the strength of its colors, the immediate impact of its symbolism, Mucha’s artistry, and, of course, the seminude woman out in front.

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

A-Z | MUCHA

402

403

Mucha

(Continued)

402. Société Populaire des Beaux-Arts. 1897.

17 1⁄4 x 23 3⁄4 in./43.7 x 60.5 cm Imp. F. Champenois, Paris Cond A. Framed.

Ref: Rennert/Weill, 23; Lendl/Prague, p. 137; DFP-II, 641; PAI-LXXIII, 385B The Société Populaire des Beaux-Arts was a fancy name for a wondrous creation: in 1894, a lawyer named Edmond Benoit-Levy wanted to give art to the people, and created a society for magiclantern shows: essentially large-scale slide projections as a dazzling proto-motion-picture spectacle. In Mucha’s hands, the great goddess of art instruction sits before a rapt student. Mucha uses an abundant amount of gold ink in the hair, and in the inner frame.

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

403. Flirt. 1900.

11 1⁄ 8 x 24 5⁄ 8 in./28.2 x 62.5 cm Imp. F. Champenois, Paris Cond A. Framed.

Ref: Rennert/Weill, 72, Var. 1; Lendl/Prague, p. 73; Art du Biscuit, p. 9; Gold, 63; PAI-LXXXVI, 308

404

“Flirt” was a brand of biscuit sold by Lefèvre-Utile, but that becomes almost irrelevant to admirers of this classic depiction of love blossoming. Indeed, it’s almost impossible to avoid falling in love with the Victorian elegance on display, with romantic effusiveness held at bay—with difficulty!—for the moment. You can just barely see the baker’s L-U logo patterned on the damsel’s dress, and doesn’t that just take the biscuit? This is the variant reprinted after the 1900 World’s Fair, announcing their Grand Prix win.

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

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405

406

404. Zdenka Cerný. 1913.

405. Princezna Hyacinta. 1911.

43 x 43 in./109.2 x 109.2 cm V. Neubert, Smichov/Praha Cond A. Framed.

Ref: Rennert/Weill, 102; Lendl/Prague, p. 280; Mucha/Art Nouveau, 39; Gold, 177; PAI-LXVIII, 509

9 3⁄4 x 12 1⁄4 in./24.5 x 31 cm P. Jürgenson, Moskau Excellent condition; in original hardcover binding.

Ref: PAI-LXVII, 454

This poster was prepared for Ms. Cerný’s European tour planned for the fall of 1914. When war broke out that spring, the tour was canceled, and the poster was never used.

Cerný was the daughter of a Czech-American music teacher who befriended Mucha during the artist’s stay in Chicago.

“Mucha worked from a photograph of Zdenka with a cello, but idealized her face by investing it with a spiritual quality, her love of music. He created a unique poster-portrait by adjusting the slant of her head, softening her expression, lightening the hair, lifting the hand turning the sheet music, and elongating the body. Two circles, one with lilies symbolizing Zdenka’s youthful innocence, the other with laurels of her past triumphs, complete the design suffused with warm light” (Mucha/Art Nouveau, p. 180). This is the image-only version, without the lower text panel.

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

This is the original 134-page score to Oskar Nedbal and Ladislav Novák’s operetta Princess Hyacinth, featuring a frontispiece by Mucha. Premiering on September 1, 1911 in Prague, the fairy tale follows a blacksmith who dreams that his beautiful daughter is kidnapped by a wicked sorcerer. The frontispiece image was also used in large format as the advertising poster for the show.

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

406. Slavia. 1907.

13 3⁄8 x 23 1⁄8 in./34 x 58.8 cm Lit. Th. Böhm, Nové, Mesto nad Metuji Cond A. Framed.

Ref: Rennert/Weill, 93, Var. 1; Lendl/Prague, p. 265; PAI-LXXIX, 403 Slavia, the heritage symbol of the Slavic peoples of Eastern Europe, occupies the same function as Uncle Sam does for Americans—but we can all agree

she’s much younger, prettier, and more elegant than old Sam. “Mucha’s model for the ‘typical Slav’ is, strangely enough, an American girl. He was asked to do this poster while living in the United States, and he chose for it a variant of his portrait of Josephine Crane Bradshaw, daughter of his millionaire friend Charles R. Crane who eventually became his patron and the sponsor of the monumental Slav Epic project. Slavia holds a ring in her hand which symbolizes unity... and there are two stylized peace doves on the arm rests of the hidden throne she is sitting on; but just in case, she also has a sword in her lap, the message being that the Slav is peaceful by nature but will fight when attacked.” Here, Slavia is merely encouraging you to buy insurance from the Mutual Insurance Bank of Prague. But she has a bright future in store. “This was one of Mucha’s favorite designs, and was used again on a Czech 100-korun note issued in 1920, and finally on a stained glass window for St. Vitus Cathedral” (Rennert/Weill, p. 322).

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

A-Z | MÜLLER-YOSHIKAWA - NAVARRO

407

Shizuko Müller-Yoshikawa

(1934-2019)

408

Kazumasa Nagai

(1929- )

407. Japanische Plakate. 1979.

408. Four Posters. 1979-1991.

36 1⁄8 x 50 1⁄4 in./91.7 x 127.8 cm Ruckstuhl Siebdruck, Zürich Cond A. Ref: PAI-XIII, 376c

Each: 28 5⁄8 x 40 5⁄ 8 in./72.6 x 103 cm Toppan Printing Co., Japan Cond A/P. Ref: Japanese Poster, p. 70 & 71

Although less well-known than her husband, Josef MüllerBrockmann, Japanese-born Shizuko Yoshikawa had a prolific career in Switzerland as a painter and graphic designer. Here, she draws on the imagery of her heritage to announce an exhibition of Japanese posters at Zurich’s Museum of Design, formerly known as the Kunstgewerbemuseum.

One of Japan’s most celebrated poster artists, Nagai has work hanging at New York’s MoMA and at the National Museum of Contemporary Art in Tokyo. Born in 1929 in Osaka, Nagai eschews the digital—even today—and creates all his work by hand. This lot includes the following posters:

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

A. A. M. Cassandre: exhibition at the Tokyo Metropolitan Teien Art Museum. 1991.

B. Tenri (a religious magazine).

C. Nagauta Shamisen. Performance of Shamisen, a traditional Japanese three-string instrument, organized by the UCLA Asian Performing Arts. 1981.

D. L’Affiche Japonaise; exhibition of Japanese posters from the 19th century to today, Musée de l’Affiche, Paris. 1980.

Est: $1,700-$2,000. (4)

MÜLLER-YOSHIKAWA - NAVARRO | A-Z

410

Shigenobu Nagaishi

(1944- )

409. Two Posters. 1982.

409

Each: 40 1⁄2 x 28 3⁄4 in./103 x 72.8 cm Cond A/P. Nagaishi puts a contemporary spin on traditional Japanese graphics in these two designs. In the red image, an abstracted samurai aims his bow and arrow towards the trees, atop a horse that is barreling towards us. This mounted archery is the ancient sport of Yabusame, which dates back to around 1192. Nagaishi advertises an annual Yabusame event in Takeo City, which has occurred for the last 800 years.

In the gold image, we are likely seeing a geometric interpretation of a Namahage—a mythological demon-like being portrayed by masked men during a New Year’s ritual.

He serves to announce a Folklore Festival in Saga City. It’s fitting that both of these designs advertise events in the Saga Prefecture—Nagaishi was born there, and was a consultant at the Prefectural Public Information department in Saga. Rare!

Est: $1,400-$1,700. (2)

Ben Nason

(1915- )

410. New Haven Railroad / The Berkshires.

28 x 41 7⁄8 in./71 x 106.4 cm Cond A-/5-inch tear at bottom edge.

Ref: PAI-LXXVI, 385 The Berkshires, in western Massachusetts, are always spoken of with a sigh—the kind of dreamy sigh of relaxation that comes from propping oneself on a lawn chair in the fresh winds, watching the dappled leaves flutter before a New England church steeple and a cold, clear lake. Nason quite cleverly makes us desire this landscape all the more by obscuring it with a magnificent tree that occupies the center of the frame.

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

Francisco de Cidón Navarro

(1871-1943)

411. Perfumeria Ladivfer. 1903.

34 1⁄4 x 50 3⁄8 in./86.8 x 128 cm Reclam’s Font, Barcelona Cond A-/One-inch tear at top paper edge.

Ref: Timeless Images, 79; Cataluña, 101; Parfum, p. 71; PAI-LXXIX, 408

411

This delicate design won first prize in a poster contest organized by the Ladivfer cosmetics company—and rightly so, we believe. The gradation of pastel hues, the texture on this woman’s scarf, and the intimate gesture of smelling a freshly cut rose are all beautifully expressed in this lovely Art Nouveau design.

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

A-Z | NEWBOULD - OST

412

415

Frank Newbould

(1887-1950)

412. Advertising Exhibition.

19 3⁄4 x 30 in./50.2 x 76 cm Thos. Forman, Nottingham Cond A-/Slight tear at lower right corner.

413

Publicity takes to the high seas in this simple but elegant design by Newbould for an advertising exhibition.

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

Erik Nitsche

(1908-1998)

413. General Dynamics / Aerodynamics. 1956.

35 3⁄4 x 50 1⁄4 in./90.8 x 127.6 cm R. Marsens, Lausanne Cond A. Ref: PAI-LXXV, 406 The photomontage element in the lower half of this poster pictures a derrick crane, a coded reference to the Berlin Airlift. In 1955, the Federal Republic of Germany regained its air sovereignty back from the Allies, as Mies van der Rohe took Germany’s Bauhaus as inspiration to create the basis of the Modern International style.

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

414. General Dynamics / Exploring the Universe / Sub-Atomic Worlds. ca. 1957.

35 3⁄4 x 50 3⁄ 8 in./90.8 x 128 cm Lithos R. Marsens, Lausanne Cond A. Ref: PAI-LXXIX, 412 Nitsche embraces his painterly side with this very abstract design, which is quite appropriate for the abstract concept of subatomic particles. A 1957 General Dynamics advertisement in the Michigan Technic paired this poster with this text: “To Greeks, the atom was literally ‘a-tomos,’ not to be cut. Now its very nucleus is split and scientists are tracking sub-atomic particles, seeking to discover the nature—order and meaning—of a vast, dynamic universe in which domestic notions of space and time and energy do not apply. The ‘finds’ of nuclear exploration must be employed not in the service of a scientific, economic, or political provincialism but wherever they are needful to the physical, mental, and moral rehabilitation of men and societies.”

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

415. Affiches Marsens.

35 1⁄2 x 50 in./90 x 127 cm R. Marsens, Lausanne Cond A. For the Lausanne lithographer Roger Marsens, Nitsche gives us a playful diagram of colored arrows entering one side of a brush and exiting as a perfectly gradated rainbow.

414

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

NEWBOULD - OST | A-Z

416

Francesco Nonni

(1885-1976)

416. Fonte Meo. 1934.

39 x 54 7⁄8 in./99 x 139.5 cm E. Guazzoni, Roma Cond A. Ref: Manifesti Posters/Eat & Drink, p. 121; PAI-LXXXI, 406B The rapturous imperial red cloak, billowing about the noble face of this pre-Raphaelite redhead, is just the beginning of this masterpiece of artistic messaging by Francesco Nonni. Mineral water out of Rome ought to be regal, but Nonni pulls out all the stops: from the lettering to the antique streaks upon the stone and the medieval embroidery of the dress. Born in Faenza, Nonni trained in the Arts & Crafts school and later became part of Faenza’s famous ceramics industry, and was a master of woodcut, fine art painting, and of course, commercial posters.

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

Alfred Ost

(1884-1945)

417. Julius Dickhout. 1917.

31 1⁄8 x 43 1⁄4 in./79 x 110 cm Drukk Kotting, Amsterdam Cond B+/Slight tears and stains.

Ref: Ost, 61 “This is Ost’s first design for Dickhout, a Dutch advertising firm.

Aptly depicting a poster hanger, in the background we also have the silhouette of Amsterdam’s Zuiderkerk” (Ost, p. 109).

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

417

A-Z | OST - PAL

419

Ost

(Continued)

418. Tentoonstelling Ost. 1918.

418

31 3⁄4 x 43 3⁄8 in./80.4 x 110.2 cm Drukk Kotting, Amsterdam Cond A. Ref: Ost, 23 (var) Ost revisits “his exhibition poster from 1913, [in which he] decidedly identifies himself with his iconography: the Mechelen architectural silhouette, the horses, the folk figures, the artist as simultaneous participant... and witness, with his monogram uniting the entire composition. The poster was highly praised by contemporaries” (Ost, p. 62).

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

Carlos Oswald

(1882-1971)

419. International Exposition / Rio de Janeiro. 1922.

30 1⁄ 8 x 44 in./76.5 x 112 cm Lit. Pimenta de Mello, Rio Cond B/Slight tears at folds.

Two years after the end of World War I, instability raged internationally and at home in Brazil. The centennial of the independence of Brazil offered an opportunity for a morale boost: they hosted one of the first postwar World’s Fairs. 14 countries from 3 continents participated, and the event attracted 3 million visitors. Oswald created this official announcement featuring ethereal women trotting out the flags of the fair’s participants. Born in Italy, Oswald later moved to Brazil where he focused on painting and sculpture. His greatest claim to fame is designing the iconic Christ the Redeemer statue atop Rio’s Corcovado Mountain. Rare!

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

Louis Oury

(1846-?)

420. Brondert / Affiches Illustrées. 1895.

46 7⁄ 8 x 62 1⁄ 8 in./116.5 x 157.8 cm Affiches Brondert, Paris Cond B+/Slight tears at folds and edges.

Ref: Reims, 924; PAI-LXXIII, 417 Brondert was a full-service shop: not only a poster printer, but a billposter as well.

Oury, the artist, splashes out a typically eye-catching woman in Fin-de-Siècle vestments, standing alongside a pencil illustration of herself. It’s a convincing image to advertise with posters.

420

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

OST - PAL | A-Z

421

Pal

(Jean de Paléologue, 1860-1942)

421. Olympia / Danses Renaissance. 1894.

31 3⁄8 x 46 1⁄2 in./79.8 x 118.2 cm Imp. Paul Dupont, Paris Cond A. Ref: Spectacle, 1282 (var); PAI-LXXXIII, 416

422

This rare Pal design promotes the Belval Sisters’ appearance at the Olympia; they performed classic numbers from their repertoire, including a lavishly costumed Renaissance dance routine.

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

422. Smoke Turkish Régie Cigarettes. ca. 1895.

31 1⁄4 x 47 3⁄4 in./79.4 x 121.2 cm Imp. Paul Dupont, Paris Cond A-/Unobtrusive folds.

Ref: Reims, 954; PAI-XX, 353 When it comes to elegantly dressed, curvaceous beauties, Pal is in a class of his own, and this scarce design is one of his best. It’s interesting to note how many of the cigarette posters of the 1890s featured women despite the fact that, in reality, smoking was still one of the activities in which a “decent” woman simply did not indulge—unless she was willing to risk her reputation. But the tobacco companies were so anxious to tap the huge potential market that they kept showing women—the more elegant, the better—puffing happily away. Their strategy worked only too well.

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

423. La Jolie Théro. 1898.

36 1⁄4 x 50 5⁄8 in./92 x 128.6 cm R. Chardin, Paris Cond B+/Unobtrusive folds.

Ref: DFP-II, 692; PAI-XXXI 71 Rising like untamed spin art from a carnival color wheel, La Jolie Théro launches her way into an unbridled flamenco, castanets at the ready and arched in sultry abandon. It’s a superb tonal whirlwind from Pal, and one more than equal to the designs he created for another Spanish dancer who must have been influenced by this particular choice of stage name: La Belle Otero (see PAI-LI, 455 and PAI-LXVI, 422). Rare!

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

423

A-Z | PAL - PENFIELD

424

425

Pal

426

(Continued)

424. Cusenier Peach-Brandy. ca. 1900.

36 x 50 ⁄8 in./91.5 x 128 cm Affiches Pichot, Paris Cond B/Slight tears and stains at folds.

Ref: Boissons, 516 (var); Pierrot, 38; PAI-LXXXV, 409 3

In this pleasing piece by Pal, Pierrot, the perpetually lovelorn clown, is offered a pick-me-up courtesy of Columbine: a peck of Liqueur de Pêches. Note the especially fine artistry on Columbine’s black lace ruffles.

Cusenier, a French spirits producer founded in 1868, was acquired by Pernod-Ricard in the late 1970s.

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

425. Affiches Belleville / Miss Maud Santley. ca. 1895.

22 1⁄8 x 30 in./56 x 76.2 cm Imprimerie Belleville, Paris Cond B/Loss in upper left edge.

426. Affiches Gaillard.

85 1⁄2 x 120 1⁄4 in./217.2 x 305.3 cm Affiches Gaillard Cond A-/Slight tears at seams.

The printer Affiches Belleville announces their purchase of Imp. Hermet and their 25 steam-powered printing machines, which allow posters of all sizes to be printed.

But rather than depict these machines, Pal opted to use Miss Maud Santley as the conveyance. British-born Santley was an operatic singer with quite a popular following in the late 19th to early 20th centuries. And although her jumpsuit and cape are quite striking, Pal makes sure to include other relevant information, such as Belleville’s letter, their services, telephone number, and pricing information. Rare!

Printers often relied on ovations of grandeur to advertise their practice, but Pal’s vision for Affiches Gaillard is literally grander than most. This stately four-sheet billboard makes sure to repeat the printer’s name multiple times: on the shield, on the curb, and in the repeating banners fading along the railway tracks. But of course, none of this really matters to the average viewer—Pal has made sure that his comely goddess captures our attention and keeps it on her. From her ornate petasos to her bare bosom, gilded armor to sheer skirt, she’s a veritable lithographic deity.

This is the only known copy!

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

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

PAL - PENFIELD | A-Z

427

428

429

427. Abricotine. ca. 1898.

Edward Penfield

31 x 46 1⁄2 in./78.7 x 118.2 cm Imp. Paul Dupont, Paris Cond B/Stains at folds and edges.

Ref: PAI-XXX, 611

10 1⁄ 2 x 15 1⁄8 in./26.7 x 38.3 cm Cond A-/Slight tears at edges.

An enchantress wearing a deep emerald evening dress and matching plumed hat looks over her shoulder to toast a glass of apricot brandy. Other variants were created with a dark-haired woman and alternate text, but the seductive quality remains the same throughout.

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

428. Concours d’Escrime. 1900.

42 1⁄2 x 61 in./108 x 155 cm Imp. Chardin, Paris Cond A-/Unobtrusive folds.

Ref: Olympic Posters, p. 12; Olympics, 3; Sport à l’Affiche, p. 75; PAI-LII, 272 The second modern Olympic Games was actually a rather loose collection of international competitions recognized by the Olympic committee and held in conjunction with the 1900 World Exposition in Paris. Posters were created for athletics, rowing, cycling, gymnastics and, here, fencing. We see a woman fencer flourishing the three traditional weapons: foil, épée, and saber. In fact, women were not to enter the fencing events until 1924—but try telling that to Pal, who aimed comely female figures at his viewers’ hearts as unerringly as if they wore the target seen on this costume.

430

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

(1866-1925)

429. Collier’s / April 23, 1904.

“Collier’s was one of [Penfield’s] major employers.

A number of the sketches he did for Collier’s survive, and from these we can follow the process by which he developed his finished illustrations in a range of styles.

Through all these, he continued his experiments with the visual language he had initiated in his Harper’s posters” (Penfield, p. 20). Here, Penfield gives us a sophisticated couple who introduce the 33rd issue featuring a special supplement for the St. Louis Exposition.

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

430. Collier’s / July 29, 1916.

10 1⁄2 x 14 1⁄2 in./26.7 x 36.8 cm Cond A. In another sharp design for Collier’s, Penfield depicts a female tennis player who is fully in the game—despite her cumbersome long dress.

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

A-Z | PENFIELD - PREETORIUS

431

432

Penfield

(Continued)

Jean M. Peské

(1870-1949)

431. Harper’s / September. 1897.

432. L’Estampe et l’Affiche. 1898.

18 ⁄8 x 12 ⁄8 in./46 x 32.7 cm Cond A-/Slight tears at edges.

Ref: Lauder, 200; PAI-LXXX, 465

51 1⁄8 x 36 1⁄4 in./129.7 x 92 cm Imp. Gerin, Dijon-Paris Cond B+/Slight tears and stains at edges.

Ref: DFP-II, 710; Affichomanie, 52; Color Revolution, 70; Weill, 81; Wine Spectator, 66; PAI-LXXX, 470

1

7

This determined young lady has taken the reigns, and the groom pouts; if this design had a title, it would no doubt be “Sulking in a Sulky.” It’s another poignant and amusing slice-of-life moment from Penfield.

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

L’Estampe et l’Affiche was probably the most influential publication in the field of color lithography in France at the turn of the century and, under the editorship of André Mellerio, it did much to encourage poster art in the brief period of its existence. In an article in the magazine announcing the publication of this poster, the critic Crauzat is full of praise for it, indicating that its

clear tones and design show the artist to be a master of decorative effect. As far away as London, The Poster magazine also lauded the work: “On the green summit of a cliff, two women—one lying down and the other sitting—giving a back view of themselves, look far away into the dying perspective of the ocean. Their dresses, respectively red and blue, give two beautiful contrasting notes to the ambient tonalities. Mountains encircle the bay, the calmness of which is disturbed only by the modulated swing of a smack. The colours are cleverly harmonised, and the light line of water produces a very good effect” (June 1898, p. 28). This is the rare version with complete text.

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

PENFIELD - PREETORIUS | A-Z

433

435

434

George Pfeil

Prater

433. Kunstanstalt Börsig Darmstadt. 1953.

435. Publifer. 1936.

22 3⁄4 x 32 7⁄8 in./57.7 x 83.5 cm Borsig, Darmstadt Cond A.

24 3⁄8 x 39 1⁄4 in./61.8 x 99.6 cm Cond A-/Unobtrusive folds.

This Darmstadt printer specializing in posters, brochures, labels, and maps announces their move to a new location with a quirky litho-man strutting over to the new address.

Wearing a winged helmet not unlike that of Hermes, our god of publicity is armed and ready to distribute posters in stations, on bridges, and even over the tracks.

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

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

Francisque Poulbot

(1879-1946)

434. Grande Fête Enfantine. 1923.

39 1⁄2 x 63 1⁄8 in./100.4 x 160.4 cm Phogor, Paris Cond B+/Stains in margins; tears along folds.

Ref: Poulbot, 39 (var) “Organized by the festival committee of the 1st arrondissement of Paris, it was carried out with the support of Poulbot on July 1, 1923. The children occupied the trestles scattered around the park. Flower-bedecked cars, balloon releases, postcards, comedies, archery, a children’s fashion show, and a grimace contest delight young and old alike. Zozo, the niece that Poulbot will raise as his daughter, very elegant under her sunbonnet, is carried by her future husband, Jean Cheval, son of one of the best friends of the artist” (Poulbot, p. 67).

436

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

Emil Preetorius

(1883-1973)

436. Münchener Plakatkunst. 1911.

24 1⁄4 x 34 3⁄4 in./61.5 x 88.2 cm Fritz Maison, München Cond A-/Unobtrusive folds.

Ref: DFP-III, 2587 (var); PAI-LV 445 In almost psychedelic neon colors, this bright poster promotes an exhibition of posters by the artist Preetorius at a local bookstore.

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

A-Z | RAND - SAVIGNAC

439

Paul Rand

(1914-1996)

437. Subway Posters Score. 1947.

437

29 1⁄4 x 44 1⁄4 in./74.2 x 112.2 cm Cond A-/Slight stains at edges.

Ref: Modern American Poster, 62; PAI-XXVII, 566 Brooklyn native Rand studied at the Pratt Institute, the Parsons School of Design, and the Art Students League. By the age of 23, he was already working as an art director at Esquire and Apparel Arts magazines. We see his trademark integration of art and copy at work in this design created for the New York Subway Authority: a smiling sunshine-swirl lollipop stick figure extolling the ’round-the-clock dependability of the world’s most extensive subway system.

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

438. IBM. 1981.

24 x 36 in./61 x 91.5 cm Cond A/P. Ref: Encyclopédie/Weill, p. 106; PAI-LXXIV, 413 The design legend Paul Rand created his first logo for IBM in 1956, but this poster for the tech company’s 1981 international design conference remains his most iconic work—and one of the most treasured graphic designs in the corporate world. The rebus “Eye-Bee-M” was meant to support IBM’s motto of “THINK:” “An Eye for perception, insight, vision; a Bee for industriousness, dedication, perseverance; an ‘M’ for motivation, merit, moral strength.” It received such an enthusiastic reception that the company reprinted the image as an advertisement for national distribution. This, however, is the version first presented at IBM’s 1981 design conference.

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

Harry Hudson Rodmell

(1896-1984)

439. Belfast-Liverpool.

24 7⁄ 8 x 40 in./63.3 x 101.7 cm Cond A-/Slight tears at edges.

The Ulster Prince and Ulster Monarch are veritable ships passing in the night on their evening trips from Belfast to Liverpool and back. The Belfast Steam Ship Company was created in 1852; it was absorbed into P&O Ferries in 1895, but was allowed to keep its own name. Rodmell, after attending the College of Arts in his native Hull, worked extensively for the SwedishAmerican Line and for Norddeutscher Lloyd.

438

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

RAND - SAVIGNAC | A-Z

440

442

J. Saunier

442. Vendre par L’Affiche. 1956.

440. Parisiana / Paris voyeur.

441

31 5⁄8 x 46 7⁄ 8 in./80.4 x 119 cm Publicité Wall, Paris Cond B+/Slight tears at folds.

Ref: PAI-LIII, 446 This enticing image advertises the Parisiana’s production of “Paris Voyeur,” a show for which there is no record.

The image in the background calls to mind Lautrec’s Reine de Joie (see PAI-LXXXV, 461), while the man in the foreground is full of all the delightful lechery of a Grün caricature.

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

Raymond Savignac

(1907-2002)

441. Affiches / Villemot Savignac. 1949.

15 x 23 in./38.2 x 58.3 cm Cond A. Ref: Savignac/Suntory, 7; Savignac/Forney, 589; Chaumont/Exposons, p. 78 Two of France’s greatest modern poster artists teamed up for this exhibition at the Maison des Beaux-Arts. At the same time, the two mounted an exhibition of maquettes on rue Danièle Casanova, in the studio where Villemot worked until the end of his life.

443

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

37 1⁄4 x 59 1⁄8 in./94.6 x 150.3 cm Imp. Aussel, Paris Cond A-/Unobtrusive folds.

Ref: Savignac/Forney, 540; Chaumont/Exposons, p. 57 A charming Hermes greets us from this poster-withina-poster and invites us to an exhibition of vintage and modern posters, organized by the review Vendre.

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

443. Savignac à Munich. 1982.

33 1⁄4 x 46 3⁄4 in./84.5 x 118.6 cm Imprimerie Bussière, Paris Cond A. Ref: Savignac/Forney, 596 Savignac was treated to an exhibition at Munich’s Die Neue Sammlung, which is widely considered to be the world’s oldest design museum. He offers an image indicative of his career maturation: a solid background, minimal text, and one playful rainbow character, balancing daintily on the point of his head.

Est: $800-$1,000.

A-Z | SCHEUL - SCHNACKENBERG

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

444

446

445

Scheul

Paul Scheurich

444. Affiches Illustrées / Guéneux. 1895.

445. Plakate / Hollerbaum & Schmidt. 1911.

446. Kunstler-Plakate.

47 1⁄4 x 65 3⁄8 in./120 x 166.2 cm Guéneux Fres., Nantes Cond B+/Slight tears at fold and seam.

34 1⁄4 x 46 7⁄8 in./87 x 119.2 cm Hollerbaum & Schmidt, Berlin Cond A. Ref: DFP-III, 2847; Rademacher, 69; Wember, p. 213; PAI-LXXXI, 440

23 5⁄8 x 31 1⁄2 in./60 x 80 cm Emile Hochdanz, Stuttgart Cond A-/Mat stains at top edge.

Ref: PAI-XXV, 490

Launched by Julien Guéneux in Nantes in 1863, the printing firm’s greatest claim to fame is perhaps printing the color boxes for Lefèvre-Utile, designed by Mucha.

Here, a studious printer appraises his very detailed work.

This is a two-sheet poster.

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

(1883-1945)

The printers Hollerbaum & Schmidt were at the center of Berlin poster design; under the direction of Lucian Bernhard, their stable of poster artists—including Julius Klinger, Hans Rudi Erdt, and Paul Scheurich— were considered the “Berlin School” of posterists.

Here, Scheurich employs his deft hand to promote the printing firm itself. He uses only two colors and sparse lines to create a graphic impact not unlike the refined expression of the Beggarstaff Brothers.

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

Schmid & Hoffmann

What at first looks like a caricature of Fidel Castro is really a clever image of an artist with a brush in his mouth, used to promote the “artistic poster” services of printer Emil Hochdanz in Stuttgart. The resident artists who ably executed the client’s orders are Eugen R. Schmid (1903-?) and Georg Hoffmann (1891-1975).

They do have the knack: note, for example, the spare but effective use of magenta and turquoise accents here and there.

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

SCHEUL - SCHNACKENBERG | A-Z

447

Walter Schnackenberg

(1880-1961)

447. Odeon Casino. 1911.

35 3⁄4 x 47 3⁄4 in./90.7 x 121.3 cm Dr. C. Wolf und Sohn, München Cond B/Restored losses at corners. Framed.

Ref: DFP-III, 2939; Schnackenberg, 33 (var); Sachs, 428; Rademacher, p. 130; PAI-LXXIX, 469 Schnackenberg often referred to his posters as “suggestive dreams”—and this design in particular projects an aura of arch luxuriousness, low comedy, and high fashion—a world both unsettling and delectably absurd. Nothing is ever quite what it seems at the Odeon Casino, and that is part of the irresistible allure of Schnackenberg’s intoxicating style.

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

A-Z | SCHWARZER - SLUITER

448 450

Max Schwarzer

(1882-1955)

448. Das Plakat. 1914.

35 3⁄8 x 49 1⁄4 in./90 x 125 cm Vereinigte Druckereien, München Cond B/Restored tears, largely near edges.

Ref: DFP-III, 3072 A member of the artist group Die 6 (see No. 137), Schwarzer here provides his lithographic capabilities to Dr. Hans Sachs and his magazine Das Plakat, who are hosting an exhibition in Munich’s exhibition park. With a paint brush and palette instead of a tambourine, this poster lover creates quite the exciting invitation.

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

Sepo

(Severo Pozzati, 1895-1983)

449. Maga. 1923.

37 1⁄4 x 53 in./94.6 x 134.6 cm Cond B+/Slight tears at folds.

Ref: Italia che Cambia, p. 60; PAI-LII, 430 Maga was one of the leading Italian advertising agencies, representing a bevy of famous posterists, including Cappiello. Aimed at possibly bringing in new clients, we are shown a trio of horses in Italian tricolor, and simply told to “anticipate” their next ads.

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

Shellani 450. 1915 Calendar. 1915.

18 x 21 7⁄8 in./45.8 x 55.7 cm Imp. Oberthür, Rennes Cond A-/Mat stains and tears at margins.

This unknown artist creates an evocative image of seaside travels and springtime florals for an ornate 1915 calendar.

449

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

SCHWARZER - SLUITER | A-Z

451

Johan S. Sjollema

(1900-1990)

451. Boris Godounov / Chaliapine. 1931.

47 7⁄8 x 36 1⁄2 in./121.7 x 92.8 cm L. van Leer, Amsterdam Cond A-/Unobtrusive folds.

Ref: Modern Dutch Poster, 97; Timeless Images, 148; PAI-XXIV, 513 Acclaimed as the greatest natural basso of all time, Feodor Chaliapine (1873-1938) was discovered as a teenager traveling with an operetta company based in the Russian provincial city of Ufa. Encouraged to try grand opera, he had his debut in 1893 in Tiflis in the Georgian province of the Soviet Union, singing the role of Mefisto in “Faust.” He first appeared on the Moscow stage in 1896, and at La Scala in 1901. It was the opera “Boris Godounov” which gained him truly worldwide fame: it opened in Paris in 1908, was produced at La Scala in 1909, in London in 1913, and, as shown in this poster, in Amsterdam in January 1932.

Chaliapine was a regular member of the Metropolitan Opera in New York from 1921 to 1928. Ironically, the great singer did not approve of Sjollema’s depiction of him as the tragic Boris here, because it showed him with his face covered by his hands, which is also a source of the design’s power. This poster was lithographed by hand by the artist himself. Sjollema, who died at the age of 90, had a long and fruitful career as a painter and graphic artist, and his output includes fine portraits and murals as well as stained glass windows.

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

Jan Willem Sluiter

(1873-1949)

452. Pictura Affiches. 1897.

25 7⁄8 x 37 5⁄ 8 in./65.7 x 95.5 cm Cond B+/Slight tears at folds.

If you took away the bow tie and top hat, this pensive artist could be right at home in today’s creative landscape. The 19th century bohemian advertises an exhibition of posters in Dordrecht in the Netherlands.

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

452

A-Z | SLUYTERS - STEINLEN

454

Jan Sluyters

(1881-1957)

453. Artiesten Winterfeest. 1919.

20 5⁄8 x 29 in./52.3 x 73.5 cm Cond A. Ref: Modern Dutch Poster, 41; Dutch Poster, 177; PAI-XI, 52

453

Artists’ balls were all the rage at the beginning of the 20th century, and we’d like to know what caused them to die off—perhaps it’s time for a resurgence.

Sluyters offers us a psychedelic invitation to partake in what was surely a wild night in The Hague. Sluyters was a multitalented painter, lithographer, and graphic artist. In 1909, together with Mondrian and Toorop, he founded a group called The Modern Art Ring, with Cubistic and Futuristic tendencies; by 1920 he was working in portraits and landscapes with a more realistic style.

Throughout, he earned a living as a book and magazine illustrator as well as a poster designer.

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

Jürgen Spohn 454. Plakate der Zwanziger Jahre. 1977.

23 3⁄8 x 33 in./59.2 x 84 cm Holste Cond A-/Slight tears at edges. P. Spohn riffs on Cassandre’s figure in his L’Intransigeant design to announce an exhibition of 20th century posters at the Berlin state museum’s art library.

Est: $700-$900.

J. Spring

(Joseph Stall, 1874-1933)

455. Anis del Oso. 1919.

45 3⁄8 x 61 1⁄4 in./115.3 x 155.5 cm Imp. Vercasson, Paris Cond B+/Slight tears at folds.

Ref: PAI-LXXVIII, 448 The Spanish absinthe Anis del Oso apparently had a powerful effect on imbibers—and our flamenco dancer is not the only one to fall under its spell. In 1922, the great literary lush Ernest Hemingway penned the article “The Great ‘Apéritif’ Scandal” for the Toronto Daily Star. He wrote, “It had the familiar licorice taste... turned milky when water was added—and it had the slow, culminating wallop that made the boulevardier want to get up and jump on his new straw hat in ecstasy after the third Delloso [sic].” But once absinthe was outlawed, the Spanish distillery was forced to create a wormwood-free anise variation. Hemingway sadly added, “The boulevardier waits in vain for the feeling that makes him want to shinny rapidly up the side of the Eiffel Tower—for it is not absinthe anymore.” Furthermore, T.S. Eliot was purportedly a fan as well.

455

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

T. A. STEINLEN

456

Théophile-Alexandre Steinlen

(1859-1923)

456. Lait pur Stérilisé. 1896.

37 3⁄8 x 50 3⁄4 in./95 x 129 cm Imp. Charles Verneau, Paris Cond B-/Restored tears. Framed.

Ref (all var but PAI): 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; Affiches 1000, 0012; Posters of Paris, 80; PAI-LIX, 590 “Steinlen was one of the four or five great poster artists of his time; all his lithographic work is distinguished by a freshness and vigour which makes it powerful, and a simplicity and sympathy which makes it appealing... The subject of his posters are those dearest to his heart, his pretty little daughter Colette, and his beloved cats” (Abdy, p. 94). All the warmth, humanity and affection for which he 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.”

This is the medium format version before letters with a signed dedication.

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

A-Z | STEINLEN

457

Steinlen

(Continued)

457. Motocycles Comiot. 1899.

53 3⁄4 x 77 in./136.5 x 195.6 cm Imp. Charle Verneau, Paris Cond A. Framed.

Ref: Bargiel et Zagrodzki, 36A1; Crauzat, 506; DFP-II, 792; Petite Reine, 35; Ailes, p. 23 (var); Posters of Paris, 86; PAI-LXXXVI, 367 Based off of models by Dion-Bouton, Comiot Cycles was a short-lived brand produced around the turn of the century. “For Comiot, Steinlen signs one of his most famous works. The machine, a motorized bicycle, is barely visible in the composition, but the sensation of speed is very present: the movement of the scarf and the long dress; the noisy flight of the frightened geese. Thanks to this engine, the young woman, though haughty, crosses the countryside with elegance and ease. In the background, Steinlen evokes... with a vigorous line a couple of peasants in the fields, bent over their hoes: one immediately thinks of the compositions of Millet or the sketches of van Gogh. The political commitment, the sensitivity of the artist, and his animal talent are reflected in the realism of this poster” (Ailes, p. 22). This is the larger, two-sheet version.

Est: $20,000-$25,000.

STEINLEN | A-Z

459 458. Chat Noir / Prochainement. 1896.

15 3⁄4 x 24 1⁄2 in./39.8 x 62.2 cm Imp. Charles Verneau, Paris Cond B+/Unobtrusive folds.

Ref: Bargiel & Zagrodzki, 22.B1; PAI-LXXX, 490

458

The text here promotes the opening tour of the Chat Noir’s resident performers, boasting a “highly illustrious troupe” presenting shadow plays, poetry readings, and songs. Incredibly popular when first unveiled to the public, the basic image was worked into a number of different formats and text arrangements. This represents the initial printing of the “Prochainement” poster; 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 smaller format.

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

459. Winter Cat. 1909.

25 1⁄2 x 19 1⁄2 in./64.9 x 49.5 cm Imp. R. Engelmann, Paris (not shown) Cond A. Ref (all var but PAI): Bargiel et Zagrodzki, 50b; Crauzat, 293; Steinlen’s Cats, 15; PAI-LXII, 555 This comfortably reclining feline was originally used to announce an exposition of artists who paint animals at the Cercle International des Arts in the spring of 1909. It was so warmly received that a separate lithograph without letters was published, using a different printer, with only minimal changes. The publisher, Sagot, titled it “L’Hiver Chat sur un Coussin” (Winter Cat on a Pillow) and coupled it with another print he called “L’Été Chat sur un Balustrade” (Summer Cat on a Balustrade; see PAI-LXIV, 500). Of the two, this is the far superior cat. This is the rare black-and-white proof.

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

460. Le Journal / La Traite des Blanches. 1899.

23 1⁄2 x 32 in./59.6 x 81.3 cm Imp. Charle Verneau, Paris Cond B+/Unobtrusive tears at folds and in top text area.

Ref: Bargiel & Zagrodzki, 35D; Crauzat, 503; PAI-LXXVI, 422 “Quite a few literary works of this era first saw the light of day as installments printed in daily or weekly papers... The lure of a new sensational novel was often used to advertise the paper itself. And sensational is the word for this poster advertising installments of ‘White Slavery.’ It depicts a heartless pimp with three of his victims. One is arguing passionately for her freedom, one seems resigned to her fate, and one in utter despair.

In Steinlen’s original version, the willing prostitute had her breasts bared, but there was an adverse reaction to the poster, and [a] censored version was hastily substituted” (Gold, p. 66). This is the smaller format, uncensored version.

460

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

A-Z | STENBERG BROTHERS - TANAKA

461

Stenberg Brothers

(Vladimir, 1899-1982; Georgi, 1900-1933)

461. Kamerny Theatre / Kukerol. 1925.

28 1⁄4 x 42 3⁄ 8 in./71.7 x 107.6 cm Cond B/Slight tears at folds and edges. Framed.

Ref: PAI-LXXIII, 449 The Stenberg Brothers created this piece for the 1925 season opener at Moscow’s Kamerny Theatre, a famous “chamber theatre” founded in 1914. The premiere, on November 26, was for the play Kukerol, about which little is known.

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

STENBERG BROTHERS - TANAKA | A-Z

462

464

463

M. Stéphane

Francisco Tamagno

462. Affiches Brondert. 1898.

463. Imprimerie Camis. ca. 1898.

464. Tradition et Nouvelles Techniques. 1984.

61 1⁄2 x 46 in./156.2 x 117 cm Affiches Brondert, Paris Cond B/Slight tears at folds and edges.

Ref: Wine Spectator, 149; Imprimerie, 55; PAI-LXXIV, 443

39 1⁄2 x 27 in./100.4 x 68.5 cm Imp. Camis, Paris Cond A. Ref: Imprimerie, p. 66-67; PAI-LXVIII, 615

“In the poster for printer-lithographer Brondert, the allbut-unknown artist has two fair maidens, one inspecting the poster, the other one giving it a critical appraisal.

Their clothes have something faintly Russian about them, which makes one wonder if Stéphane might not have been one of the Russian émigrés in Paris” (Wine Spectator). In the background, scaffolding surrounds a half-completed Sacré-Cœur. It’s a must for the serious poster collector!

To advertise its printing prowess, Camis commissioned Tamagno to create a composition featuring many of its best loved and most famous advertising characters designed by the likes of Guillaume, Bouisset, Jossot, and a variety of other house artists. It is a rare and clever design—a visual treasure-trove for the true poster collector.

28 3⁄4 x 40 1⁄4 in./73 x 102.3 cm Toppan Printing Co., Japan Cond A-/Horizontal fold.

Ref: Chaumont/Exposons, p. 76; Tanaka/Retrospective, p. 82

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

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

(1851-1933)

Ikko Tanaka

(1930-2002)

For an exhibition of works by 12 Japanese artists at Les Ateliers in Paris, Tanaka merges traditional Japanese woodblock aesthetics with a contemporary, geometric style. It’s a great example of Tanaka’s oeuvre, who fused modernist principles and aesthetics with the Japanese tradition.

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

A-Z | THIRIET - TOMASZEWSKI

465

Henri Thiriet

(1873-1946)

466

Charles Tichon

465. Pierrefort.

466. L’Agence Genérale de Publicité. ca. 1901.

19 3⁄4 x 30 3⁄4 in./50 x 78 cm Imp. Bourgerie, Paris Cond B/Slight tears in top text area. Framed.

Ref: PAI-XXXII, 526

43 x 59 in./109.3 x 149.7 cm Imp. Kossuth, Paris Cond B+/Slight tears at folds.

Pierrefort, along with Sagot and Arnould, was one of the most important poster and print dealers of Paris in the 1890s; he often befriended promising graphic artists whose work he savored. Four of these protégés created posters for his gallery: Henry-Gabriel Ibels (see PAI-LXXXIV, 349), P. H. Lobel (see PAI-IX, 336), Georges de Feure (see PAI-LXXXIV, 314), and Thiriet. While the de Feure work is no doubt the most spectacular, this image by Thiriet is one of the rarest.

Pierrefort was especially close to Toulouse-Lautrec, whose work he published and exhibited toward the end of the artist’s short career.

Tichon offers up a poster-within-a-poster scene to promote the services of the General Advertising Agency, “the only house that has made a specialty of everything related to advertising.” Interestingly, this same image was used to advertise the posters of Kossuth (see Collectionneur, 256) and even for a bicycle tire vulcanization firm (see PAI-XLII, 486). Apparently the image of a cycling poster-paster was favorable to all: the soft hat, the cigarette dangling from the corner of his scraggly, mustachioed mouth, the paste pot. Plus, take note of the way he’s carelessly standing on top of the roll of posters still left to be put up.

What disrespect!

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

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

THIRIET - TOMASZEWSKI | A-Z

468

467

Henryk Tomaszewski

469 (1914-2005)

467. Affiches en Tous Formats.

468. Belgijski Plakat / Muzeum Wilanowie. 1973.

469. Plakaty o Plakacie. 1987.

23 1⁄8 x 79 1⁄4 in./58.8 x 201.4 cm Imp. Kossuth, Paris Cond B+/Slight tears at edges.

26 3⁄4 x 38 1⁄ 2 in./68 x 97.7 cm Cond A. Ref: Tomaszewski, p. 97; Tomaszewski Plakat, p. 35; Chaumont/Exposons, p. 65; Weill, 563

26 3⁄4 x 38 1⁄4 in./67.8 x 97.2 cm Cond A. Ref: Tomaszewski/Ginza, p. 41; Tomaszewski Plakat, 216

To prove that this company can provide posters in all formats and for all subjects, a merry group holds up a poster for a local café restaurant. And despite the long list of their offerings, no company name is given—only an address. This is a three-sheet poster.

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

For an exhibition of Belgian posters at the Warsaw Poster Museum, Tomaszewski portrays—completely incongruously—a stockinged foot sticking straight up, topped with a bright pink bow. Why would he choose such an image? Well, it’s unexpected, and therefore memorable. Tomaszewski was a prominent posterist in post-World War II Poland. “His posters evoke a childlike atmosphere whose informality is often reinforced by gauche hand-lettering” (Weill, p. 319).

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

Tomaszewski keeps it simple and playful for an exhibition of posters about posters at two galleries in Poland.

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

HENRI DE TOULOUSE-LAUTREC

470

TOULOUSE-LAUTREC | A-Z

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471

Henri de Toulouse-Lautrec

(1864-1901)

470. Salon des Cent. 1896.

471. Les Vieilles Histoires. 1893.

17 3⁄4 x 24 5⁄ 8 in./45 x 62.5 cm Imp. Bourgerie, Paris (not shown) Cond A-/Slight tears at bottom paper edge. Framed.

Ref: Wittrock, P20II; Adriani, 137-III; Salon des Cent, p. 37; Wagner, p. 31; Gold, 195 (var); Reims, 790; PAI-LXXXVI, 398

22 1⁄2 x 15 3⁄4 in./57.1 x 40 cm Cond A-/Slight tear at upper left corner. Framed.

Ref: Wittrock, 5/second state; Adriani, 27-III; PAI-LXXX, 493

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. This is the rarest state of his design: one of 50 impressions, before letters, hand-signed, and with the red monogram stamp.

Est: $60,000-$70,000.

This is the rare color version of the cover. According to Adriani, the prints with lettering were sold by Kleinmann in an edition of 100, of which only 40 copies were colored via hand-stenciling, as in this specimen. It’s a good reason for Wittrock to call this version “rare.” The image of a man leading a bear served as the cover of a collection of songs titled “Les Vieilles Histoires” (The Old Tales). “The main figure in the drawing is Desiré Dihau (1835-1909). He played the bassoon in the orchestra of the Opéra and wrote cabaret songs in his free time... In all, Lautrec eventually designed 26 music titles for Dihau, who was a distant cousin of his from Lille. Here we see him leading a bear along the auspicious route to the institut de France... the bear being led by the nose is a satire on the poet Jean Goudezki” (Adriani, p. 59).

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

A-Z | TOULOUSE-LAUTREC

472

Toulouse-Lautrec

(Continued)

472. May Belfort : Trial Proof. 1895.

473. La Dépêche / Le Tocsin. 1895.

24 x 31 5⁄8 in./61.2 x 80.4 cm Imp. Edw. Ancourt, Paris (not shown) Cond A. Framed.

Ref (all var): Wittrock, P.14 (trial proof ii); Adriani, 126 (first state); PAI-LXXXIII, 465

17 1⁄2 x 21 7⁄8 in./45.5 x 55.6 cm Cassan Fils, Paris (not shown) Cond A. Framed.

Ref: Wittrock, P19A; Adriani, 143-I; PAI-LXXXV, 462

This is a unique variant: the only known copy which, instead of the solid red dress, uses brush strokes of red and has the title May Belfort at bottom. As Feinblatt correctly indicates, “A rare early state of the poster reproduces the strokes on May’s dress, which were brilliantly converted into opaque vermillion in the later states” (Wagner, p. 27). “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).

Arthur Huc, art collector and editor of the Toulouse newspaper La Dépêche, had already used one of Lautrec’s earlier posters successfully in 1892; this time he is advertising a serialization of the novel “The Warning Bell” by Jules de Gastyne in his publication, seen here before the addition of letters. Toulouse-Lautrec strikes the perfect note for the gothic romance, with the pale heroine followed by a dejected dog strolling through the gloom of the night, with the forbiddingly austere walls of a castle behind her. Adriani makes it clear that this blue-ink first-state version before lettering was intended for the poster collecting market (p. 203). Frey says that “the poster he did in December 1895... was somber and nocturnal, reflecting what seemed to be his own mood” (Frey, p. 416).

This is the rare version before letters.

Est: $40,000-$50,000.

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

TOULOUSE-LAUTREC | A-Z

474 473 474. Divan Japonais. 1893.

23 7⁄8 x 31 1⁄2 in./60.7 x 80 cm Imp. Edw. Ancourt, Paris Cond B/Slight tears at bottom. 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-LXXXVI, 396 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).

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

475. La Revue Blanche. 1895.

36 3⁄4 x 50 5⁄ 8 in./93.4 x 128.7 cm Imp. Edw. Ancourt, Paris Cond A-/Slight tears and stains at edges.

Ref: Wittrock, P16B; Adriani, 130-II; PAI-LXXXVI, 381 “This official poster for La Revue Blanche is considered by many to be Lautrec’s strongest individual work. In it, using a combination of economical line and implied movement, large flat areas of color and carefully observed detail, he shows Misia Natanson, wife of the magazine’s editor, Thadée Natanson, ice-skating at the Palais de Glace, an ice rink opened at the Rond-Point des Champs-Élysées by Jules Roques in 1894. The entire poster is like a little joke, as if Lautrec were amusing himself by proving that he could show an ice-skater without ever showing her skates” (Frey, p. 408).

Est: $14,000-$17,000.

475

A-Z | TOULOUSE-LAUTREC

Toulouse-Lautrec

(Continued)

476. L’Aube. 1896.

476

31 1⁄ 2 x 23 7⁄ 8 in./80 x 60.6 cm Cond A. Framed.

Ref: Wittrock, P23; Adriani, 184; Wagner, 25; DFP-II, 845; PAI-LXXXVI, 405 Night. The downtrodden trudge with their belongings down the empty avenue. Their backs are bent, the cart is freighted, and the horse strains at the load. It’s a completely counterintuitive—and brilliant—way to advertise the new Socialist periodical L’Aube (The Dawn), which appeared on the racks of the bouquinistes in May, 1896. Lautrec designed the scene in turquoise, using his spatter technique to suggest the grainy quality of the day’s first early, uncertain light.

Ebria Feinblatt points out that “the robust female pushing the cart illustrates Lautrec’s mastery of movement, here almost geometrized in her shape” (Wagner, p. 29).

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

477. L’Argent. 1895.

9 1⁄4 x 12 1⁄2 in./23.5 x 31.8 cm Imp. Eugène Verneau, Paris Cond A. Framed.

Ref: Wittrock, 97 (theatre program edition); Adriani, 133-II; PAI-LXXXVI, 397 A program for the comedy L’Argent (Money) by Émile Fabre is distinctly un-comedic: the gentleman leads the woman out the door, her 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: $5,000-$6,000.

478. L’Artisan Moderne. 1896.

24 1⁄ 2 x 34 7⁄ 8 in./62.3 x 88.5 cm Imp. Bourgerie, Paris (not shown) Cond A. Framed.

Ref: Wittrock, P24; Adriani, 59-I; DFP-II, 835; Wagner, 12; Wine Spectator, 52; PAI-XII, 417 Lautrec’s friend André Marty was a publisher and dealer in graphic arts, and also the founder of a chain of interior decorating shops that he called “L’Artisan Moderne.” As a favor, the artist helped him to publicize that venture by designing this charming poster showing “a craftsman, the medalist Henri Nocq, taking instructions from his very charming lady client” (Adriani, p. 99). This is the rare proof before letters.

477

Est: $30,000-$35,000.

TOULOUSE-LAUTREC | A-Z

478

A-Z | TOULOUSE-LAUTREC

479

Toulouse-Lautrec

(Continued)

479. Ambassadeurs / Aristide Bruant. 1892.

480. Eldorado / Aristide Bruant. 1894.

38 5⁄8 x 56 1⁄2 in./98.2 x 143.5 cm Imp. Edw. Ancourt, Paris Cond A. Framed.

Ref: Wittrock, P4; Adriani, 3; Reims, 773; Wine Spectator, 46; Wagner, 5; PAI-LXXXII, 448

38 3⁄8 x 56 3⁄4 in./97.5 x 144.2 cm Imp. Bourgerie, Paris Cond A. Framed.

Ref: Wittrock, P5; Adriani, 4; Wagner, 6; Lautrec/Montmartre, 115; PAI-LXXXII, 449

“The Montmartre chansonnier turned restaurateur, Aristide Bruant, was a strong, imposing personality, and in the several posters of him Toulouse-Lautrec conveys this by letting him dominate the picture completely, with virtually nothing else to distract our attention, and with Bruant’s characteristic red scarf, hat, and walking stick adding impact to the image... This design was seen by Bruant as a masterpiece, but the manager of the Ambassadeurs rejected it as too brutally frank and unflattering; the only way the performer could get it accepted was by warning the manager that he would not appear on stage unless there was a copy on either side of the proscenium, and unless the whole of Paris was plastered with further copies” (Wine Spectator, 46). The same image would be recycled by Lautrec two years later when Bruant appeared at the Eldorado (see following lot).

Est: $70,000-$90,000.

Despite the fairly discouraging reactions to his first artistic attempt at publicizing Aristide Bruant, Lautrec also designed this poster, at Bruant’s request, for his appearances at the Eldorado on the Boulevard de Strasbourg. He used new stones for the drawing, with the same dimensions and the same color arrangement as the design for his Ambassadeurs poster two years prior, but reversed. Strategically, this was a brilliant move, as the Ambassadeurs poster was already well known to the public. However, the management of the Eldorado was hardly more amenable, as we see from a letter by Lautrec which may refer to the Eldorado poster: “Bruant, my good friend. Enclosed the states as requested. As far as the poster ex condition is concerned, there are no good impressions left. The Eldorado management was very mean, haggling over the price and giving me less than the printing costs at Chaix. So I have worked at cost price. I am sorry they misused our good relations to exploit me. It remains to be hoped we will be more careful next time” (Adriani, p. 23). That said, once the poster was printed and hung it became “one of the undisputed masterpieces which adorned the billboards of Paris. Such an impressive combination of form and color, of picture and lettering, has probably never been achieved since. Just as the red scarf and the wide-brimmed hat were Bruant’s trademark, so too this poster epitomize[d] Montmartre and its cabarets in the heyday” (Schardt, p. 176).

Est: $80,000-$100,000.

TOULOUSE-LAUTREC | A-Z

480

A-Z | TOULOUSE-LAUTREC

Toulouse-Lautrec

(Continued)

481. Le Deuxième Volume de Bruant. 1893.

23 1⁄4 x 31 1⁄8 in./59 x 79 cm Imp. Chaix, Paris Cond A-/Slight tears at left edge. Framed.

Ref (all var): Wittrock, P10C; Adriani, 57-IV; DFP-II, 832; PAI-LXXXV, 454

481

In this version of the Aristide Bruant poster, the sale of a songbook by Bruant, illustrated by Steinlen, is promoted. This is a rare version of the image with the addition of red on the collar and sleeve.

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

482. Aristide Bruant Dans Son Cabaret. 1893.

37 7⁄ 8 x 52 3⁄4 in./96.2 x 134 cm Imp. Charles Verneau, Paris Cond B/Restored tears at edges. Framed.

Ref: Wittrock, P9A; Adriani, 12-I; Wagner, 10; DFP-II, 827 (var); PAI-LXXXVI, 393 Bruant’s strong, forceful, and in many ways vulgar style was ideally suited to the intimate cabarets where fashionable society went “slumming” for thrills. Lautrec captures this brutal quality of the entertainer and the disdain with which he treated his audiences by having him show us the broad of his back. The red scarf forms an exclamation point that punctuates the black expanse while the pose itself makes a complete, self-contained statement—Toulouse-Lautrec at his very best.

This is the rare proof before the addition of letters.

Est: $27,000-$30,000.

483. Aristide Bruant / Les Chansonniers de Montmartre. 1893.

37 3⁄4 x 53 3⁄8 in./96 x 135.5 cm Imp. Charles Verneau, Paris Cond B+/Slight tears and stains at edges. Framed.

Ref: Wittrock, p. 9 (var); Adriani, 12 (var); PAI-LXXIII, 471 This is the rarest image of all the Aristide Bruant lithographs created by ToulouseLautrec. According to Adhemar, this is the “third state” of use of Lautrec’s iconic portrait of Bruant, first created in 1893. Bruant used the image, in all its brutal and disdainful beauty, to advertise a bimonthly songbook called “Les Chansonniers de Montmartre,” a veritable encyclopedia of Montmartre’s performers, led by Bruant himself. As with the first state, it is also printed by Verneau (other states having been the work of Ancourt). “Unlike most members of bohemian Montmartre,” writes Michael L. Wilson in the Journal of Western Society for French History, Vol. 36, 2008, “Bruant had a limited education and direct experience of downward mobility, manual labor, and poverty... Bruant recounted that, as his family moved from one workingclass neighborhood to another, he learned the strengths and poetry of working-class speech: ‘colorful, animated, brutal, cynical, but rich in picturesque metaphors, in bold neologisms, and in imitative harmonies.’ Bruant recalls being so seduced by this slang that he would wander the streets of working-class neighborhoods, speaking with and learning from everyone he met.”

482

Est: $50,000-$60,000.

TOULOUSE-LAUTREC | A-Z

483

A-Z | TOULOUSE-LAUTREC

484

Toulouse-Lautrec

(Continued)

484. Jane Avril. 1899.

14 1⁄2 x 21 1⁄2 in./37 x 54.6 cm H. Stern, Paris Cond A-/Slight tear at lower left corner. Framed.

Ref: Wittrock, P29A; Adriani, 354-II; Abdy, p. 80; DFP-II, 851; Wagner, 30; PAI-LXXXV, 457 This is the rarest of the versions, from an edition of only 25 copies, hand-signed by the artist, and including a small snake remarque in the lower left. 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 aide-mémoire, 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: $100,000-$120,000.

TOULOUSE-LAUTREC | A-Z

485 485. Portrait de Femme : Painting. 1892.

8 3⁄ 8 x 10 1⁄ 8 in./21.3 x 26 cm Oil painting. Framed.

Ref: Dortu, Vol. II, p. 274, no. P.455; Joyant, Vol. 1, p. 161 Exhibited: Henri de Toulouse-Lautrec, Musée des Arts Décoratifs, 1931, No. 85.

Cinquantenaire Toulouse-Lautrec, Musée de l’Orangerie, 1951, No. 125.

This is one of a number of medallion oil paintings Lautrec created to decorate the Louis XV-style salon of the brothel on Rue d’Amboise in Paris.

Est: $120,000-$150,000.

A-Z | TOULOUSE-LAUTREC

486

487

TOULOUSE-LAUTREC | A-Z

488

Toulouse-Lautrec

(Continued)

486. Elles : Study for Femme au Lit / Au Petit Lever. 1896.

20 x 16 3⁄4 in./51 x 42.5 cm Crayon drawing on Japanese Kozo paper. Framed.

Ref: Dortu, Vol. VI, p. 754-755, no. D.4.280 Provenance: This was originally in the possession of Emmanuel Tapié de Celeyran, Lautrec’s cousin. It passed through many collections, including that of Knoedler & Co., Erick Estorick, Thomas Agnew, and the Getty Collection. (Full provenance list is available on request).

Exhibited: Cinquantenaire Toulouse-Lautrec, Musée de l’Orangerie, 1951, no. 108.

This study, the first we have ever shown from the famed “Elles” suite, titled “Woman in Bed, Getting Up” (see Wittrock, 163; Adriani, 179), shows Juliette Baron at the bedside of her daughter, Paulette (called Mademoiselle Popo), both of whom worked in the brothel in the Rue des Moulins.

Est: $50,000-$60,000.

487. Elles : Femme sur le Dos / Lassitude. 1896.

488. Elles : Femme à la Glace. 1896.

20 1⁄4 x 15 3⁄4 in./51.4 x 40 cm Cond A. Framed.

Ref: Wittrock, 165; Adriani, 181

15 3⁄4 x 20 1⁄ 2 in./40 x 52 cm Cond A. Framed.

Ref: Wittrock, 161; Adriani, 177

This unreserved image is a “picture of a girl lying stretched out on the bed in a state of exhaustion” (Adriani, p. 242). This is one of 100 copies (No. 20) from the “Elles” suite, with Pellet’s stamp and watermark.

This is the sixth image in Lautrec’s famed “Elles” series. Once again, we are inside one of the rooms of the maisons closes, intimately observing a woman from behind as she stares deeply at her own reflection in a hand-held mirror. This is one of 100 impressions (No. 13) with the stamp of Pellet.

Est: $14,000-$17,000.

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

A-Z | TOULOUSE-LAUTREC

489

Toulouse-Lautrec

(Continued)

489. The Chap Book. 1896.

22 7⁄8 x 15 7⁄8 in./58.2 x 40.4 cm Imp. Chaix, Paris Cond B+/Slight stains at edges. Framed.

Ref: Wittrock, P18B; Adriani, 139; Wagner, 24; DFP-II, 846; Wine Spectator, 51; PAI-LXXXI, 476 “The Irish American Bar at 33 rue Royale was furnished in gleaming mahogany, and had a Chinese-Indian bar-keeper called Ralph, who with stoical calm served the British jockeys and trainers and local coachmen who frequented the bar. Here, too, the florid figure of Tom... the Rothschild’s coachman, a particular favorite with Lautrec for his supercilious manner... is visible among the customers being served by Ralph with a special concoction” (Adriani, p. 196). It was also a favorite haunt of Lautrec’s, as he “let people know he could be found every afternoon in a certain bar. For several years from 1894 onwards, it was the Irish and American Bar. There, it is said, [Lautrec] presided over the clients in the bar as he had over his house guests, insisting to Ralph... that people he didn’t like not be admitted” (Frey, p. 390).

Est: $30,000-$40,000.

TOULOUSE-LAUTREC | A-Z

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490 490. Troupe de Mlle Églantine. 1896.

31 1⁄4 x 24 3⁄8 in./79.4 x 62 cm Cond B+/Slight tear in Églantine’s stocking. Framed.

Ref: Wittrock, P21C; Adriani, 162-III; Wine Spectator, 43; DFP-II, 850; Wagner, 23; Posters of Paris, 100; Reims, 791; PAI-LXXXV, 447 “At the height of cancan’s popularity, dancers formed groups which offered their services as a unit: whether the Troupe de Mlle Églantine was the best of them we don’t know, but it is certainly the only one publicized by the best. Toulouse-Lautrec did it at the request of his friend Jane Avril.

From left to right, we see Jane Avril, Cléopâtre, Églantine, and Gazelle. As with his Moulin Rouge poster, he lets the white of the petticoats, punctuated by stockinged legs, do most of the talking, but he also offhandedly gives each girl a distinct character in only a few lines lining their facial expressions” (Wine Spectator, 43).

Est: $30,000-$40,000.

A-Z | TOULOUSE-LAUTREC

491

Toulouse-Lautrec

492

(Continued)

491. Lender et Auguez dans “La Chanson de Fortunio.” 1895.

493. Babylone d’Allemagne. 1894.

11 1⁄4 x 18 3⁄4 in./28.6 x 42.5 cm Cond A. Framed.

Ref: Wittrock, 108; Adriani, 120; PAI-LXXVII, 379

34 x 47 7⁄8 in./86.3 x 121.5 cm Imp. Chaix, Paris Cond A-/Slight tears, largely at edges. Framed.

Ref (all var but PAI): Wittrock, P12B; Adriani, 58; DFP-II, 832; PAI-LXXI, 514

Marcelle Lender and Numa Auguez appeared in the Offenbach operetta, “La Chanson de Fortunio,” in 1895 at the Théâtre des Variétés. In this delicate depiction, Toulouse-Lautrec renders them as nearly ghostly figures engaged in a quiet moment. This is one of 25 impressions.

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

492. Le Pendu. 1892.

21 1⁄4 x 29 1⁄4 in./54 x 74.5 cm Cond B+/Slight tears at folds.

Ref: Wittrock, P2B; Adriani, 2; PAI-XLII, 490 “Arthur Huc, art lover and editor of the magazine Le Dépêche de Toulouse, used the lithograph... together with the lettered poster... to advertise the serial novel ‘Les Drames de Toulouse’ by A. Siégel. The novel is set in the eighteenth century, and to match the text, the artist has used a dramatic style of drawing, with rich contrasts, that also occurs in some of his later lithographs” (Adriani, p. 23).

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

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). This is the rare proof before letters.

Est: $27,000-$30,000.

TOULOUSE-LAUTREC | A-Z

493

A-Z | TOULOUSE-LAUTREC - VAN CAULAERT

494

Toulouse-Lautrec

(Continued)

494. Self-Portrait. ca. 1895.

2 ⁄8 x 3 in./6 x 7.3 cm Pencil drawing. Framed.

Ref: Dortu, vol VI, no. D.4.003, illustrated p. 683; PAI-LXVII, 530 3

Provenance: The Collection of Mr. & Mrs. Edward M.M. Warburg, New York.

Exhibited: Fogg Museum, Harvard Museum of Art, 1961; Colorado Springs Fine Arts Center, 1965.

The few known self-portraits by Lautrec run the gamut from wry and witty to somber and insightful. This small drawing straddles that line, presenting a soft but merry side of the artist rarely appearing in his other works.

Est: $20,000-$25,000.

495

495. “Henri de Toulouse-Lautrec, 1864-1901”

by Maurice Joyant. 1926-1927.

Each: 8 1⁄2 x 10 5⁄8 in./21.5 x 27 cm Deluxe edition: one of 175 copies on Japon paper in excellent condition, with fine hardcover bindings—the finest specimens ever seen. 2 volumes with 12 original drypoint etchings and 8 original lithographs. In overall excellent condition.

Ref: PAI-XI, 418D This is the two-volume definitive work on the artist by his lifelong friend and manager, Maurice Joyant. Volume I, with 312 pages and subtitled “Peintre,” was published in 1926. Volume II, with 284 pages and subtitled “Dessins-Estampes-Affiches,” was published in 1927.

Both volumes contain numerous color plates. No one knew Lautrec better than Joyant and it shows in the care and detail of presentation. These two volumes are hand-signed by “Monsieur Thiriaux.”

Est: $10,000-$12,000. (2)

TOULOUSE-LAUTREC - VAN CAULAERT | A-Z

496

498

Raymond Tournon

(1870-1919)

Antoni Utrillo

497 (1867-1944)

Jean-Dominique van Caulaert

496. Enghien les Bains. 1901.

497. Exposició Permanent.

(1897-1979)

29 1⁄8 x 40 3⁄8 in./74 x 105.2 cm Imp. P. Dupont, Paris Cond A-/Slight tear at horizontal fold.

Ref: PAI-LXXXI, 480

12 x 30 1⁄4 in./30.6 x 76.8 cm Utrillo & Rialp, Barcelona Cond A-/Slight stains at edges.

Ref: Chaumont/Exposons, p. 39

498. Lys Gauty. 1934.

Parisians of the early 20th century had a convenient way to escape the city: Chemin de Fer offered 120 daily trains running from Paris Saint Lazare to Enghien les Bains—at just 12 minutes per trip. Enghien is a spa town in the Ille de France region with purportedly curative waters.

According to this poster—and several others advertising the destination—Enghien is also home to graceful swans. This well-dressed lady has fully embraced the getaway with piles of roses and a picturesque view.

A poster vendor in Barcelona announces their permanent exhibition and sale of Spanish and foreign posters. A lovely young lady pauses her work of poster-pasting to give us a quick nod hello.

Lys Gauty, with those mystical feline eyes illustrated so well by van Caulaert, was a French music-hall and recording star of the 1920s and ’30s, singing at the Olympia and the Alcazar. She was awarded a Grand Prix du Disque for her role in the French adaptation of Kurt Weill’s “The Threepenny Opera.” In the 1930s, when rampant anti-Semitism had spread across France, she was one of the few French artists to show support for the Jewish people by singing “Israel-ve-atem.”

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

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

15 1⁄8 x 23 1⁄2 in./38.3 x 59.7 cm Les Impressions Litho., Paris Cond A-/Unobtrusive folds.

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

A-Z | VARIOUS - VILÁ

499

Various 499. Cigarrillos Paris / Concurso Paris. 1901.

36 1⁄4 x 48 1⁄8 in./91.8 x 122.2 cm Cond A-/Slight tears and creases at edges.

Buenos Aires hosted international competitions in poster design; here they show their first through sixth place winners in designing an image for Cigarillos Paris. At bottom is an invitation for designers from all countries to submit their ideas for a second run of images for the French cigarette brand.

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

501. Drukkerij Kotting. ca. 1917.

30 1⁄8 x 41 3⁄4 in./76.6 x 106 cm Drukkerij Kotting, Amsterdam Cond B/Tears, largely at edges.

Ref: Modern Dutch Poster, 43; PAI-XXIV, 550 A designer of many posters for the prominent Amsterdam printer Kotting, Verschuuren created this one to advertise the services of his employer’s shop.

A shouting herald—the poster’s ancestor—holds a staff suggesting the designer’s brush or pencil. Strong colors and an interesting Cubistic style make sure we pay attention.

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

Charles Verschuuren, Jr. (1899-1955) 500. Drukkerij Kotting.

30 3⁄4 x 84 in./78.2 x 213.3 cm Drukkerij Kotting, Amsterdam Cond A. Ref: PAI-XXXV, 495 This two-sheet dandy literally thrusts the attributes of street advertising into the minds of the public, almost daring them to ignore the preenings of this foppish homunculus as he inspects Kotting’s kiosked craftsmanship with the assistance of a magnifying glass. Little known in America, this talented Dutch graphic artist began his career at 16 as a cartoonist in his native Tilburg before going off for formal training at the fine arts academies of Amsterdam and Paris.

He returned home in 1914, finding work with the prominent Amsterdam printing firm of Kotting. In 1923, Verschuuren moved his family to the United States, widely exhibiting his oil paintings, yet never willing to sell any of them. He soon became a successful cover artist for the Brooklyn Daily Eagle. However, when the depression forced the paper to shut its doors in 1936, Verschuuren became a freelance artist, creating murals for the WPA and continuing to exhibit. From 1941 until his passing, he worked as a filmstrip artist for the U.S. Air Force and the Army Signal Corp.

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

500

502. Drukkerij Kotting.

31 1⁄4 x 43 in./79.4 x 109.3 cm Drukkerij Kotting, Amsterdam Cond A. Compared to his previous designs for the printer Kotting, this one is incredibly simple, but no less charming. An artist in a bright red outfit sits below the tree, pondering what his next great lithographic design will be.

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

503. Ravensberg / Voor Straat Reclame. 1917.

34 3⁄8 x 31 in./87.3 x 78.7 cm Cond A. Ref: PAI-LVII, 553 Just before dawn, a new day’s worth of street advertising is being rolled into place by two porters.

In the foreground, we see the hint of the name E.V. Ravensberg—a prominent printing house in the Netherlands—curl over the surface of a kiosk, implying its preeminence in this medium.

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

501

VARIOUS - VILÁ | A-Z

503

502

505

Marcel Vertès

(1895-1961)

504. Plakate von Vértes.

33 1⁄2 x 41 3⁄4 in./85 x 106 cm Gesellschaft für Graphische Industrie, Wien Cond B+/Slight tears at folds and edges.

Ref: Chaumont/Exposons, p. 45; PAI-XXVI, 570 A monstrous, fluffed cockatoo, perched in the “P” of the word Plakate, cranes down over a wee, tiny fellow, startling the umbrella right out of his grip, as the fine-feathered fiend browbeats him with the squawking announcement of an exhibition of Vertès posters. It’s not exactly a soft sell, but rather a frighteningly humorous display of talent. Vertès, a highly talented illustrator, was born in Budapest. He worked briefly in Vienna before taking French citizenship and settling permanently in Paris in 1925. There he acquired instant renown for an album of lithographs titled Dancings, and became a successful book and magazine illustrator.

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

504

Emilio Vilá

(1887-1967)

505. Caffaro. 1897.

32 3⁄4 x 48 1⁄4 in./83 x 122.4 cm Cond B-/Slight tears at folds and edges.

To promote Caffaro, the “most widespread and most important newspaper in Liguria,” Vilá doesn’t waste time describing the paper’s contents, but rather focuses his efforts on one of Caffaro’s most elegantly dressed readers. Notice the frills of her petticoats and her walking cane, accessorized with a simple bow.

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

A-Z | VILLEMOT - WARREN

506

507

Bernard Villemot

(1911-1989)

René Vincent

(1879-1936)

Raymond Virac

(1892-1946)

506. Orangina / “Fruitillante.” 1970.

507. Au Bon Marché / Bains de Mer. ca. 1925.

508. LMS / Le Meilleur Service. 1925.

91 x 61 1⁄2 in./231.2 x 156.2 cm La Lande-Courbet, Wissous Cond B+/Slight stains at folds.

Ref: Bon Salle, 360; Villemot, checklist, 231; Boissons, 196; PAI-LXVII, 548

134 x 87 3⁄4 in./340.5 x 223 cm Imp. Duval & Bedos, Paris Cond B/Tears, largely at seams and edges.

Ref: Affiche Réclame, 54; PAI-LXXVI, 454 (var)

29 1⁄2 x 41 3⁄4 in./75 x 106.2 cm Imp. E. Delamotte, Paris Cond A-/Slight stain at left edge.

Ref: PAI-LIV, 385

This rarely seen Art Deco triumph by Vincent lavishes in the lady’s billowing cape, half-dome parasol, and sunyellow dress with hues of sea and sky throughout. Very, very faintly off to the left, you may be able to discern the outlines of three seagulls tossed in the breeze.

This is the four-sheet, larger format.

With a nod to the thick, voluminous figures of Futurist and Socialist art that would come to define the 1930s, this poster advertises the “best service” in the United Kingdom by likening the LMS trains to a running Roman girl.

One of the rarer designs in Villemot’s oeuvre for Orangina, this two-sheet billboard turns the iconic orange peel into fashionable summer outerwear.

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

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

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

VILLEMOT - WARREN | A-Z

508 509

512

Curt Vogt

(1879-1954)

510

Andy Warhol

511

(1930-1987)

509. F.M. Lenzner / Stettin. 1912.

510. Chanel. ca. 1997.

511. Chanel. ca. 1997.

36 1⁄2 x 28 1⁄2 in./93 x 72.3 cm Cond B+/Slight tears at folds and edges.

46 1⁄2 x 69 in./118.2 x 175.3 cm Cond A/P. Ref: PAI-LXX, 131 (var)

46 1⁄2 x 69 in./118.2 x 175.3 cm Cond A/P. Ref: PAI-LXX, 131 (var)

Soon before his death, Warhol created a series of images featuring the iconic bottle of Chanel No. 5 seen through the lens of his signature silkscreen color-blocking. Years later, Chanel would reappropriate the designs for its own advertisements, putting out a series of at least four posters. This is the black and purple variant.

This is the blue and yellow variant of Warhol’s campaign for Chanel No. 5.

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

512. Advertise on the LNER.

Founded in 1847, F.M. Lenzner specialized in paper goods, printing, and packaging. Vogt uses a typically German Sachplakat aesthetic to depict a Morris column with some of the firm’s printed examples.

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

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

F. H. Warren 24 1⁄2 x 40 in./62 x 101.4 cm Ben Johnson, York Cond B/Slight tears at folds and edges.

In a call to arms for poster advertisers, Warren enlists an enthusiastic bill poster who can’t control his excitement with the brush.

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

A-Z | WIENC - D’YLEN

514

513

515

Alain Wienc

Wendy

Harold Sandys Williamson

513. 7Up : Maquette.

514. Victoria Australia.

515. 20 Years of “Underground” Posters.

44 1⁄2 x 60 1⁄2 in./113 x 153.6 cm Signed gouache maquette.

25 1⁄8 x 39 1⁄ 2 in./63.8 x 100.5 cm McLaren, Melbourne Cond A.

25 x 40 in./63.5 x 101.6 cm Waterlow & Sons, London Cond A-/Unobtrusive folds.

Wendy zeroes in on Victoria’s fishing opportunities with an angler plunging into the deep blue sea.

London’s New Burlington Galleries announces their exhibition of “Underground” Posters with trumpetblaring fanfare. Williamson, the Headmaster of Chelsea Polytechnic, designed 14 posters for the London Underground from 1924 to 1939.

Giddy up! Wienc envisions a bubbly design for the 7Up soda company.

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

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

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

(1882-1978)

WIENC - D’YLEN | A-Z

516

518

Jean d’Ylen

(1866-1938)

516. Affiches Vercasson. ca. 1919.

518. Femme Éclairant. 1920.

20 x 29 ⁄8 in./51 x 74 cm Imp. Vercasson, Paris Cond B/Tears in borders.

Ref: d’Ylen, 73; PAI-XL, 530

47 1⁄2 x 63 1⁄4 in./120.6 x 160.6 cm Imp. Vercasson, Paris Cond B+/Slight tears at folds.

Ref: d’Ylen, 21

After several years as a designer of jewelry, d’Ylen became a full-time posterist in 1919 and signed an exclusive contract with Vercasson in 1922. He may have owed the job offer to the fact that he was a sincere admirer and disciple of Cappiello, who was the previous star of the Vercasson shop, and thus the firm was assured of an uninterrupted flow of designs of unbridled exuberance that had been Cappiello’s trademark. Above the basket laden with gilded produce held aloft by the naked envoy from the creative realm strapped with the tools of the lithographic trade, a slogan reads thus: “Good Advertising Bears Fruit.”

Without a title or any specific brand name, it’s difficult to pin down the exact meaning of this design; only one other copy is known, in the Librairie Forney in Paris, which is also without text. But the hovering woman, enshrouded in swaths of rainbow strokes and pointing a powerful spotlight at a building, is a beautiful image on its own.

1

517

Est: $800-$1,000.

517. Diurne & Nocturne. 1925.

519. Cognac Richardpailloud. 1930.

46 3⁄4 x 62 3⁄4 in./119 x 159.2 cm Imp. Vercasson, Paris Cond B+/Slight tears in bottom text.

Ref: d’Ylen, 51 (var); PAI-XXXVIII, 582

If you’re in the ad business, your own publicity has got to turn heads. This vision of light in the night, barreling along rails, ringing a bell, is d’Ylen’s pitch-perfect calling card for a bill posting company, specializing in train stations, and posting posters day and night.

A flouncing ambassador from the Richardpailloud distillery opens the floodgates to torrential abandonment in the name of their trademark cognac.

Shielded by their crest and unleashed from the confines of gravity, this pale envoy is motion and hedonism personified—in short, the ideal representative from the ethereal land of intoxication. And this isn’t his first visit either: the image was so popular that this represents the fifth edition of the design, a fact indicated after the printer’s mark.

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

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

30 1⁄ 2 x 40 1⁄4 in./77.3 x 102 cm Imp. Vercasson, Paris Cond A-/Slight tears at edges.

Ref: d’Ylen, 47; PAI-LXXI, 534

519

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

A-Z | YOKOO - SELECTED INDEX

521

520

Tadanori Yokoo

522

Valentin Zietara

(1936- )

(1883-1935)

520. Nippon Derby. 1998.

521. Stedelijk Museum Amsterdam. 1974.

522. Künstler-Plakate.

28 3⁄8 x 40 1⁄2 in./72 x 102.8 cm Cond A.

25 3⁄8 x 37 1⁄8 in./64.5 x 94.2 cm Cond A. Ref: Yokoo/Graphic Works, p. 248; PAI-LXXI, 540

33 3⁄ 8 x 47 in./84.8 x 119.5 cm Chromo Lithographische, München Cond A.

One of Japan’s most famous graphic designers, Tadanori Yokoo was influenced by Milton Glaser’s pop sensibilities, Akira Kurosawa’s sense of drama, and Indian mysticism as he ventured forth through the 1960s. Here he is, pictured on the poster he designed for his 1974 solo show at Amsterdam’s Museum of Contemporary Art, signifying all of these influences.

Zietara was not only a founding member of the artist group Die 6, but was also the only original member to join the second iteration of the group. And while he doesn’t have the same following as Hohlwein does today, the two were major influences on German art and advertising in the early 20th century. Here, he playfully advertises the poster services of the Association of German Commercial Graphic Artists in Munich.

For the 65th Nippon Derby, Yokoo pulls out all the psychedelic stops, with repeating horses, vibrating color patterns, and nods to Japanese culture and art: national flags, Hokusai’s “The Great Wave off Kanagawa,” cherry blossoms, and the Rising Sun Flag. Rare!

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

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

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

217

SELECTED INDEX ALCOHOL

FOOD / DRINK

SCIENCE & TECHNOLOGY

Absinthe . . ...................... 1 6, 349, 455

100, 171, 194, 202, 332, 336, 339, 351, 352, 369, 393, 395, 400, 403, 416, 456, 506, 513

148, 166, 177, 207-209, 220, 233, 235, 267, 270, 296A, 300, 413, 414, 438, 518

Beer............................. 1 26, 150

JEWISH INTEREST

SPORTS

Champagne / Wine. . ........ 1 93, 215, 247, 301, 302, 355, 357, 363, 380, 390

88, 89, 100, 382

Golf.............................. 1 85, 277

Liqueurs / Spirits............ 1 58, 165, 222, 253, 378, 424, 427, 519

LITERARY

Apéritifs / Digestifs......... 2 25, 264

Olympics....................... 1 39, 140, 428

ANIMALS

Tennis. . ......................... 3 0, 185, 290, 430 28, 63, 78, 142, 145, 146, 149, 151, 152, 156, 189, 203, 228, 241, 243, 246, 250, 251, 292, 293, 298, 322, 371, 429-432, 460, 473, 476, 489, 492, 493, 505

Birds.. ........................... 2 6, 69, 101, 307, 315, 457

Winter Sports................. 2 32, 255, 317, 324, 333, 375, 475 Other............................ 3 13, 314, 334, 343, 344, 520

MUSIC / DANCE Cats............................. 1 32, 177, 198, 221, 267, 376, 456, 458, 459

Balls............................. 2 30, 252, 341, 342, 453

THEATRE

Dogs. . ........................... 5 , 19, 20, 73, 297, 329, 434

Cabarets / Music Halls.. ... 1 55, 239, 240, 248, 254, 316, 373, 421, 440, 447, 458, 474, 479, 480

143, 144, 147, 198, 199, 227, 229, 309, 379, 381-383, 405, 461, 477, 479, 480, 482, 491

Horses.......................... 4 4, 90, 125, 126, 129131, 225, 297, 362, 375, 431, 449, 476, 493, 520

Dance........................... 2 54, 263, 286, 305, 421, 423, 472, 484, 490

TOBACCO 164, 210, 212, 214, 231, 386, 422, 499

Other............................ 1 24, 129, 214, 341, 455, 471

Folies-Bergère.. .............. 2 44, 359 Loïe Fuller..................... 3 59

TRAVEL

ART EXHIBITIONS

Opera........................... 2 37, 280, 315, 451

133-135, 186-188, 197, 200, 257, 258, 265, 270, 282, 287, 303, 306, 312, 331, 335, 338, 347, 350, 360, 364, 367, 368, 385, 407, 408, 412, 418, 441-443, 448, 452, 454, 464, 468-470, 504, 515, 521

Singers......................... 1 79, 372, 425, 479-483, 498

By rail. . ......................... 1 68, 195, 284, 387,

BEAUTY / HEALTH / PERFUME

POSTERS ON POSTERS

141, 162, 201, 217, 219, 245, 247, 256, 304, 321, 346, 370, 411, 510, 511

47, 55, 101, 112, 133-138, 149, 152, 154-161, 163, 169, 172, 173, 183, 186-191, 197, 200, 265, 266, 268, 269, 271, 282, 283, 285, 289, 295, 296B, 303, 306, 309-312, 318, 319, 322, 323, 325-326B, 331, 337, 338, 346-348, 354, 361, 362, 364, 366-368, 376, 407, 408, 412, 415, 417, 418, 420, 425, 426, 432, 433, 435-437, 441-446, 448, 449, 452, 454, 462-469, 497, 499-504, 509, 512, 515-517, 521, 522

FASHION 154, 204, 213, 216, 224, 226, 249, 280, 328, 329, 348, 377, 507

FILM 115-123, 182

Other............................ 1 53, 178, 207, 262, 276, 296A, 300, 404, 471

176, 196, 297, 410,

185, 234, 320, 508,

191, 278, 365, 512

By ship.. ........................ 1 74, 281, 299, 320, 439 New York....................... 9 1, 104, 176, 191, 237, 271, 321 World’s Fairs / Expos . . ..... 6 2, 64, 66, 68, 70, 71, 85, 167, 184, 236, 279, 330, 419 Other............................ 7 5, 81, 86, 88-93, 175, 180, 181, 192, 223, 232, 272-275, 290, 291, 308, 333, 340, 345, 358, 496, 514

218

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 86 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

Ailes

Auto Show III

The French poster, by Jane Abdy. New York : Clarkson N. Potter, 1969.

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.

L’automobile et la publicité. Catalogue of the exhibition at the Musée de la Publicité, Paris, 1984.

Absinthe Absinthe : history in a bottle, by Barnaby Conrad, III. San Fransisco : Chronicle Books, 1988.

Absinthe Affiches L’absinthe : les affiches, by Marie-Claude Delahaye. Auvers-surOise : Musée de l’Absinthe, 2002.

Adriani Toulouse-Lautrec : the complete graphic works, by Götz Adriani.

London : Thames & Hudson, 1988. The catalogue raisonné, featuring the Gerstenberg collection.

Affiche Réclame Quand l’affiche faisait de la réclame! : l’affiche Francaise de 1920 à 1940. Paris : Editions de la Réunion des Musées Nationaux, 1991. Catalogue of the exhibition at the Musée National des Arts et Traditions Populaires, Paris. November 12, 1991-February 3, 1992.

Affiches Automobiles 100 ans d’affiches automobiles/100 years of auto posters, by Dominique Dubarry. Paris : Maeght, 1991.

Affiches Azur Affiches d’Azur : 100 ans d’affiches de la Côte d’Azur et de Monaco, by Charles Martini de Chateauneuf. Nice : Editions Gilletta, 1992.

Affiches d’Aviation

Air France Air France : affiches/posters, 1933-1983, by Jérôme Peignot.

Paris : Fernand Hazan, 1988.

Air France/Dream Air France posters : making the world dream, by Louis-Jean Calvet and Philippe-Michel Thibault. Paris : Le Cherche-Midi, 2006.

Air France/Fraile Air France : objets du ciel, by Michel Fraile. Rennes : OuestFrance, 2003.

Alpes Les Alpes à l’affiche, by Yves Ballu. Grenoble : Editions Glenat, 1987.

American Posters Posters American style, by Therese Thau Heyman. New York : Harry N. Abrams, 1998.

American/Virginia Museum Designed to sell : turn-of-the-century American posters in the Virginia Museum of Fine Arts, by Frederick R. Brandt.

Richmond, V.A. : Virginia Museum of Fine Arts, 1994. Catalogue of the exhibition at the Virginia museum of Fine Arts, November 9, 1994-January 8, 1995.

Affiches de l’histoire d’aviation, by Gerard Hartmann & Francoise Leloup-Perier (with English-language insert: The history of aviation in posters). Paris : Citadelles & Mazenod, 2009.

Art Deco

Affiches Riviera

L’art du biscuit, by Patrick Lefèvre-Utile. Verona : Éditions Hazan, 1995.

Affiches de la Riviera, by Annie de Montry, Françoise Lepeuve & Charles Martini de Chateauneuf. Nice-Matin : Editions Gilletta, 2001.

Affiches Sports d’Hiver Affiches de Sports d’Hiver, by Jean-Daniel Clerc & Jean Charles Giroud. Lausanne: Citadelles & Mazenod, 2014.

Affichomanie L’affichomanie : collectionneurs d’affiches, affiches de collection, 1880-1900, by Alain Weill. Paris : Musée de l’Affiche, 1980. Catalogue of the exhibition on the subject of the Postermania of the 1880-1900, held at the Musée de l’Affiche, Paris, January 30-April 30, 1980.

Art deco graphics, by Patricia Frantz Kery. New York : Harry N. Abrams, 1986.

Art du Biscuit

Automobile/Lopez Affiches de l’automobile, by Emmanuel Lopez. Paris : Citadelles & Mazenod, 2011.

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).

Beaumont L’affiche Belge, by A. Demeure de Beaumont. Clairac, France : Chateau de Daussinanges, 1897.

Belle Epoque 1970 La Belle Epoque : Belgian posters, watercolors and drawings from the collection of L. Wittamer-De Camps, by Yolanda Oostens-Wittamer. New York : Grossman, 1971. The catalogue of the touring exhibition of the Wittamer-De Camps collection.

Belle Epoque 1980 La Belle Epoque : masterworks by Combaz, Léo Jo, and Livemont : a loan exhibition from the Collection of L. WittamerDe Camps, by Yolande Oostens-Wittamer. Washington : International Exhibitions Foundation, 1980. Catalogue of the loan exhibition from 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.

Bernhardt/Drama

100 Years of Auto Posters, by Dominique Dubarry. Paris : Maeght Editeur, 1991.

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.

Auto Show I

Bicycle Posters

Auto Posters

1er salon de l’affiche automobile, by Jacques Perier. Paris : Automobile Club of France, 1978. Catalogue of the exhibition, compiled by Jacques Perier, and sponsored by the Automobile Club de France, Paris, October 1978.

Auto Show II 2eme salon de l’affiche automobile, by Jacques Perier. Paris : Fédération Internationale de l’Automobile, 1979. Catalogue of the exhibition at the Musée de l’Affiche, Paris, September 29-October 14, 1979.

100 years of bicycle posters, by Jack Rennert. New York : Harper & Row, 1973.

Boissons Les boissons : un siècle de réclames, by F. Ghozland. Toulouse : Editions Milan, 1986.

Bon Salle Embracing an Icon: The Posters of Bernard Villemot, by George & Jeanne Bon Salle. New York: The Poster Art Library, Posters Please, 2015.

219

BIBLIOGRAPHY (CONTINUED) Bouvet

Cassandre/BN

Darracott

Bonnard : the complete graphic work, by Francis Bouvet. New York : Rizzoli, 1981.

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.

The First World War in posters, by Joseph Darracott. New York : Dover Publications, 1974.

Cassandre/Suntory

Dellepiane

Broders Voyages : les affiches de Roger Broders, by Annie de Montry & Françoise Lepeuve. Paris : Syros-Alternatives, 1991.

Broders/Travel

Deco Affiches Affiches art deco, by Alain Weill. Paris : Inter-Livres, 1990.

Roger Broders : travel posters, by Alain Weill & Israel Perry. New York : Queen Art Publishers, 2002.

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.

David Dellepiane : peintre, affichiste, illustrateur, by FrançoiseAlbane Beudon. Marseilles : Editions Parentheses, 1999.

Broido

Cassandre/Weill Cassandre, by Alain Weill. Paris : Editions Hazan, 2018.

Das deutsche plakat : von den anfangen bis zur gegenwart, by Hellmut Rademacher. Dresden : VEB Verlag der Kunst, 1965.

Cat Cabinet

DFP-I

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.

Brussels 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.

Bucan Boris Bucan : Breakfast at the Printer’s, ed. by Kristina Bonjekovic Stojkovic. Zagreb : Museum of Contemporary Art, 2016. Catalogue of the exhibition at the Museum of Contemporary Art, Zagreb, Croatia, April 14–May 29, 2016.

Buffalo Bill 100 posters of Buffalo Bill’s Wild West, by Jack Rennert. New York : Darien House, 1976.

Cappiello Cappiello, 1875-1942 : caricatures, affiches, peintures et projets decoratifs, by Claire Frèches-Thory & Réjane Bargiel.

Paris : Réunion, 1981. Catalogue of the exhibition at the Galerie Nationale du Grand Palais, Paris, April 3-June 29, 1981.

A Supreme Being: 25 Years of the Cat Cabinet Amsterdam.

Amsterdam: Uitgever, 2015.

Cataluña Cataluña en 1000 carteles : desde los origenes hasta la Guerra Civil, by Jordi Carulla, et al. Barcelona : Postermil, S.L., 1994.

Célébrités Célebrités à l’affiche, by A. C. Lelieur & R. Bachollet. Lausanne : Edita, 1989.

Chaumont/Exposons Exposons affichons : 300 affiches d’expositions. Paris : Somogy, 1994. Catalogue for the 5th Poster Festival in Chaumont, France; includes a section on “L’Affiche pour l’Affiche” (Posters on Posters) from the Rennert collection.

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.

Cappiello/Rennert

Colin

Cappiello : the posters of Leonetto Cappiello, by Jack Rennert.

New York : Poster Art Library, Posters Please, Inc., 2004.

100 posters of Paul Colin, by Jack Rennert. New York : Images Graphiques, 1977.

Cappiello/St. Vincent

Collectionneur

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 30May 30, 1985.

Collectionneur d’affiches, edited by Laurence Prod’homme.

Paris : Editions Apogé, Musée de Bretagne, 1996.

Cardinaux Emil Cardinaux : 1877-1936, by Thomas Bolt. Zürich : Kunstgewerbemuseum, 1985. Catalogue of the exhibition at the Museum für Gestaltung, Zürich, August 21-October 20, 1985.

Carlu 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.

Deutsche Plakat

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 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.

DFP-III Das frühe plakat in Europa und den USA. Volume III, German Posters. Edited by Helga Hollman, Ruth Malhotra, Alexander Pilipczuk, Helga Prignitz and Christina Thon. Berlin : Mann Verlag, 1980.

Discount Posters from the collection of Discount Tires, by Susan Driver.

Scottsdale, Ariz. : Reinalt-Thomas Corp., 2007.

Dodge The bicycle, by Pryor Dodge. Paris, New York : Flammarion, 1996.

Dortu Toulouse-Lautrec et son oeuvre, by M. G. Dortu. New York : Collectors Editions, 1971. In six volumes.

Dudovich Marcello Dudovich : cartellonista, 1878-1962, by Roberto Curci.

Treiste : Lint Edizioni, 1976.

Dutch Poster A history of the Dutch Poster 1890-1960, by Dick Dooijes & Pieter Brattinga. Amsterdam : Scheltema & Holkema, 1968.

Encyclopédie/Weill

Color Revolution

Encyclopédie de l’affiche, by Alain Weill. Paris : Hazan, 2011.

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.

Erni

Crauzat 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.

Crouse/Deco The art deco poster, by William Crouse & Alastair Duncan. New York : Vendome Press, 2013.

Hans Erni : Les Affiches, by Jean-Charles Giroud. Genève : Patrick Cramer Editeur, 2011.

European Electricity European electricity : flashback on a momentous era, spotlight on an exciting future, by Eurelectric. [Antwerp] : Brugge Union of the Electric Industry, 2007.

Femme s’Affiche La femme s’affiche : exposition d’affiches publicitaires, 18431990, 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.

220

BIBLIOGRAPHY (CONTINUED) Ferrarotti

Guerres

Keay

I cartelli murali in Italia, 1891-1930 : arte minore o semplicemente arte?, by Virgilio Ferraroti, Dino Villani, Lucilla Ferraroti & Maria Giovanna Vianson. [Italy : s.n., 1981.]

Catalogue of the 1981 exhibition.

Guerres et batailles : la Deuxième Guerre Mondiale racontée par les affiches. Narbonne : Transworld Publications, 1974.

American posters of the turn of the century, by Carolyn Keay.

London : Academy Editions, 1975.

Haring Posters

Khachadourian

Keith Haring – Posters, by Jürgen Döring and Claus von der Osten. Munich/New York: Prestel, 2019.

Motoring : the golden years, a pictorial anthology : the Khachadourian Gallery, by Rupert Prior. London : Morgan Samuel Editions, 1991.

de Feure Georges de Feure : maitre du symbolisme et de l’art nouveau,

by Ian Millman. Paris : ACR Editions, 1991.

Fix-Masseau BN Fix-Masseau Affiches 1928-1983. Paris: Bibliotheque Nationale, 1983.

Flagg James Montgomery Flagg, by Susan E. Meyer. New York : Watson-Guptill Publications, 1974.

French Opera French opera posters : 1868-1930, by Lucy Broido. New York : Dover, 1976.

Health Posters Posters of health, by Marine Robert-Sterkendries. Brussels : Therabel Pharma, 1996.

Herlihy Bicycle : the history, by David V. Herlihy. New Haven : Yale University Press, 2004.

Hiatt Picture posters, by Charles Hiatt. London : George Bell and Sons, 1895.

Hohlwein/Stuttgart

Toulouse-Lautrec : a life, by Julia Frey. New York : Viking Penguin, 1994.

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.

Gagel

Images of an Era

Studien zur motivgeschichte des Deutschen plakats 1900-1914,

by Hanna Gagel. Berlin : Omnia-Organisations, 1971. Doctoral thesis at Freien Universität Berlin.

Images of an era : the American poster, 1945-1975, 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.

Frey

Gallo The poster in history, by Max Gallo. New York : American Heritage Publishing, 1974.

Genevoise L’affiche artistique Genevoise : 1890-1950, by Jean-Charles Giroud. Genève : Bibliothèque Publique et Universitaire, 1991.

Gid Raymond Gid : affichiste et typographe, ed. by Anne-Claude Lelieur. Paris : Agence Culturelle, 1992. Catalogue of the exhibition at the Bibliothèque Forney, Paris, June 17-July 11, 1992.

Gold First ladies of the poster : the Gold collection, by Laura Gold.

New York : Poster Art Library, 1998.

Golf L’affiche de golf/Golf posters, by Alexis Orloff. Toulouse : Éditions Milan, 2002.

Graphic Design/Taschen The History of Graphic Design, by Jens Müller and Julius Weidermann. Koln : Taschen, 2017.

Grasset Eugène Grasset, 1845-1917 : l’art et l’ornement, by Catherine Lepdor. Milan : 5 Continents, 2011. Catalogue of the exhibition at Musée Cantonal des Beaux-Arts de Lausanna, March 18June 13, 2011.

Grün Jules-Alexandre Grün : the posters/les affiches, by Alain Weill & Israel Perry. New York : Queen Art Publishers, 2005.

Klinger Klinger / Beyond Poster Art in Vienna, by Karen Etingen.

L’Affichiste, 2016.

Kunst Kommerz Visionen Kunst! Kommerz! Visionen! Deutsche Plakate 1888-1933, ed. by Hellmut Rademacher and René Grohnert. Heidelberg : Edition Braus, 1992. Catalogue of the exhibition at Deutsches Historisches Museum, Berlin, May 16-August 18, 1992.

Lauder 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.

Lautrec/Montmartre

Les cent plus belles images de l’imprimerie, by Daniel Bordet.

Paris : Éditions Debecom, 2004.

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.

Internationale Plakate

Le Coultre

Imprimerie

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.

Italia che Cambia L’Italia che cambia : attraverso i manifesti della raccolta salce, ed. by Pepa Sparti. Firenze : Artificio, 1989.

Japanese Poster The Japanese Poster, ed. by Zdzislaw Schubert.

Poznan : Muzeum Narodowe, 1994.

Joyant Henri de Toulouse-Lautrec, by Maurice Joyant. Paris : H. Floury, 1927. In two volumes.

Karcher

A century of posters, by Martin F. Le Coultre & Alston W. Purvis.

Burlington, VT : Lund Humphries, 2002.

Lendl/Prague Ivan Lendl : Alfons Mucha, by Jack Rennert & Karel Srp. Bratislava : Nakladatelství, 2013.

Leupin Herbert Leupin : plakate, bilder, graphiken, by Karl Lüönd & Charles Leupin. Basel : Friedrich Reinhardt, 1995.

Leyendecker J. C. Leyendecker, by Michael Schau. New York : Watson-Guptill Publications, 1974.

Litfass-Bier Litfass-Bier : historische bierplakate-sammlung Heinrich Becker, ed. by Gerhard Dietrich. Hannover : Plakat/Konzepte, 1998.

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).

Livemont

Kauffer/Poster Purpose

Looping the Loop

The art of the poster : its origin, evolution & purpose, ed. by E. McKnight Kauffer. London : Cecil Palmer, 1924.

Privat Livemont : entre tradition et modernité au Coeur de l’Art nouveau, 1861-1936, by Benoit Schoonbroodt. Bruxelles : Editions Racine, 2007.

Looping the loop : posters of flight, by Henry Serrano Villard & Willis M. Allen, Jr. San Diego, Calif. : Kales Press, 2000.

221

BIBLIOGRAPHY (CONTINUED) Loupot

Mauzan/Cartellonista

Mouron

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.

Mauzan : cartellonista degli anni ruggenti, ed. by Eugenio Manzato. Treviso : Edizioni Canova, 1983. Catalogue of the Mauzan collection in the Salce Collection of the Treviso Museum.

A. M. Cassandre, by Henri Mouron. New York : Rizzoli, 1985.

Loupot/Zagrodzki Charles Loupot : l’art de l’affiche, by Christophe Zagrodzki. Paris : Le Cherche-Midi, 1998. (American distributor: Posters Please Inc., New York)

Magic Magic : 1400s-1950s, by Noel Daniel & Ricky Jay. Cologne : Taschen, 2009.

Mauzan/Paris Achille Mauzan, by Alain Weill. Paris : UCAD, H. Veytier, 1983.

Catalogue of the exhibition held at the Musée de la Publicité, Paris, September 14-October 23, 1983.

Mele

Les affiches illustrées: ouvrage orné de 20 chromolithographies,

by Ernest Maindron. Paris, France : H. Launette, 1886.

I manifesti Mele : immagini aristocratiche della “belle époque” per un pubblico di Grandi Magazzini, by Mariantonietta Picone Petrusa. Milano : A. Mondadori, 1988. Catalogue of the exhibition at the Museo Diego Aragona Pignatelli Cortes, Napoli, October 22-November 30, 1988.

Maindron, 1896

Menegazzi-I

Maindron 1886

Les Affiches Illustrees (1886-1895), by Ernest Maindron. Paris : G. Boutdet, 1896.

Maitres Les maitres de l’affiche : 1896-1900, by Roger Marx. Paris : Imprimerie Chaix, 1896-1900. Reprinted as Masters of the poster l896-1900, New York : Images Graphiques, 1977, and The complete ‘Masters of the poster,’ New York : Dover Publications, 1990.

Mangold Burkhard Mangold (1873-1950), by Oskar Bätschmann, Thomas Bolt & Paul Brüwiler. Zurich : The Museum, 1984.

Catalogue of the exhibition at the Museum für Gestaltung Zürich, Kunstgewerbemuseum, September 20-November 11, 1984; and the Museum für Gestaltung, Gewerbemuseum Basel, January 29-March 3, 1985.

Manifesti Posters/Advertising Manifesti Posters: Irony, Imagination and Eroticism in Advertising, 1895-1960, by Dario Cimorelli. Spa: Silvana Editoriale, 2010.

Manifesti Posters/Eat & Drink Manifesti Posters/Eat & Drink in Italian Advertising 18901970by Mario Piazza & Alessandro Bellenda. Milano : Silvana Editoriale, 2014.

Margadant Das Schweizer plakat/The Swiss poster : 1900-1983, by Bruno Margadant. Basel : Birkhaus Verlag, 1983.

Margolin American poster renaissance, by Victor Margolin. New York : Watson-Guptill Publications, 1975.

Marx

Il manifesto Italiano : 1882-1925, by Luigi Menegazzi. Milan : Electa Editrice, 1975.

Menegazzi-II Il manifesto Italiano, by Luigi Menegazzi. Milan : Arnoldo Mondadori Arte, 1989 (revised edition).

Menegazzi-III L’epoca d’oro del manifesti : 200 manifesti dal 1882 al 1925,

by Luigi Menegazzi. Milan : Electa Editrice, 1977.

Mer s’Affiche

Mucha/Art Nouveau Alphonse Mucha : the spirit of art nouveau, by Victor Arwas, Jana A. Brabcová-Orlíková & Anna Dvorák. Alexandria, Va. : Art Servicse International, 1998. Catalogue of the traveling exhibition.

Mucha/Bridges Alphonse Mucha : the complete graphic works, by Ann Bridges.

London : Academy Editions, 1980.

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

La mer s’affiche, by Daniel Hillion. Rennes : Editions OuestFrance, 1990.

L’olympisme par l’affiche/Olympism through posters : 18961984, by Monique Berlioux. Lausanne : International Olympic Committee, 1983.

Mercier

Ost

Jean A. Mercier, affichiste : cinéma & publicité, by Anne-Claude Lelieur & Raymond Bachollet. Paris : Agence Culturelle de Paris, 1995. Catalogue of the exhibition held at Bibliothèque Forney, Paris, May 30-July 13, 1995.

Alfred Ost : affiches/posters, 1884-1945 : oeuvrecatalogus, by Karl Scheerlinck. [Antwerpen] : Snoeck-Ducaju & Zoon, 1997.

Catalogue of the exhibition held at the Cultureel Centrum A. Spinoy, in Mechelen, Belgium, April 18-May 25, 1997.

Michelin

PAI – Books of the auctions organized by Poster Auctions International, Inc.

Bibendum : publicité et objets Michelin by Pierre-Gabriel Gonzales. Paris : Editions du Collectionneur, 1995.

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 Dutch Poster The modern Dutch poster : the first fifty years, 1890-1940, by Marcel Franciscono. Cambridge, Mass. : MlT Press, 1987.

Modern Poster

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.

PAI-V

Bonnard : lithographie, ed. by Claude Roger-Marx. Monte Carlo : Éditions du Livre, 1952.

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.

Masters 1900

Monaco

PAI-VI

Masters of the poster 1900, by Alan Weill. Paris : Bibliothèque de l’Image, 2001.

Gand Prix Automobile de Monaco posters : the complete collection: the art, the artists and the competition, by William W. Crouse. New York : Crouse, 2009.

Poster Splendor. Auction held in New York City, May 1, 1988.

Mauzan The posters of Mauzan : a catalogue raisonné, by Mirande Carnévalé-Mauzan. Gières : Mirande Carnévalé-Mauzan, 2001.

Montagne La montagne s’affiche, by Daniel Hillion. Rennes : Editions Ouest-France, 1991.

Poster Pizzazz. Auction held in Universal City, California, November 22, 1987.

PAI-VII Poster Potpourri. Auction held in New York City, November 13, 1988.

222

BIBLIOGRAPHY (CONTINUED) PAI-VIII

PAI-XXVIII

PAI-XLVIII

Poster Treasures. Auction held in New York City, May 7, 1989.

Poster Vogue. Auction held in New York City, May 2, 1999.

Poster High. Auction held in New York City, May 3, 2009.

PAI-IX

PAI-XXIX

PAI-XLIX

Poster Palette. Auction held in New York City, November 12, 1989.

Posters for the Millennium. Auction held in New York City, November 4, 1999.

Soaring Posters. Auction held in New York City, November 8, 2009.

PAI-X

PAI-XXX

PAI-L

Elegant Posters. Auction held in New York City, May 20, 1990.

Poster Allure. Auction held in New York City, May 7, 2000.

Poster Celebration. Auction held in New York City, May 3, 2010.

PAI-XI

PAI-XXXI

PAI-LI

Poster Passion. Auction held in New York City, November 11, 1990.

Poster Power. Auction held in New York City, November 12, 2000.

Rare Posters. Auction held in New York City, November 14, 2010.

PAI-XII

PAI-XXXII

PAI-LII

Poster Panache. Auction held in New York City, May 5, 1991.

Dream Posters. Auction held in New York City, May 6, 2001.

PAI XIII

PAI-XXXIII

The Winter Sale. Auction held in New York City, February 13, 2011.

Poster Jubilee. Auction held in New York City, November 10, 1991.

Swank Posters. Auction held in New York City, November 11, 2001.

PAI-LIII

PAI-XIV

PAI-XXXIV

PAI-LIV

Poster Extravaganza. Auction held in New York City, May 3, 1992.

Poster Pride. Auction held in New York City, May 5, 2002.

Rare Posters. Auction held in New York City, September 8. 2011.

PAI-XXXV

PAI-LV

PAI XV

Posters Perform. Auction held in New York City, November 10, 2002.

Rare Posters. Auction held in New York City, November 13, 2011.

PAI-XXXVI

PAI-LVI

Posters Persuasion. Auction held in New York City, May 4, 2003.

Food & Wine. Auction held in New York City, February 12, 2012.

PAI-XXXVII

PAI-LVII

Poster Holiday/The Wright Stuff. Dual auction held in New York City, November 9, 2003.

Rare Posters. Auction held in New York City, May 6, 2012.

PAI-XXXVIII Poster Style. Auction held in New York City, May 2, 2004.

American Posters. Auction held in New York City, September 6, 2012.

PAI-XXXIX

PAI-LIX

Poster Intoxication. Auction held in New York City, November 14, 2004.

Rare Posters. Auction held in New York City, November 18, 2012.

PAI-XL

PAI-LX

Posters Excel. Auction held in New York City, May 1, 2005.

Rare Posters. Auction held in New York City, March 10, 2013.

PAI-XLI

PAI-LXI

Matchless Posters. Auction held in New York City, November 13, 2005.

Rare Posters. Auction held in New York City, September 12, 2013.

PAI-XLII

PAI-LXII

Posters Charm. Auction held in New York City, May 7, 2006.

Rare Posters. Auction held in New York City, January 12, 2014.

PAI-XLIII

PAI-LXIII

Posters Va-Va-Voom. Auction held in New York City, November 12, 2006.

Rare Posters. Auction held in New York City, May 4, 2014.

PAI-XLIV Winning Posters. Auction held in New York City, May 6, 2007.

Rare Posters. Auction held in New York City, September 21, 2014.

Rarest Posters. Auction held in New York City, November 8, 1992.

PAI-XVI Poster Parade. Auction held in New York City, May 2. 1993.

PAI-XVII Poster Classics. Auction held in New York City, November 14, 1993.

PAI-XVIII Winning Posters. Auction held in New York City, May 1, 1994.

PAI-XIX Prima Posters. Auction held in New York City, November 13, 1994.

PAI-XX Poster Panorama. Auction held in New York City, May 7, 1995.

PAI-XXI Timeless Posters. Auction held in New York City, November 12, 1995.

PAI‑XXII Positively Posters. Auction held in New York City, May 5, 1996.

PAI‑XXIII Poster Delights. Auction held in New York City, November 10, 1996.

PAI-XXIV Poster Pleasures. Auction held in New York City, May 4, 1997.

Rare Posters. Auction held in New York City, May 1, 2011.

PAI-LVIII

PAI-LXIV

PAI-XLV

PAI-LXV

PAI-XXV

Top Posters. Auction held in New York City, November 11, 2007.

Rare Posters. Auction held in New York City, January 25, 2015.

Sterling Posters. Auction held in New York City, November 9, 1997.

PAI-XLVI

PAI-LXVI

Picture-Perfect Posters. Auction held in New York City, May 4, 2008.

Rare Posters. Auction held in New York City, May 3, 2015.

PAI-XLVII

Rare Posters. Auction held in New York City, October 11, 2015.

PAI-XXVI Postermania. Auction held in New York City, May 3, 1998.

PAI-XXVII Poster Ecstasy. Auction held in New York City, November 8, 1998.

Posh Posters. Auction held in New York City, November 9, 2008.

PAI-LXVII

223

BIBLIOGRAPHY (CONTINUED) PAI-LXVIII

Petite Reine

Reims

Rare Posters. Auction held in New York City, January 31, 2016.

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.

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.

PAI-LXIX Rare Posters. Auction held in New York City, May 15, 2016.

PAI-LXX

Phillips Vll

Rare Posters. Auction held in New York City, October 30, 2016.

Rare posters. The catalogue of the Phillips Auction held November 12, 1983, in New York. Text by Jack Rennert.

PAI-LXXI

Pierrot

Rare Posters. Auction held in New York City, March 12, 2017.

PAI-LXXII

Les 100 plus belles images de Pierrot, by Daniel Bordet. Paris : Editions Dabecom, 2003.

Rare Posters. Auction held in New York City, June 22, 2017.

Plakat Schweiz

PAI-LXXIII Rare Posters. Auction held in New York City, October 22, 2017.

Das plakat in der Schweiz, by Willy Rotzler, Fritz Schärer & Karl Wobmann. Zurich : Edition Stemmle, 1990.

PAI-LXXIV

Plakate München

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.

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

Rare Posters. Auction held in New York City, February 24, 2019.

Plakatkunst von Toulouse-Lautrec bis Benetton, by Jürgen Döring. Hamburg : Edition Braus und Museum für Kunst und Gewerbe, 1994.

PAI-LXXVIII

Pneu

PAI-LXXVII

Rare Posters. Auction held in New York City, June 23, 2019.

PAI-LXXIX

Les 100 plus belles images du pneu, by Daniel Bordet & Jacques Dreux. Paris : Editions Debecom, 2003.

Rare Posters. Auction held in New York City, October 27, 2019.

Poitou-Charentes

PAI-LXXX Rare Posters. Auction held in New York City, February 23, 2020.

Poitou-Charentes, by Arthur Saizeau and Jean-Michel Saizeau.

Toulouse : Editions Privat, 2007.

PAI-LXXXI

Posters of Paris

Rare Posters. Auction held in New York City, July 21, 2020.

PAI-LXXXII Rare Posters. Auction held in New York City, November 15, 2020.

PAI-LXXXIII

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.

Poulbot

Rare Posters. Auction held in New York City, March 14, 2021.

Poulbot: Affichiste. Catalogue of exhibition at Bibliothèque Forney, Paris 2007-2008.

PAI-LXXXIV

Publicité

Rare Posters. Auction held in New York City, July 20, 2021.

Affiches de la Publicité, by Emmanuel Lopez. Paris : Citadelles & Mazenod, 2013.

PAI-LXXXV Rare Posters. Auction held in New York City, November 14, 2021.

PAI-LXXXVI Rare Posters. Auction held in New York City, March 20, 2022.

Parfum Femmes de parfum : visages d’hiers & d’aujourd’hui, by Marie-Christine Grasse. Milan, Italy : Musée International de la Parfumerie, 1996.

Perier 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.

Purvis Poster progress, by Tom Purvis, F.A. Mercer & W. Gaunt. London & New York : The Studio, 1939.

Rennert/Weill Alphonse Mucha : the complete posters and panels, by Jack Rennert & Alain Weill. Boston : G. K. Hall, 1984.

Rennie Tom Eckersley : A Mid-century Modern Master, by Paul Rennie.

London : Batsford, 2021.

Riccione Capolavori Italiani nel manifesto liberty 1880‑1918, by Jack Rennert. Milano : Arti Grafiche Ricordi, 1988. Catalogue of the exhibition at the Palazzo del Turismo, Riccione, July 16-August 21, 1988.

Rickards Posters of the First World War, by Maurice Rickards. New York : Walker & Company, 1968.

Ricordi Grafica Ricordi : dal manifesto storico all produzione d’avanguardia, by Giovanni Sangiorgi, Giorgia Mascherpa & Giulia Veronesi. Roma : Ente Premi, 1967.

Roberts Any color so long as it’s black : the first fifty years of automobile advertising, by Peter Roberts. Devon, England : David & Charles, 1976.

Rogers A book of the poster, by W. S. Rogers. London : Greening & Co., 1901.

Salon des Cent Le Salon des Cent, 1894-1900 : affiches d’artistes, by Jocelyne Van Deputte. Paris : Paris-Musées, 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/Forney

Masters of German art, by Hellmut Rademacher. New York : October House, 1966 (Original German edition published in 1965 by Edition Leipzig).

Savignac Affichiste, by Anne-Claude Lelieur and Raymond Bachollet: Hoëbeke, 2011. Catalogue raisonné published to coinbcide with the retrospective at the Bibliothéque Forney, Paris, Sept 11, 2001 – Jan. 12, 2002

Rawls

Savignac/Suntory

Rademacher

Wake up, America : World War I and the American poster, by Walton Rawls. New York : Abbeville Press, 1988.

Raymond Savignac. Osaka, Japan : Suntory Museum, 2005.

Catalogue of the exhibition at the Suntory Museum, Osaka, April 29-July 3, 2005.

224

BIBLIOGRAPHY (CONTINUED) Schardt

Takashimaya

Villemot

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).

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.

Les affiches de Villemot, by Jean François Bazin. Paris : Denoël, 1985.

Tanaka/Restrospective

Wagner

Schindler Monografie des plakats, by Herbert Schindler. Munich : Süddeutscher Verlag, 1972.

Schoonbroodt Privat Livemont : entre classicisme et art nouveau, by Benoit Schoonbroadt. Bruxelles : C.I.D.E.P., 2003.

Schweizer Hotel Schweizer Hotelplakate : 1875-1982, by Karl Wobmann. Luzern : Biregg Verlag, 1982.

Siècle Bibendum Le grand siècle de Bibendum, by Olivier Darmon. Paris : Editions Hoëbeke, 1997.

Sorlier

Ikko Tanaka : a Retrospective, organized by the Tokyo metropolitan foundation for History and Culture, Museum of Contemporary Art, Tokyo. Tokyo : Suntory Museum 2003.

Catalogue of the exhibition at Suntory Museum, 2003.

Tennis Posters Il tennis nel manifesto/Tennis posters, by Beppe Russotto.

Torino, Italy : Giulio Bolaffi, 2006.

Theofiles American posters of World War I, by George Theofiles. Dafran House, New York.

Timeless Images

Chagall’s posters : a catalogue raissonné, ed. by Charles Sorlier.

New York : Crown Publishers, Inc., 1975.

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.

Spectacle

Tomaszewski

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 à l’Affiche

Henryk Tomaszewski. Tokyo : Ginza Graphic Gallery, 1992.

Toujours Plus Haut Toujours plus haut : affiches aviation, by François-Régis 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.

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.

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.

Le train à l’affiche : les plus belles affiches ferroviaires française, by Florence Camard & Christophe Zagrodzki. Paris : La Vie du Rail, 1989.

Swiss Art Nouveau

V&A

Art Nouveau and the Swiss poster, by Jean-Charles Giroud.

Geneva : Patrick Cramer, 2006.

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.

Tabac Les pubs qui ont fait un tabac, by F. Ghozland. Toulouse : Editions Milan, 1989.

War Posters : Weapons of Mass Communication, by James Aulich. New York : Thames & Hudson, 2007.

Weill The poster : a worldwide survey and history, by Alain Weill.

Boston : G.K. Hall, 1985.

Weill/Art Nouveau The Art Nouveau Poster, by Alain Weill. Francis Lincoln Limited, 2015.

Wember

Wine Spectator

Henryk Tomaszewski : Plakat. Poznan : Muzeum Narodowe w Poznaniu, 1993.

Stoecklin

War Posters

Tomaszewski/Ginza

Sportissimo

Steinlen’s cats, by Francois Fossier. New York : Harry N. Abrams, 1990. Steinlen images from the Bibliothèque Nationale, Paris.

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.

Die jugend der plakate : 1887-1917, by Paul Wember. Krefeld : Scherpe Verlag, 1961.

Tomaszewski/Plakat

Steinlen’s Cats

L’invitation au voyage, by Alain Weill. Paris : Somogy, 1994.

Henryk Tomaszewski : Graphic Artist. Warszawa : Akademia Sztuk Pieknych Warszowice, 1993.

Sport à l’affche, by Jean Durry. Paris : Editions Hoebeke, 1988.

Sportissimo : cent ans de grandes et petites histoires du sport,

by Françoise Laget & Serge Laget. Paris : Editions du Chêne, 1996.

Voyage

Train à l’Affiche

Posters of the Belle Epoque : the Wine Spectator collection, by Jack Rennert. New York : The Wine Spectator Press, 1990.

CONDITIONS OF SALE

225

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.

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.

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.

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.

226 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.

227

Poster Auctions International, Inc. at Re nnert’s Galler y

Absentee Bid Form PAI-LXXXVII: Rare Posters

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

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.

Date (Signed) Name

Address

City State ZIP Phone: Home: Office: Fax: Email Address

Bank: Name Address

Account Number Officer Credit Card # Exp V-Code B illing Zip

n Order Bid

n Telephone Bid - Telephone numbers where you can be reached on Tuesday, July 12

Lot # Artist Title BID (excluding premium)

$

$

$

$

$

$

$

$

$

$

START BIDDING NOW YOU CAN JOIN OUR 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. The buyer's premium is 20 % .

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 227 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 12. When your lot comes up, one of our staff members will call you and execute your bids on your behalf.

The buyer's premium for both is 20 % .

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 11.

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 225.

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

Lot 219: Eno’s “Fruit Salt,” by Leonetto Cappiello.

Poster Auctions International, Inc. 26 West 17th Street, New York, NY 10011