PAI-LXXXVIII: Rare Posters

SUNDAY, NOVEMBER 13 , 2022 AT 11 AM EST

OCT 21-NOV 12 (DAILY 11 6 )

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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.

more information on this sale, as well as to place bids if unable to attend, please contact Ms. Terry Shargel.

front cover is a detail of lot 71, Amilcar, by Geo Ham.

a detail of lot 172, The Last of the Great Scouts, by Rosa Bonheur.

a detail of lot 372, El Perfume de Nasiba, by Luciano Achille Mauzan.

ACKNOWLEDGMENTS

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

First and foremost, our thanks to the 95 consignors in 17 states and 12 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, and I wish especially to single out my associate Ms. Terry Shargel. Our editorial staff was headed by Ms. Jessica Adams; Mr. James McCobb was in charge of production and design. Helping with many of the administrative aspects were Ms. Julie Press, Mr. Xavier Serbones, Mr. Angel Caraballo, and Mr. Oliver James L’EROE. And, as always, I benefit immensely from the support of Barbara Rennert, the director of the Poster Photo Archive.

I would also like to thank Mr. Petr Stembera and Mr. Jacques Perier for their assistance with research.

The printing of this book was again in the hands of the GHP printing firm, and I am grateful for the cooperation and expertise shown by its staff, most notably Mr. Wayne Bruno, Mr. Paul DiPietro, Mr. Tim Matthews, Mr. Dave Small, and Mr. Carlos Luna.

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

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1.

OLYMPICS

The Games of the Fifth Olympiad saw the birth of the first official poster for the events. Held in Stockholm, a nude Swedish athlete brandishes his country’s flag in the foreground, while an orange streamer artistically covers his modesty. Behind him in equally enthusiastic procession are male athletes from other countries, each with his respective flag. This poster was printed in 16 languages and three size variants, of which this is the largest, German text

2. XXiéme Anniversaire du Rétablissement des Jeux Olympiques / 1894-1914. 1914.

Artist: Edouard Elzingre (1880-1966)

28 3⁄4 x 40 1⁄ 2 in./73 x 103 cm

Affiches Atar, Genève

Cond A-/Slight tears at edges. P.

Ref: Olympics, p. 152; Olympic Posters, 14; Sport à l’Affiche, 88; PAI-LIX, 500

In 1914, members of the sixth Olympic Congress met in Paris to plan the forthcoming Olympic events. They used the occasion to hold a special ceremony in the large amphitheater of the Sorbonne where, in 1894, the International Olympic Committee had been created and the ancient Greek games were officially revived. This heroic poster celebrates the 20th anniversary of that event. At the ceremony, Pierre de Coubertin—the Frenchman who had conceived the whole project—was honored by being presented with the flag from the first modern Games held in Athens in 1896.

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

3. Olympische Spelen / Amsterdam. 1916.

Artist: Jan Willem Sluiter (1873-1949)

32 x 44 in./81 x 112 cm

Cond A.

Ref: Olympics, p. 23; Olympic Posters, 15; Sluiter, 36; PAI-XL, 449

Sluiter, a major Dutch graphic designer and political caricaturist, believed in simple lines, flat basic colors, and prominent lettering. And as a political caricaturist by avocation, Sluiter’s posters typically relate their graphic message with tongue in cheek. That wouldn’t be the case, however, in this thunderous design for a 1916 Amsterdam Olympic Day organized to prove that the Olympic spirit was alive and well, despite the fact that the Berlin Games had been canceled because of the First World War. This Olympics was still considered to be the Sixth Games of the Modern Olympiad, because as Pierre de Coubertin, the reviver of the Olympic Games, stated, “If an Olympiad is not celebrated, its number remains.” Rare!

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

4. Vlle Olympiade / Anvers. 1920.

Artist: Walter Van der Ven (1884-1923)

25 1 4 x 35 in./64 x 89 cm

Lith. E. Stockmans, Anvers

Cond A/P.

Ref (all var but Sportissimo): Ateny-Atlanta, 6; Olympics, p. 25; Olympic Posters, 18; Sportissimo, p. 14; PAI-LXXVI, 447

“The official poster for the Antwerp 1920 [Olympic] Games was executed by Walter Van der Ven... A version of the image had previously been chosen by the provisional committee for the cover illustration of its 1914 brochure, thus explaining the poster’s slightly old-fashioned concept. It featured a discus thrower in the foreground, enveloped in a swirl of the flags of the participating nations... with the Belgian flag prominent to the left and the coat of arms of Antwerp displayed top right. A panoramic view of the city, showing the majestic towers of the Gothic cathedral of Our Lady, the Grote Markt and old City Hall, reinforced the message that Antwerp’s proud cultural heritage justified its selection as the venue for the VII Olympiad—a precursor of the many posters in the years to come that would project patriotic imagery and emblems of civic identity” (Olympic Posters, p. 31). This is the larger format, French text version of the poster.

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

5. Jeux Olympiques / Paris 1924.

Artist: Orsi (1889-1947)

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-LXXXVII, 140

From the 150 sketches submitted in the poster competition of the 1924 Paris Olympics, the French Olympic Committee selected two: this one and another by Droit ( see PAI-LXXXVII, 139). 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: $4,000-$5,000.

6. Los Angeles 1932 Olympics / Santa Fe. 1932.

Artist: Hernando G. Villa (1881-1952)

19 7⁄ 8 x 27 1⁄ 8 in./50.4 x 66.8 cm

Cond A.

Ref: Sportissimo, p. 12; PAI-LXXV, 486

When it was time for the Santa Fe Railroad to promote the 10th Summer Games in Los Angeles, the company turned to Villa who, two years earlier, had created a finely drawn portrait for “The Chief”—its noted express train from Chicago to L.A. Here, Villa uses the same strong, naturalistic style to depict two wellmuscled Native American archers in the moment of follow-through. The tomtom beater is there to amplify the momentum.

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

7. Olympic Games / Berlin 1936.

Artist: Franz Würbel (1896-?)

25 1⁄4 x 39 1⁄ 2 in./64 x 100.4 cm

Reichsbahnzentrale für den Deutschen Reiseverkehr, Berlin

Cond B/Slight tears and stains at edges.

Ref: Olympics, p. 45; Olympic Posters, 32; Ateny-Atlanta, 10; Affiches 1000, 0300 (var); Sport à l’Affiche, 92 (var); PAI-LXXXII, 477

The official design for the 1936 Olympics in Berlin shows the city’s Brandenburg Gate silhouetted against the golden image of an athlete wearing a triumphant crown of laurels. The poster, sponsored by the German railways, was printed in nineteen languages and allegedly distributed in thirty-four countries. Here we see the English-language version.

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

8. London 1948 Olympics. 1947.

Artist: Walter Herz (1909-1965)

20 x 30 in./50.8 x 76.2 cm

McCorquodale, London

Cond A-/Slight tears in top text.

Ref: Olympics, p. 53; Olympic Posters, 39 (var); PAI-XL, 454

The first Olympiad after World War II was held, fittingly, in the town that had suffered grievous losses during the long ordeal, but emerged victorious. There was only one official poster, by an artist who escaped from Nazism in 1939 and settled permanently in England; at this time, Herz was the art director of Heros Publicity Studios in London. The poster was printed in three sizes, of which this is the medium format. It gives the story in perfect shorthand: the Grecian athletic spirit meets the British Houses of Parliament.

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

9. Olympic Winter Games / St. Moritz 1948.

Artist: Alois Carigiet (1902-1985)

25 1⁄ 8 x 40 7⁄ 8 in./63.8 x 103.8 cm Eidenbenz-Seitz, St. Gall

A.

Ref: Olympics, p. 57; Swiss Winter Posters, 69; PAI-LXX, 270

Rendered in bold crayon strokes, a skier invokes victory beneath the Swiss flag as he stands atop a mountain in the Alps. This is the English-language variant of the poster.

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

10. Visit Finland / Olympics. 1952.

Artist: Jorma Suhonen (1911-1987)

Tilmann Cond A. Ref: PAI-XXIV, 49

The official poster for the 1952 Olympics in Helsinki was the work of Ilmari Sysimetsa ( see PAI-LIX, 504). The image here is by one of Finland’s most prolific poster artists and sponsored by the Finnish state railways. Using the Games to promote tourism, Suhonen created a vaguely Deco design that presents Helsinki as chic, safe, and incredibly clean. Est: $1,400-$1,700.

11. Winter Olympics / Innsbruck 1964.

Artist: Wilhelm Jaruska (1916-2008)

23 3⁄ 8 x 33 in./59.4 x 84 cm

Wagner, Innsbruck Cond A.

Ref: Olympics, p. 83; Olympic Posters, 58 (var); Skiing in Arts & Design, p. 86; PAI-XVII, 39

Twelve artists were invited to a national competition to design the poster for the 1964 Winter Games at Innsbruck. The beautiful winning design by Jaruska represents the Olympic symbol within a blown-up section of a snowflake. Jaruska studied at the Academy of Graphic Arts in Vienna and taught at Austria’s Federal Institute of Graphic Art and Research.

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

12. Tokyo 1964 Olympics.

Artist: Yusaku Kamekura (1915-1997)

28 5⁄ 8 x 40 7⁄ 8 in./72.6 x 104 cm

Toppan Printing Co., Japan

Cond A-/Slight creases.

Ref: Olympics, p. 81; Kamekura, 60; Plakatkunst, p. 161; PAI-XXXIX, 331

Grace, strength, and determination—these unifying factors define Olympic resolve. And in this piece, the contrast between the frothing butterfly stroke and glassine waters dazzles the eye with hypnotic simplicity. The founder of the Nippon Design Center, Kamekura was one of a small group who helped chart the course of Japanese graphic art after World War II.

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

13. Bendix / Olympiques Grenoble. 1968.

Artist: Hervé Morvan (1917-1980)

x 45 1⁄4 in./152.3 x 115 cm

Imp. Bedos, Paris Cond A-/Unobtrusive folds. Ref: PAI-XVI, 368

The French distributor for Bendix washers took advantage of the 1968 winter Olympics in Grenoble to promote them as the “official supplier” of the Games. Morvan’s design cleverly links the circular motion of clothes in the washing machine with the Olympic rings, proving that he was a master of the witty product poster. Est: $2,000-$2,500.

14. Sapporo ’72 / XI Olympic Winter Games. 1972.

Artist: Takashi Kono (1906-1999)

5⁄ 8 x 40 5⁄ 8 in./72.7 x 103.2 cm Cond A/P.

Ref: Olympics, p. 105; Olympic Posters, 71; Skiing in Arts & Design, p. 98; PAI-XXXVIII, 94a

The official emblem of the Sapporo Games was designed by Kazumasa Nagai; it incorporated three specific, independent elements: the Rising Sun (the symbol of Japan), a six-prong ideogrammatic snowflake (a sketch of the coat of arms of an ancient Japanese family, and the symbol of winter), and the interlocked Olympic rings. Kono couples that design with frigidly stylized visions of the ice skating rink and a snow-covered Mount Eniwa. Est: $1,400-$1,700.

15. Los Angeles 1984 Olympics. 1982.

Artist: Roy Lichtenstein (1923-1997) 36 x 24 1⁄4 in./91.2 x 61.5 cm

Knapp Communications / Alan Lithograph Cond A.

Ref: Olympics, p. 137; Olympic Posters, 102; Lichtenstein, 41; PAI-LXXXVI, 274

The Olympic Committee of the 1984 Los Angeles Olympics commissioned 15 artists to create posters for the event, including David Hockney, Robert Rauschenberg, Jennifer Bartlett, John Baldessari, and Roy Lichtenstein. The latter opted to adapt his 1975 painting, The Red Horsemen, in which Cubist jockeys are rendered with energetic motion. “The 1980s were marked by nonconformism, eccentricity, audacity and joie de vivre. All these elements are clearly expressed in the stylistic vocabulary chosen by the organizers of the 1984 Games in Los Angeles, with its fun approach and acid colors” (Olympic Museum, Lausanne, 2017).

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

16. Atlanta Olympics. 1995.

Artist: Primo Angeli (1931- ) 22 x 34 in./55.8 x 86.3 cm

Fine Art List, St. Louis Cond A/P.

Ref: Olympic Posters, 126; PAI-XXXVIII, 102

The Atlanta Games—commemorated by Angeli in this officially sanctioned design that combines classic figure study with modernist, color-block flair—were far and away the largest modern era games ever held, with a record 197 nations competing. These Olympics had some of the best Olympic stories ever: Muhammad Ali’s return to the global stage as he ignited the Olympic cauldron; Kerri Strugg’s hobbled, gutsy final vault; and the horror of a terrorist bomb ripping apart a peaceful Friday evening in the Centennial Olympic Park, reminding the world of the tragedy of Munich in 1972. But as they did in ’72, the games would go on, propelled by the fierce beauty of professional athleticism.

Est: $800-$1,000.

WINTER IMAGES

17. Touring Club Ski Kurs. 1911.

Artist: Carl Moos (1878-1959)

36 x 48 1⁄ 2 in./91.5 x 123 cm

Vereinigte Druckereien und Kunstanstalten, München

Cond B-/Slight tears at folds and edges.

Ref: DFP-III, 2264

Nestled along the Alps on the Austrian border, Berchtesgaden is an optimal environment for a ski getaway. Moos shows us a swirling bevy of skiers making their way up into the mountains as part of this ski club. Rare!

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

18. Kemm & Cie. 1916.

Artist: Carl Moos (1878-1959)

34 3 4 x 50 1⁄ 8 in./88.3 x 127.3 cm

Fretz Frères, Zürich

Cond B+/Slight tears near top and bottom edges. Framed.

Ref: Affiches Sports d’Hiver, p. 198; Art/Skiing, p. 80; Swiss Winter Posters, 19; Margadant, 330; Masters 1900, p. 190; PAI-LXXXVI, 300

If it’s warm and fit for the skiing competitor, it’ll most certainly do for the businessman-in-town: the Swiss clothier wraps this ad up in sport, as the Alps surround and protect the country from the crucible of World War I raging without.

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

19. Vöhrenbach Wintersportplatz. 1908.

Artist: Anonymous

27 x 37 3 8 in./68.7 x 95 cm

Arthur Albrecht & Cie., Karlsruhe

Cond A.

Ref: DFP-III, 3526 (var); PAI-LXIII, 80

This is an early, before letters version of a poster advertising the Grand Duchy of Baden as the winter sports hub of Europe. The artist’s initials are A.K.

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

20. Middlebury Winter Carnival.

Artist: Edward Sanborn (1891-1975)

22 x 28 1 4 in./55.7 x 71.8 cm

Cond B+/Slight tears at edges.

Dating back to 1936, the Middlebury College Winter Carnival is the self-proclaimed “oldest and largest student-run—and only carbon neutral—winter carnival in the country.” The annual event includes ice shows, ski competitions, bonfires, and snow sculpting. Here, Vermont native Sanborn gives us a taste of the wintry thrills that await us.

Est: $800-$1,000.

21. Bilgeri-Ski Ausrüstung. ca. 1910.

Artist: Carl Kunst (1884-1912)

30 x 20 in./76.2 x 57 cm

Reichhold & Lang, München Cond A.

Ref: Voyage, p. 193; Takashimaya, 84; PAI-LXXXI, 336

Although not specifically a travel poster, this simple design for a ski equipment company is highly evocative of the genre, making the German mountains appear all the more enticing.

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

22

22. Superbagnères-Luchon. 1929.

Artist: Leonetto Cappiello (1875-1942)

24 1⁄ 2 x 39 1⁄4 in./62 x 99.6 cm

Imp. Devambez, Paris

Cond A-/Slight stains at edges.

Ref: Cappiello/Rennert, 472; Chemins de Fer, 67; Montagne, p. 43; Alpes II, p. 62; PAI-LXXXIII, 10

“Bagnères-de-Luchon is a year-round resort in the Pyrénées, and the high-altitude Superbagnères is where serious skiers converge. To entice winter throngs, Cappiello gives the public a picture of young skiers having fun on the slopes. Their colorful attire adds to the wholesome interest that the area evokes” (Cappiello/ Rennert, p. 292).

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

23. Stowe.

Artist: Sascha Maurer (1897-1961)

23 1⁄ 2 x 40 in./59.8 x 101.5 cm

Cond B+/Slight tears and creases, largely at edges.

Ref: PAI-LXXXV, 5

Whereas most Maurer designs prominently feature skiers or their equipment, this advertisement for Stowe, Vermont basks in the beauty of the New England slopes with a fine coating of snow.

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

24. Allami Sorsjáték. 1947.

Artist: János Macskássy (1910-1993)

22 3 4 x 33 in./57.7 x 83.8 cm

M. Allami Nyomda, Budapest Cond A.

This adorable snowman is egging us on with a big bag of loot—50,000 Hungarian forints, to be exact—which could be ours if we buy a lottery ticket for only 5 forints. The value of the prize money today would be just under $1,700. But we’re tripping up on the word Ujjáépitési, which our Google translator tells us is “finger reconstruction.” Hungarian friends, any insight?

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

25. CSR.

Artist: Alois Ludvik Salac (1900-1953)

25 1⁄ 8 x 37 3⁄ 8 in./63.8 x 95 cm

Neubert, Praha

Cond A-/Slight tears and stains at edges.

Using proto-psychedelic purple tones, Salac encourages winter sports lovers to ski in the Czech Republic—or rather, the Czechoslovak Socialist Republic, as denoted by the emblem in the lower left.

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

26

26. Sports d’hiver en France. ca. 1950. Artist: Jean Léger 25 1⁄ 8 x 39 1⁄4 in./63.8 x 99.5 cm Desfousses-Neogravure, Paris Cond A.

As two skiers hit the slopes of the French Alps, a friendly robin pops out of its birdhouse to tweet bonjour! It’s a simple but effective means to advertise France’s wintertime beauty. Est: $1,200-$1,500.

27. Autriche. 1950. Artist: Emil Ebner (1897-1989) 24 7⁄ 8 x 37 3⁄ 8 in./63.2 x 90 cm Brüder Rosenbaum, Vienna Cond A.

Ref: Art/Skiing, p. 26 Ebner implies that the only thing keeping ski lovers from the great Austrian Alps is the door of your cabin. As the viewers, we’re invited to join this young man in taking in the sweeping, snowy landscape. Est: $1,400-$1,700.

28. U.S. Hockey / World Championships. 1967. Artist: H. Brandt 20 5⁄ 8 x 29 1⁄4 in./52.5 x 74.2 cm

Cond B+/Slight creases in bottom text and folds. Framed. Although this American hockey player looks like a winner, the United States placed 5th in the 34th edition of the Ice Hockey World Championships in Vienna. The Soviet Union won the tournament for the fifth straight year, while Sweden claimed the silver medal, and Canada the bronze. Est: $1,200-$1,500.

27

Heute Bock!

Burckardt’s Nachf., Weissenburg

A.

strong, dark German lager—got its start in Einbeck in the 14th century. By the 17th century,

was popular in Munich, where the Bavarian accent

“Einbeck” into “ein Bock,” meaning billy goat. Naturally, the animal became ripely associated with the beer, and has appeared in many advertisements and beer labels. Here, in a more generalized advertisement for the lager, the goat is accompanied by a poem, which

noble buck rages and foams with his long shaggy skirt—whoever wants to drink Bock beer should take care that he does not grow a little burly tree.”

30. Bières de la Meuse. 1896.

Marc Auguste

Paris

Weill/Art Nouveau, p. 122;

(1863-1926)

134

Mucha’s poster of the same title, we are unsure if this is advertising a particular brewery or the myriad beers produced in the Meuse region of France. This is the smaller format of the design.

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

31. Sandlerbräu / Sandler Duplikator. ca. 1920.

Artist: Anonymous 24 1 2 x 35 1⁄ 2 in./62 x 90.3 cm

Willy Töpfer, Kulmbach

Cond B-/Horizontal fold; stains at edges.

The Sandler brewery was founded in 1831 in the Bavarian city of Kulmbach. They continued operations for almost 100 years until merging with the Kulmbacher Brewery Corporation. The brewer seen here was their company logo, and could be found on labels and beer glasses. Apparently the Duplikator beer is a Bock, as the head-butting goats share the name in Bavarian dialect.

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

32. Bière Allary. ca. 1925.

Artist: Jean d’Ylen (1866-1938)

13 3⁄4 x 21 5⁄ 8 in./35 x 54.8 cm

Imp. Vercasson, Paris Cond B+/Slight tears at edges (with grommets at top).

Ref: PAI-LVI, 67

Straight out of popular legend, King Gambrinus, the patron saint and hallowed supposed-inventor of beer, offers the viewer an overflowing and oversized goblet of the golden libation. This is the in-store display version of this poster on board.

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

33. Bière Sodibra.

Artist: Jean d’Ylen (1866-1938)

15 x 23 in./38 x 58.5 cm

Imp. Vercasson, Paris Cond A. Framed.

Ref: d’Ylen, 62

In classic d’Ylen style, an overjoyed imbiber jumps out from a flat black background to extol the joys of Sodibra beer, manufactured by the Société des Distilleries et Brasseries d’Aurillac.

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

34. Have a Guinness When You’re Tired. 1936.

Artist: John Gilroy (1898-1985)

40 x 59 7⁄ 8 in./101.5 x 102 cm

John Waddington Ltd., Leeds Cond A-/Unobtrusive folds.

Ref: PAI-LXXI, 334

Gilroy created almost all of Guinness’s advertisements from 1930 to 1960. This one in particular is brilliant for its simplicity in turning a perceived negative—the beer’s heaviness and stomach-filling quality—into an exceptionally witty positive, borne out by its 125 calories, which is low for a non-light beer, yet high in carbohydrates and antioxidants.

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

35. Guinness / The Moon that wishes you goodnight.

Artist: John Gilroy (1898-1985)

40 3 8 x 30 5⁄ 8 in./102.5 x 77.8 cm

Sanders Phillips, London

Cond B+/Water stains in bottom margin.

Throughout Gilroy’s 30 years of producing designs for Guinness, he was consistently innovative with the imagery. The moon face appearing in the beer’s foam was one motif that he explored. Here, the man in the beer and the man in the moon have an evening rendezvous over a nice cold pint.

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

36. My Goodness My Guinness. 1936.

Artist: John Gilroy (1898-1985)

19 5 8 x 29 3⁄4 in./49.6 x 75.5 cm

Sanders Phillips, London Cond A. Framed.

Ref: Encyclopédie/Weill, p. 146; V&A, p. 196

During the 1930s, Gilroy created a series of designs centering on a zookeeper and his misadventures with his Guinness-loving animals. Here, an ostrich appears to have swallowed his entire pint glass, much to the horror of the poor man in charge.

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

37. A Guinness a Day.

Artist: John Gilroy (1898-1985)

39 3 4 x 59 1⁄ 2 in./101 x 151.2 cm

John Waddington Ltd., Leeds Cond B+/Slight tears at folds.

A Guinness a day might not keep the doctor away, but it sure does make for an enticing daily ritual.

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

SATURDAY EVENING POST

Norman Rockwell’s name is practically synonymous with the Saturday Evening Post —he created over 300 covers for them, which were also printed as posters. These images were often displayed on the sides of delivery trucks and distributed to dealers, and became pervasive and relatable images of American life and values.

38. The Saturday Evening Post / 100th Year of Baseball.

Artist: Norman Rockwell (1849-1978)

1⁄4 x 28 in./56.5

Cond

71

Ref: Rockwell’s America, 295 (var)

Hey, batter, batter! To commemorate 100 years of America’s national pastime, Rockwell conjures a goofy scene full of whimsy.

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

39. The Saturday Evening Post / July 26, 1941.

Norman Rockwell (1894-1978)

x 28 1 8 in./55.7 x 71.2 cm

Ref: Rockwell’s America, 15; PAI-LXI, 416

Turning the delivery van into the official Saturday Evening Post vehicle, this charmingly flirtatious design has a rosy-cheeked pinup girl appear blissfully unaware of her effects on the blue-collared set.

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

40.

Saturday Evening Post / May 29, 1943.

Norman Rockwell (1849-1978)

7⁄ 8 x 28 1⁄ 8 in./55.5 x 71.5 cm

Cond A.

Ref: Rockwell’s America, 262

After a riveting job well done, Rosie’s taking a much deserved sandwich break. But beneath her casual demeanor, Rockwell includes an underlying symbol of victory: her foot rests gently on top of a copy of “Mein Kampf.”

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

41.

Artist: Robert Riggs (1896-1970)

Cond

In the midst of World War II, Riggs created this Saturday Evening Post

of a

factory, which was likely supplying arms to troops overseas. Born in Decatur, Illinois, Riggs studied art at the Millikin University, the Art Students League in New York, and the Académie Julian in Paris. He served in World War I, and then continued his creative work as a painter and illustrator in Philadelphia.

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

42.

Artist: Michael

Cond

For the December, 1937

all of

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

43.

Artist: Joseph

Cond

Ref: Cutler, p.

of the Saturday

a

(1874-1951)

To welcome Easter of 1940, Leyendecker gives us a lovely butterfly of a woman, bursting forth from the cocoon of her fur winter coat.

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

44. Victor Bicycles. 1895.

Artist: William H. Bradley (1868-1962)

13 1⁄4 x 40 3⁄4 in./33.8 x 103.3 cm

J. Ottmann, New York

Cond B+/Slight tears at horizontal fold.

Ref: DFP-I, 164; Lauder, 24; Margolin, p. 185; Reims, 1149; Dodge, p. 120; Avant Garde, 110; PAI-LXXVIII, 9

Bradley produced at least half a dozen designs for this brand of bicycle; this elongated version is quite rare. As always, the floral ornamentation is profuse and meticulously executed, and the width of the border makes it stand out so much stronger. Victor was the brand name of manufacturer A. H. Overman of Chicopee, Massachusetts, who started making bicycles in 1887.

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

BICYCLES

45. Psycho Cycles. ca. 1896.

Artist: G. Moore

40 x 60 3⁄4 in./101.7 x 154.3 cm

The Dangerfield Printing Co., London Cond A-/Slight tears in bottom text.

Psycho Cycles was known for its patented steering apparatus in which the front wheel automatically returned to a straight line after a turn. The name was taken from a popular magic trick being performed in London at the time, in which the magician would invite audience members up to the stage where a young woman named Psycho would engage in a trancelike game of whist, always predicting the volunteer’s move and, ultimately, winning. With similar confidence, this female cyclist sails away handsfree while adjusting her very ornate headpiece. Rare!

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

46. Cycles Rochet. ca. 1897.

Artist: Charles Tichon

22 3 8 x 60 1⁄ 2 in./57 x 153.8 cm

Imp. Kossuth, Paris

Cond B+/Slight tear at horizontal fold.

Ref: PAI-LXXVIII, 16

This handsome design for Rochet bicycles chooses not to rely on allegorical imagery or grandiose humor to promote the product, but rather simply shows it off against a lush, floral landscape at sunset.

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

47. Bicycle Road Maps / Harper’s Round Table. 1895.

Artist: Edward Penfield (1866-1925)

13 1 4 x 18 1⁄ 2 in./33.7 x 47 cm

Cond B+/Unobtrusive folds. Framed. Ref: PAI-XL, 57

The map and the typography do their best to overwhelm us, but the Penfield aficionado can’t overlook the fact that this is one of the master’s exceptionally rare images for Harper’s . The route outlined for cyclists in the map portion of the poster goes from Manhattan through Yonkers, up to Tarrytown, and back.

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

48. The Northampton Cycle Co. ca. 1900.

Artist: Edward Penfield (1866-1925)

28 x 42 in./71.2 x 106.7 cm

J. Ottmann Litho., New York

Cond A-/Unobtrusive folds.

Ref: Bicycle Posters, 69; Weill, 116; Lauder, 225, pl. 53; Timeless Images, 96; PAI-LXXXI, 83

“This beautiful poster for Northampton bicycles well illustrates the impact and power of this masterful artist. It is more the sure power of a revving engine than of actual movement; there is so much self-assurance in both content and style that one does not need proof of speed or even mobility. The composition, design, and color are so perfect here that it’s one of the few posters of which it may be said that to move one line or change one shade would be unimaginable” (Bicycle Posters, p. 11). This poster includes Sagot’s stamp on the verso, and is the finest specimen of this image we’ve ever seen, with vivid colors.

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

49. Cycles Sirius. 1899.

Artist: H. Gray (Henri Boulanger, 1858-1924)

38 7⁄ 8 x 55 3⁄4 in./98.8 x 141.5 cm

Imp. Courmont Frères, Paris Cond B+/Restored tears, largely at folds.

Ref: Bicycle Posters, 26; Petite Reine, 61; Weill/Art Nouveau, p. 64; Timeless Images, 12; Gold, 69; Dodge, p. 117; PAI-LXXXV, 31

“If any artist could rival Pal when it came to exploring female anatomy in posters, it was multi-talented Gray. A graphic journeyman, he could readily adapt his style to the requirements of different clients with startlingly impressive results. Here, probably (if not unconsciously) somewhat under Pal’s influence, he creates an unabashed rider soaring on her cycle to its namesake—the brightest star in the heavens” (Gold, p. 50).

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

50. Cycles Buffalo. ca. 1902.

Artist: H. Gray (Henri Boulanger, 1858-1924) & Charles Brun (1825-1908)

38 3⁄ 8 x 55 in./97.5 x 139.7 cm

Imp. Courmont Frères, Paris Cond B+/Slight tears and stains at edges.

Ref: Gold, 73; PAI-LXXIX, 40

This beastly buffalo is no match for his namesake bicycle brand—and, unfortunately for him, this cowgirl is hot on his heels thanks to her speedy two-wheeled transport. It’s a particularly dramatic design from the collaborative team of Gray and Brun.

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

51. Kymris. ca. 1900.

Artist: Jules-Alexandre Grün (1868-1938)

35 1⁄ 2 x 49 1⁄4 in./90.2 x 125 cm

Imp. Chaix, Paris Cond B+/Recreated margins.

Ref: Grün, p. 96; Dodge, p. 116; PAI-LXIX, 25

This is perhaps one of the most unusual (and risqué!) posters advertising a bicycle: Grün gives us a flushed, nearly nude woman pleasuring herself beneath the sheets as she dreams about Kymris cycles.

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

52. Phébus. ca. 1899.

Artist: Pal (Jean de Paléologue, 1860-1942) 42 3 4 x 58 1⁄ 8 in./108.7 x 147.7 cm

Imp. Paul Dupont, Paris Cond A.

Ref (all var but PAI): Petite Reine, 28; Collectionneur, p. 232; Pierrot, 69; PAI-LXXXVI, 12

The perennially lovelorn commedia dell’arte clown Pierrot finally turns the tables on Columbina: he’s speeding off on Phébus’ motorized tricycle, bidding a cheerful adieu to his beau and her bicyclette. By 1899, the “bicycle craze” of the previous decade, with all the overtures toward greater female independence, was morphing into the Automobile Age, and this poster finds the Phébus brand in the midst of this transition. With its hints of Theseus abandoning Ariadne on Naxos (we, as Dionysus, are here to comfort her), this is a magnificent work of bold, tender, and curious emotions.

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

53. Cycles Hirondelle-St. Étienne. ca. 1900.

Artist: Narcisse Vivien 42 x 54 3⁄4 in./106.6 x 139 cm

Imp. Camis, Paris Cond B+/Unobtrusive folds.

Ref: Bicycle Posters, 59; Petite Reine, p. 60; Ailes, p. 75; PAI-LXXXI, 84

There is not a single cycle in sight, but instead, a sky bursting with innumerable small birds—seen, exquisitely, through the stone aperture of an ancient loggia. “Hirondelle” is French for “swallow,” and since the bird is known for its “speed, grace and dependability,” (Bicycle Posters, p. 10) it became a natural symbol, quite literally, for manufacturer Française d’Armes’ new bike brand. The Hirondelle was France’s first modern cycle, and it became the preferred vehicle for the Parisian cyclists, gaining the reputation of more of a “working” bicycle than a leisure vehicle.

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

54. Clément / Cycles et Automobiles. ca. 1904.

Artist: Misti (Ferdinand Mifliez, 1865-1923)

61 7⁄ 8 x 45 3⁄4 in./157 x 116 cm

Imp. Chambrelent, Paris

Cond B+/Restored tears at folds.

Ref: Handlebars/Joystick, 39

“The transformation from bicycle to automobile becomes perfectly obvious in this creation by Misti; the young lady in her pretty veil shows little hesitation in climbing up beside the ‘driver.’ ‘Le Clément’ had as its trademark a fiercely Gallic cockerel. (Gustave) Adolphe Clément, son of a locksmith, opened a bicycle rental shop in the Rue Brunel, and in ten years neither he nor his wife took a single day off. On the advice of F. de Civry, he obtained the exclusive rights to Dunlop tyres, and, looking always ahead, converted to motor cars and set up shop in the Avenue de la Grande Armée. In 1902 his factory in Levallois would be a model establishment. He soon changed his surname to Clément-Bayard, under which he manufactured cars, motorized boats, and dirigibles” (Handlebars/Joystick, p. 94).

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

55. Cycles Peugeot. ca. 1904.

Artist: E. Vulliemin

40 3⁄4 x 57 1⁄4 in./103.5 x 145.5 cm

Imp. Lemercier, Paris Cond B/Tears at folds.

Ref: Veloscopie, p. 87; Petite Reine, 54; Gallo, p. 96

The oldest form of transit confronts the newest Peugeot cycle, proving that both vehicles can complement each other, even during times of war. “Horses were still widely used; armies, for instance, had companies of scouts on bicycles, but they had whole battalions of cavalry. Gradually, however, the horse was becoming a showpiece. In the past horses had been so commonplace that they had drawn no particular attention in the streets. Now, however, they became symbols of luxury. Horseback and carriage riding became social attributes; the bicycle was middle class” (Gallo, p. 97).

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

56. Cycles Humber. ca. 1906.

Artist: Henriette Bresster

43 1⁄4 x 59 1⁄ 8 in./109.7 x 150.2 cm

Imp. Caby & Chardin, Paris Cond B+/Slight tears at folds.

Ref: Ailes, p. 120; Weill/Art Nouveau, p. 61; PAI-LXXXV, 49

Formed in England by Thomas Humber in 1869, Humber Cycles would eventually, like so many bicycle companies, become dominated by its automobile division. At the turn of the century, though, bicycles were still all the rage, as can be seen in this dreamy design which gives a heavy nod to Mucha’s poster for Cycles Perfecta. In both, only a hint of the bicycle is shown, while the heavenly muse grabs our attention.

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

57. Monet & Goyon. 1924.

Artist: Y. Pavis

31 1⁄4 x 44 3⁄4 in./79.2 x 113.6 cm

Affiches Lashermes, Paris Cond B+/Slight tears at folds and edges.

In 1916, during World War I, Joseph Monet and Adrien Goyon began manufacturing non-motorized vehicles in order to provide handicapped people with a means of recovering mobility. They quickly branched out into the production of bicycles and, as this poster shows, motorcycles and motorized bikes. “The aces of the motorcycle” is illustrated with a determined driver barreling towards us.

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

58. Michelin. Artist: Anonymous 18 3⁄4 x 26 in./47.5 x 66 cm Bonetti, Milano Cond A-/Slight tears at top edge.

Even the buff and fearless Bibendum can’t help but feel enchanted by a tiny bicycle outfitted with Michelin tires. Che carino!

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

59. Pneu Vélo Michelin. ca. 1913. Artist: O’Galop (Marius Rossillon, 1867-1946) 31 1⁄ 2 x 47 3⁄4 in./80 x 121.2 cm

Imp. Chaix, Paris Cond B/Slight stains at folds and edges. Ref (both var): Discount, p. 129; PAI-LXII, 219 “Bibendum’s ride over a rocky road underscores the claim that Michelin tires can withstand even the bumpiest roads. The pictured road marker is a reference to the Petition to Number the Roads, Michelin’s 1912 campaign to bring order to the roadways of France; on March 17, 1913, the nation’s Department of Public Works passed legislation to number every public thoroughfare. By 1926 Michelin was publishing France’s first regional guides, boosting tourism and further helping to coordinate the use of the road network” (Discount, p. 129).

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

60. Michelin. 1951. Artist: F. Zetti 19 1⁄4 x 27 1⁄ 2 in./48.8 x 69.7 cm Ricordi, Milano Cond B+/Slight stains at edges.

The Michelin Man is on holiday in Italy, and what better way to take in the local culture and geography than on a motorcycle? Even better, he’s outfitted with Michelin tires, which will assure a safe journey even on the more treacherous mountain roads.

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

61. Michelin. 1959. Artist: Anonymous 18 3⁄4 x 26 3⁄ 8 in./47.5 x 67 cm Verga, Milano Cond A.

Ref: Discount, p. 229 (var); PAI-LXXXVI, 29 Bibendum, the Michelin Man, is one of the world’s oldest trademarks, born in 1894. Here, the portly gent is a speed demon on a motorcycle, promoting fat tires for narrow motor vehicles.

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

62. Goodyear Balloon / Motorcycle Tires.

Artist: Anonymous 24 x 36 1⁄ 2 in./61 x 92.2 cm Cond A/P.

Goodyear opened in Akron, Ohio in 1898 as a manufacturer of bicycle and carriage tires. They eventually expanded into motorcycle and automobile tires, including the pillowy balloon tires featured in this blissful design. Rare!

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

AUTOMOBILES

63. Essence Lesourd. 1899.

Artist: Misti (Ferdinand Mifliez, 1865-1923) 37 x 50 1⁄ 2 in./94 x 128.2 cm

Imp. Tourangelle, Tours Cond B/Restored tears at folds.

Ref: PAI-LXXXVII, 415

Chéret’s poster for a different brand of store-sold canistered gasoline, Benzo-Moteur, didn’t even show the product ( see PAI-LXXXVII, 416), instead relying solely on the charm and demographic appeal of a pair of female drivers. But 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.

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

64. Automobiles Ader. 1903.

Artist: Georges Meunier (1869-1942)

62 1⁄ 8 x 43 1⁄ 8 in./158 x 109.5 cm

Imp. Chaix, Paris Cond B-/Tears at folds.

Ref: DFP-II, 595; Meunier, 38; Auto Show I, 18; PAI-LXXIX, 94

Meunier had the sensibility of a graphic novel illustrator, but graphic novels didn’t exist in the 19th century, so he became a posterist instead. This delightful work is a classic example: a comic confrontation between old and new, animal and auto, on a one-lane bridge to the 20th century. Note the donkey, who’s licking the headlamp with love—the perfect touch.

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

65

65. Automobiles de Dion Bouton. 1906. Artist: Anonymous 29 3⁄ 8 x 40 1⁄ 2 in./74.5 x 103 cm

J. Barreau, Paris

Cond B/Slight tears at folds; stains in margins.

Ref: Graphic Design/Taschen, p. 119; PAI-LXXXII, 78

This rare and fanciful design showcases various bicycles and automobiles constructed at Dion Bouton’s Puteaux factory as they compete in a nighttime race to the moon. The artist took his inspiration from Georges Méliès “A Trip to the Moon,” the 1902 experimental science fiction tale that is considered one of the most influential films in cinema history. We can see the same sense for the overtly theatrical and the sublime in this mesmerizing design. The artist’s initials, at lower left, appear to be H. B.

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

66. Huile Rigal.

Artist: Noël Dorville (1871-1938)

46 1⁄ 8 x 62 7⁄ 8 in./117 x 159.6 cm

Imp. Ch. Wall, Paris Cond A-/Unobtrusive folds.

Ref: Handlebars/Joystick, p. 121; PAI-LXXXVI, 30

While a crowd gathers around a broken-down vehicle in the background, this smug mechanic gestures towards his bottle of Rigal motor oil, the key to keeping his boss’s car running on a cold day in Paris. In the distance, the ancient Trocadéro palace looms above the Seine. Dorville was best known for his drawings and caricatures, especially political ones, that he contributed to many satirical journals of the day; his talent for capturing personalities is wonderfully evident in this design. This is the larger format.

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

67. Alcyon. 1906.

Artist: R. Gautier

42 x 57 1⁄ 8 in./106.7 x 145 cm

Imp. G. Elleaume, Paris Cond A.

Ref: PAI-LXXXVII, 17

“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 passenger towards another driver’s flustered state.

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

68. Fuséoline.

Artist: Anonymous

38 3⁄4 x 54 in./98.3 x 137 cm

Imp. Picarde, Paris Cond A.

A tire so clean you can dance on it barefoot? That’s the promise of Fuséoline, an oil that guarantees no more grease on your axles. The gentleman, who had chosen the inferior oil and now has a literal mess on his hands, seems to be quite inspired to change products.

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

69. Prowodnik-Pneu Columb. 1914.

Artist: Max Schwarzer (1882-1955)

35 1⁄4 x 49 in./89.7 x 124.4 cm

Vereinigte Druckereien, München Cond A-/Unobtrusive folds.

Ref: DFP-III, 3071; Discount, p. 131; Pneu, p. 54; PAI-XI, 380

This effective design comes from one of the members of the Munich artists’ group “Die Sechs,” an influential graphic studio of its era. Note how the gray of the tires contrasts with the splashes of red and is punctuated by the motorist’s stark black coat.

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

70. Salmson / 10 HP. 1920.

Artist: René Vincent (1879-1936)

47 x 62 5⁄ 8 in./119.4 x 159 cm

Imp. Riegel, Neuilly

Cond A-/Restored tears at folds.

Ref: Roberts, p. 76 (var); Auto Show I, 48; Affiches Automobiles, p. 29; PAI-LXIII, 601 Although it began as an airplane engine company, Salmson quickly brought the prowess of the skies to the common automobile. Launching its first car in 1919 at the Paris Salon, Salmson, like Amilcar, was considered a fashionable, sporty-chic brand possessing both style and power—a sentiment clearly illustrated in one of Vincent’s finest and rarest works.

Est: $15,000-$20,000.

71. Amilcar. 1924.

Artist: Geo Ham (Georges Hamel, 1900-1972)

45 x 61 in./114.3 x 154.7 cm

Ateliers Publietout, Paris Cond B+/Slight tears at folds and edges.

Ref: Auto s’Affiche, p. 137; Auto Show I, 55

With a race car resembling a spaceship zooming down the track, there can be little doubt that this Amilcar vehicle was built for speed. Ham tilts the perspective and adds a wild splash of colors to make us feel dizzied with graphic and centripetal delight. Amilcar was a company launched by two Paris businessmen, Emil Akar and Joseph Lamy, in 1921. It started with a small car that became progressively larger. The company could not escape the worldwide Depression, however, and went out of business in 1939. This is one of only two known copies. Rare!!

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

72

72. Foltzer. ca. 1924.

Artist: Marcello Dudovich (1878-1962) 39 1⁄ 2 x 53 3⁄4 in./100 x 136.6 cm Edizioni Star, Milano Cond A-/Unobtrusive folds. Ref: Dudovich, checklist No. 196

This lubricating oil is so fantastic that even this stylish donna is jubilant. And while Dudovich certainly loved to place women in his designs, this female driver—in sporting clothes and leather gloves—makes a markedly feminist statement. Foltzer was a small company based in Genoa; their multipurpose Touring Oil could be used on a variety of engines. Rare!

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

73. Shell. ca. 1926.

Artist: Jean d’Ylen (1866-1938) 77 3⁄4 x 99 1⁄4 in./197.5 x 252 cm

Imp. Vercasson, Paris Cond A. Ref: d’Ylen, 61

While the image of a mechanical horse was used in other posters for Shell ( see Abram Games’ Shell Lubricating Oil; PAI-LXX, 84), and in several others by d’Ylen, this is by far its finest incarnation. This is a two-sheet poster and rare!

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

74. La Royale. ca. 1930.

Artist: Anonymous 31 5⁄ 8 x 47 1⁄ 8 in./80.2 x 119.7 cm

Imp. Ch. Garciau, Nantes Cond A.

La Royale car wax ran a series of ads in the 1930s highlighting national monuments from around the world alongside their product. Here, the Statue of Liberty serves as the backdrop for the French brand, with the text heralding it as a stainless and anti-tar wax with unalterable shine that has stood the test of time around the world.

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

75. Chevrolet. ca. 1930.

Artist: Emmerich Huber (1903-1979)

36

Cond A.

in./93.8

120.2 cm

To prove that Chevrolet is “the most elegant of small cars,” Huber trots out a queen-like maiden with her assistant to admire a peacock. The model shown here is likely a 22 Chevrolet Series 490 Coupe. Born in Vienna, Huber eventually moved to Berlin where he worked mainly as a comic and book illustrator.

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

76. Boyriven. ca. 1930.

Artist: Geo Ham (Georges Hamel, 1900-1972)

46

Cond A-/Slight stains.

While horses are usually compared to cars to demonstrate speed or power, Ham uses the noble creature to make another visual analogy: stopping power, thanks to Boyriven brake pads. Boyriven is a fabrics supplier specializing in automotive, marine, and upholstery sectors. Founded in 1913 in London, they continue production to this day. Rare!

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

77. Ford. ca.

J.

Cond

“‘The best Ford ever built,’ says Henry Ford.” This Swedish advertisement is likely referring to the 1933 Ford Model B, a new-and-improved (and also more affordable) version of the original Ford Model A.

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

78.

Equating

in Pittsburgh

$1,000-$1,200.

79.

of the

80. Dunlop. ca. 1945.

Paul Colin (1892-1986)

7⁄ 8 x 46 in./78.5 x 117 cm

P.P.P.P., Paris

Cond A-/Slight stains at edges.

Auto Show II, 83; Graphicar, 570; PAI-XXVI, 26 (var)

Colin gives us a juggling act for the atomic age. Far from the environs of the music hall, he presents a hubristic molten man heaving four Dunlop tires skyward without so much as breaking a sweat. And if a character such as this fiery juggler can handle these tires without leaving a mark, just imagine how they will perform under normal driving conditions. This is the larger format.

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

In

AVIATION

83. Port-Aviation / Grande Quinzaine de Paris. 1909.

Artist: Raymond Tournon (1870-1919)

47 1 8 x 63 in./119.8 x 160 cm

Affiches E. Bougard, Paris

Cond B/Slight tears at folds.

Ref: Looping the Loop, 30; Handlebars/Joystick, p. 142; PAI-LXVII, 1

“The propellers had scarcely stopped turning at the world’s first great aviation meet at Rheims in August 1909, when an October Fortnight was held at the town of Juvisy’s self-styled Port-Aviation some nineteen kilometers south of Paris. Shown in this poster are a high-winged, two-seater Blériot Model XII monoplane, similar to the machine its inventor had piloted in the first Gordon Bennet race at Rheims six weeks previously, and an early-model Wright biplane preparing to take off. Advertised were several Grands Prix, including those offered by the Paris Municipal Council and the Society for the Encouragement of Aviation. A prize was also offered for slow flying. Public interest in the events was overwhelming. Such enormous crowds engulfed the suburban railway system that at one point the trains broke down” (Looping the Loop, p. 48).

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

84. Grande Semaine d’Aviation. 1909.

Artist: Ernest Montaut (1879-1909) 46 1⁄ 2 x 63 1⁄ 2 in./118.2 x 161.3 cm

Affiches Montaut & Mabileau, Paris Cond A. Framed.

Ref: Affiches d’Aviation, p. 50; Looping the Loop, 25; Toujours Plus Haut, p. 89; Perier, 70A; PAI-LXXVIII, 75

“The true ancestor of the aviation poster genre can be traced to Montaut... for his portrayal of the trailblazing assembly at Reims. Soft tints in the sky indicate that sunset is near, a time of day when the wind was apt to drop and flying was considered to be safer. A svelte female spectator, back to the viewer, lifts her arm in salute to an armada of aircraft rising like a swarm of bees... The curving zebra stripes of her costume—fully consonant with an impression of motion and speed, which after all was the crux of the message delivered by the newfangled flying machine—resonate as effectively as the determined look on the face of the nearest pilot. The Grande Semaine brought together for the first time the world’s greatest fliers. Among them were Louis Blériot, Henry Farman, Léon Delagrange, Hubert Latham, count Charles de Lambert, Louis Paulhan, Roger Sommer, and the American entry, Glenn Hammond Curtiss... Parisians streamed to the event; three thousand Britons came from London by special excursion, and two thousand Americans turned up to root for the single representative of their country. Reims was a watershed in the history of flight. Aviators who had flown ‘before Reims’ were regarded as veterans compared with those who learned to fly later. It dramatically demonstrated the progress made in aviation and provided an incalculable stimulus for the design and production of aeroplanes” (Looping the Loop, p. 42). This is the larger format.

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

85. Grande Semaine d’Aviation d’Égypte / Héliopolis. 1910.

Artist: Harald

47 3 8 x 63 in./120.3 x 160 cm

Atelier Harald, Paris

Cond B/Slight tears and stains at folds and edges.

Ref: Affiches d’Aviation, p. 31; Looping the Loop, 33; PAI-LXXVIII, 82

One of the oldest, most reliable forms of transportation encounters man’s latest innovations for the future of efficient travel in a spectacular wash of vivid desert tincture. Both the Bedouin and his dromedary mount are attentively focused on the heavier-than-air craft filling the skies above the Great Pyramids, including a box-kite tailed Wright Brothers model, a Blériot aircraft, biplanes, and assorted other planes, brought together for the Great Egyptian Aviation Week at Cairo’s Heliopolis district. As expansive as the site must have been at the time of this flight week over 100 years ago, the district is now considered to be one of Cairo’s prime residential areas. Of Harald, there is little known, save that he ran his own printing firm, resided in Debat-Ponsan, and produced at least one other aviation poster during 1910 for the Reims Flight Week.

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

86. Meeting d’Aviation / Nice. 1910.

Artist: Charles Léonce Brossé (1871-1945) 27 1⁄4 x 40 1⁄4 in./69.2 x 102.5 cm

Affiches Photographiques Robaudy, Cannes (not shown) Cond B+/Unobtrusive folds; trimmed to image.

Ref: Affiches d’Aviation p. 6; Looping the Loop, cover & 34; Toujours Plus Haut, p. 90; Perier, cover; Affiches Azur, 315; PAI-LXXXVI, 39

From a bird’s eye view above the cockpit of an early monoplane resembling a Blériot, we share in the pilot’s vertiginous, breathtaking vista of Nice and the Gold Coast as he scatters a bouquet of roses to the town at his feet. Brossé, a graphic chronicler of the city of Nice, not only provided us with a magnificent poster for the 1910 air show, but was also one of the event’s key organizers.

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

87

87. Etrich-Taube. ca. 1912.

Artist: Anonymous

37 1⁄4 x 29 1⁄ 8 in./94.6 x 74 cm

Cond B/Slight tears at folds and edges.

Ref: PAI-XXXVII, A6

The graceful blue aircraft soaring across the cloud-specked yellow sky represents one of the most common monoplanes in the pre-World War I era, the “Taube,” or “Dove.” First designed by the Austrian Ignaz “Igo” Etrich and his engineer, Franz Wels, the Taube had its premier flight on November 1, 1909, near Vienna. It was manufactured not only in Austria, but in Germany as well, where it was used in World War I. The specific plane seen here is the German military’s two-man version of the craft, often used for observation. Although this poster doesn’t specifically advertise the plane using logos or text, the image in 1912 would have been very familiar to anyone in the world of aviation.

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

88. Elta / Amsterdam. 1919.

Artist: Brian

31 1⁄4 x 43 1⁄ 2 in./79.5 x 110.5 cm

Kotting, Amsterdam

Cond B+/Slight tears at folds.

Ref: Affiches d’Aviation, 94; Graphic Design/Taschen, p. 180; PAI-LXXXVII, 74

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.

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

89. Beheer der Luchtvaart. ca. 1922.

Artist: J. Michielssen

24 3⁄4 x 39 3⁄ 8 in./62.8 x 100 cm

Marci, Bruxelles

Cond B+/Slight tears at folds and edges.

Ref: PAI-LXXXVII, 83 (var)

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.

88

90. Meeting D’Aviation / Strasbourg. 1924.

Artist: R. Carrie

30 x 42 3⁄ 8 in./76.2 x 107.7 cm

R. Labasque, Strasbourg

Cond A.

Ref: PAI-XXVI, 63

On a Sunday afternoon in July, 1924, all eyes in Strasbourg turned skyward to witness spectacular acts of aviation mastery courtesy of the Aéro-Club of Alsace. The image of the 2nd Fighting and Pursuit Regiment Fokker carving its way through the air hints at only part of the drama that will unfold, as the event also featured only the best known flying aces and even a female parachutist, Mlle. Paulet. The text also tells us that winning participants in the meet will be awarded on the spot in cash.

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

91. Le Jeu des Grands Raids. 1927.

Artist: E. Dugas

12 3 4 x 17 1⁄4 in./32.3 x 44 cm

La Selechromie, Paris

Cond A.

“The Game of the Long Distance Flights” pictures a who’s-who of the early aviation world. Clockwise from the left are Hugo Echnerd (Germany), Bert Hinkler (England), and Charles Lindbergh (U.S.); on the right are three French pilots: Dieudonne Coste; his copilot, Maurice Bellonte; and his former copilot, Joseph LeBrix. Each of these pilots flew higher, faster, and further than anyone before them, and set new world records for nonstop transatlantic flights.

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

90

92. Nationale Luchtvaart School. 1932.

Artist: Kees van der Laan (1903-1983)

23 1⁄ 2 x 35 1⁄ 8 in./59.5 x 89.2 cm Kühn & Zoon, Rotterdam

Cond B/Slight tears and stains at edges.

Ref: Dutch Moderne, p. 112; Crouse/Deco, p. 30

“One of Europe’s oldest aviation academies, the Nationale Luchtvaartschool was formed in 1927 by the Rotterdam Aero Club as a means of encouraging the average daredevil to learn how to fly. Here, the school’s three Dutch branches—in Rotterdam, Amsterdam, and Enschede—advertise a reduced introductory fee below the thrilling image of a high-wing monoplane flying toward the viewer’s face, so close that it might buzz off the top of the text with its propeller. The soft gray-white spray of wispy clouds around the plane instantly creates an atmosphere of excitement and drama: there is no definition to either the horizon or the ground, no bearings or landmarks... The mundane and difficult aspects of practice, preparation, and study are obviously not touched upon—just the glory of potentially being the next Roland Garros, the famous French aviator from World War I” (Crouse/Deco, p. 31).

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

93. Grand Meeting d’Aviation / Chambery. 1928.

Artist: Anonymous 46 x 61 1⁄4 in./116.7 x 155.5 cm

Risacher, Paris

Cond B+/Slight tears at folds and edges. The Aviation Meeting of Chambery was held in the small town of Savoie, and played host to a number of aces: LeBrix, Hoegelen, Detroyat, Thoret, Delmoffe, Maurice Weiss, van Loere, Magnerd, Jean de Viscaya, and parachutists Mlle. Maryse and Genet.

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

94

94. Airplane Rides / Boeing Clipper. ca. 1929.

Artist: Anonymous

25 x 37 3⁄4 in./63.6 x 96 cm

Cond A. Framed.

Ref: Airline Artistry, p. 3 (var); PAI-LXVII, 16

The Inman Brothers’ Flying Circus was a traveling aerial show composed of three brothers and a lion named Kitty. The four of them would perform various barnstorming and skydiving routines, as well as offer rides to eager spectators. The circus disbanded in 1935 when the youngest brother died in an attempt to protect a female onlooker from a crash.

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

95. Landung Basel. 1930.

Artist: Otto Jacob Plattner (1886-1951)

35 3⁄ 8 x 50 in./90 x 127 cm

Graph. Wassermann, Basel Cond A.

Ref: Swiss/Basel, 181; PAI-XXIV, 477

The LZ-127 model Graf Zeppelin had its first flight in September 1928, accompanied by much fanfare. Here, the good folks of Basel are getting a chance to experience the great silver-skinned craft—shown here hovering over the city spires—in person. Short hops on board were offered throughout the day, and a parachute demonstration occurred in the afternoon. Plattner, a landscape painter and graphic designer well known for his work in Basel, frequently signed his name with the initial “P,” its loop filled by the cross from the Swiss flag on a red ground.

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

96. Graf Zeppelin / L’Amérique du Sud en 3 Jours. ca. 1932.

Artist: Ottomar Anton (1895-1976)

24 1⁄ 2 x 39 in./62.3 x 99 cm

Mühlmeister & Johler, Hamburg

Cond A-/Slight creasing at top edge. P.

Ref (both var): Airlines, p. 36; PAI-LXXII, 38

The famous Graf Zeppelin lifted off in 1928 and became the first commercial transatlantic flight service in the world. But most of those were demonstration flights. In 1932, the airship began five full years of service plying this South American route from Berlin to Buenos Aires, with stops in Barcelona and Seville, as well as Pernambuco and Rio de Janeiro, Brazil. Its otherworldly image, and its leisurely three-day transit to the “Paris of the South,” seem like things from an alternate universe today: both impossibly futuristic and archaic at the same time. This is the French language version.

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

95

97. Deutsche Zeppelin-Reederei / 2 Days to Europe. 1936.

Artist: Jupp Wiertz (1881-1939)

22 x 32 in./56 x 81.2 cm

Cond A-/Slight creases.

Ref (both var): Fly Now, p. 49; PAI-LXXXIII, 92

This haunting poster for the Deutsche Zeppelin-Reederei advertises two-day travel from New York City to Europe. Emerging through a classic foggy New York-in-the-’30s morning, blue sky opens up around the Zeppelin as a shaft of golden light strikes the spire of the Empire State Building in an imagining of its intended use as a dirigible mooring station—though it was ultimately never used for that purpose.

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

98. Hamburg-Amerika Linie / Zeppelin-Fahrten. ca. 1936.

Artist: Theodore Etbauer (1892-1975)

22 3⁄4 x 31 3⁄4 in./57.8 x 80.6 cm

Mühlmeister & Johler, Hamburg (not shown)

Cond B+/Slight creases in text areas. Framed.

Ref: PAI-LXVIII, 52

Printed in at least three languages, this design promotes the luxurious Zeppelin division of the Hamburg-America Line. This is the German version of the poster.

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

99. Lubrication by Shell / Hawker Hurricanes. 1938.

Artist: Robert Buhler

45 x 30 1⁄ 8 in./114.3 x 76.5 cm

Weiner, London

Cond A.

Ref: Shell Exhibition, 108; PAI-XLV, 501

As is the case in the high-flying Gardner poster for Shell ( see PAI-XLV, 497), Buhler demonstrates Shell’s “High Performance” with hardworking aircraft, in this case a triumvirate of legendary Hawker Hurricanes making their way through tempestuous skies. Introduced in 1937, the British-made single-seat fighter aircraft was crucial to enabling the Royal Air Force to win the Battle of Britain of 1940, and accounted for the majority of the RAF’s air victories. The Hawker Hurricane was such a cultural touchstone and such a British source of national pride that the plane even found its way into a children’s alphabet book from World War Two, which declared “H is for Hurricane, never known to fail.”

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

100. Airmen Prefer Shell. 1930.

Artist: Andrew Johnson (1893-1973)

44 3⁄4 x 29 1⁄ 8 in./113.6 x 74 cm

Chorley & Pickersgill, Leeds Cond A. Framed.

Ref: Shell Advertising, 84; PAI-XLIII, 533

Johnson was best known as “an agreeable landscape painter [who] expertly rendered the scenic views he was entrusted with” (Weill, p. 226). The designer himself, however, had some simple ground rules for poster making that he adhered to no matter what the designated subject matter: “If the poster forces attention by its dramatic presentation or its ‘newness’ its first object is achieved. It has been seen” (Richmond, p. 149).

Certainly one would have difficulty disputing the veracity of his goals after catching a glimpse of the direct, no-nonsense gaze of the young flier that lends his visage to the service of promoting Shell, who comes across as a textbook demonstration of sincerity in advertising.

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

101. Fête de l’Air / Villacoublay. 1935.

Artist: Vic 47 3 8 x 63 3⁄4 in./120.3 x 161.8 cm

Imp. Bedos, Paris

Cond B+/Slight printer’s creases and tears at folds.

Ref: PA-LXVII, 48

This striking Art Deco image promotes a day-and-night air show at Villacoublay—home today to a French air base.

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

102. USAAF. 1945.

Artist: Anonymous 38 1⁄4 x 59 1⁄ 8 in./97 x 150 cm

Havas, Paris

Cond A.

Ref: PAI-XLIII, 46

The United States Army Air Forces was a part of the U.S. Army during World War II; it was the direct precursor to the U.S. Air Force, existing between 1941 and 1947. For an exposition of American aeronautic supremacy being held at the Eiffel Tower immediately following the end of the Second World War, an anonymous posterist keeps the iconography direct and the message straightforward with the Tower being supported by the insignia of the USAAF as formation flights fill the sky.

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

103. United Airlines / Colorado. ca. 1950.

Artist: Joseph Binder (1898-1972) 24 7⁄ 8 x 40 3⁄ 8 in./63 x 102.5 cm

Cond A.

Ref: PAI-LXXXV, 82

Joseph Binder got his start making travel posters in Austria, but emigrated to New York in 1934; in 1939 he produced the iconic image for the New York World’s Fair, which is internationally beloved by fans of peak Modernism. His reductive design sense, modeled after Ludwig Mies van der Rohe’s minimalist principles, snaps the eyes open for this brilliant mid-century Modern celebration of Colorado, cleverly juxtaposing fly-fishing and air-flying aboard United Airlines.

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

104. El Al / Israel. ca. 1950.

Artist: Grundman 18 1⁄ 2 x 27 in./47 x 68.5 cm Ortsel, Ramat-Gan Cond A-/Slight creases at edges.

Ref: Made in Israel, 82 As Moses surveys the Israeli land promised to the Jews, El Al spreads its wings with newly inaugurated flights to and from Israel. The airline and the State of Israel were both born in 1948, and this design was likely created shortly thereafter.

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

105. Pan American / Calcutta. 1951.

Artist: Anonymous

25 x 40 1⁄ 2 in./63.3 x 102.8 cm

Cond A.

Ref: PAI-LVII, 69

Now known as Kolkata, this eastern Indian city once served as the country’s capital; today it’s the capital of West Bengal and is considered to be the cultural capital of India, nicknamed the “city of furious, creative energy.” The ornate structure seen in this poster is a perfect reflection of the city’s unique and impressive architecture.

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

106. TWA / San Francisco. ca. 1954.

Artist: Anonymous

25 x 40 1⁄4 in./63.5 x 102.3 cm

Cond A.

Ref: Airline Artistry, p. 6; PAI-LVIII, 291

Attempting to showcase all of the city’s highlights in one image, this unnamed artist has created an idyllic view of San Francisco. From Chinatown to Nob Hill to the Golden Gate Bridge, we are given a visual tour of its landmarks, all from the vantage point of a breezy cable car.

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

107. Pan American to Paris. 1954.

Artist: Jean Carlu (1900-1997)

28 x 42 1 8 in./71 x 107 cm

Cond A.

Ref: Carlu, 71 (var); PAI-LII, 112

In the last of his eight-year stay in the U.S., Carlu executed eight posters for Pan Am, some of which, such as this one, were printed after his 1947 return to France. Breezily promoted with linedrawn landmarks and a stylistically tousled flower peddler, Carlu reminds the potential flyer of the airline’s service to Paris.

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

108. TWA / France. ca. 1956.

Artist: S. Greco

25 1⁄4 x 39 3⁄4 in./64 x 101 cm

Cond A.

Ref: PAI-LVII, 81 (var)

Showcasing all the wonders of France in a single image, this poster for TWA lets you know at a glance that France is the destination of choice for fashion, food, art, history, and culture.

Est: $800-$1,000.

109. TWA / New York. ca. 1957.

Artist: Anonymous

25 x 40 in./63.5 x 101.5 cm

Cond A/P.

Ref: PAI-LXXXV, 88 (var)

Lady Liberty guides TWA’s newest Jetstream aircraft into her metropolis. The Lockheed L-1649 Starliner was the last model of the Lockheed Constellation airliners, which were built from 1956 to 1958. They were used on longer domestic flights and on flights from New York to Europe and beyond. In 1961, they were replaced by Boeing 707s. This variant of the poster has text in Greek.

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

110. Fly TWA / India. ca. 1960.

Artist: David Klein (1918-2005)

25 x 39 3⁄4 in./63.5 x 101 cm

Cond A-/Slight tears and stains at edges. P.

Ref: PAI-LXXXIII, 116

Rather than focus on the landscape of the country or a famous monument, Klein instead creates the allure of the exotic with a bejeweled relief sculpture of an elephant outfitted for a traditional wedding ceremony.

Est: $800-$1,000.

111. Fly TWA Jets / Paris. 1962.

Artist: David Klein (1918-2005)

25 x 40 1⁄4 in./63.5 x 102.3 cm

Cond A.

Ref: PAI-LXXX, 173

This is one of David Klein’s most celebrated posters, and the image itself is jubilant: the City of Light is ablaze with Klein’s stylized fireworks that mimic the illustrated showgirls of the FoliesBergère in Belle Époque posters.

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

112. Fly TWA / Holy Land. ca. 1964.

Artist: David Klein (1918-2005)

25 x 39 3⁄4 in./63.5 x 101 cm

Cond A-/Slight tears at edges.

Ref: PAI-LXXV, 106

Klein uses the rough aesthetic of the mid-’60s and its “Puff, the Magic Dragon” sensibility to carve out a hopeful scene of Noah’s Ark, dove, and olive branch to inspire pilgrimages to the Holy Land. The hope for “peace after the storm” would have been a powerful message that year.

In 1964, Pope Paul VI arrived in Israel, the National Water Carrier of Israel was inaugurated, and the PLO was founded— making the questions of God’s wrath, intelligent water management, peace, and reconciliation front of mind.

Est: $800-$1,000.

113. TWA / Switzerland. ca. 1955.

Artist: David Klein (1918-2005)

24 7⁄ 8 x 40 1⁄ 8 in./63.2 x 102 cm Cond A.

Klein keeps it simple for TWA flights to Switzerland: tulips awaken under the thawing snow, while the frosty Alps glisten in the distance. You can almost smell the crisp mountain air that envelopes the country year-round.

Est: $800-$1,000.

114. Eastern Air Lines / New York.

Artist: Anonymous

22 x 31 1⁄4 in./55.8 x 79.3 cm

Cond A.

America’s Eastern Airlines dominated the American southeast’s air routes between 1926 and 1991. For many years, it was the only air travel between New York and Miami, and its silver-wings pins were ubiquitous upon the lapels of snowbirds and holiday-makers in both Gotham and in the Sunshine State. After folding in 1991, Eastern Airlines has returned to the skies as a charter airline between select destinations in the Caribbean and in Central and South America. In this rare photomontage image, two young travelers take in the wonder of Lady Liberty.

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

115. Air India. ca. 1968.

Artist: Anonymous

25 1⁄ 8 x 39 7⁄ 8 in./64 x 101.3 cm

Prasad Process, Madras Cond A-/Slight stains at edges. P.

Ref: PAI-LXXXIII, 113

Air India’s icon, a whimsical whiskered Maharaja, rides into the sky atop his bejeweled elephant, along with the rest of his illustriously illustrated entourage.

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

116. Lufthansa / New York. ca. 1970.

Artist: Anonymous 23 3⁄ 8 x 33 1⁄ 8 in./59.4 x 84 cm Cond A/P.

Ref: PAI-LXXXV, 95

For international travelers in the late 20th century, these glimmering city lights sufficed to immediately evoke New York City. The iconic Twin Towers at the center draw us straight into lower Manhattan, where the lights of the Financial District capture and reflect the brilliant sunset. This poster by an anonymous designer is a dazzling testament to a New York that was.

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

WAR & PROPAGANDA

117. Irishmen / Avenge the Lusitania. 1915.

Artist: Anonymous

19 7⁄ 8 x 30 1⁄4 in./50.3 x 76.7 cm

John Shuley & Co., Dublin

Cond A-/Slight tear in bottom margin.

Ref: Persuasive Images, p. 26; PAI-LXVIII, 152

The sinking of the RMS Lusitania was one of the most shocking moments of World War I; never had an enemy ship torpedoed a passenger liner carrying civilians from neutral countries during wartime on such a large scale. Here, as the fated ship sinks rapidly into the water and bodies are strewn in the foreground, young men of Ireland are asked to join a local regiment and avenge those 1,200 lives lost. The artist’s initials appear to be W. E. T.

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

118. It’s Our Flag / Fight for it. 1915.

Artist: Guy Lipscombe (1893-1937)

39 x 59 3⁄4 in./99 x 151.6 cm

Henry Jenkinson, Leeds

Cond B+/Slight tears at folds.

Ref: Takashimaya, 104 Lipscombe’s incredibly articulated Union Jack flag must have been so successful that he used the image again for another propaganda poster in 1917 ( see PAI-LXXIV, 342). Taking the patriotic bent has always been a motif of war enlistment posters, but the simplicity of this design—issued by the Parliamentary Recruiting Committee—makes it all the more powerful. Lipscombe was a war artist who later headed the art department for the British weekly auto magazine, The Motor

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

120

119

119. Tête de Boche / Aristide Bruant. 1915.

Artist: Anonymous 17 1 2 x 24 3⁄4 in./44.5 x 63 cm Cond B+/Slight tears at folds.

This drowsy German soldier in a field of flames is promoting a new novel by Aristide Bruant which ran in Le Petite Parisien . The book’s title, “Tête de Boche,” can be translated as “Krauthead,” and while little information exists on the actual contents, we can safely assume that Bruant was critical of the Germans in World War I, and also of Germany’s temporary takeover of France 40 years earlier. The artist’s initials are O.S.

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

120. Go! It’s Your Duty Lad. 1915.

Artist: Anonymous 50 1 4 x 40 1⁄4 in./127.7 x 102.3 cm

David Allen, Harrow Cond B+/Slight tears at folds.

Published by the Parliamentary Recruiting Committee, this poster implores mothers to do the right thing by encouraging their sons to enlist. “It was not a popular design, partly because of its hectoring tone but also because of its similarity with contemporary commercial advertising which was becoming an increasingly resented feature of the PRC’s campaign... The problem lay in the way new designs were created by commercial printers on behalf of the government with little, or no, official guidance. Inevitably, this led advertisers to deploy well-worn and familiar methods of persuasion which ultimately served to alienate potential recruits. As the Daily Mail commented in April 1915, ‘advertising for people to go to the war [has become] just like advertising for people to buy a popular cigarette or a new boot polish’” (National Army Museum website).

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

121. U.S. Official War Pictures. 1917.

Artist: Louis Fancher (1884-1944) 27 3⁄4 x 41 in./70.5 x 104.3 cm

The Hegeman Print, New York Cond A-/Slight tears at edges.

Ref: Rawls, p. 139; Modern American Poster, 26; PAI-LXXXII, 34

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

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

123

122. The Sword is Drawn. ca. 1917.

Artist: Kenyon Cox (1856-1919)

28 x 42 in./71.2 x 106.7 cm

Cond A-/Slight tears at edges.

Ref: Persuasive Images, 71; Rawls, 22; PAI-LXXX, 94

“A stern national goddess, Columbia, calls men to take up the sword of justice to avenge civilian lives lost on the sea, as the ship steaming on the horizon reminds the viewer. The high-mindedness of the Navy recruiting poster’s identification of national honor with female honor is... potent motivation for manly action” (Persuasive Images, p. 54). Columbia holds a scroll that boldly reads, “We can do no otherwise.”

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

123. It Takes a Man to Fill It. 1918.

Artist: Charles Stafford Duncan (1892-1952)

27 1⁄ 2 x 41 in./69.8 x 104.3 cm

Schmidt Litho., San Francisco Cond A-/Slight tears at edges.

Ref: PAI-LXVIII, 156

Best known for his social realist murals created during the Depression, Duncan here produces a poster for the U.S. Navy, indicating that only a man can fill its uniform.

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

125

124. Books Wanted for Our Men. ca. 1918.

Artist: Charles Buckles Falls (1874-1960)

28 1⁄4 x 41 1⁄4 in./71.7 x 104.7 cm

Cond B/Slight tears at horizontal fold and edges.

Ref: Rawls, p. 158; Theofiles, 277; Rickards, 200; PAI-LXXX, 95

As the U.S. mobilized to fight in the war, military leaders realized that many of their fighters had limited reading skills—or came from small towns where reading material was limited. And so the Library War Service was instated from 1917-1920; donations from citizens and libraries across the country amounted to some 7-10 million books and magazines being donated to our guys “over there.” This keen design by Falls brought him instant recognition as a posterist and illustrator. Astonishingly, he’d been working in the field for several years and designed this poster in less than 24 hours.

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

125. Die Schuldigen. 1917.

Artist: Hans Rudi Erdt (1883-1918)

38 1⁄4 x 55 3⁄ 8 in./97.2 x 140.7 cm

Hollerbaum & Schmidt, Berlin Cond B+/Slight tears at folds.

Provenance: The Hans Sachs collection Erdt’s powerful image points blame at the “guilty of the war,” meaning the opposition who reeked havoc in Germany.

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

126

126. Colored Man is No Slacker. 1918.

Artist: Anonymous 15 7⁄ 8 x 19 3⁄4 in./40.3 x 50.2 cm

E. G. Renesch, Chicago Cond A/P.

Ref: PAI-LXXXVI, 56

“Colored Man is No Slacker”—or rather, he’s no draft-dodger. For this World War I enlistment ad, an African American infantry unit marches with the American flag held aloft as a couple tenderly says goodbye. Patriotism is both literally illustrated and subtly implied with notes of red and white punctuating the flowers around the woman’s blue dress; “these are good people who serve their country,” the poster intones. In fact, more than 350,000 black men, trained and deployed in segregated units, served in the U.S. military during World War I, and 42,000 of them saw action in Europe. There’s no denying the conflation of American ideals at this time: Americans were encouraged to enlist, to form a strong united front, to fight the evils of Europe together— and yet the troops were segregated, and black men were usually given burdensome non-combat shifts. The Peters Sisters astutely highlighted this oxymoronic ideology in their 1919 poem, “The Slacker”: So when the Victory is won / And the world is at peace / When the shedding of blood is done / And mankind again is free / Uncle Sam, if giving up life / For the deliverance of men / Does not give all, equal rights / Who will be, the slacker then?

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

127. True Blue. 1919.

Artist: Anonymous 16 x 20 in./40.7 x 50.7 cm E. G. Renesch, Chicago Cond A-/Slight tears at edges. P.

This cozy domestic scene is an attempt to appeal to African Americans to support the war effort. The flag hanging in the window lets neighbors know that the patriarch of the household is fulfilling his duties overseas. His family gathers around the fireplace to revere the father’s portrait, which is placed among the portraits of George Washington, then-president Woodrow Wilson, and Abraham Lincoln—who gets top billing over the group. The image of the “Great Emancipator” was commonly used during World War I to encourage African Americans to enlist, though they served in segregated units. Rare!

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

128. He’s Ready to Fight. ca. 1917.

Artist: Edward Penfield (1866-1925) 19 x 25 1⁄ 2 in./48.3 x 64.8 cm Cond A. Ref: Rawls, p. 107

This rare propaganda poster by Penfield uses his typical restraint to entice Americans to fight for the war cause. A stylized officer is the primary focus of his imagery; the soldiers in the background and the minimal text do the rest of the work.

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

129. United War Work Fund. 1918.

Artist: J. Liello

18 3 4 x 25 5⁄ 8 in./47.7 x 65.2 cm

Cond A.

Ref: PAI-LXXII, 264

On November 23, 1918, the New York Times reported, “Today marks the climax of the most irregular football season the gridiron sport has ever known... Here in New York there will be an unusually attractive football bill. First of all the war fund benefit at the Polo Grounds will probably attract the greatest attention, for it will bring together service elevens from Harvard and Princeton. The Harvard Radio School will play the Aviation School eleven from Old Nassau, and as both of these teams have already proved their worth, an exciting struggle is expected.” The Harvard team, composed of both Harvard and Boston College students making up the Radio School, were victorious over the Princeton Aviators 28-0.

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

130. Army Air Service. 1917.

Artist: Charles Livingston Bull (1874-1932)

20 1⁄ 2 x 27 3⁄ 8 in./52 x 69.5 cm

Alpha Litho., New York

Cond B/Slight tears at folds.

Ref: Theofiles, 26; Rawls, p. 173; Looping the Loop, p. 116; PAI-LXXIII, 77

This rare WWI image likens the U.S. Air Force to a fierce American bald eagle, who is battling a black eagle, the symbol of the German Empire.

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

131. See the World by Joining the Army. ca. 1919.

Artist: Lionel Edwards (1878-1966)

20 1 8 x 29 7⁄ 8 in./51 x 75.8 cm

Cond B+/Slight tears at horizontal fold.

If the battle front isn’t really your thing, then the British Army has an alternative way to seduce potential recruits: international travel! And these gents on the Strait of Gibraltar seem to be having a dandy old time away from their military duties.

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

132. They Kept The Sea Lanes Open. 1919.

Artist: Leon Alarac Shafer (1866-1940)

39 1⁄ 2 x 29 3⁄ 8 in./100.5 x 74.6 cm

W.F. Powers Litho., New York

Cond B+/Slight tears at horizontal fold.

Ref: Rawls, p. 230-231; PAI-LXIX, 645

The fear of German U-boats torpedoing ships was paramount during World War I. Here, the poster asks that you support the Victory Liberty Loan—money which helps supply and secure the U.S. Navy, who “kept the sea lanes open” and free from the Germans.

Est: $800-$1,000.

133. See Real Warfare. 1918.

Artist: Lloyd Harrison

21 1⁄ 8 x 30 in./53.6 x 76.2 cm

H. Gamse & Bro. Litho., Baltimore Cond A.

If the ravages of World War I weren’t visceral enough, the 5th Regiment Armory of Baltimore decided to host an inperson taste of the action with moving pictures, music, and the “world’s greatest orators.” Harrison notes that the event was made possible “by blood—not money,” a sentiment that we don’t entirely understand, but the graphics are certainly powerful.

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

134. Before Sunset / 2nd Liberty Loan. 1917.

Artist: Eugenie DeLand (1872-1961)

20 x 30 1 8 in./51 x 76.5 cm

Sackett & Wilhelms, New York Cond A/P.

Ref: Theofiles, 132

Lady Liberty, ever the symbol of American patriotism, is enlisted once again to call on Americans to purchase a liberty loan to support the efforts of World War I. Notably, this image was designed by one of the very few female artists who created posters during the War. DeLand studied at the Drexel Institute of Art, Science, and Industry; she taught art at the Corcoran School of Art and McKingley High School in Washington, D.C. for 35 years.

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

136

135. Help Them / Keep Your War Savings Pledge. ca. 1918.

Artist: Casper Emerson, Jr. 19 3⁄4 x 29 7⁄ 8 in./50 x 75.8 cm

American Lithographic Co., New York Cond A-/Slight tears at edges. P.

Ref: Theofiles, 178; Rawls, p. 220; PAI-LVIII, 543

Posters like these offered the rationale that “no contribution to the war effort was too small... Committees, or War-Savings Societies, were set up all over the country to sell Savings Stamps, which were in effect small-denomination securities available in stores, hotels, theaters, and even in booths set up on the sidewalks” (Rawls, p. 221). Theofiles also notes that this poster is, interestingly, “a direct lift from a English stamps poster of the same period” (p. 130).

Est: $800-$1,000.

136. Blot it Out. 1918.

Artist: James Allen St. John (1872-1957)

27 3⁄ 8 x 41 1 2 in./69.5 x 105.3 cm

Edwards & Deutsch Litho., Chicago Cond A.

Ref: Rawls, p. 207; Graphic Design/Taschen, p. 173

St. John’s poster marks a turning point in American propaganda images with his use of gore to insight fear.

Where other liberty bonds posters might show patriotic imagery of soldiers or Uncle Sam to instill American sympathy, this image centers on the dangers of the German military (using the derogatory term “Hun”) to scare citizens into making contributions to the war effort. Rare!

Est: $700-$900.

137

137. I Want You for U.S. Army. 1917.

Artist: James Montgomery Flagg (1870-1960)

30 x 40 1 2 in./76.2 x 103 cm

Leslie Judge Co., New York

Cond B+/Slight tears at edges.

Ref: Rawls, p. 13; Theofiles, 11; Darracott, p. 13; Le Coultre, p. 208; Flagg, p. 80; Graphic Design/Taschen, p. 158; Imperial War Museum I, p. 27; PAI-LXXXV, 111

Although Flagg was already a successful and prolific illustrator by the time World War I started, this poster was to become “his greatest public triumph.” He used himself as a model, and the work was “originally used on a Leslie’s Magazine cover in late 1916, and was quickly adopted by the Army when the war broke out. All told nearly 5 million were printed in both world wars” (Theofiles, p. 9).

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

138. W.S.S. / Beware the Wrath of a Patient Man! 1918.

Artist: James Montgomery Flagg (1870-1960)

19 5⁄ 8 x 29 1⁄ 2 in./50 x 75 cm

American Lithographic Co., New York

Cond B/Slight creases at edges. Framed.

Ref: Rawls, p. 215 (var); Theofiles, 181 (var); PAI-XXVI, 296

Even without the textual warning, it’s easy to see that Uncle Sam, with his stern look and arms akimbo, is not happy.

This poster was a follow-up to Flagg’s “I Am Telling You” poster which heralded in the War Savings Stamp campaign; here, he pointedly reminds the viewer that the effort is far from over, and promises must be kept. The stamps were priced as low as 25 cents, making it possible for even children to feel as if they were participating in the wartime effort.

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

139

139. Let’s End It - Quick With Liberty Loans. 1917.

Artist: Maurice Ingres (1855-?)

28 3⁄ 8 x 42 3⁄4 in./72 x 108.5 cm

Central Litho. Co., Cleveland Cond A-/Unobtrusive folds.

Ref: Theofiles, 121; Rawls, p. 202

Many posters for the first and second liberty loans employed Columbia as a harbinger of pressure; Ingres riffs on this motif, but personifies her as a young woman with a pleading—almost desperate —look in her eye. Behind her, a city is engulfed in flames, foreshadowing what might befall America if citizens don’t support the liberty loan effort. Theofiles called this poster “scarce.”

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

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

Artist: Joseph C. Leyendecker (1874-1951)

20 1⁄ 8 x 30 in./51 x 76.2 cm

American Lithographic Co., New York Cond A-/Slight tears at edges.

Ref: Rawls, p. 211; Darracott, p. 30; Rickards, 50; Leyendecker, p. 75; Weill, 223; War Posters, p. 117; PAI-LXXXVII, 103

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.

141. Food Will Win the War. 1917.

Artist: Charles E. Chambers (1883-1941)

19 3⁄4 x 29 3⁄4 in./50 x 75.7 cm

Rusling Wood Litho., New York Cond A-/Slight tears at edges.

140 141

Ref: Rawls, p. 113; Theofiles, p. 94 (var); Gallo, p. 92 (var); PAI-LXXXII, 31

“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 Yiddish.

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

142. Food Will Win the War. 1917.

Artist: Charles E. Chambers (1883-1941)

19 x 29 1⁄ 8 in./48.3 x 74 cm

Rusling Wood Litho., New York Cond B/Tears at folds and edges. Framed.

Ref: Rawls, p. 113; Made in Israel 60, 180; PAI-LXXXII, 32

This is the Yiddish text version of the previous lot.

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

143. Jewish Relief Campaign / Share. 1915.

Artist: Alfred F. Burke (1893-1936)

30 x 40 1⁄ 8 in./76.2 x 101.8 cm

Sackett & Wilhelms, Brooklyn

Cond A-/Slight tears at bottom edge.

Ref: PAI-LXXXV, 116

The Jewish Relief Campaign began in 1914 to help aid those affected by World War I in both Europe and Palestine. Here, an allegorical figure of America benevolently offers necessities to a refugee family with the distant Statue of Liberty’s silhouette standing out against the dawn.

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

144. Clear-The-Way-!! 1918.

Artist: Howard Chandler Christy (1873-1952)

20 x 30 in./50.7 x 76.2 cm Forbes, Boston

Cond B+/Slight tears at edges.

Ref: Rawls, 223; PAI-LXXXVII, 98

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: $1,000-$1,200.

145. Per la Liberta. ca. 1918.

Artist: Marcello Dudovich (1878-1962)

39 1 2 x 55 1⁄ 2 in./100.3 x 141 cm

Atelier Butteri, Torino

Cond B+/Slight tears at folds.

Ref: Dudovich, cat. no. 112, fig. 98; PAI-LXXVIII, 271

Four soldiers, four flags, and four firearms are raised in solidarity “For the Freedom and Civilization of the World.” These American, French, Italian, and British symbols make for a powerful lithographic inducement to participate in a late-World War I Italian bond drive.

At the age of nineteen, Dudovich arrived in Milan from his native Trieste. After an initial stint at Ricordi, he was hired at Chappuis in Bologna. He was there from 1899 to 1905 before rejoining Ricordi, where he established himself as Italy’s premier posterist.

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

146. WPA / All Out for Defense of Democracy. ca. 1930.

Artist: Anonymous 20 1⁄ 8 x 30 in./51 x 76.2 cm

Cond A-/Slight tears at bottom edge. P.

This WPA silkscreen poster was a New York State Art Program commission to encourage informed opinions.

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

147. Zel Korati. ca. 1935.

Artist: Otte Wallish (1903-1977)

24 3⁄4 x 36 1⁄4 in./63 x 92.2 cm Gilboa, Tel Aviv Cond A-/Unobtrusive folds.

Ref: PAI-LXXX, 118

Wallish promotes the initiatives of the Zel Korati company— “the first Palestine savings and building corporation”—in this graphic composition. The photomontage, shot by Yitzhak Kalter, depicts various buildings in Palestinian cities. The Hebrew inscription reads: “We have distributed 60,000 Palestinian pounds as building loans. 40,000 have received interim credit. 200 families have acquired homes.” Wallish was born in Moravia and immigrated to pre-state Israel in 1934, where he became integral to the developing Zionist movement. He designed posters as a commercial advertising agent and as a Zionist propagandist, and also designed the logos of the Israel Police and the Israel Defense Forces.

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

148. Fascism is Hunger. 1937.

Artist: Pyotr Karachentsov (1907-1998) 27 3⁄4 x 40 1⁄ 2 in./70.5 x 103 cm Ogiz-Izogiz, Moskva Cond B+/Slight tears at folds.

This chilling anti-Nazi poster reads, “Fascism is hunger / Fascism is terror / Fascism is war!” Born in St. Petersburg, Karachentsov began designing posters in the late 1920s; by the late 1930s, his work turned increasingly political, leading to work for the Telegraph Agency of the Soviet Union during World War II.

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

149. Wanted for Murder. ca. 1942.

Artist: Anonymous 25 1⁄ 2 x 30 in./64.8 x 76.2 cm

Cond B-/Slight tears and losses, largely at edges. This poster was sponsored and distributed by Fight for Freedom, an American interventionist organization founded in 1941. Before America entered World War II, posters like this—plus other ephemera including buttons, cards, and decals—were distributed to raise awareness and encourage action. The poster details Hitler’s physical attributes and personality with descriptions like “eyes, black, have demented gaze,” “foppish dresser, but has marked devotion to brown shirts and old trench-coat,” “has been known to throw himself on floor and gnaw rugs,” and “he is sadistic, malicious, bombastic, vengeful, mystical, maniacal, addicted to public hysteria on ‘race purity.’” The charge is to shoot on sight; the reward is “freedom for the entire world and peace for all nations.”

The poster also cites Hitler’s last name as Schicklgruber, which was his father’s given name before he changed it to Hitler preceding his son’s birth. It’s likely a jab at belittling the Nazi leader further. Rare!

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

150. Pvt. Joe Louis says. 1942.

Artist: Anonymous

18 x 24 7⁄ 8 in./45.6 x 63.2 cm

Cond A-/Slight stains at edges.

Ref: Portraiture, p. 79

Heavyweight boxing champ and army private Joe Louis makes for the perfect morale-boosting spokesman during World War II. He was the world heavyweight champion from 1937 to 1949 and served in the Army from 1940 to 1942. The remark quoted here was said by Louis at a Navy charity dinner in 1942, which received a standing ovation and enthusiastic media coverage. Louis was not only a symbol of racial unity for Americans (however fraught that notion was), but also defied Hitler’s idea of Aryan superiority when he defeated German heavyweight Max Schmeling. This poster was produced by the U.S. Office of War Information.

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

151. ...Because Somebody Talked! 1944.

Artist: Wesley Heyman (1918-2002)

20 x 28 in./50.8 x 71 cm

Cond A-/Unobtrusive folds.

Ref: Guerres, p. 14; Judd, C.33; Manifesti/WWII, 48; PAI-LVIII, 572

This emotionally stirring poster was part of the Office of War Information’s (OWI) “Loose Lips Sink Ships” series.

But rather than showcasing the ravages of war, Heyman opted for a tug-on-your-heartstrings approach: the sailor’s free speech has left the family cocker spaniel mourning for his owner, whose death is denoted by the gold star on a service flag. The OWI subsequently received thousands of requests for reproductions of this image, which shattered all previous requests.

Est: $800-$1,000.

152. Defend Your Country. 1940.

Artist: Thomas B. Woodburn (1893-1980)

25 x 38 1⁄4 in./63.5 x 97.2 cm

Spurgeon Tucker, New York Cond A.

Ref: Judd, p. 46

Uncle Sam has donned a more punk-rock look that’s perfect for kickin’ butt and takin’ names. Judd comments that “the stripes of the ‘stars and stripes’ are angry red lightning flashes of belligerency” (p. 46). Indeed, Woodburn has created a fiery incentive for young men to enlist.

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

153

153. Let’s Go Get ’Em! 1942. Artist: Vic Guinness 27 1⁄ 2 x 40 1⁄4 in./70 x 102 cm Polygraphic Co. of America, New York Cond A-/Slight paper loss at upper right corner. Although the flags wouldn’t make tactical sense on the battleground, Guinness included them to add a vibrant contrast of color to the otherwise monochrome jungle scene.

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

154. Register to Vote / Welders. 1944. Artist: Ben Shahn (1898-1969) 39 3⁄ 8 x 30 3⁄ 8 in./101.3 x 77 cm Cond A.

Ref: Shahn, 147; Images of an Era, 1; Word & Image, p. 92; PAI-XXVIII, 537

“Welders was originally meant to serve the cause of anti-discrimination, but was rejected by the OWI as not suitable for mass consumption... [W]hen Welders was subsequently issued by the CIO’s Political Action Committee as a poster for the 1944 presidential campaign, it was well received and was reproduced in the press, with the result that it eventually reached some twenty-five million people. Shahn had produced a poster which transformed an everyday scene into a conception far beyond the OWI’s propaganda for unity in the shipyard or the CIO’s ‘Register and Vote!’” (Shahn, p. 125). Rare!

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

155. WPA / Production Lines are Battle Lines! ca. 1942.

Artist: Ches Cobb 24 x 36 3⁄ 8 in./61 x 92.4 cm Aero Tool Co., Burbank, California Cond A.

Cobb abstracts a factory into a powerful explosion of Deco graphics. It’s a savvy way to remind the people that material production is just as important as battlefield tactics in times of war. The poster was issued by the Division of Information of the W.P.A.’s Southern California Art Project. Rare!

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

156. VD / A Sorry Ending to a Furlough. 1946.

Artist: Ferree

15 1⁄ 8

20 in./38.3

Cond A-/Slight stains at bottom edge.

Poor, disgraced soldier. As his colleagues continue to fight in World War II, this fellow has been put on leave, thanks to venereal disease. It’s certainly an effective means to encourage less salacious behavior overseas.

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

157. VD / Going Home? 1946.

16

Franz Oswald Schiffers (1902-1976)

German artist Schiffers is celebrated as one of the first graphic artists to achieve photorealistic effects in their work. Those skills are certainly on display in this advertisement cautioning American soldiers to avoid venereal disease while fighting in World War II in Europe.

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

158. The Ghetto Uprising in Warsaw. ca. 1948.

Artist: Christo Stefanoff (1898-1966)

20 x 27 5⁄ 8 in./50.8 x 70.2

Cond A-/Slight tear at top edge.

In a dramatic Renaissance style, Stefanoff commemorates the Ghetto Uprising of 1943. This event marked the largest single revolt by Jews during World War II. The inhabitants of the Warsaw Ghetto had already lost many friends and neighbors to Nazi death camps; those who remained organized an opposition to the German police who intended to round up the entire Ghetto. They began to revolt on April 19, 1943, refusing to surrender to a German police commander. In response, he vowed to burn the entire ghetto, which resulted in the death of 13,000 Jews. Although the resistors knew their cause was doomed, their sacrifice served as inspiration for the larger Warsaw uprising of 1944, and continues to be commemorated as an act of defiance.

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

159

159. Hiroshima / Vietnam. 1967. Artist: Siné

17 3⁄4 x 24 3 8 in./45 x 61.8 cm Cond B+/Folds.

The text here tells us “Because 20,000 km from you, in the name of freedom, a people is being murdered, a team of young filmmakers (Gérard Calisti - Michel Rigazzi - Daniel Ollivier - Giuseppe Saltini - Pierre Camus) has decided to go to North Vietnam to make a feature film there. Help them to bring back this essential testimony.” The tragedies of Hiroshima and the Vietnam War are connected by a deadly Uncle Sam hat, inciting American responsibility for these two tragedies. Unfortunately, no record of the final film can be located.

Est: $800-$1,000.

160. Map of Israel 1949. Artists: Michael Kara (1887-1964) & Joseph Szapiro (1905-1996)

13 1⁄4 x 25 3 4 in./33.8 x 65.5 cm Kfar Monach Cond A-/Unobtrusive folds.

Ref: Made in Israel, 60, 101; PAI-LXXXVIII, 143

To celebrate the second anniversary of Israel’s founding, Joseph Szapiro drew the Zionist map seen here, and pioneering Israeli artist Michael Kara designed the images along the borders. The map shows the region from the Mediterranean Sea to Jordan, Syria, Lebanon, and Egypt, as well as the Gulf of Eilat; highly detailed cities, towns, and villages are included, with prominence given to Jerusalem and Tel Aviv. Three sets of boundaries are

161

also included: the international boundaries of Palestine before the state of Israel (thick red lines), the boundaries of the “partition plan” of 1947 (dashed red lines), and the boundaries created by the armistice that ended the 1948 Arab-Israeli War (black lines). Kara’s design was inspired by Communist Social Realism, and includes farm and construction workers as well as Zionist tropes: immigrant families, Jewish iconography, and a soldier and young woman raising the flag. The map was initially used as a supplement to the Davar newspaper, and two versions were created in English and Hebrew; it’s now very rare, with only one example in an institutional collection at the National Library of Israel. This variant includes a “Happy New Year” card, and is copyrighted by Dr. Shapiro, Tel Aviv.

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

161. FNL de Vietnam. 1969.

Artist: René Mederos (1933-1996)

19 x 27 1⁄ 2 in./48.4 x 70 cm Cond A-/Unobtrusive folds.

Ref: Revolución, p. 106; Cushing, p. 82

Cuban artist Mederos was sponsored by his government to visit Vietnam in 1969. The poster series he produced there—including this image—was meant to encourage solidarity between the two countries, and pay respect to the Vietnamese effort. The text here reads “National Liberation Front of South Vietnam: 9 years of example and victory.”

Est: $800-$1,000.

162. El Pensador “Progresista.” ca. 1960.

Artist: Anonymous

18 1⁄ 2 x 13 3⁄ 8 in./47 x 34 cm

Cond A-/Unobtrusive folds.

“The ‘progressive’ thinker—always on the side of the underdog” reads the text at bottom. Two young men confront an army of various Middle Eastern delegates, supposedly in an attempt to forge unity and understanding. The artist’s name, at lower right, is unintelligible. Rare!

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

163. Independence Day. 1960.

Artist: Eliyahu Vardimon (1912-1981)

26 3 4 x 38 1⁄ 8 in./68 x 97 cm

Ortzel

Cond A-/Unobtrusive folds.

Published by Histadrut—the General Organization of Workers in Israel—this poster commemorates Israel’s independence and the progress still to be made. The text translates to “The worker is a lever for the state; The state is a fortress for the worker.”

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

164. 1st Anniversary of Palestine. 1989.

Artist: Takowski

23 1⁄ 2 x 33 3⁄ 8 in./59.7 x 84.8 cm

Cond A/P.

To commemorate the first anniversary of the Palestinian State Proclamation, Takowski illustrates a vibrant peace sign being met by a bolt of lightning. The Palestinian Poster Project Archives has this interesting note on their website: “This poster and [several] others... are referred to by Palestinians as the ‘lost Polish exhibit.’ There is an unverified story about this exhibit; it was thought to have been lost when the PLO left Tunis and relocated to Ramallah. All the posters in the exhibit were created by Polish artists. The originals are painted on large wooden boards. They are currently housed in a cultural center in Ramallah. The artists of Zan Studio heard about the Polish posters and their imperfect storage environment. Over a period of several months they hand-scanned them to create a digital record of the exhibit.”

Est: $800-$1,000.

165. Palestine 89. 1988.

Artist: M. Tarifa

37 3 4 x 25 in./95.8 x 63.5 cm

Carthage, Tunis

Cond B+/Slight tears at edges. P.

Subtitled “Jerusalem Calls You,” this poster, sponsored by the Palestine Liberation Organization, celebrates the Palestinian Declaration of Independence of 1988. The otherwise unknown artist Tarifa predicts that the following year, Palestinians will rush to their newly claimed capital of Jerusalem.

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

166. Palestina Children / Intifada 89. 1989.

Artist: Anonymous

25 x 39 1⁄ 8 in./63.5 x 99.3 cm

Cond B+/Slight tears at right edge. P.

Two years into the Palestinian Intifada, this anonymous artist gently reminds us that children were not exempt from participation or from violence. Over 200 children died during the course of the six-year protest, and in the first two years, over 20,000 required medical treatment. This poster was sponsored by the Palestine Liberation Organization.

Est: $800-$1,000.

167. PLO / Skull. 1982.

Artist: Ghazi Inaim (1960- )

18 3⁄4 x 26 5⁄ 8 in./47.6 x 67.7 cm Cond A/P.

The stars and stripes are converted into a death mask in Inaim’s depiction of the Sabra and Shatila massacre, when between 460 and 3,500 civilians—mostly Palestinians and Lebanese Shiites—were massacred by the Lebanese Forces in Beirut. This poster, sponsored by the Palestine Liberation Organization, is clearly an indictment of the American and Israeli response to the massacre, or rather, their lack of action that allowed the killings to continue under the watch of the Israeli Defense Forces.

Est: $800-$1,000.

168. Anti-Rabin : Two Posters. 1994.

Artist: Anonymous

Each: 19 3⁄4 x 27 1⁄ 2 in./50 x 69.8 cm Cond A/P.

Ref: PAI-LXXVIII, 144 (var)

Following the 1994 Oslo Accords, former Prime Minister Yitzhak Rabin was under fire, and posters denouncing him were rampant at right-wing protests—some speculate that propaganda just like these images led to his assassination. In one, titled “The Liar / Election Now,” Rabin’s face is photomontaged on a keffiyeh that recalls Yasser Arafat, suggesting Rabin’s kinship with the Palestinian Authority. The second, “Deception!,” demonstrates his contentious two-sided nature by showing him with a face mask.

Est: $1,400-$1,700. (2)

CIRCUS & WILD

169. Barnum & Bailey / La Roche. 1896.

Artist: Anonymous

29 1⁄ 8 x 39 in./74 x 99 cm

Strobridge Litho., Cincinnati Cond B+/Slight tears, largely at edges. Framed.

Ref (both var): Fox-Parkinson, p. 261; PAI-LXXIX, 170

This ornate design promotes a curious act in which La Roche climbs into a Fabergé egg style container, rolls himself down a precarious and guard-free spiral runway, and rolls back up again without the aid of sight or a motor. This is the French language version.

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

170. Barnum & Bailey / La Roche. 1896.

Artist: Anonymous

30 x 39 3⁄4 in./76.2 x 100.5 cm

Strobridge Litho., Cincinnati Cond A-/Unobtrusive folds.

Ref: Fox-Parkinson, p. 261; PAI-LXXIX, 170

This is the English language version of the previous design.

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

171. The Hanlons / Le Voyage en Suisse. 1900.

Artist: Anonymous

38 1 4 x 28 in./97.2 x 71 cm

Strobridge, Cincinnati Cond B+/Slight tears at folds and edges.

Provenance: The collection of Ricky Jay

Born in Manchester, England, the Hanlon Brothers (Thomas, George, William, Alfred, Edward, and adopted sibling Frederick) were launched into acrobatic stardom with their narrative pantomime “Le Voyage en Suisse.”

Premiering in Paris in 1879, the slapstick comedy with acrobatic routines would become a sensation around the world. Here, for their American tour, we’re given a preview of some of the action, which included exploding a full-sized train on stage.

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

172. Buffalo Bill / The Last of the Great Scouts. 1905.

Artist: Rosa Bonheur (1822-1899)

38 3 4 x 65 in./98.5 x 165 cm

Courier, Buffalo

Cond B+/Slight tears at folds and in top and bottom tags.

Ref (all var): Buffalo Bill, 63; Buffalo Bill/Legend, p. 90; PAI-LXV, 56

This was an 1889 painting that was reproduced as a poster to promote Buffalo Bill’s Wild West European tour in 1905. Bonheur, a much-lauded French artist, painted this portrait when Colonel Cody visited her at her chateau. This is the larger, two-sheet format with tip-ons at top and bottom—printed by Weiners in Paris—announcing two performances on Friday, June 23, 1905. And while Weiners printed the other variants of this poster, this is the rare, original Courier lithograph.

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

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

Artist: Anonymous

28 3 8 x 42 in./72 x 106.8 cm

Buffalo Bill-Pawnee Bill Film Co., New York

Cond B+/Slight tears at edges.

Ref: PAI-LXXXIV, 131

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

The film was produced by Buffalo Bill-Pawnee Bill Film Co.

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

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

Artist: Anonymous 28 1⁄ 8 x 42 1⁄ 8 in./71.4 x 107 cm Cond A-/Unobtrusive folds.

Ref: PAI-LXXIX, 178

Here is Buffalo Bill in all his glory, riding his white steed over a rocky outcrop and ruminating over the Native Americans below. A newspaper wrote in 1883 that “Cody was an extraordinary figure, and sits on a horse as if he were born in the saddle” (Buffalo Bill, p. 3), which certainly rings true in this image from later in his life. This poster is one of several advertisements for his epic biopic “The Life of Buffalo Bill in 3 Reels,” and gives film production credit at bottom to Buffalo Bill-Pawnee Bill Film Co., New York City.

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

175. Germain the Wizard. ca. 1910. Artist: Anonymous

42 3⁄4 x 79 3⁄ 8 in./108.4 x 201.6 cm Schmitz-Horning, Cleveland Cond A-/Slight tears at bottom edge.

Ref: Magic, p. 609

Provenance: The collection of noted magician Jay Marshall

Having started performing magic tricks at the age of 8, Karl Germain is best known for the grace in which he performed his illusions. A master of misdirection, he was known as The American Wizard abroad, and by 1915 was one of the most renowned magicians in the world. His career, however, ended abruptly the following year when he lost his eyesight. “Karl Germain included the Spirit Cabinet illusion in his show due to the worldwide interest in Spiritualism. The purpose of this evocative poster, measuring nearly 7 feet tall, was to convince the public that the only thing separating them from an encounter with the spirits was the price of a ticket” (Magic, p. 609). This is a three-sheet poster.

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

176. Kar-Mi. 1914.

Artist: Anonymous

41 1 8 x 80 1⁄ 2 in./104.5 x 204.3 cm National, Chicago Cond B/Slight creases.

Ref: PAI-LVIII, 157

Based in Chicago, Prince Kar-Mi’s tricks baffled even the most skilled illusionists who came to see him. He began each act by having an assistant claim that he did not speak English, and therefore would perform entirely in pantomime. In actuality, he was Joseph B. Hallworth, an American man and not a Hindu. Here, he appears to rise from the dead after 32 days of being buried underground. This is a two-sheet poster.

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

177. Thurston / Danté. ca. 1922.

Artist: Anonymous

38 3 4 x 74 1⁄ 2 in./98.2 x 189.2 cm

Otis Litho., Cleveland Cond B/Restored tears, largely at folds.

Danish-born Harry August Jansen embarked on a worldwide magic tour as The Great Jansen. When he met Thurston in 1922, he was quickly invited to join forces with the American magician, albeit with a new stage name: Jansen became Danté. Riding off their waves of success, they became co-owners in the business. Here, we’re given a preview of the devilish acts conjured by these two great illusionists. This is a three-sheet poster.

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

INTERNATIONAL POSTERS

Anonymous

178. Coca des Incas. ca. 1899.

31 7⁄ 8 x 47 in./81 x 119.4 cm

Affiches Camis, Paris

Cond B+/Slight tears at edges.

A soaring goddess has captured the attention of a menagerie of men traveling by horseback, bicycles, automobiles, and race cars. But this is not your typical allegorical sprite: look closely at her facial expression, and you’ll notice that she’s an ordinary human, perplexed by her new capabilities of flight. That’s thanks to Coca des Incas, an apéritif that promises strength and health by means of coca leaves.

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

179. The Windsor. ca. 1900. 19 5⁄ 8 x 29 5⁄ 8 in./49.8 x 75.2 cm

L. van Leer, Holland

Cond B/Slight tears at folds. Framed.

Ref: PAI-XXV, 129

This anonymous artist takes a page out of Mucha’s Art Nouveau style book, where nearly any product—in this case, a monthly magazine—can be advertised with a beautiful girl, elegantly dressed and coifed. Our friend has even put a Mucha-esque halo behind the lady’s ornamental hat. All of these elements serve to underscore that the magazine is the “biggest, brightest, best.”

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

Anonymous (Continued)

180. Veuve Amiot. ca. 1890.

13 3⁄4 x 19 in./35 x 48.2 cm

G. Bataille, Paris Cond A.

Ref: Boissons, 397 (var); Affiches Vins, p. 139; PAI-LXXXIII, 186

In a pitch-perfect synthesis of Art Nouveau and Japanese Edo Period aesthetics, this radiant and enthroned young woman would like to share a glass of Veuve with you. Founded in 1884, Veuve Amiot was developed by the recently widowed Elisa Amiot who needed a new way to support her four young children. The sparkling wine quickly became an international success, as evidenced here by the Japanese text on the left.

Est: $800-$1,000.

181. Hamburg and Anglo-American Nile Company. ca. 1910.

25 3⁄4 x 37 7⁄ 8 in./65.5 x 96.2 cm Meisenbach Riffarth, Berlin Cond A.

In 1906, the Hamburg-Amerika Line joined forces with the Anglo-American Nile Company to offer steamer cruises along the Nile River. Launched in 1896, the Anglo-American proved to be a fierce competitor to Thomas Cook, who had previously dominated Egyptian sea transport. Here, an anonymous artist—whose initials appear to be P. T.—illustrates the wealth of local culture that visitors will encounter on their journey.

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

182. Viville / Étoile de Napoléon. ca. 1910.

40 x 59 1 2 in./101.5 x 151.2 cm

J.E. Goosens, Paris Cond B+/Slight tears at folds.

Very little information exists on the Viville company’s “Napoleon Star” perfume, but the wo men’s fragrance adopts the nickname Napoleon gave to his wife Josephine ( l’étoile de Napoléon ).

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

183 184 185

183. Cioccolato delle Piramidi. ca. 1911. 41 1⁄ 8 x 58 7⁄ 8 in./104.4 x 149.5 cm Armanino, Genova Cond B+/Slight tears at folds.

Founded in 1850 in Turin, Michele Talmone was a chocolate and cocoa factory that was acquired by the Swiss company Tobler in 1905. In 1911, Talmone participated in the 1911 Turin Exposition with an Egyptian Pavilion, a theme that they adopted early in their marketing.

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

184. Woolworth Building / New York. ca. 1913. 15 x 35 1⁄ 2 in./38 x 90 cm Cond A.

Ref: PAI-XLVIII, 19

If something’s simply impressive, why not present it simply? That’s the approach taken by an unnamed artist in this architectural portrait of New York’s Woolworth Building. At fifty-seven stories, the structure is one of the oldest—and one of the most famous—skyscrapers in NYC. Constructed in a neoGothic style by architect Cass Gilbert, the Woolworth building overtook the Metropolitan Life Insurance Company Tower as the world’s tallest building—at a height of 792 feet—and was labeled the “Cathedral of Commerce” by the Reverend S. Parkes Cadman during the opening ceremony on April 24, 1913. Ninety-six years after its construction on Broadway, the Woolworth is still one of the fifty tallest buildings

in New York City. And it’s a pop culture touchstone as well, most especially in film, serving as the climactic setting in Disney’s “Enchanted” and demolished by a monster in “Cloverfield.” And on the small screen, the Woolworth Building is featured as the headquarters of Mode Magazine on ABC’s “Ugly Betty.”

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

185. Le Vin. 26 1⁄4 x 33 1⁄ 2 in./66.8 x 85 cm

Richier & Laugier Cond A.

Part of a series produced by the Musée Scolaire and published by Deyrolle in Paris, this wine poster is perfect for oenophiles. And if you’re a wine lover learning French, it’s an even more appropriate work.

Est: $800-$1,000.

186. Anthonis. ca. 1929. 44 1⁄4 x 61 1⁄4 in./112.5 x 155.6 cm E. Stockmans & Co., Anvers Cond A.

Ref: PAI-LXXVII, 117

Based in Antwerp, Anthonis was once the city’s largest music shop, specializing in pianos. Here, an anonymous artist presents a crisp geometric design in promotion of the firm.

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

187

Anonymous (Continued)

187. The Sin of Nora Moran. 1933. 26 x 36 3⁄4 in./66 x 93.3 cm Cond B+/Slight tears at folds.

Ref: Reel Art, p. 321; Crime Movie Posters, 70; PAI-XXIX, 173

Zita Johann was a Hungarian-born actress who gained considerable fame on Broadway and only rarely appeared in films. This stunning poster, for an independent production (producer/director Phil Goldstone owned Majestic Pictures) casts an unflinching eye at the anguish of Nora, a woman who loves a Governor so much that she takes the blame for a murder which he committed, confident that he would pardon her. However, he transmits the stay of execution order too late, and after discovering his error, commits suicide. “This spectacular artwork suggests the early Vargas, who frequently worked in picture advertising in the early thirties” (Reel Art, p. 321). Hungarian-born Zita Johann (1904-1993) appeared in 1932 with Boris Karloff in “The Mummy”; her last film was “Raiders of the Living Dead” (1989). Her first husband was producer and director John Houseman. Rare!

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

188. Da Capo. 35 1⁄4 x 47 in./89.5 x 119.4 cm Krey u. Sommerland, Niedersedlitz Cond B+/Slight tears at edges.

Ref: PAI-XXI, 19

Favoring this brand of cigarettes apparently makes a smoker suave and debonair enough to puff away without lifting a finger. Rare!

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

189. Venezia. ca. 1930.

24 1⁄4 x 39 1⁄ 2 in./61.6 x 100.3 cm “Novissima,” Roma Cond A-/Slight tears at edges.

Ref: Weill/Art Deco, p. 111; PAI-LXXVI, 142

This anonymous artist renders a classic early-to-mid 20th century profile of Venice, with prows of gondolas docked by the distant shadow of San Giorgio Maggiore.

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

190. Il Sentiero delle Belve. 1932.

38

A.P.E., Roma

Cond A.

69.8

This black-and-white documentary film centers on hunting African wildlife during the era of European colonial expansion, specifically in Somalia. And while details are slim, there is evidence that the film reveled in brutality and machismo.

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

191. American Cosmetics.

20

Giz, Moskva

Cond A-/Unobtrusive folds.

This fascinating blend of Soviet propaganda and American beauty ideals is illuminated by an article Sasha Raspopina wrote for the Calvert Journal in 2014: “Soviet cosmetics were a careful blend of politics and design with a dash of the surreal. In the wake of the Russian revolution makeup was a rare commodity, but a modest industry emerged to take its place in history. The industry faced multiple challenges: they weren’t just selling mascara to a newly socialist population, they were establishing a code of hygiene for the poorest classes, supporting social equality and installing a Soviet ideology to an ostensibly apolitical arena. Special perfume editions were produced to celebrate Soviet successes... amid rumours that Soviet spies were passing on secret formulas for cosmetics from American factories.” Such is the case with this design, which advertises Imsha brand cream, soap, face powder, nail polish, and lipstick—manufactured in New York City and shipped overseas for Russian beauty lovers.

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

192. Cunard / Détente et Joie de Vivre. ca. 1939.

25 1⁄

Cond A.

in./63.8 x

Ref: PAI-XLVI, 163

cm

The British cruise line advertises its service to the French by depicting—with an anilin-dyed, hand-colored photograph—the luxurious accommodations on its newest liner, the Queen Elizabeth . It’s a fine document of the era.

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

Anonymous (Continued)

193. Sing, Israel, Sing. 1950.

28 1⁄ 8 x 44 1⁄ 2 in./71.5 x 113 cm Trio Press, New York Cond B+/Slight folds. P.

Pesach “Paul” Burstein and his wife Lillian Lux were renowned Yiddish theatre performers who traveled the world, often with their children joining them on stage. Here, the “biggest sensation in the Yiddish theatre in the last 30 years” joins forces with the younger Yiddish couple David Lubritsky and Esther Zaltzman for a one-night performance in Detroit. Also included in the design are vignettes of David Ben-Gurion and Chaim Weizmann.

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

194. Southern Pacific / Southern Arizona. ca. 1950.

16 x 23 in./40.7 x 58.2 cm Cond A/P.

Ref: PAI-LXV, 102

This boldly hued image advertises travel to Arizona’s dude ranches and resorts via the Southern Pacific railway.

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

195. All This and World War II. 1976.

27 x 41 in./68.7 x 104.2 cm

Cond B+/Folds. P.

Ref: PAI-LXXVII, 124

John Lennon’s and Paul McCartney’s music documentary was admittedly poorly received at the time of its release in 1976, but this poster for “All This and World War II” is a truly rare and magnificent gem. It features original signatures by the cast and musicians on the soundtrack, including John Lennon (with a unique doodle!), Paul McCartney, Elton John, Peter Gabriel, Tina Turner, Rod Stewart, Frankie Valli, Jeff Lynne, and five unidentifiable (but surely significant) signatures from other musicians. Rare!

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

Robert Abbadie (1906-1961)

196. 4Z’Arts / Les Bambaras. 1937. 8 1⁄ 2 x 14 1⁄4 in./21.5 x 36.2 cm

Cond A-/Slight stains at edges.

This annual ball hosted by the Quat’z’Arts group took its inspiration from the Bambara people of West Africa, an influence that is clearly expressed in this announcement for the event. The event certainly wouldn’t pass muster today: attendees were told to paint their skin and come dressed with a costume, mask, shield, and the ornaments to transform themselves into “a fierce Bambara warrior or a mind-blowing black wizard.” At the end of the night, a sheep was roasted on the stage of the Salle Wagram and the blood was thrown on the crowd. These were certainly different times. At the bottom of this poster, a section of text nearly predates the graphic stylings of Basquiat; this portion could be torn off and used as an entry ticket.

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

Samuel Nelson Abbott (1874-1953)

197. Hart Schaffner & Marx. ca. 1910. 16 x 22 7⁄ 8 in./40.6 x 58 cm

Cond B+/Slight tears and creases at edges. P.

Ref: PAI-LXXV, 219

A Colonial, Washington-esque figure considers a parchment scroll as attendants look on. The appeal to U.S. Federal heritage is warranted: launched in 1872 as a small men’s clothing store in Chicago, Hart Schaffner & Marx quickly became a large wholesale operation, winning contracts to supply uniforms for the U.S. military. They then entered the ready-to-wear suit business, selling to department stores and fine retailers nationwide. Maneuvers such as these hinted at the company’s military roots while also presenting a standard of dignity, class, and style which was to be expected in the wearers of their clothing. Today, the company is known as Hartmarx Corp., owning both Hickey Freeman and M. Wile. During the 2008 presidential campaign, Barack Obama was known to almost exclusively wear the brand, particularly during his acceptance speech and the 2009 Inaugural Address.

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

198. Job. 1896. 22 3⁄ 8 x 32 1⁄ 8 in./56.8 x 81.7 cm

Cond A.

Ref (all var but PAI): Atché, p. 41; DFP-II, 24; Reims, 208; Abdy, p. 149; Wine Spectator, 101; Masters 1900, p. 26; PAI-XLIV, 80

This is the rare proof before letters in the smaller format. “We know just enough about Jane Atché to be intrigued. She was born in Toulouse, worked in lithographic prints— at first in black and white only, later in color—and earned an honorable mention at the Salon of the Société des Artistes Français in 1902. Her scarce posters all disclose that Mucha was obviously [a strong influence]” (Wine Spectator, 101). Abdy, in fact, considers Atché one of Mucha’s two best followers in France (p. 100). Of her half dozen known posters, this one for the cigarette paper firm is her most spectacular. We get the lyricism of Art Nouveau in the handling of the green dress and the smoke, combined with a compelling Lautrec-esque management of the solid black cape as it slashes through the design. On all levels, it succeeds completely.

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

Jane Atché (1880-1937)

Jean Auvigne (1859-1952)

199. Transatlantique / Normandie. 1937.

24 1⁄ 2 x 39 1⁄4 in./62.2 x 99.8 cm

Éditions L’Atlantique, France

Cond B+/Slight tears at folds and edges.

Ref: Fantastic Voyage, 17; Compagnies Maritimes, p. 119 (var); PAI-LXXIX, 138 (var)

A sharply defined but understated vessel breaks through the explosion of a multi-pointed compass in Auvigne’s striking design. Along the compass points, fine letters reveal possible destinations: Amerique du Nord, Spitzberg, Baltique, Tunisie, Algerie, Les Maroc, and Amerique Centrale. Although a name does not appear on the prow, it’s unquestionably the Normandie . This version includes the full bottom text panel, but unlike previously seen versions, this one advertises a restaurant inspired by the famous ship as part of the 1937 Paris International Exposition. Rare!

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

200. Transatlantique. 1947.

24 3⁄4 x 39 1⁄ 2 in./62.8 x 100.5 cm

Éditions Transatlantique, France

Cond B+/Slight tears at edges.

From 1945 to 1960, Transatlantique’s main activity was the transport of goods. Here, Auvigne stylishly advertises the line’s freight capabilities.

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

Richard Avedon (1923-2004)

201. Medea / Judith Anderson. 1948. 40 3⁄4 x 76 1⁄4 in./103.5 x 193.6 cm

Cond B+/Slight stains at folds and edges.

The classic Euripides play Medea gained a new audience with this theatre production starring Judith Anderson, who won one of the first Tony awards for her role. Richard Avedon artfully captured her powerful presence, which Vogue extolled in the article “Judith Anderson, Our Greatest Actress”: “Miss Anderson is barbaric, suffering, plays with her whole body, the terror of her jealousy ripping through her flesh. She throws the whole book of classic acting at Medea , throws it intelligently, in a wildly cadenced voice.” This is a two-sheet poster.

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

Hervé Baille (1896-1977)

202. Buffets Gastronomiques. 1950.

24 1⁄ 2 x 39 3⁄ 8 in./62.3 x 100 cm

Editions Hubert Baille, Paris Cond B+/Restored tears in bottom text area.

The French National Rail Service commissioned Baille to create this clever food-lover’s design. Whatever regional gastronomy or wine you may desire, the railway will take you there. All aboard!

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

Herbert Bayer (1900-1985)

203. 50 Jahre Bauhaus Ausstellung. 1968.

16 1⁄ 2 x 23 3⁄4 in./42 x 60.2 cm

Domberger Siebdruck, Germany Cond A.

Ref: PAI-XIV, 114B

To celebrate 50 years of the famous Bauhaus movement, an exhibition was held in Stuttgart. This bright silkscreen poster uses the Bauhaus simplicity and economy very creatively with basic geometric shapes, prime colors, and easy-to-read sans-serif lettering. It was wholly appropriate to have Bayer, one of the Bauhaus founders, create this design. This is the smaller format; it was also issued in a larger format without the exhibition text details.

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

Leon Benigni (1892-1948)

204. Brides les Bains. 1929. 22 3 4 x 37 3⁄4 in./57.8 x 96 cm

Office d’Editions d’Art, Paris Cond B+/Slight stains at edges. Framed.

Ref: Golf, p. 4; Train à l’Affiche, 250; Montagne, p. 186; Deco Affiches, p. 101; Voyage, p. 50; Chemins de Fer, 118; PAI-LXXXVII, 185

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

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

Paul Berthon (1872-1909)

205. Mai. 1898.

11 5 8 x 25 3⁄4 in./29.5 x 65.5 cm

Cond A. Framed.

Ref: Berthon/Grasset, p. 107; PAI-L, 129 (var)

“Of all the posterists who also designed decorative panels, Berthon was perhaps the best qualified to do a series on flowers personified as women since his women are so flowerlike—delicate creatures, so light as to nearly be ethereal, seen in the softest of focus and tinged with the gentlest of pastel hues” (Gold, p. 137). Here, his “May” panel celebrates the onset of spring with a gracefully unclad young lady, as much a part of nature as the flora that surrounds her. “Berthon’s small but characteristic body of work... epitomizes the Art Nouveau style on paper” (Berthon & Grasset, p. 8).

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

206. Les Hortensias. 1899.

9 x 32 7⁄ 8 in./22.8 x 83.5 cm

Imp. Chaix, Paris

Cond B+/Slight stains at edges. Framed.

Ref: Berthon & Grasset, p. 112; PAI-LXV, 137

Rendered in Berthon’s usual muted tones, this quiet composition’s title translates to The Hydrangeas.

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

207. Sarah Bernhardt. 1901. 16 x 22 in./40.7 x 55.8 cm

Imp. Bougerie, Paris (not shown) Cond A. Framed.

Ref: Berthon & Grasset, p. 90; Gold, 173; PAI-LIX, 125

“Berthon produced about 60 [decorative panels] in contrast to his handful of posters... This is his most famous lithograph, a portrait of Sarah Bernhardt in the title role of La Princesse Lointaine (The Faraway Princess) which she first played in 1894. In this design Berthon transformed her costume tiara with its flowery jeweled garland into real irises framing her idealized face” (Gold, p. 120). This is the version before text.

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

208. Les Boules de Neige. 1900.

21 1⁄4 x 15 7⁄ 8 in./54 x 40.2 cm

Imp. Chaix, Paris (not shown)

Cond A. Framed.

Ref: Berthon & Grasset, p. 106; Gold, 201; PAI-LXVII, 176

In this decorative panel titled Snowballs, “the flower here is a variety of white rose” (Gold, p. 137).

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

209. Les Eglantines. 1900.

21 5 8 x 16 in./55 x 49.6 cm

Imp. Chaix, Paris

Cond A-/Slight stains at edges. Framed.

Ref: Berthon & Grasset, p. 106; Gold, 200; PAI-LXXXVI, 130

“The subject is the wild rose, but it hardly matters, as it is the flower gatherer who engages our attention; we derive our enjoyment from the way she enjoys the beauty and fragrance around her. Berthon always interprets women with an exquisite finesse—in terms of their spirituality rather than their physical substance” (Gold, p. 136).

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

Maurice Biais (Ca. 1875-1926)

210. Quinquina Vouvray.

47 3 4 x 63 in./121.3 x 160 cm

Imp. P. Vercasson, Paris

Cond A-/Slight tears at horizontal fold.

Ref: PAI-XXXVIII, 188

Either that’s one big waiter brow-beating his way to a hefty tip, or the slight smoker at the table is about to be bullied into “sharing” his Quinquina Vouvray. It’s an interesting approach for attracting liqueur consumers from the self-taught illustrator, lithographer, and posterist who first earned a reputation for humorous drawings, then some notoriety by marrying Jane Avril, the cancan dancer immortalized by Toulouse-Lautrec. Biais produced about a dozen posters, notable for their economy of design.

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

Ida van Bladel (1931- )

211. Miss Levi’s. 1971.

28 x 40 1⁄ 8 in./71 x 102 cm

Young & Rubicam, Belgium Cond A/P.

Ref (all var): V & A, 215; Gallo, p. 276; Belgique/Paris, 150; Affiches Belges, 26; PAI-LXII, 440

Provenance: The collection of Ida van Bladel, art director of Young & Rubicam Years before an underaged Brooke Shields scandalously confessed that nothing came between her and her Calvins, van Bladel showed the world that slipping into a pair of Levi’s was as good as slithering into a very tight second skin—a directly clever, succinct statement. The Antwerp-born designer was the art director at Young & Rubicam International in Brussels, where this remarkable poster was created. And while it was a huge hit in Belgium, the image was not approved for American distribution. This uncut printer’s proof emphasizes Levi’s new wares specifically for women; it’s quite rare!

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

212211

Pierre Bonnard (1867-1947)

212. L’Estampe et l’Affiche. 1897. 24 x 32 1⁄ 2 in./61 x 82.6 cm

Cond B+/Slight tears and stains at edges.

Ref: Marx, 38; Bouvet, 44; DFP-II, 80; Gold, 89; Iskin, 24; PAI-LXXXVI, 137

Although it appeared for only two years during the heyday of postermania (March 1897 to December 1899), this magazine exercised a major influence on poster designers and collectors alike. Bonnard’s poster was featured on the first page of the first issue, and it was seen as a declaration of intentions on the part of the posterists: we see the older woman—representing the Print— look with curiosity at the brash kid with her portfolio—representing the upand-coming Poster—obviously ready to take over as the collectible of choice.

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

Randal W. Borough (1878-1951)

213. Portola Festival. 1909. 20 7 8 x 27 1⁄ 2 in./53 x 70 cm

Louis Roesch Co., San Francisco Cond B/Restorations, largely near edges. With festive aplomb, Borough announces San Francisco’s reentry into the world after recovering from the devastating 1906 earthquake. The Portola Festival was named after Gaspar de Portola, the Spanish explorer who discovered the San Francisco Bay 140 years earlier. The U.S. Pacific Fleet participated in the five-day event, as did the British, German, and Dutch, who sent warships. Rare!

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

Michel Bouchaud (1902-1965)

214. La Plage de Monte Carlo. 1929.

31 1⁄ 8 x 47 in./79 x 119.3 cm

Publicité Vox, Paris

Cond A.

Ref: Tolmer, p. 81; Karcher, 408; Weill/Art Deco, p. 103; PAI-LXXVI, 168

This is one of the best beach scenes in true Art Deco style ever printed. It’s just one of three posters created by Michel Bouchaud. After his military service, he asked to be demobilized in Algeria, where he joined his brother at Villa Abd-el-Tif and discovered the Mediterranean light. Returning to Paris, he worked on behalf of perfumers, chocolatiers, designers, and jewelers. His work normally concentrated on a smaller, more experiential scale: barrels of Rum Négrita, record covers, and the like. The totality of the Art Deco infusion in this poster is redolent of his will to immerse himself in the creative experience.

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

William H. Bradley (1868-1962)

215. Narcoticure. 1895.

13 7⁄ 8 x 20 7⁄ 8 in./35.2 x 53 cm

Cond A.

Ref: DFP-I, 162; Reims, 1146; Bambace, p. 159; Wember, 142; PAI-LXXXVI, 141

One tends to think of kicking the nicotine

all, it wasn’t that long ago that

But this aggressive Bradley design—featuring the valiant knight of clean living lancing the tobacco demon—for the

of Springfield,

of smoking is a long-standing desire. Narcoticure claims that it “Cures the

proves that freeing oneself from the

can one put a price tag on a new start to a

Habit in/from 4 to 10

answer is yes, because at an 1895 cost of five dollars, it’s clear that this cure wasn’t cheap.

poster, however, could be purchased for a mere sum of 2 two-cent

Bradley was an innovative and influential typographer, designer, and publisher. The international Art Nouveau movement found its American expression in the delicate and ornate work of this genius. In 1895, Bradley moved from Chicago to Springfield, Massachusetts where he established The Wayside Press, a publishing and graphic arts venture whose main product was Bradley: His Book, an art magazine appearing monthly.

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

ROGER BRODERS

216

Roger Broders (1883-1953)

216. Grasse. 1927.

30 3⁄ 8 x 42 in./77.2 x 106.5 cm

Imp. Lucien Serre, Paris

Cond A. Framed.

Ref: Broders, p. 89; Broders/Travel, p. 25; Affiches Riviera, 63; PAI-LXXXVI, 145

This PLM poster features stylish vacationers enjoying a sunny terrace in the Alpes-Maritimes resort of Grasse, which overlooks the Côte d’Azur. The Old City rises behind like a man-made mountain, crowned by the ancient cathedral. Delicate coloring evokes the delicious mixture of southern warmth and the chill of the mountains in a place described as “the village of flowers and perfume.”

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

217. Hyères. ca. 1931.

24 7⁄ 8 x 39 1⁄4 in./63 x 99.7 cm

Lucien Serre, Paris

Cond A.

Ref: Broders, p. 83; Broders/Travel, p. 21; Golf, p. 13; PAI-XLIV, 117

The text boasts Hyères as “the Côte d’Azur’s most southerly resort” and Broders reinforces this message by framing his view with a canopy of palms. Their deep cool shadows set off the hot sun on the yellow stucco walls of the Mediterranean town and make the lush green golf course most inviting. “Contemporary to Cannes-Mandelieu and Saint-Raphael, this course has disappeared. The club was chaired by Viscount Noailles whose famous cubic style villa designed by Le Corbusier attracted the jet set of those times...

Broders managed to recreate the atmosphere of a sport practiced by elegant people at that time [by] highlighting the old town of Hyères hiding at the bottom of the foothills in the background” (Golf, p. 13).

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

Broders (Continued)

219. Foire de Lyon. ca. 1920.

31 x 42 1⁄4 in./78.7 x 107.5 cm

Cornille & Serre, Paris

Cond A-/Slight creases in bottom text area.

Ref: Broders, p. 58; Broders/Travel, p. 42; PAI-LXIV, 137

Held annually from 1918 onwards, the Foire de Lyon is primarily an international trade fair focused on the decorative arts. This poster centers on the allegorical sculpture of Louis XIV on horseback along the banks of the Rhone river.

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

220. Villefranche s/Mer. ca. 1929.

24 3⁄4 x 40 in./63 x 101.5 cm

Lucien Serre, Paris

Cond A-/Slight tears and stains at bottom paper edge.

Ref: Broders, p. 93A; Broders/Travel, p. 32; Affiches Azur, 179; PAI-LXI, 134

From the vantage point of a 16th-century fortress overlooking the bay, we take in a quiet, summer-hued afternoon in the Nice suburb of Villefranche sur Mer.

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

221. Monaco Monte-Carlo. ca. 1920.

30 1⁄4 x 42 1⁄ 8 in./76.8 x 107 cm

Imp. J. Langlois, Paris

Cond A.

Ref: Broders, p. 96; Affiches Riviera, 97; PAI-LX, 117

In this much more relaxed, romantic composition than his other design for Monte-Carlo ( see following lot), we are handed a stunning view of the city from within a flowery hillside pergola—it’s one of the most beautiful of Broders’ trademark frames.

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

222. Monte-Carlo. ca. 1930.

24 3 8 x 39 3⁄ 8 in./62 x 100 cm

Imp. Monegasque, Monte-Carlo Cond A. Framed.

Ref: Broders, p. 97; Broders/Travel, p. 39; Affiches Azur, 311; Deco Affiches, p. 91; Voyages, p. 39; PAI-LXXXV, 204

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

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

223. Thonon les Bains. 1929.

24 3 4 x 39 1⁄ 2 in./63 x 100.3 cm

Imp. Lucien Serre, Paris Cond A.

Ref: Broders/Travel, p. 69; Broders, p. 65A; PAI-LXXIX, 257

White-peaked Alps in the distance are echoed by the white peaks of the sails in this lovely design for a sparesort on the French shore of Lake Geneva.

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

224. Vence. ca. 1930.

26 1 8 x 40 1⁄ 8 in./66.4 x 102 cm

Imp. Lucien Serre, Paris Cond A.

Ref: Affiches Azur, 167; Broders, p. 88; Broders/Travel, p. 38; PAI-XXXVII, 157

As depicted in this PLM poster, Vence—a few miles inland from Nice and in sight of the sea—offers a peaceful respite with its medieval battlements, healthrestoring water, and spiritual refreshment from its verdure. The poster remained in use after the 1936 consolidation of the French railroads into the SNCF, with that insignia replacing the PLM’s.

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

Broders (Continued)

225. L’Été sur la Côte d’Azur. 1930.

3⁄ 8 x 39 1⁄ 2 in./62 x 100.2 cm

Imp. de Vaugirard, Paris

Cond A-/Small tears at top edge.

Ref: Broders, p. 92; Broders/Travel, 23; PAI-LIX, 161

Nestled between Nice and Cannes along the Côte d’Azur, Juan-les-Pins is known for its cozy, calm series of inlets. Though heavily populated with beach-goers, Broders’ composition makes the area appear serene and carefree.

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

226. Lac d’Annecy.

3⁄4 x 39 1⁄ 2 in./63 x 100.2 cm

Imp. Lucien Serre, Paris

Cond B+/Slight tears in bottom text area.

Ref: Broders/Travel, p. 68; Broders, p. 65B; Montagne, p. 182; PAI-XXXVI, 35

Peaks and poplars overlook Lake Annecy in the French Alps, some thirty miles south of Geneva. The boat is the France, the largest and most elegant of a fleet of Annecy steamboats; launched in 1909, the pleasure boat could carry 700 sightseers on its awning-covered deck.

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

Émile Brunet (1869-1943)

227. Bal des Etudiants. 1896.

x 74 5⁄ 8 in./124.6 x 189.7 cm

Imp. Camis, Paris

Cond B/Slight tears at folds and edges.

The benevolent goddess of charity reigns supreme in this opulent announcement for a students’ ball in Bordeaux. Costumed devils, clowns, and Pierrots galavant in the golden light, tempting us to join in on the fun.

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

Boris Bucan (1947- )

228. Roko i Cicibela. 1983.

78 x 80 1⁄4 in./198.2 x 204 cm

Cond A.

Ref: Bucan, p. 136

In Croatia, the love story of Roko and Cicibela is as famous as that of Romeo and Juliet—but their story is entirely true. The fisherman Roko Ljubica married Dujka Bašic from Split in 1906; she was nicknamed Cicibela, or street cat, because she was orphaned and poor. Unable to afford a home, they slept in a decommissioned fishing boat for many years, until the city finally gave them a small house. There’s nothing incredible about their story, but locals and tourists alike have been fascinated by their offbeat romance for decades, inspiring numerous plays and film adaptations. Here, Bucan announces the performance of Roko and Cicibela at the Croatian National Theatre in Split. It’s a powerful abstraction with swirling tides, bold patterns, and vibrating colors—the only recognizable object is the hull of the ship, which was the central stability of Roko and Cicibela’s relationship. This is a sixsheet silkscreen poster and hand-signed by the artist.

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

229. Aida. 1984.

76 1⁄ 2 x 79 1⁄ 2 in./194.3 x 202 cm

Cond A.

Ref: Bucan, p. 139

As Verdi’s infamous “Aida” was set in the Old Kingdom of Egypt and commissioned by Cairo’s Khedivial Opera House, it’s only appropriate that Bucan fully embraced Egyptian aesthetics in this promotion for the opera at the Croatian National Theatre. But, of course, his mummified characters are rendered with the complex geometric patterning that only Bucan can accomplish to make simultaneously efficient and dizzying. This is a six-sheet silkscreen poster and hand-signed by the artist.

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

Gaspar Camps (1874-1931)

230. Evening Hydrangea. ca. 1904. 13 3⁄4 x 28 1⁄4 in./35 x 71.7 cm Brancher, Paris

Cond A/Mat stains at edges.

Ref: Imprimerie, p. 54 (var); PAI-XLIII, 183 Camps, a Spaniard who spent most of his career in France, was one of a number of artists hired by the Champenois printing house to fill the void when Mucha left for America in 1904. Creating both advertising and decorative works, Camps eventually found his own groove—less graphic than Mucha and more akin to oil painting, marked by soft edges and shadings, as well as loads of sentiment. This exquisite Art Nouveau celebration of beauty—both female and natural—is executed with meticulous workmanship and lithographic skill. The raven-tressed beauty in teal with a pheasantmotif shawl admires white hydrangeas on the shore of a mountain lake at sunset. And while this image was used for various promotions, here it exemplifies the lithographic skills of Brancher in Paris.

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

LEONETTO CAPPIELLO

Leonetto Cappiello (1875-1942)

231. Triple-Sec Fournier. 1907.

45 1⁄4 x 61 1⁄ 8 in./115 x 155.2 cm

Imp. P. Vercasson, Paris

Cond B+/Slight tears at folds.

Ref: Cappiello/Rennert, 122; Célébrités, 34; PAI-LXXXV, 217

Emphasizing the release of one’s inner demons, Cappiello presents us with a male and female devil, peering eagerly into a box of Fournier Triple-Sec. Founded in 1865, Fournier-Demars’ original specialty was absinthe, a possible other explanation for the use of hell-bound creatures in this poster.

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

232. Le Matin / Zigomar. 1909.

61 x 90 3⁄4 in./155 x 230.3 cm

Imp. P. Vercasson, Paris

Cond B/Restored tears, largely at folds.

Ref: Cappiello/Rennert, 143; Fit to Print, 26; PAI-XXXIII, 251 Simmering with lurid melodrama atop a mound of skulls, this two-sheet confrontation between hooded menace and conventional righteousness instantly affixes our attention on the serialized publication of “Zigomar.” Created by Léon Sazie and first appearing in Le Matin in 1909, “Zigomar” was launched with a great deal of fanfare. The criminal mastermind’s organization is named “Z”— hence the blood-red background letter—with the group’s password being “Z is the life! Z is the death!,” accompanied by a Z hand sign. Zigomar’s nemesis was Paulin Broquet, a dedicated Parisian police officer who pursued Zigomar for many issues, catching and killing him (or so he thought) many times, only to have Zigomar emerge unharmed. Zigomar himself is a suave but brutal man who roams across the continent and into England, carrying out his nefarious schemes.

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

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233. Folies-Bergère / Spectacle Varié. 1900.

36 1⁄4 x 49 7⁄ 8 in./92 x 126.7 cm

Imp. Chaix, Paris

Cond A.

Ref: Cappiello/Rennert, 2A; PAI-LXXX, 253

“The mission of this orange-haired dancer was to attract visitors at the 1900 Paris World’s Fair to come to the Folies-Bergère... Cappiello chose a variant of the can-can dancer from his first Frou-Frou poster of the year before. Still rooted in his early caricature style, it is nevertheless an excellent poster, with its flat colors and eye-catching quality. The image was also issued in an edition of 100 copies, before letters (of which this is one), and an extremely limited silk edition of only 10 copies. Although all contemporary references make it clear that the Frou-Frou poster was Cappiello’s first, a black-and-white flyer was issued which proclaimed this to be ‘The First Poster of Cappiello.’ It is not clear if this was also issued in 1900” (Cappiello/Rennert, p. 39).

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

234. Paquet Pernot. 1912. 44 3⁄ 8 x 63 in./112.7 x 160 cm

Imp. P. Vercasson, Paris

Cond A-/Slight tears at edges.

Ref: Cappiello/Rennert, 83; Publicité, p. 45; PAI-LXXXIII, 252 Starting right around 1912, advances in food preparation and storage were transforming how people cooked and ate. But for the French gourmand— steeped in the thousand-year history of the French corner bakery— prepackaged tinned biscuits appeared a little suspect. Cappiello’s brightly hued poster aimed to persuade consumers otherwise. An obsequious shop-hand stands in the midst of a tower of biscuit tins, offering one to an ostentatiously elegant lady, and we are assured these confections are “Practical, Advantageous, and Assured Fresh.” Cappiello went on to design many other posters for Paquet Pernot, which was likely a result of nailing this brief.

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

Cappiello (Continued)

235. Persil. 51 3⁄ 8 x 79 in./130.5 x 200.6 cm

Imp. P. Vercasson, Paris Cond B+/Slight tears at folds.

Ref: Cappiello/Rennert, 210

“In the first of two designs Cappiello executed for Persil laundry detergent, the artist generates a sprite (with an ancestry harking back to commedia dell’arte ) who clearly represents everything that the product stands for—clean, white purity. The figure—weirdly smooth and smiling—happily prances about the product. Another version of the same image was created in a [smaller format without the orange frame around it. This version is,] in fact, the earlier printing as it was produced at Vercasson’s shop on Rue de Lancry, whereas the [other] version bears his Rue Martel address. For some reason, all known versions are unsigned” (Cappiello/Rennert, p. 145).

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

236. Pneu Vélo Lefort. 1911. 47 1⁄4 x 62 1⁄ 2 in./120 x 158.8 cm

Imp. P. Vercasson, Paris Cond B+/Slight tears at folds.

Ref: Cappiello/Rennert, 202; Bicycle Posters, 79; PAI-LXXXIII, 250

“An original way to show how sturdy one’s tires are: the rats are doing their best to gnaw through the Pneu Vélo Lefort, but they’re simply too strong (Fort) for the rascally rodents. A wonderful visual pun and a true Cappiello inspiration!” (Cappiello/Rennert, p. 140).

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

237. Comédie-Royale / Jean III. 1912.

30 1⁄4 x 47 1⁄4 in./76.8 x 120.2 cm

Imp. P. Vercasson, Paris

Cond B+/Slight tears at folds.

Ref: Cappiello/Rennert, 250; PAI-LXXXII, 198

“Sacha Guitry (1885-1957) was one of the major celebrities of the French theater; here, he both wrote and starred in Jean III at the Comédie-Royale, a play in which a young prince, who just happens to dabble in amateur theatricals against the wishes of his family, jumps at the chance to play himself in a local production, with expected hilarious results. The play opened on March 7, 1912. Cappiello’s depiction of Guitry is grounded in the caricature tradition, catching the actor’s dashing stage presence with acute insight. Guitry’s unusual first name stemmed from the fact that he was born in Russia where his father, the equally renowned Lucien Guitry (1860-1925), was touring at the time. Sacha wrote more than a hundred plays, but he was destined to make his most lasting impression in the French cinema, making approximately thirty important, always interesting films from the 1930s to the time of his death” (Cappiello/ Rennert, p. 168).

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

238. Chambéry Reynaud. ca. 1915.

45 x 61 1⁄ 2 in./114.3 x 156.6 cm

Imp. P. Vercasson, Paris Cond B+/Unobtrusive folds.

Ref: Cappiello/Rennert, 180; PAI-X, 133

“There’s a wee bit of devilry in any alcoholic beverage, and Cappiello used infernal imagery in a number of liquor posters. Here, the merry red devil, pouring it on for Chambéry Reynaud vermouth, comes across as an inspired artistic creation” (Cappiello/Rennert, p. 130). Rare!

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

239

Cappiello (Continued)

239. Campari / l’apéritif. 1921. 27 1⁄ 2 x 39 1⁄ 2 in./70 x 100.2 cm Devambez / Les Nouvelles Affiches Cappiello, Paris Cond B+/Slight tears, largely at edges.

Ref (all var but PAI): Cappiello/Rennert, 330; Cappiello, 307; Cappiello/St. Vincent, 4.47; Menegazzi, 180; Takashimaya, 94; PAI-LXXVII, 156

This is a rare version of Cappiello’s classic “Bitter Campari,” with text that instead reads “‘Campari’ / l’apéritif.” “Cappiello, steeped in theatrical tradition from his years as a stage caricaturist, often chose pierrots, harlequins, or clowns to represent various products. Here, in one of his most inspired designs, the clown embodies the spirit of the orange peel, a zesty ingredient in [Campari]. This image has become one of the classics of poster design, effortlessly combining the element of surprise with the essence of the product” (Cappiello/Rennert, p. 214). This is the smallest of three formats.

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

240. Nitrolian. 1929. 47 x 63 in./119.2 x 160 cm Imp. Devambez, Paris Cond A.

Ref: Cappiello/Rennert, 470; Publicité, p. 126; PAI-LXXXVI, 168

In one of Cappiello’s most inspired and clever designs, he provides us with visual evidence that Nitrolian truly is the fastest drying paint on the market: almost as soon as the man gets down his first coat of red, a lady in white whizzes past, the paint remaining perfectly intact.

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

241. Parapluie-Revel. 1929.

78 1⁄ 2 x 124 3⁄4 in./199.4 x 315.8 cm

Imp. Devambez, Paris Cond A.

Ref: Cappiello/Rennert, 373; Karcher, 245; Cappiello/St. Vincent, 4.68; Publicité, p. 86; PAI-LXXXIV, 248

When M. Revel founded his Lyon-based umbrella company in 1851, one could purchase his wares in both silk and cotton. While the subject matter may seem slightly ordinary, the poster is one of Cappiello’s most ingenious and delightful designs. As effective as it is simple, one sees “the umbrellas braving the storm like black ships’ sails. All the elements of fine poster design are here: bold shapes, strong contrasts (the background is a surprising sunny yellow), tight yet lively composition, unusual perspective—and no more detail than necessary”

(Cappiello/Rennert, p. 236). Although the company closed its doors in the 1950s, this poster remains a testament to its once brilliant advertising campaign. This is the larger three-sheet version of the poster.

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

242. Buvez du Vin. 1933. 46 3⁄4 x 61 3⁄4 in./118.7 x 157 cm Imp. Devambez, Paris Cond A-/Slight tears at top paper edge. Ref: Cappiello/Rennert, 508; PAI-LXXXIII, 267

It’s 1933. Prohibition comes to America. Cappiello and France thumb their noses. Monsieur et mademoiselle emerge from a dense grove of multihued grapes in the shape of France, dressed in lily whites, as if to suggest that the act of drinking wine is sacred, pure, a sacrament of life, and not something opposed to it. “Drink wine and live joyfully”—sounds right by us. This is the larger format of the poster.

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

243. Mossant. 1938. 46 x 62 3⁄4 in./117 x 159.4 cm

Edimo, Paris

Cond A.

Ref: Cappiello/Rennert, 530; PAI-LXXXV, 231

“This design featuring three hand-held hats appears so deceptively simple one is tempted to feel that there’s nothing to it; yet, the careful, rhythmic composition creates a pattern so upbeat that it gives the product an unmistakable aura of class. The Mossant firm, in existence since the 1860s, was known for high-quality hats—especially men’s hats, whose expensive models were made from pile of rabbit and hare—and Cappiello conveys it perfectly, making it look easy in the bargain”

(Cappiello/Rennert, p. 324).

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

244. Le Fusil Darne. 1948. 18 1⁄ 2 x 28 5⁄ 8 in./47 x 72.7 cm

Imp. Devambez, Paris Cond A-/Slight tears in margins.

Ref: Cappiello/Rennert, 533; PAI-LXVI, 179

Printed posthumously, the design for this poster was actually created in the late 1930s. It was ultimately used to promote a hunting rifle by Darne, a company which did not focus on recreational weapons until after World War II. This is the smaller format version of the image.

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

A. M. CASSANDRE

245. Thomson. 1931.

30 3⁄ 8 x 47 in./77.2 x 119.4 cm

Alliance Graphique, Paris Cond B/Slight tears in hand. Framed.

Ref: Mouron, 31; Brown & Reinhold, 30; Encyclopédie/Weill, p. 78; European Electricity, p. 129; Cassandre/Weill, p. 133; PAI-LXXXVI, 235

In this exceptionally rare and unusual design, Cassandre shows that Thomson brings the power of electricity straight to your hands.

Est: $15,000-$20,000.

246. Celtiques. 1934. 38 1⁄4 x 58 7⁄ 8 in./97.2 x 149.4 cm

Imp. Bedos, Paris Cond A.

Ref: Mouron, 48 (var); Cassandre/BN, 82; Cassandre/Weill, p. 80 (var); Brown & Reinhold, 45; Cassandre/Suntory, 20-B; PAI-LXXIV, 253

“Eight years after the poster for Golden Club cigarettes, this publicity for Celtique played around with the realistic rendering of the object and the monumental scale of the cigarette pack but, by tilting the package towards us, it’s an invitation to grab the offered cigarette that establishes the relationship between the advertisement and the passerby. The faux wood of the surface upon which the package is positioned adds to the familiar character of a cigarette that’s not associated with luxury but rather with the day-to-day” (Cassandre/BN, p. 100). This is the medium format, one-sheet version of the poster.

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

A. M. Cassandre (Adolphe Mouron, 1901-1968)

247. Grand-Sport. 1925. 23 1⁄4 x 31 in./59 x 78.7 cm Hachard, Paris

Cond B+/Slight tears at horizontal fold. Framed. Ref: Cassandre/Weill, p. 11; Mouron, Pl. 3 (var); Brown & Reinhold, 7 (var); Crouse/Deco, p. 150; Cassandre/Suntory, 5 (var); PAI-LXXIV, 244 “Clothes make the man.” Cassandre might have been meditating on this old adage while formulating his approach for this Grand Sport poster. The cap, “the champion’s choice” on offer, is detailed with loving realism: every fold and curve is supple and tactile. It sits on the head of a Cubist abstraction, one that faces both straight-on and “cocked-to-the-right,” redolent of Oskar Schlemmer and Picasso (Brown & Reinhold, p. 13). As such, it stands with the best works of Cassandre, which find the most elegant and efficient way of communicating two or more (sometimes subversive) ideas in a single image. This is the medium format.

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

Cassandre

248. “Côte d’Azur.” 1931.

24 3 4 x 39 1⁄ 8 in./63 x 99.3 cm

Imp. L. Danel, Lille

Cond A. Framed.

Ref: Cassandre/BN, 54; Cassandre/Weill, p. 59; Mouron, 35; Brown & Reinhold, 32; PAI-LXXIII, 244

One of the most infrequently seen of Cassandre’s ship images advertises a new luxury vessel, the Côte d’Azur , on the Dover-Calais cross-Channel service. The funnel, air vent, and lifeboat are lined up with geometric precision—in pure Art Deco form. The black hull doubles as a background for the lettering (as the sea does in his Normandie ). “Like the old masters [Cassandre] uses chiaroscuro to express shadows rather than light. He is able to make us overlook the mechanical character of the image, which is virtually a blueprint of the steamer’s super-structure, so faithful is it to realistic details” (Mouron, p. 66).

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

249. Normandie / New York / Exposition Universelle. 1939.

24 1⁄4 x 39 3⁄ 8 in./61.7 x 100 cm

Alliance Graphique, Paris Cond B+/Slight tears in top area.

Ref: Mouron, 56 (var); Brown & Reinhold, 53 (var); PAI-LXXII, 180

Cassandre’s awe-inspiring design commands the covers of many books on the artist, and on the Art Deco period. It’s been endlessly referenced—from Razzia’s ads for Louis Vuitton to a sly poster for Iron Man and Stark Industries. But this is the original design, a thing of sublime simplicity, power, and grace. It would take the skills of France’s finest Art Deco posterist to capture the magnificence of the S.S. Normandie , widely known as the nautical zenith of Art Deco’s aspirations. Interiors were designed as extravagant fusions of French elegance and avant-garde art. The Grand Salon was famed for its Jean Dupas glass-panel murals. The First Class Dining Hall was longer than the Hall of Mirrors at Versailles, and adorned similarly. The children’s dining room featured murals of Babar the Elephant by Jean de Brunhoff. This variant was created for the New York World’s Fair of 1939. Rare!

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

250. Normandie / Service Régulier. 1935. 23 3 4 x 39 in./60.5 x 99 cm

Alliance Graphique, Paris Cond B+/Slight tears at edges. Framed. Ref: Mouron, 56; Brown & Reinhold, 53; Cassandre/Suntory, p. 91; Weill, 345; Deco Affiches, p. 33; Moderno Francés, p. 194; PAI-LXXIX, 141

The classic design appeared with several variants of text at the bottom, this being the version with the ship’s name emblazoned over its ports of call, with the added reminder that these are “de luxe ships” in a class all their own—but we would have known that from Cassandre’s image alone.

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

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251. Chateau de la Roche Vasouy. 1926. 10 3⁄4 x 14 7⁄ 8 in./27.2 x 37.8 cm Hachard, Paris

Cond B/Restored tears, largely near edges. Ref: Mouron, 191; Brown & Reinhold, 23; Cassandre/BN, 10; Livre de l’Affiche, 146; Affiche Reclame, 97; Moderno Francés, p. 155; PAI-XVIII, 224

This early work of Cassandre advertises the hotel and restaurant located in Honfleur in Normandie. It’s a busy array of resort symbols: the card pips that remind us of Deauville’s casino, the anchor to represent the port of Honfleur, the tennis racquet, glass, bottle, ship, etc.; the central motif of the arrow somehow holds it all together. This is the smallest format. Est: $1,700-$2,000.

252. Italia. 1936. 24 1⁄ 2 x 39 1⁄ 2 in./62.2 x 100.5 cm Graf. Coen, Milano

Cond B+/Slight tears at folds.

Ref (all var but PAI): Mouron, 192; Cassandre/BN, 103; Brown & Reinhold, 58; Alpes, 10; Cassandre/Suntory, 63A; PAI-LXXXI, 245 Cassandre designed this and two other Italian tourism posters during a working summer holiday on the shore of Lake Maggiore in northern Italy. The Mussolini regime had passed a law banning Italian companies from commissioning French artists; to get around it, Cassandre’s future publisher in Italy, Augusto Coen, invited

him to work in Italy. Savignac, then Cassandre’s assistant, loyally accompanied him and collaborated on the three posters. Though the style was a dead giveaway, Cassandre had to play along with the charade and use the monogram “A.M.C.” to conceal his French name. This particular creation centers on a montage of sports and recreational objects against a panorama of Italian topography. From the cobalt-blue Adriatic to the azure of the sky over the Alps, the entire scene is expressed with extreme graphic economy. This particular version of the poster excludes the bottom two text lines that mention that Italy has the field for every sport in their beautiful country, allowing Cassandre’s masterful graphics to convey that message all by themselves.

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

253. Venezia. 1951. 24 5⁄ 8 x 39 1⁄ 2 in./62.5 x 100.3 cm Calcografia & Cartevalori, Milano Cond A.

Ref: Mouron, p. 16 (var); Cassandre/Suntory, 65; PAI-LXXXIV, 262

Cassandre originally created this fine Art Deco design for the Venice Graphic Design Conference in 1951. The Italian Tourist Bureau rightly recognized it as an ideal signature for the city itself, and appropriated it with new text as the official destination poster for Venice.

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

Cassandre (Continued)

Emil Cardinaux (1877-1936)

254. Rhätische Bahn / Silsersee. 1914.

35 3 4 x 50 3⁄ 8 in./90.7 x 128 cm Wolfensberger, Zürich Cond B/Slight tears at folds and top edge.

Ref: Cardinaux, 47; Wobmann, 42; PAI-XXXI, 363

Along with Burkhard Mangold, Cardinaux propagated the Swiss Art Poster— essentially, a painting with text attached to the bottom. This design for the Rhätische Railroad in the canton of Graubünden in southeast Switzerland revels in the tranquility of the Silser Lake and the surrounding majestic mountains on a picturesque afternoon.

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

Marc Chagall (1887-1985)

255. Metropolitan Opera / Opening September 1966.

25 5⁄ 8 x 39 3⁄ 8 in./65 x 100 cm Mourlot, Paris Cond A.

Ref: Sorlier, p. 109; Lincoln Center, 14; Theaterplakat, 223; PAI-LXXXIV, 272

This is the second poster Chagall created for the inaugural season of the Metropolitan Opera’s move to Lincoln Center in New York. According to Sorlier, the subject is the opera “Carmen”; but the central figure is Rudolf Bing, the Met’s director and the man who commissioned Chagall to create the large paintings framing the entrance to the Opera.

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

Philippe Chapellier

256. Le Transvaal & L’Afrique Sauvage. 1900.

62 3⁄ 8 x 42 in./158.5 x 106.7 cm

Imp. Courmont Frères, Paris Cond A-/Restored tear in top and bottom text.

Ref: PAI-XLIX, 196

The former northeast South African province of “The Transvaal” was initially Inhabited by Bantu-speaking Black Africans. During the 1830s and ’40s, a vast migration occurred into

from mainland

Netherlands—known as the Boers (“boer” is the

“farmer”). This Boer

would be known as “The Great

led to the founding of three Afrikaner nations: Natalia, the Orange Free State,

from the Cape area, the Great Trek’s 12,000

motivated to relocate because of their discontent with

imposed British rule. During the Great Trek, the Voortrekkers, as they were known, engaged in conflict with the Zulu of Natal. This violent encounter is presented here in Chapellier’s promotion for a recreation of the “Trek” at the 1900

Fair in a program entitled “The Transvaal and Savage Africa.” Though

small scale conflicts flared up during the Great Trek, the Boers’ guns offered them an obvious technological advantage over the Zulu’s traditional weaponry of short stabbing spears, fighting sticks, and cattle-hide shields, an advantage which led to the ultimate defeat of the Zulu warriors.

JULES CHÉRET

Jules Chéret (1836-1932)

257. Valentino / Mardi-Gras. 1869.

36 1⁄ 8 x 49 1⁄ 8 in./91.8 x 124.8 cm

Imp. J. Chéret, Paris

Cond A-/Unobtrusive folds.

Ref (all var but PAI): Chéret, 424; Broido, 324; Maindron 1896, 264; Maindron 1886, p. 83; PAI-LXXXII, 232

The earliest posters of Chéret, from 1868 to 1881, are especially prized by collectors. Posters from this period are printed by “Imprimerie J. Chéret”; after merging and becoming its artistic director in 1881, the printing credit is given to Imprimerie Chaix. Here, visitors to the Valentino may enter for the price of 3 francs for men—and just one franc for women. Not a bad investment—one that other gents might want to consider—for this corpulent capitano, seeing as that allows him to at least enter this pre-Lenten costumed and masked bash with a barely clad cutie on each arm. Seeing as the hedonistic fête was a theoretic last chance to let it all hang out before an extended period of fasting and behaving, Chéret’s red-blooded approach is most effective. This is likely Chéret’s first poster—and rare!

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

258257

258. Tivoli Waux Hall / Bal de Nuit. 1872. 36 1⁄4 x 49 1⁄ 2 in./92.3 x 126 cm Imp. J. Chéret, Paris

B+/Slight tears at folds and edges. Ref: Broido, 333; Chéret, 434; Maindron 1896, 270; PAI-LXXXII, 234

One of Chéret’s earliest lithographs, this design promotes the spectacles of Tivoli Waux Hall, a dance hall with a predominantly young clientele from the nearby trade schools and commercial establishments. Chéret designed several posters for the venue between 1872 and 1885; this one features a seductive woman in Harlequin-style dress with Punchinello on her left and a Pierrot on her right. This was truly a “Bal de Nuit”: the excitement started at 9:30pm and went on to 5am.

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

259. Alcazar d’Été / Les Rigolboches. 1876.

30 3 4 x 23 7⁄ 8 in./78.2 x 60.6 cm

Imp. J. Chéret, Paris

Cond B+/Slight tears at folds.

Ref: Chéret, 206; Broido, 165; Maindron, 145

This is the second design Chéret created for this comedic group—the first image was rejected, apparently because it was too scandalous. Although we do not know what risqué imagery may have appeared in the first rendition, we’re assuming that Chéret lengthened the ladies’ skirts in this approved design. Rare!

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

260. A Voltaire / Jaquette & Pardessus. 1878.

34 x 47 3⁄4 in./86.4 x 121.3 cm

Imp. J. Chéret, Paris

Cond B/Slight tears at folds.

Ref: Chéret, 954; PAI-IX, 196 (var)

The latest in men’s fashions is meticulously depicted in this advertisement for jackets and overcoats obtainable at the store A Voltaire. But the men gently holding hands is perhaps the real kicker. Rare!

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

261. Skating-Concerts. 1877.

24 1⁄4 x 30 1⁄ 2 in./61.7 x 77.6 cm

Imp. J. Chéret, Paris

Cond B+/Slight tears at folds and edges.

Ref: Chéret, 466; Broido, 358; Maindron 1896, 289; PAI-LIV, 155

Obviously, the Skating-Concerts venue was the place for young daredevil females to make a name for themselves. Dead center is Miss Korah, lounging upon one of her many wild felines, while daintily placing her tiny hand in a tiger’s open mouth. Also advertised, but not shown, is Miss Mamediah, trainer of the elephants whose tricks— one of which involves a dog—can be seen in the two corner medallions.

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

Chéret (Continued)

262. Palais de Glace. 1893. 33 1⁄4 x 48 1⁄4 in./84.5 x 122.5 cm

Imp. Chaix, Paris Cond A.

Ref: Chéret, 471; Broido, 362; Maindron 1896, p. 292; DFP-II, 240; Reims, p. 455; PAI-LXXXV, 253

More merry and carefree than its romantic counterparts, this poster for the Palais de Glace showcases ice skating in all its welcoming, wild abandon.

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

263. Palais de Glace. 1894. 14 1⁄ 2 x 21 3⁄4 in./36.8 x 55.2 cm

Imp. Chaix, Paris Cond A.

Ref: Chéret, 477; Broido, 364; PAI-LXX, 291

In the most subtle and sweet of Chéret’s many posters for the Palais de Glace, a blue-eyed blonde skates backward toward the viewer, the arch of her arms indicating that she is about to twirl. This is the Courrier Français insert version of the image from the January 28, 1894, edition.

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

264. Palais de Glace. 1895. 15 x 22 1 8 in./38 x 56.3 cm

Imp. Chaix, Paris Cond A-/Slight stains at edges.

Ref: Chéret, 481; Broido, 367; PAI-LXIX, 311

“The motion of the ‘Palais de Glace’ posters needs only the music to which the care-free skaters disport themselves, gracefully balanced like birds on the wing, or with tantalizing smile and beckoning arm, enticing the beholder to join them” (Price, p. 22). This is the Courrier Français version of the design, issued on January 20, 1895.

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

265

267

265. Montagnes Russes. 1888. 34 x 48 in./86.3 x 122 cm Imp. Chaix, Paris Cond B/Slight stains and tears at folds and edges. Ref: Chéret, 448; Broido, 342; PAI-LI, 255 “Montagnes Russes,” or “Russian Mountains,” were an especially early example of the contemporary roller coaster. First developed near St. Petersburg, they were constructed out of giant hills of ice, down which people could push toboggans. In 1812, the French developed a more recognizable form of the roller coaster, involving a fixed track and wheeled car, but kept the old name, as can be seen advertised here.

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

266. Olympia / Anciennes Montagnes Russes. 1892. 33 5⁄ 8 x 48 in./85.4 x 122.2 cm Imp. Chaix, Paris

Cond A-/Unobtrusive folds. Framed. Ref: Chéret, 454; Broido, 345; Maindron 1896, 278; Gold, 146; Maitres, 133; DFP-II, 225; Folies-Bergère, 28; Masters 1900, p. 12; PAI-LXXXVI, 187

As the oldest surviving music hall in Paris, the Olympia was originally opened in 1889 under the name “Montagnes Russes.” While this was also the French word for roller coaster, there is no evidence of there ever being an actual ride in the particularly narrow building. This is the poster for the establishment’s reopening in 1893, when it was renamed Olympia, a name which stays with it even today. This is the larger format.

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

267. Au Quartier Latin. 1894.

11 3⁄4 x 15 1⁄ 2 in./29.8 x 39.3 cm

Cond A. Framed. Ref: PAI-LXXXVI, 192

It’s not that Chéret used an incredibly diverse cast of characters in his posters or wandered far off the lithographic trail that he blazed—once you get a gander of a pretty young woman gamboling about amidst a cast of commedia dell’arte characters with streamers and confetti flying about her, one can feel fairly secure that they’ve entered Chéret territory. It is, however, the zest with which the artist approaches his subject matter and the sheer unabashed joie de vivre that flows off the page that make his posters and panels both immediately identifiable and widely appreciated, whether it’s for an established product or event, or for purely decorative purposes. This is the lithographic print of a cover design that the artist created for Au Quartier Latin

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

Chéret (Continued)

268. Folies-Bergère / La Loïe Fuller. 1893.

33 1⁄ 8 x 47 3⁄ 8 in./84 x 120.2 cm

Imp. Chaix, Paris

Cond B+/Slight tears and stains at edges. Framed.

Ref: Chéret, 154; Broido, 125; Maindron 1896, 113; DFP-II, 233; Maitres, 73; Reims, 411; Wine Spectator, 13; Loïe Fuller/Current, p. 129; PAI-LXXXVI, 188

The ethereal performer Loïe Fuller commissioned and paid for many lithographic posters for her performances, and this one from Chéret lives on in infamy. The editor of The Poster wrote in 1899, “With excellent judgment she went to Chéret—Chéret the master of gorgeous and fantastic color—to herald her earlier performances in that metropolis to the gaiety of which his posters have added so materially... In his long career as an affichiste , Chéret has produced nothing more successful than his series of designs for Loïe Fuller” (Loïe Fuller/Current, p. 129).

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

269. Théâtre de l’Opéra. 1896.

33 3 8 x 48 1⁄4 in./84.7 x 122.5 cm

Imp. Chaix, Paris

Cond A.

Ref: Chéret, 375; Broido, 296; Maitres, 9 (var); DFP-II, 251 (var); PAI-XI, 168

From 1892 through at least 1899, Chéret created a dozen or so posters for the Théâtre de l’Opéra’s seasonal masked balls. This design, used repeatedly throughout the 1896 season, is shown here before the addition of bottom text. This printing has especially fresh colors!

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

270. Théâtre de l’Opéra / Gd. Veglione de Gala / 3e Bal Masqué. 1897.

34 1⁄4 x 49 1⁄ 8 in./87 x 124.8 cm

Imp. Chaix, Paris

Cond B+/Slight tears at folds.

Ref: Chéret, 385; Broido, 299a; PAI-LXII, 359

This image was used during the 1897-1898 season at the Théâtre de l’Opéra. This particular variant announces the third masked gala, including a “cortège du bœuf gras”—an annual procession, usually during Carnival, organized by the guilds of butchers to award a top ox or bull.

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

Chéret (Continued)

271. La Diaphane. 1880. 34 x 16 3 8 in./86.5 x 41.5 cm

Imp. Chaix, Paris

Cond A-/Slight tears at edges.

Ref: Broido, 935; Maindron 1896, 776; PAI-LXXXIII, 284

Sarah Bernhardt was not only a consummate artist, but also a very good business person. She initiated what is now a common practice: the celebrity endorsement. She first did this for La Diaphane face powder and later for Lefèvre-Utile biscuits.

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

272. Quinquina Dubonnet. 1895. 15 3⁄ 8 x 22 3⁄ 8 in./39 x 56.7 cm

Imp. Chaix, Paris Cond B/Trimmed top and bottom; slight tears and stains at edges.

Ref: Chéret, 1143; Broido, 879; Maindron 1896, 29; Affiches Vins, 130; PAI-LXXXV, 257

One of the many products Chéret’s merry redhead promoted was Quinquina Dubonnet, an herb-based fortified wine blended with quinine. In this insert for Le Courrier Français , she is seen toasting the skies while looking temptingly over her shoulder at the viewer. The design was originally conceived the year prior, but appeared in the weekly newspaper on June 16, 1895.

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

273. Vin Mariani. 1895.

14 3⁄4 x 22 1⁄4 in./37.6 x 56.4 cm

Imp. Chaix, Paris Cond A-/Slight stains at edges.

Ref: Chéret, 1124; PAI-LIX, 285

Created in 1863 by Angelo Mariani, Vin Mariani is simply a combination of Bordeaux wine and coca leaves. The restored “health and vitality” mentioned in this poster, as well as the model’s visual exuberance, is the result of the small amount of cocaine laced in the beverage—an ingredient used by many popular drinks of that era, including Coca-Cola. Mariani was also one of the first publicists to recognized the value of celebrity endorsements, and succeeded in getting Thomas Edison, Queen Victoria, and two popes, as well as then-famous musicians, doctors, public figures, and comedians to praise the product in his many advertisements. This is the Courrier Français supplement from January 6, 1895.

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

274

274. L’Etendard Français. 1891.

34 1⁄ 2 x 49 1⁄4 in./87.6 x 125 cm

Imp. Chaix, Paris

Cond B+/Slight tears at folds.

Ref: Chéret, 1322; Broido, 998; Maindron 1896, 820; Reims, 345; DFP-II, 219; Bicycle Posters, 52; PAI-LXXXII, 48

This is one of just two bicycle posters Chéret created during his career of 50 years. L’Etendard Français was a small manufacturer of bicycles and tricycles, sold primarily out of Paris. Its name translates as “banner,” hence the cyclist holding her country’s flag as well as wearing patriotic colors. Here, the company is offering a payment plan of fifty francs down and twenty-five per month thereafter; however, we are not told how many months it will take to pay off our new bicycle.

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

275. Alcazar d’Été / Revue Fin de Siècle. 1890.

34 1⁄4 x 49 1⁄4 in./86.8 x 125 cm

Imp. Chaix, Paris

Cond B+/Slight tears at folds.

Ref: Broido, 170; Maindron 1896, 150; DFP-II, 189; PAI-XXXVII, 226

It’s plain to see which of the two performers Chéret prefers—the male is barely visible at left. But take note of the square monocles that the couple shares, each in a different eye, adding a whimsical touch.

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

276. Saxoléine. 1891.

34 1⁄4 x 48 1⁄ 2 in./87 x 123 cm

Imp. Chaix, Paris

Cond A-/Unobtrusive folds. Framed.

Ref: Chéret, 1235; Broido, 945; Maindron 1896, 784; PAI-LXXXIV, 280

Over a ten year period, Chéret created more than a dozen different designs for this lamp oil company. Each consists of a single woman delicately turning on a lamp, making the most mundane of tasks suddenly appear terribly romantic and intimate. Here, in one of his earliest images for the firm, our Chérette glows in the ambient light of her gold-covered lamp.

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

277. Saxoléine. 1900.

34 5⁄ 8 x 49 1⁄4 in./88 x 125.2 cm

Imp. Chaix, Paris Cond A.

Ref: Chéret, 1253; Broido, 957; DFP-II, 209; Wine Spectator, 20; PAI-LXXIV, 268

This poster is the only one in the series in which a heater, rather than a lamp, is shown, basking the surroundings in a comfy snug red. This printing has brilliant colors!

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

Chéret (Continued)

278. Théâtrophone. 1890.

33 1⁄ 2 x 47 3⁄ 8 in./85.3 x 120.4 cm

Imp. Chaix, Paris

Cond A-/Slight stains at horizontal fold.

Ref: Chéret, 341; Broido, 271; Maindron 1896, 237; DFP-II, 192; Driehaus, p. 37; PAI-LXXXVI, 184

“I can be visited in bed by the brook and the birds of [Beethoven’s] Pastoral Symphony,” wrote Marcel Proust because of the wonderful invention of the Théâtrophone. Clement Adler invented the prototype in 1881 (the first demonstrated use of binaural audio) to broadcast a Paris Opera performance to listeners at the Palais de l’Industrie. In 1890, however, the technology became commercially available—and Chéret’s poster was the definitive advertisement for it. In lightning-quick time, home subscriptions became available, while Théâtrophones were set up in hotels, restaurants, cafés, and vestibules throughout Paris. Fifty centimes bought you five minutes of live music straight from the Ópera Garnier. Today, 3D audio in headphones and VR is an innovation derived directly from the binaural audio innovation of the Théâtrophone, making this poster an important artifact in the history of the recording arts and sciences.

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

279. Musée Grévin / Fantoches de John Hewelt. 1900.

35 1⁄ 8 x 48 3⁄4 in./89.3 x 124 cm

Imp. Chaix, Paris Cond A.

Ref: Chéret, 608; Broido, 471; DFP-II, 267; PAI-LXXXV, 261

This is the before-lettering version of Chéret’s charming poster for Les Fantoches, a puppet show extravaganza staged at the theatre of the Musée Grévin, a frequent client of Chéret’s. The design was so eye-catching that it was also used to announce a Fête d’Artistes at the venue ( see PAI-LXXXVII, 257), as well as a variety of other shows.

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

280. Purgatif Géraudel. 1891.

33 1⁄ 2 x 47 1⁄4 in./85 x 120.2 cm

Imp. Chaix, Paris Cond A-/Slight tears at horizontal fold.

Ref: Chéret, 1165; Broido, 894; Maindron, 743; DFP-II, 221; Health Posters, 273; PAI-LXXXVI, 186

A lively Chérette is caught in a whirlwind of blossoms and boxes of Purgatif Géraudel, a product that promises “a fresh rosy complexion, excellent digestion, physical strength, perfect health and regular sleep”—all for only 1.5 francs per box. This is the one-sheet format.

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

281 282

281. Ambassadeurs / La Jolie Fagette. 1901.

34 1⁄ 2 x 50 1⁄ 2 in./87.7 x 128.3 cm

Imp. Chaix, Paris

Cond B+/Slight tears at folds.

Ref: Broido, 201 & pl. 11; DFP-II, 269; PAI-LXXXVI, 197

The singer Fagette is portrayed in a bright yellow dress and hat and holding sprigs of narcissus. Both flirtatious and coy, this songbird definitely lives up to her billing.

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

282. Au Printemps / Étrennes 1906. 1905.

33 1⁄4 x 47 5⁄ 8 in./84.5 x 121 cm

Imp. Chaix, Paris

Cond B/Tears at folds and edges.

Ref: Chéret, 874; Broido, 695; PAI-XLIX, 227

For the toy department of the Printemps department store, Chéret drew a grinning little girl carrying dolls nearly her own size, creating a highly engaging scene. Chéret’s first design for the store was carried out in 1880; twenty-five years later, he executed his last one for this—or any other— store, and he displays that he clearly hasn’t lost his touch. It is, in fact, his very best design in the series.

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

283. Exposition Internationale de Lyon. 1913.

28 3⁄ 8 x 41 1⁄4 in./72 x 105 cm

Imp. Chaix, Paris

Cond A-/Unobtrusive folds.

Ref: Chéret, 664; Broido, 524; DFP-II, 271; PAI-L, 203

This is a very late Chéret poster. By the time he executed it in 1913, he was in retirement and his eyesight was failing. Although the woman and her allegorical helmsman are a bit roughly drawn, it’s remarkable that they have lost none of the artist’s characteristic movement. The 1914 Lyon Fair advertised here was interrupted by World War I.

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

Chéret (Continued)

284. La Femme Sourire : Painting.

10 1 8 x 17 1⁄ 2 in./27.8 x 45 cm Signed pastel painting. Framed. Nothing says Chéret like a smiling lady in yellow. Here, he beautifully contrasts her headscarf with flashes of electric blue.

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

284

285. La liseuse au corsage rose : Oil Painting. 7 3⁄4 x 12 3⁄4 in./19.7 x 32.4 cm Oil painting on board. Framed. Ref: Chéret/Lumière, p. 24

Provenance: The collection of M. de Mortemart, Paris Exhibited: “L’Esprit et la grâce dans l’œuvre de Jules Chéret” at the Palais Lumière, Evian, 2008 (cat. No. 108). This intimate portrait shows a variation from Chéret’s typical paintings: rather than seeing a joyous young woman floating in the ether, Chéret portrays a more realistic rendering of a woman reading in the park. Seen from behind, we’re offered less of her personality and more of an ambient sensitivity. It is unsigned. Est: $17,000-$20,000.

286

Chéret (Continued)

286. La lecture au jardin : Oil Painting. 7 3⁄4 x 12 3⁄4 in./19.7 x 32.4 cm Oil painting on board. Framed. Ref: Chéret/Lumière, p. 25

Provenance: The collection of M. de Mortemart, Paris Exhibited: “L’Esprit et la grâce dans l’œuvre de Jules Chéret” at the Palais Lumière, Evian, 2008 (cat. No. 109).

Here, Chéret gives us a front-facing view of a contemplative young woman reading in the garden. It’s another more serious Impressionist work from the Belle Époque master. It is unsigned. Est: $17,000-$20,000.

PAUL COLIN

Paul Colin (1892-1986)

287. Mitty Tillio et Ricaux / Casino de Paris. 1928. 46 5 8 x 62 in./118.5 x 157.6 cm

Imp. H. Chachoin, Paris Cond A-/Unobtrusive folds.

Ref: Colin Affichiste, 68; Timeless Images, 111; PAI-XXIV, 249

For at least this one stand at the Casino de Paris, the acrobatic dance duo of Mitty & Tillio became the trio of Mitty, Tillio, and Ricaux. In this routine by the ever inventive dancers, Tillio and Ricaux seem to be playing human football with the airborne Mitty. Rare!

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

288. Damia. ca. 1930. 46 x 62 7⁄ 8 in./116.8 x 160 cm

Imp. H. Chachoin, Paris Cond A.

Ref: Colin, p. 55 (var); Colin Affichiste, 83 (var); PAI-LI, 287

Born in 1892, Maryse “Damia” Damien is often called “the grande dame” of French song. She began her career as a member of Loïe Fuller’s troupe, appearing in Folies-Bergère revues and various small plays and films, before making it as a chanteuse. Her signature ensemble consisted of a long, black, sleeveless dress with a deep, plunging neckline, as shown here by Colin. He also claims to be the person who came up with the idea of placing her in front of a black velvet curtain, allowing only her pale face and arms to be seen by the audience—a trick she used her entire professional life. This is the larger format.

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

Chachoin,

Colin Affichiste, p. 40-53; PAI-LXIII,

This portfolio was published at the height of “the Black Craze” in Paris, a period of several years during which black dancers and jazz musicians enjoyed great popularity. It all started in 1925 when the troupe then playing at the Plantation Club in New York City’s Harlem neighborhood was brought to Paris, and lead dancer Josephine Baker introduced the French to that new sensation: the Charleston. Colin, who was in on the whole thing from the beginning, collected the sketches he made of her and of other black performers who followed; these forty-eight plates, published in a limited edition of 500, are the result. The images were drawn directly on the stone by Colin at the Chachoin plant in Paris and then stencil-colored (the term for this technique is pochoir). Pulsating with color and movement, the portfolio contains the very best of Colin’s lithographic work.

Est: $40,000-$50,000.

291

290

290. Les Mathurins / Le Collier. 1929.

15 1⁄4 x 23 in./38.8 x 58.5 cm

Imp. H. Chachoin, Paris Cond A. Framed.

Ref: Colin, 56 (var); Colin Affichiste, 14 (var); PAI-LXXXVI, 200

The play Le Collier (The Necklace) dealt with a society woman whose necklace, through an unhappy coincidence, betrays her shadowy past—and Colin virtually reveals the whole plot in this exceedingly economical double-image design. A tenebrous night shades the entire image, again hinting at the drama to come.

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

291. Vichy / Demandez Votre Quart. 1948. 43 1⁄4 x 63 in./109.7 x 160 cm

Imp. Bedos, Paris Cond B/Slight tears at folds.

Ref: Colin, 106; PAI-LXXXIV, 293

Colin brings us the “water cycle,” Vichy-style: during lunch at work, at the café, or simply relaxing at home. It’s a fascinating visual style, as well, for Colin: a slow metamorphosis from Modernism into mid-century aesthetics following the war.

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

292. S.N.C.F. 1947. 24 1⁄4 x 38 3⁄4 in./61.7 x 98.5 cm

De Plas, Paris Cond A. Framed.

Ref: Colin, 100; Colin Affichiste, 182; PAI-LXXVIII, 253

Silhouettes of an engineer and a conductor set against a never-ending sea of train tracks result in a powerful Deco design. “The whole impression which the French Railways tried to convey here, and which the graphics reinforce so directly, is that of strength, stability and safety—all important elements of ‘A Public Service at the Service of the Public’” (Colin, p. 12). The apparent simplicity of the art and tag line belie a complex political reality in postwar France: consolidating the welfare state while mollifying the right wing and marginalizing the Communist Party. In this context, Colin’s design is superb: the conductor in blue, a worker in red, and a multitude of tracks stretching to the horizon: an assembly of roles with a common goal.

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

295

Colin (Continued)

293. Nestor Martin. 63 x 47 1⁄ 2 in./160 x 120.5 cm Création Risacher, Paris Cond B/Slight tears at folds.

Ref: Karcher, 176 (var); PAI-XLIII, 288

Although best known for his dramatic theatrical and music portraits, Colin also created a number of posters for commercial products. Here, he gives us a striking image for the Nestor Martin factory. A radiant ball of fire casts its glow on the stylized steel furnaces that take on the appearance of factory towers—symbols of the company’s solidity as well as the heat-producing stoves and radiators that come off the production line. The same image, with the title changed to Arthur Martin and a single stove at center, was also created ( see Karcher, 176).

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

294. Tabarin. 1928. 15 1⁄ 2 x 22 7⁄ 8 in./39.2 x 58 cm Cond A. Framed.

Ref: Colin, 25 (var); Colin Affichiste, 172; Timeless Images, 91; Weill, 365; Art Deco, p. 101; PAI-LXXXIII, 296

The Bal Tabarin opened its doors in 1904, and became home to the cancan, then later the Charleston, and then whatever the latest dance craze was. From the outside it looked like the entrance to a tomb, but inside it was hot and, as the magazine Candide put it: “The star of the Tabarin, that’s woman” (March 4, 1937). Colin expresses this idea graphically with one of his favorite techniques: a multiple exposure of three women doing the cancan, the Charleston, and a ballroom dance. This is the smaller format.

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

295. L’Affiche Française. 1948. 14 1 2 x 23 3⁄ 8 in./37 x 59.5 cm Imp. Courbet, Paris Cond A. Ref: Chaumont/Exposons, p. 57

For an exhibition of French posters, Colin uses a clever optical illusion to turn his gentleman’s head into a rolled poster.

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

Paul Colin (1892-1986) & Marcel Arthaud (1898-1975)

296. 4 Festivals : Book. 1941-1942. 16 1 2 x 23 in./42 x 58.5 cm Karcher, Paris Cond B/Slight stains on a few.

During the occupation, a number of classical music festivals were held at the Palais de Chaillot; 19 of these events are promoted in this portfolio, 12 of which were designed by the photographer and designer Marcel Arthaud; three are by Colin and four are by an artist named Andre. It’s an interesting time capsule of creative expression during a time when posters were mainly used for propaganda and patriotism. Each poster is mounted to the page, and all are in hardcover binding. Rare!

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

297 Jean Cocteau (1889-1963)

297. Monaco : Poster & Maquette. 1959. Poster: 24 3⁄4 x 39 1⁄4 in./62.8 x 99.8 cm

Maquette: 23 7⁄ 8 x 39 in./60.6 x 99 cm

Imp. Mourlot, Paris Cond Poster: A.

Maquette: Signed gouache and ink maquette. Framed. Ref: Affiches Azur, 219; Tourism/Suntory, 89; PAI-LXXV, 290

The legendary Jean Cocteau was a writer, designer, filmmaker, and artist, best known for his novel “Les Enfants Terribles” and his films “The Blood of a Poet” (1930), “Beauty and the Beast” (1946), and “Orpheus” (1949). He knew everyone and did everything: drove an ambulance in World War I; sat for a portrait by Modigliani; collaborated with Nijinksy; wrote a libretto for Stravinsky; became addicted to opium, recovered, and then wrote about it; died the day after Edith Piaf; and directed his headstone to read “Je reste avec vous” (“I stay with you”). Despite knowing Picasso, he claimed he never ran with the surrealists—but this original, signed gouache and ink maquette on behalf of Monaco, with an anthropomorphized (and, seemingly piqued) sailboat, hints differently. The poster is included with this maquette.

298

299

Pierre Commarmond (1897-1983)

298. Cayeux sur Mer.

24 1⁄4 x 39 1⁄ 2 in./61.5 x 100.5 cm

Imp. A. Valade, Amiens Cond A.

Ref: PAI-XXIV, 255

Cayeux-sur-Mer is a French summer resort town on the English Channel about 3.5 hours from Paris on the Chemin de Fer du Nord. Underneath the town’s name here is its amusing English-French nickname, “Brighton-lesPins”—bestowed in honor of its location directly across from England’s best-known seaside town. Commarmond was a landscape painter from Lyon who specialized in mountain and ocean views. Along with Broders and Soubie, he produced some of the best French railway posters of the 1920s and ’30s.

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

299. Hongay / Votre Anthracite. ca. 1930.

22 3⁄4 x 31 in./57.7 x 78.8 cm Mayeux, Paris Cond A.

Hongay was an anthracite produced in Vietnam (or, as this poster notes, Indochine). Our local producer is personally bringing it across the globe to France, one monstrous foot step at a time.

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

300

Jean-Gabriel Domergue (1889-1962)

300. Galeries Lafayette. 1920. 47 3⁄ 8 x 63 in./120.2 x 160 cm

Imp. J. E. Goossens, Paris Cond B+/Unobtrusive folds.

Ref: Affiche Réclame, p. 64; Plakatkunst, p. 90; PAI-LXXXVI, 214

This poster for the Paris department store is actually meant to encourage the purchase of French savings bonds, and Domergue attracts us to this otherwise banal marketing goal with a chic Parisian sophisticate. Est: $3,000-$4,000.

301. Monte-Carlo. 1937. 24 1⁄ 2 x 38 3⁄4 in./62 x 98.5 cm Imprimerie Nationale, Monaco Cond A.

Ref: Affiches Riviera, 440; Affiches Azur, 215; PAI-LXXXVII, 273

Known for his lithe, elongated women in comely poses, Domergue was the designer of choice when one wanted coy elegance to exude from an advertisement. Here, a sun-kissed nymphette is perched on a diving board, charming us into taking a swim with her.

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

Marcello Dudovich (1878-1962)

302. Martini Vermouth. ca. 1955. 27 1⁄ 2 x 39 1⁄ 2 in./70 x 100.3 cm

Tipografia Teatrale Torinese, Torino Cond A/P.

Ref: Manifesti Posters/Eat & Drink, p. 202; Fête, p. 81; Martini & Rossi, p. 11; PAI-LXXXIII, 43

While lacking Dudovich’s characteristic signature, this design is most likely by that master of Italian Art Nouveau; he designed at least two posters for Martini & Rossi, both featuring an alluring leading lady. “Dudovich, a master of immediate and pleasant communication, almost always used the woman as a subject, aware of the attraction exercised by the female figure: his women were elegant, clean, with simple gestures, so as to arouse the attention of the female audience” (Martini & Rossi, p. 8). The original 1920 poster had the same image and text, but was a larger format (39 3⁄ 8 x 55 1⁄ 8 in./100 x 140 cm) than this ca. 1955 second edition.

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

Ludwig Lutz Ehrenberger (1878-1950)

303. Bonbonnière. ca. 1910. 34 1⁄ 8 x 47 3⁄4 in./87 x 121.4 cm

J. G. Velisch, München Cond A-/Slight stain at upper left corner. Framed.

Ref: DFP-III, 716; PAI-XXXI, 438 Ehrenberger was very active in the Munich graphic arts scene between 1905 and 1939, working for the magazine Jugend and other publications, including the Berlin-based Elegante Welt . And the elegant world is precisely where he takes us in this poster for the Bonbonnière, which is indeed advertised as “Germany’s Most Elegant Cabaret.” And the opulent decadence on display is perfectly suited to the milieu, a dismissive submergence into an availability of pleasures so intense as to leave the revelers in a joyous state of ennui. And it’s all laid out for our voyeuristic pleasure—life, after all, is a cabaret.

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

Julius Ussy Engelhard (1883-1964)

304. Preysing Palais. 32 5⁄ 8 x 46 3⁄ 8 in./83 x 117.8 cm

Chromo Lithographische Kunstanstalt, München Cond A.

While Germans are often restrained in their daily practices, there is one aspect of life that they will wholeheartedly indulge in: a hearty and delicious meal (beer not pictured). The Preysing Palais in Munich was the first Rococo style mansion built there, and served as the residence of the counts of Preysing. While little information exists about the restaurant located there, we can be sure that it was the venue of many lavish feasts.

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

Engelhard (Continued)

305. Odeon Casino. ca. 1938.

33 1⁄ 2 x 47 1⁄4 in./85 x 120 cm

Chromolith.-Kunstanstalt, München Cond A.

Typically, an air of fashionably decadent detachment pervades the posters for Munich’s Odeon Casino, but all decorum flies out the window when it’s Carneval season. Engelhard’s leading lady is literally bursting at the seams with intoxicated joy, masked revelers toast, balloons fill the air, and we can imagine the music infusing the entire atmosphere with glee. For an earlier and more refined image for the Odeon Casino by Engelhard, see PAI-L, 243. Rare!

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

Jean Even (1910-1986)

306. Teintnet : Maquette. ca. 1955.

47 x 63 in./119.3 x 160 cm Signed gouache and ink maquette with slight tears at edges.

For a Nancy laundry service that cares for clothing of all colors, Even imagines a Pierette swapping out her white dress for a more vibrant jumpsuit.

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

Hans Fabigan (1901-1975)

307. Rainerdiele. ca. 1950.

33 x 46 7⁄ 8 in./83.8 x 119 cm Piller Druck, Wien Cond A-/Slight tears at edges.

Ref: PAI-LXIV, 253

Fabigan created a variety of posters for Rainerdiele, a Viennese piano bar. Each features two signature glasses of white wine against a lively, Modern landscape, indicating that it “is always summer” within those walls.

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

Georges de Feure (1868-1943)

308. Salon des Cent / 5me Exposition. 1894.

15 3 8 x 23 5⁄ 8 in./39 x 60 cm

Cond B+/Matted to image; slight tears at edges. Framed.

Ref: DFP-II, 343; Maitres, 10; Maindron 1896, p. 63; Abdy, p. 153; Salon des Cent, p. 21; Salon des Cent/Neumann, p. 39; de Feure, p. 61; Reims, 619; PAI-V, 171

The Salon des Cent (Salon of the One Hundred) was an exhibition of commercial art in Paris—one of the very first to showcase the work of contemporary graphic artists—established in 1894 by Léon Deschamps, founder of La Plume , an avant-garde literary and artistic magazine. As such, the designs advertising the exhibition almost always featured women, whether alone, lost in contemplation, reading, or in the process of creating art. De Feure’s image for the Fifth Salon is no exception. As noted by Abdy, “She is expensively and discreetly dressed” (with a fox wrap); “the face of the woman is troubled,” or at least intelligent, thoughtful, and pensive; she absent-mindedly fondles a white flower as if wishing to respond to an idea, yet is still composing that answer. While we more frequently see de Feure’s proof before letters, this is the rarer version with text.

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

309. A Jeanne d’Arc. 1896. 37 x 101 3⁄ 8 in./94 x 257.5 cm

Imp. Bourgerie, Paris Cond A.

Ref: DFP-II, 350 (var); Maitres, 130 (var); Wember, 305 (var); Abdy, p. 157 (var); Schindler, 56; de Feure, p. 78; PAI-XLV, 305

This unusual frontal view of the Maid of Orleans against an umber background was created to advertise a fabric store owned by Astre et Soux in Carcassone. Although some details of her armor are not fully rendered, this in no way detracts from the design’s enticing impact. “De Feure transforms the saint into a femme fatale: instead of a pure young girl whose armor annihilates all carnal thoughts, we are given a Joan of Arc that emphasizes all her feminine curves” (de Feure, p. 78) This is the rare, incomplete proof before bottom lettering in two sheets.

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

315 Fidus (Hugo Höppener, 1868-1948)

310. Kongress für Biologische Hygiene. 1912.

18 1⁄ 8 x 27 5⁄ 8 in./46 x 70.2 cm Hollerbaum & Schmidt, Berlin Cond A.

Ref: DFP-III, 888

Fidus promotes a Congress for Biological Hygiene in Hamburg with an allegorical male breaking free of his shackles and aiming for the stars. It’s a powerful image by this Symbolist artist who rose to fame in Germany in 1900; years after his death, his work would influence the psychedelic graphic design of the 1960s.

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

Pierre Fix-Masseau (1905-1994)

311. Foire de Paris : Maquette. ca. 1974.

15 1⁄4 x 21 5⁄ 8 in./39 x 55 cm

Signed gouache and ink maquette. This is likely the preparatory work for Fix-Masseau’s official 1974 poster ( see PAI-LXXXI, 289). It’s interesting to see his visual evolution from maquette to lithograph: many of the same elements are in both, but the shapes in this work are softer and more three-dimensional, whereas the objects in his final poster are flattened and more geometric in shape.

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

312. Venice Simplon Orient-Express : 12 Posters. 1979-1982.

Each: 12 1⁄4 x 19 3⁄4 in./31 x 50.2 cm Cond A.

Ref: Train à l’Affiche, 347; Voyage, p. 170-171; PAI-LXXXV, 291

When he was commissioned in 1982 to create a series of posters for the revived elegant train ride from London to Venice, Fix-Masseau used both his linear and mannerist expressions to recall the amenities of the luxurious life aboard this prestigious train of earlier days. He succeeded brilliantly. This is the complete set of 12 posters from an edition of 300 copies.

Est: $2,000-$2,500. (12)

Noel Fontanet (1898-1982)

313. Fête des Fleurs / Genève. 1930.

35 x 50 3⁄ 8 in./89 x 128 cm Affiches “Sonor,” Genève Cond B+/Slight tears at folds and edges.

Dating back to 1830, the annual Geneva festival took place each June around the harbor. By the 1940s, the summer parade blossomed into a full-fledged spectacle with concerts and open-air balls, processions, flower parades, costume contests, cabaret performances, and a grand fireworks display. Fontanet commemorates a century of celebrations with a sweet couple being showered with flowers.

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

Hans Friedrich (1910-?)

314. Lukutate / Verjüngung. 1927.

39 1 8 x 27 5⁄ 8 in./99.5 x 70.2 cm

Wezel & Naumann, Leipzig Cond A-/Vertical fold.

The jungle fruit Lukutate purportedly aided in the longevity of Indian elephants, parrots, and vultures—so it must be good for humans, too. The health berry quickly caught on in Germany, where it was offered in jams, juices, and preserves. But, like most novel health trends, the benefits were all hype with little substance. Regardless of the fruit’s efficacy, Friedrich created a fantastic promotional image with ancient Indian architecture, youthful elephants, and a beautifully convincing young lady.

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

Leonhard F. W. Fries (1881-1965)

315. Burger-Kehl & Co. / PKZ. 1917.

35 1 2 x 49 5⁄ 8 in./90 x 126 cm

J. E. Wolfensberger, Zürich Cond B/Slight tears at folds.

Ref: PAI-LXXV, 316

One of the more effective designs for the PKZ men’s store, this handsome image sits on the same level as those by Engelhard and Hohlwein. This printing boasts especially vivid colors.

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

Fries (Continued)

316. Problem Cigaretten. 36 5⁄ 8 x 28 in./93 x 71 cm Abt. Rotochrom, Berlin Cond A-/Slight stains at edges.

Ref: PAI-XXX, 504

With only three colors, Fries creates an alluring scene led by a coquettish bather and her casually dangling Problem cigarette. The company was founded by Berliner Szlama Rochmann in 1889; he later enlisted top posterists— including Louis Oppenheim, Ernst Dryden, Hans Rudi Erdt, and Lucian Bernhard—to advertise the product, leading to some notable success. When Rochmann died in 1925, he left the company to his two sons, who unfortunately didn’t fare as well with the company: a bad harvest of Turkish tobacco and the onset of the Great Depression forced the business to close.

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

317. Burger-Kehl & Co. / PKZ. 1916.

36 x 50 1⁄ 2 in./91.4 x 128.2 cm J. E. Wolfensberger, Zürich Cond A.

Ref: PAI-XLV, 34

A dapper pair of airplane-spotting hobbyists (an especially popular pastime in the early years of flight) are unaware that we’ve spotted the fine craft of their PKZ clothing.

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

Albert Fuss (1889-1969)

318. Hamburg-Amerika Linie / Habana. 33 x 47 1⁄ 8 in./83.8 x 119.7 cm Kunst & Werbedruck, Frankfurt Cond B+/Tape stain at right edge. P.

Ref: PAI-XVIII, 280 (var)

The Hamburg-Amerika Line’s routes—and Fuss’ posters for them—extended from the Arctic to the tropics. Here, a highly informative bit of sky writing shows the routes from northern European to southern U.S. ports (Miami and New Orleans) via Havana, with passage on to Mexico. The cheerful colors of the main figure’s outfit reflect the route that follows the sun to the U.S.

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

André Galland (1886-1965)

319. Le Mans.

24 5⁄ 8 x 39 1⁄4 in./62.5 x 99.7 cm

Imp. A. Demoulin, Paris

Cond A-/Slight tears at edges.

Ref: PAI-IX, 271

Le Mans boasts its attractions—ancient structures, auto racing, and golf. It’s the vivid green of the golf links, coupled with other verdant hues of the meadows and forests, that give the composition its cheery spring aspect.

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

Genders

320. United States Lines / America Welcomes You.

24 1⁄4 x 39 1⁄ 2 in./61.7 x 100.2 cm

“Chancery” Gloucester House, London Cond A-/Unobtrusive folds; paper loss at lower left.

Ref: PAI-XLV, 313

Who better to welcome transoceanic travelers to New York Harbor than Lady Liberty herself? And even though its name doesn’t appear anywhere in the Genders design, the sheer enormity of the ship heading into port leads us to believe that she’s none other than the Leviathan . One of a parcel of vessels ceded by the Germans after World War I—originally christened the Vaterland —the gargantuan vessel became the nucleus of a new company organized under the name United States Lines. Chief among these was the Leviathan, whose operators used her great size and basic patriotic appeal to try and keep her filled. Sadly, their strategy failed. As majestic a liner as she was, the ship earned the reputation of being the “Great White Elephant,” as she never turned a profit. The Leviathan was broken up in Rosyth, Scotland, by June, 1938.

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

Guy Georget (1911-1992)

321. Congrès National de la Publicité. 1946.

46 1⁄ 2 x 62 in./118 x 157.5 cm

Imp. Courbet, Paris

Cond A-/Unobtrusive folds.

The horns are blaring for a postwar advertising conference in Paris. We’re unsure of the event particulars, but posterists around the world certainly rejoiced.

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

Charles Gesmar (1900-1928)

322. Mistinguett. ca. 1924.

45 1⁄4 x 61 1⁄ 2 in./115 x 156.2 cm

Cond B/Slight tears at folds.

Ref: Gesmar, p. 105; PAI-LXXXIV, 319

Ooh, what is that you’re smoking, Mistinguett? One of the rarest of Gesmar’s designs for the cabaret star, this image shows her flirtatiously smoking a pearl-encrusted pipe, glancing coyly—or is that wearily?—over her shoulder. She’s shown in the “Bonjour Paris” revue of 1924-25. Gesmar also designed her costumes, beginning at the age of 16.

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

323

Gesmar (Continued)

323. Mistinguett : Maquette. 9 1⁄ 2 x 12 1⁄ 2 in./24 x 31.8 cm Gouache and ink maquette. Framed. Gesmar’s favorite subject is once again re-imagined—this time, she’s awash in a sea of top-hatted admirers. Gesmar also designed her costumes, and here he’s come up with a perfect Jazz Age get-up.

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

324. Gigolette Revue.

31 1⁄ 2 x 46 3⁄4 in./80 x 118.6 cm Central-Publicité, Paris Cond B+/Slight tears at folds.

French singer Félix Mayol helped jump-start Damia’s career as a chanson réaliste . Here, she teams up with actor Aimé Simon-Girard for a performance at Mayol’s cabaret. Rare!

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

325. Simone Dulac. 1925. 48 x 63 in./122 x 160 cm

Imp. H. Chachoin, Paris Cond B+/Slight tears, largely at folds and edges. Ref: Gesmar, p. 115; PAI-LXXXI, 293 Well there’s a looker! Gesmar seems to have (artistically) cheated on Mistinguett by stepping out with Simone Dulac for a moment, bringing his characteristic lines, baubles, and adornments to fashion an image projecting flirtatiousness, eroticism, and a knowing wit. She’s shown in the role of Micheline in the play Amours Délices in a somewhat idealized form. Other posters by Adrien Barrère, as well as contemporary photos, portray her much as she was: a comic character actress, rather than a showgirl starlet, with parts in the comedies Je Suis un Homme Perdu (I Am a Lost Man) and Le Loup Garou (The Werewolf). As such, this marvelously evocative lithograph is also quite rare.

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

324

327

327. Grand Bal de Nuit. 1920.

30 3⁄4 x 47 in./78 x 119.5 cm Imp. Joseph-Charles, Paris Cond A-/Slight tears at top edge. Ref: Weill, 322; Art Deco, p. 55; PAI-LXXVIII, 298

Gontcharova’s long and productive career spanned several countries and many styles. She could be very expressionist, or be in the midst of Futurism, or, as in this poster, at the very core of Cubism. After a successful career of painting and teaching in Russia—as well as exhibiting in all the major European avant-garde shows, including the 1911 Blaue Reiter and the 1913 Der Sturm exhibitions—she went to Paris in 1914 where she settled permanently. There she was involved in all facets of theatrical work, including designing sets for Diaghilev. Illustration also preoccupied her, but she did little in the medium of the poster. This one for the Grand Bal de Nuit at the Salle Bullier is a spectacular evocation of the Cubist style which was seldom used in posters. Whether one sees in it a couple under a tree or some other image, one gets an impression of a vivacious “happening.”

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

Natalia Gontcharova (1881-1962)

Joseph J. Gould, Jr. (1880-1935)

328. Lippincott’s / July. 1896.

14 1⁄ 2 x 18 1⁄ 2 in./36.8 x 47.5 cm

Cond B/Slight tears and stains at folds and edges. Framed.

Ref: DFP-I, 250; Lauder, 83; PAI-LXX, 374

A focused female cyclist makes for one of Gould’s most handsome designs for Lippincott’s magazine.

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

Eugène Grasset (1841-1917)

329. Belle Jardinière / 1896 Calendar. 1895.

Each: 6 1⁄ 8 x 8 1⁄4 in./15.6 x 21 cm

Cond A. Framed.

Ref: Berthon & Grasset, 54, p. 26-28; PAI-LXXXVI, 237

La Belle Jardiniére (The Beautiful Gardener) was a department store in Paris, and it asked Grasset for a promotional calendar for 1896. The result is one of the most charming artifacts of the entire Belle Époque: a portfolio of 12 romantic Art Nouveau images of beautiful gardeners, gardening beautifully, in whatever weather—from the frozen-over fountains of January to the van Gogh irises of May, the sunflowers of August, and beyond. It’s undoubtedly Grasset’s most famous work, reproduced (under the title “The Months”) and fashioned into all manner of objects, from coasters

329

and trivets to scarves. These are the original 12 prints in four frames, and they are a true artistic treasure to blossom the romantic soul in your own home.

Est: $2,500-$3,000. (12)

330. Bonne Nouvelle. 1897.

16 5⁄ 8 x 48 1⁄4 in./42.2 x 122.5 cm

Cond B+/Horizontal fold.

Ref: Berthon & Grasset, p. 65; PAI-XXVIII, 324 Grasset did much to introduce the concept and practice of Art Nouveau in France. In fact, Weill says that Grasset “brought Art Nouveau to the aid of the poster; it was to become a worldwide vehicle of the art of advertising. In France, Grasset was the pioneer of an attempt, like that of William Morris in England, to reconcile art and industry... Interested as he was in all the applied arts, he came naturally to the poster” (Weill, p. 32). This print, along with its counterpart ( see Extravagance, PAI-LXIX, 395), were published as part of the Malherbe series, “Dix Estampes Décoratives,” which consisted of five pairs of lithographs, each having a distinct shape. The common theme of this particular pairing is a young woman surrounded by flowers; here, she receives her “good news” amidst hydrangeas. This print is hand-signed by the artist.

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

333

P. F. Grignon

331. Pianos A. Bord / Blondel. 18 1⁄4 x 25 1⁄ 8 in./46.4 x 63.8 cm Imp. P. M. et F, Paris Cond B/Slight stains in background.

Ref: PAI-XXXI, 468

With just a few elements, Grignon conjures an evening concerto of musical distinction, thanks to an A. Bord grand piano and a skilled pianist playing “Melisande,” which is no doubt a movement from Debussy’s operatic masterwork, “Melisande and Pelleas.” The text medallion at left informs us that the piano makers have produced 132,000 of their opulent instruments at the time of this poster’s production, and that serious inquiries to obtain one may be directed to Mr. Blondel, their regional sales agent.

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

René Gruau (Renato De Zavagli, 1910-2004)

332. Lido. 1956.

124 1⁄4 x 91 1⁄ 8 in./315.5 x 231.5 cm Cinemato, Paris Cond A.

Ref (all var): Encyclopédie/Weill, p. 118; Gruau, 24; PAI-LXXVII, 234

René Gruau made his mark with his iconic Miss Dior fashion campaign in 1947. Here, his Toulouse-Lautrecinspired aesthetic is fully on display with this quite witty show stopper for Lido showgirls. Mind the gap; enjoy the view. This is a four-sheet poster.

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

333. La Cigale / Les Petits Croisés. 1900. 15 1⁄4 x 22 1⁄ 2 in./38.7 x 57.3 cm

Imp. Chaix, Paris Cond B/Slight tears and stains at edges. Framed. Ref: Grün, p. 51; DFP-II, 435; PAI-LXXVII, 235

“In this revue dated 1900, Grün plays cat and mouse with the censors. The Grünette seen from the back, dressed in a pair of generously filled, striped panties and an almost nonexistent see through top, is about to grasp a fleur-delis patterned flag bearing the ‘Vieux le veult’ motto. This saucy pun on the words ‘Dieu le veut’ tells a lot about the review, a sensual-medieval crusade, confirmed by the armor-clad girls in the background” (Grün, p. 51). This is the rare, smaller format.

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

Hilden

334. Paris Welcomes You / International Exposition. 1936. 24 5⁄ 8 x 39 1⁄4 in./62.5 x 99.8 cm Publimp-Nadal, Paris Cond B/Slight tears at horizontal fold.

The 1937 Paris Exposition saw the construction of the Palais de Chaillot and the Palais de Tokyo. It also served as an unfortunate platform for Nazi Germany, whose pavilion was placed directly across from that of the Soviet Union, creating tension between the “new and powerful” Germany and Communist Russia. The Spanish pavilion was also notable, as the country was undergoing the Spanish Civil War, and Picasso’s now infamous “Guernica” was on display. But Hilden leaves all of that aside, instead focusing on Parisian landmarks and the French State Railways lines that will transport you from one city to the next.

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

Jules-Alexandre Grün (1868-1938)

Rowland Hilder (1905-1933)

335. Come to Britain for Golf.

19 3 4 x 29 7⁄ 8 in./50 x 76 cm

W. S. Cowell, London

Cond A.

Ref: Golf, p. 6; PAI-LXXI, 350

Look closely and you’ll see the exquisite care Rowland Hilder took with this classic British landscape, emphasizing the depth, subtlety, patience, and attention to the contours of the land that are all critical parts of a golfer’s game— and a painter’s. From the foreground at the moment of the swing, your eye sweeps up to the fractals of the barely bare treetops, then swoops all the way down the green to another party negotiating a sand trap by the Tudor mansion and the 1940s-’50s cabriolets nestled alongside, with the steep hills cascading down to meadows, fells, and perhaps even the sea in its white tumbling. Even the bark of the trees is etched to be tactile and alive. What a triumph here of the British perspective—a poster that does just what it’s supposed to, but with such love and mastery that it produces a quiet awe.

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

Léon Hingre (1860-ca. 1929)

336. Breger & Javal. 1899.

15 x 23 3⁄4 in./38.2 x 60 cm

Breger & Javal, Paris (not shown)

Cond A. Framed.

Ref: PAI-XXVIII, 345

Clearly an admirer of Mucha, Hingre created a creditable Art Nouveau promotional calendar for the metal stamping firm of Breger & Javal. All the Art Nouveau elements are there: wildly extravagant hair, an opulently bejeweled maiden crowned with a miniature golden rooster, sensuous flora, and prismatic butterfly accents. This includes the 1900 calendarium.

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

337. Breger & Javal. 1900.

15 1 2 x 23 1⁄4 in./39.2 x 59 cm

Breger & Javal, Paris

Cond A-/Slight stains at edges.

Ref: PAI-LIX, 389

As Hingre also worked in metal and stone sculpture, it seems a logical connection that he would be chosen to create an advertisement for Breger & Javal, a metal stamping firm. He created a variety of promotional calendars for the company; this one in particular features a 1901 calendarium below the allegorical image of a woman representing the coming century.

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

338 Adolfo Hohenstein (1854-1928)

338. Monaco / Exposition de Canots Automobiles. 1900.

33 1⁄4 x 48 in./84.5 x 122 cm

Ricordi, Milano

Cond B+/Slight tears at folds.

Ref: Ricordi, 168; Menegazzi-I, 124; Manifesti Italiani, p. 67; Timeless Images, 66; Gold, 135; Voyage p. 22; Masters 1900, p. 124; PAI-LXXXVI, 253

Hohenstein’s design for a motorboat exhibition and race is simple but spectacular: from aboard a boat, looking across the bows of a smart helmswoman, we see the waters off Monaco teeming with craft and sparkling in the sun. The artist returns to his trademark method for balancing the visual interest of a distant background versus a large format figure, which in this case is a charming lady: he allots most of the color to the former, and renders the latter in a few sparse lines and the brown of the paper.

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

339. Tosca. 1899.

52 3⁄4 x 112 1⁄ 2 in./134 x 285.8 cm

G. Ricordi, Milano Cond B/Slight tears at folds.

Ref: Weill, 136; Ricordi, 59; Menegazzi-I, 25; Masters 1900, p. 124; PAI-IV, 31

This spectacular three-sheet poster depicts the dramatic climax of the opera. Scarpia, the police chief, has asked for Tosca’s love in exchange for the release of her arrested lover, Cavaradossi. She goes along with his proposal on the basis that he will forgive Cavaradossi, to which he agrees. But as soon as she receives the pardon, she stabs the police chief and places two candles beside him and a crucifix on his chest. But even so, the other guards have continued following orders to kill Tosca’s lover; she throws herself off a high wall to her death. This murky melodrama, full of high passion and double-crosses, was originally a stage play by Victorien Sardou in 1887, written expressly for Sarah Bernhardt. Why Puccini, who was known for composing lyrical, gentle music, was attracted to such a tragic piece is not clear, but his opera, which premiered in Rome on January 14, 1900, quickly became a classic—as did Hohenstein’s incredibly dramatic poster. Rare!

Est: $15,000-$20,000.

340. La Bohème. 1895.

7⁄ 8 x 38 5⁄ 8 in./63 x 98 cm

Ricordi, Milano Cond B/Slight tears at edges. Framed.

Ref: Ricordi, 58; Menegazzi-I, 72; Menegazzi-IV, 24; PAI-LXXIII, 321

This lithograph for the 1896 debut of Puccini’s “La Bohème” is one of the reasons Hohenstein is known among Italy’s great poster artists. The great spill of human figures reminds us of Chéret, but rather than fantastical sprites, we have the real-world cross-section of humanity, from the top hat gentry in the upper right to the bohemian lovers at lower left. Hohenstein’s typography, as well, has become synonymous with the character of 1890s Italy. It’s a treasure of the graphic arts by any standard. Est: $5,000-$6,000.

341. Vitalis. 1895.

3⁄ 8 x 47 1⁄4 in./87.5 x 120 cm

Lit. Doyen de L. Simondetti, Turin Cond A.

We can always rely on Hohenstein to turn an unremarkable product into a truly remarkable advertisement. A svelte family of four gathers around a spring to carefully scoop bowls of precious Vitalis mineral water. Their tanned skin ripples; the surrounding landscape blisters with vibrant red in contrast. Rare!!

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

Ludwig Hohlwein (1874-1949)

342. Terranova. 1909. 23 5⁄ 8 x 34 3⁄4 in./60 x 88 cm Terranova-Verwertung, Wien Cond A/P.

Ref: Hohlwein, 178.8 (var); Hohlwein/Frenzel, 29; Hohlwein/Stuttgart, 17; PAI-LXVI, 317

This somber design of seagulls gliding over a desolate gray landscape could easily make one presume that this poster is promoting a seaside town. Instead, the image has little to do with what is being sold: Terranova was a plaster company specializing in construction materials that did not need the addition of colored paint. Hohlwein would go on to create another design for the company around 1930, also featuring this signature bird.

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

343. Wilhelm Mozer. 1909. 36 1⁄4 x 49 3⁄ 8 in./92 x 125.2 cm

Vereinigte Druckereien und Kunstanstalten, München Cond A.

Ref: DFP-III, 1357; Hohlwein, 141; Hohlwein/Stuttgart, 23; Plakate München, 207; PAI-LXXVI, 308

One of Hohlwein’s finest works, this exceptional still life was executed for the Munich delicatessen Wilhelm Mozer. Est: $1,700-$2,000.

346

344. Kaffee Hag. 1913. 23 1 4 x 34 3⁄4 in./59 x 88.2 cm

Oscar Consée, München Cond A. Framed.

Ref: DFP-II, 1456; Wember, 428; Hohlwein/Stuttgart, 110; PAI-L, 281

Who would have guessed that people who play tennis would be such a desirable demographic for coffee manufacturers during the early twentieth century? Because this racquet-toting sipper isn’t the first volleyer to come our way in the service of Kaffee Hag —two years after Hohlwein’s poster appeared, Alfred Runge and Eduard Scotland would utilize a shadowy, confrontational competitor to move the product ( see PAI-LX, 472). However, the quietly composed athlete seen here in a Hohlwein masterpiece—at once delicate and powerful—would seem to be more in line with stressing that a winning attitude need not be caffeine-based, because not only is Hag delicious, it’s decaffeinated as well. The Hag water process, used in Europe by Nestlé today, produces a superior taste that no other technology has ever bettered.

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

345. Grotrian-Steinweg. ca. 1934. 23 1 2 x 38 in./59.7 x 96.4 cm

Herm. Sonntag, München Cond A.

Ref: Hohlwein, 342; Hohlwein/Stuttgart, 399; PAI-LXIV, 322

Steinway & Sons was founded in New York City by German immigrant Henry E. Steinweg in 1853. This poster, though, advertises the pianos made by the company founded by his son, C. F. Theodor Steinweg, who stayed behind in Seesen, Germany, and partnered with Friedrich Grotrian of Saint Petersburg to create the Grotrian-Steinweg piano manufacturers.

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

347

Byron Huff (1949- )

346. U.S. Open Golf : Three Posters. 1986-1997.

Each: 22 3⁄ 8 x 32 in./57 x 81.2 cm Cond A/P.

Ref: PAI-LXXX, 377

The sport of golf is equally embedded in tradition and attuned to the future. To that end, Huff created this series of hand-signed, nostalgically evocative designs: two from the 1986 Open at Long Island’s Shinnecock Hills Golf Club (won by Raymond Floyd), and one from the 1997 competition held at Bethesda’s Congressional Country Club where Ernie Els took home the victory with a final score of four strokes under. Byron Huff is widely known for his accomplishments in the field of golf poster and graphic arts design. His work has been featured in Golf, Golf Digest, and Golf Illustrated, as well as numerous regional publications. He was the first artist ever commissioned by the United States Golf Association to create official posters for their championship event, which he executed in what he calls his “depressionmoderné” style.

Est: $1,700-$2,000. (3)

Henri-Gabriel Ibels (1867-1936)

347. Exposition H. G. Ibels à la Bodinière. 1894. 16 3⁄4 x 23 1⁄ 2 in./42.5 x 59.6 cm

Imp. Eugène Verneau, Paris

Cond B+/Slight stains, largely near edges. Framed. Ref: DFP-II, 475 (var); PAI-LXXVI, 311

Ibels’ most famous characters—circus strongmen (upper left), a cabaret performer (right center), and mime-jesters (lower left)—populate this dreamlike design promoting a retrospective of his work at the Bodinière Gallery in Paris.

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

Ibels (Continued)

348. Yvette Guilbert. 1894.

17 x 24 1⁄ 2 in./43.3 x 62.3 cm

Imp. Eugène Verneau, Paris Cond A. Framed.

Ref: DFP-I, 474; Reims, 755; PAI-LXX, 412

The portrait of Yvette Guilbert in profile, with her characteristic black gloves prominently displayed, announces a special performance organized by herself and other theatrical celebrities to bring people to the Bodinière, where an exhibition of murals was being held.

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

349. Le Théâtre Libre : 8 Programs. 1893.

Cover: 13 5⁄ 8 x 18 5⁄ 8 in./34.6 x 47.3 cm

Plates: Each 16 x 11 3⁄ 8 in./40.6 x 29 cm

Imp. Eugène Verneau, Paris Cond A.

Ref (all var): Color Revolution, p. 45; Seurat, p. 97; PAI-LXXII, 247

This is the complete series of 8 lithographic programs Ibels accomplished for the 1892-93 season of Le Théâtre Libre. Images include dockworkers by a canal, coalminers shoveling at a slag-heap, two sailor-ruffians at a bar, a regiment of soldiers marching to a bugler, ladies at the seashore, gentlemen reading papers at the café, a view of an opera from the balcony seats, and “a pair of female performers and a male wrestler on a raised platform with two soldiers strolling by” (Seurat, p. 97), which forms the program’s title page: in other words, a cross-section of society, in the circus of modern life. This includes a hand-signed and dedicated cover, numbered 39 of an “edition avant lettre,” and includes all 8 prints before letters.

Est: $4,000-$5,000. (8)

Ludwig Kainer (1885-1967)

350. Das Urteil des Arztes. 1914. 43 1⁄ 8 x 58 3⁄ 8 in./109.5 x 148.2 cm Dinse, Eckert & Co., Berlin Cond B+/Slight tears at folds and edges.

Although no information exists on this German film, Kainer gives us a sense of the action: the male protagonist, played by Albert Bassermann, is clearly smitten with the sharply dressed lady, played by Elsa Bassermann. But she doesn’t seem to return the affection. Surely, this Berlin film was a silent era romance drama. Rare!

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

Charles Kiffer (1902-1992)

351. Maurice Chevalier. 1946.

45 1⁄4 x 61 3⁄ 8 in./115 x 155.8 cm

Imp. Bedos, Paris Cond A.

Ref: PAI-LXXXII, 319

We instantly know by the yellow straw hat and broad smile against blue that this is a poster for Maurice Chevalier in his signature pose. This poster was issued for his triumphant return to Paris after an extended American tour, and never came with text—the image says it all. This is the larger format.

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

Charles Kuhn (1903-1999)

352. Fleurin. ca. 1935.

25 x 35 1 2 in./63.3 x 90.2 cm Wolfsberg, Zürich Cond A-/Unobtrusive folds.

To advertise Hörning’s pure plant nutrient salt, Kuhn relies solely on a beautiful red flower against a solid black background. We agree with Kuhn’s choice—the effect is wonderfully striking.

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

Guillermo Laborde (1886-1940)

353. Campeonato Mundial Football / Argentina vs. Estados Unidos. 1930.

15 1⁄ 2 x 35 1⁄4 in./39.5 x 89.7 cm

Olivera Fernandez, Montevideo Cond A.

Ref (all var): Crouse/Deco, p. 114; Sportissimo, p. 94; Graphic Design/Taschen, p. 256; PAI-LXXXVII, 344

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 semifinal game between Argentina and the U.S., which was handsomely won by the former team. Rare!

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

Marie Laurencin (1885-1956)

354. Gravures. 1937.

12 3⁄4 x 19 1⁄ 2 in./32.5 x 49.5 cm

Cond A-/Slight stains at edges. P.

For an exhibition of engravings, Laurencin rounds up a stylish group of female print collectors who casually browse the collection with a laissez-faire attitude. Her watercolor-like approach lends a dreamlike quality to the entire scene.

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

355

Franz Lenhart (1898-1992)

355. Modiano. 1933.

39 3⁄ 8 x 55 3⁄ 8 in./100 x 140.7 cm Grafiche Modiano, Trieste Cond A. Framed.

Ref: Italia che Cambia, 216; Crouse/Deco, p. 218; Manifesti Italiani, 124; PAI-LXXV, 354

For the Modiano brand of prefabricated rolling paper tubes, Lenhart plays us an engaging optical game of silhouettes: the black outfit of the Garbo-like femme fatale appears like a cutout against the green background, the blouse and the hand seem cut out in turn from the black; standing out from both is the warmly glowing face and the white cigarette. Most elegant! Born in Bavaria, Lenhart studied in Italy and settled there permanently in 1922 to work and teach.

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

Roy Lichtenstein (1923-1997)

356. A New Generation of Leadership. 1996.

38 x 34 in./96.5 x 86.5 cm Cond A/P.

Ref: Imagination, p. 157; Kunstlerplakat, p. 114; PAI-LXXIX, 363

When Bill Clinton ran for reelection in 1996, sixteen famous contemporary artists came together under the Artists for Freedom of Expression project to create images for the Democratic National Committee. The first, and most famous, in the series was this poster by Lichtenstein, originally available for $20 at the Democratic Convention. In it, he references the 19th century naval art collection of Kennedy as well as Nixon’s notorious star-embroidered blue carpet.

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

R. Lespagne

357. F. Pech. 28 x 53 in./71.2 x 134.6 cm Cond A-/Slight tears at bottom edge.

For the Bordeaux lithographers F. Pech, we’re treated to an elaborate scene in which a Mucha-esque maiden appraises the newest prints being churned out by the lithographer. Rare!

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

PRIVAT LIVEMONT

Art

of a

do not see the hand that pours

359

Livemont (Continued)

359. La Vague. 1897. 19 1⁄ 2 x 12 1⁄ 2 in./49.5 x 31.8 cm Cond A. Framed.

Ref: Schoonbroodt, p. 16; Belle Epoque 1980, 70; Gold, 199; PAI-LXXXVI, 278B

In this particularly rare and haunting decorative panel, Livemont returns to his favorite subject: beautiful women. “One of the feminine characteristics he habitually emphasized was long, flowing tresses, and here he carries his worship to a virtual apotheosis, seeing an ocean wave as a manifestation of woman’s mystique—deep and restless, yet eternally soothing” (Gold, p. 136).

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

360. Bitter Oriental. 1897. 33 x 43 3⁄4 in./83.8 x 111 cm J. L. Goffart, Bruxelles Cond A-/Horizontal fold.

Ref: Belle Epoque 1970, 82; Belle Epoque 1980, 90; Belgische Affiche, p. 197; Weill, 92; Wine Spectator, 81; PAI-LXXXVI, 278A

“Bitter Oriental has a girl with hair meandering about in luxuriant abundance, almost in Mucha’s style. Another similarity is the circular motif in the ornamentation—and then again, there is Livemont’s characteristic white outline and distinctive lettering. The Oriental bitter was basically gin with a flavoring of various herbs” (Wine Spectator, 81).

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

361. Tropon Chocolade-Cacao. 1900. 14 x 23 1⁄4 in./35.5 x 59 cm

O. de Rycker & Mendel, Bruxelles Cond B+/Slight stains at edges.

Ref (all var but PAI): Livemont, 118; Belle Epoque/ Belgique, 230; Schoonbroodt, 34; PAI-LXXXVII, 352 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.

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

362. 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-LXXXVII, 353

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 nod to the history of transport manufacture.

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

363. Automobile Club de France. 1903.

19 3 8 x 14 3⁄4 in./49.2 x 37.3 cm

Imp. J. Barreau, Paris Cond A. Framed.

Ref: Livemont, 40; Schoonbroodt, 40; PAI-LXXXVI, 279

By 1903, France was the world’s leading auto maker. In this exhibition poster, we see our lady of autos—with her insignia of gears and roses—motoring confidently toward the Grand Palais in what may be a 1903 Richard-Brasier.

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

P. H. Lobel

364. Salon des Cent / 31ème Exposition d’Ensemble. 1897.

15 7⁄ 8 x 22 3⁄4 in./40.3 x 57.8 cm

Imp. Chaix, Paris

Cond A. Framed.

Ref: DFP-II, 542 (var); Schardt, 982 (var); Wine Spectator, 60; Salon des Cent, p. 66 (var); PAI-LVII, 106

Considering the woefully inappropriate billowing dress she is wearing, this tennis player is making a game try at returning the ball over the net. Is there something in this poster that reminds you of Toulouse-Lautrec? In discussing the master, Weill comments that there were only three poster artists who might be considered his disciples: Jacques Villon, Maxime Dethomas, and “Lobel (of whom nothing is known) for the Salon des Cent and Pierrefort poster” (p. 35). This is the rare variant of the poster before text.

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

Charles Loupot (1892-1962)

365. Mira. 1929. 8 3⁄ 8 x 11 1⁄ 2 in./22 x 29 cm

Imp. Chaix, Paris

Cond A. Framed.

Ref (all var but PAI): Crouse/Deco, p. 76; Loupot, 46; Loupot/Forney, 34; Loupot/Zagrodzki, 80; Weill, 358; Publicité, p. 121; PAI-LXXXVI, 283

“While it is perhaps not the most visually intelligible advertisement, this poster for Mira razor blades is without a doubt one of Loupot’s most interesting. The product itself is shown in a straightforward, realistic manner, but the object being ‘shaved’ is slightly confusing. It is Loupot’s most cubist rendering of the human form... we know what it is, but we can’t quite explain how we know” (Crouse/Deco, p. 76). This is the smaller format.

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

366. Cuir : Maquette. ca. 1936. 44 1⁄ 2 x 60 3⁄4 in./113 x 154.3 cm Gouache and ink maquette on paper. Framed. Ref: Loupot, 75 (var); Loupot/Zagrodzki, p. 104 (var); PAI-LXXI, 395

Exhibited: Musée des Arts Décoratifs, Paris Provenance: The Loupot estate

To promote leather goods, Loupot created this brilliantly large and imposing maquette. It’s the original project before the client’s final lettering, which would continue the thought “Rien ne remplace” (nothing replaces) with “le cuir” (leather) at far bottom.

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

apéritif

series

portly

red

in red, and a taller,

white.

p.

the first

series,

floating high above a Chagall-esque Paris; in the second, they’re leaning back, at rest in a café; this one, the third, is the first in which they are reduced to pure

with the two

it

be said to be a call to order”

Burkhard Mangold (1873-1950)

368. Strumpf-und Handschuhhaus. 1912. 31 5⁄ 8 x 43 in./80.2 x 109.4 cm

J. E. Wolfensberger, Zürich

Cond A-/Slight tears at edges. Framed.

Ref: Margadant, 315; Mangold, 104; PAI-XXI, 301

While the geometric tiled floor and wall are influenced by Hohlwein’s measured approach, the fluid movements and romantic apparel of the two posing women are pure Mangold elegance. Using only varying tones of pink, green, and black, he creates a dynamic image of luxurious indulgence for a stocking and glove store in central Bern. Rare!

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

Mano

369. Exposicion de Frutas y Productos. 1941. 27 3⁄4 x 39 1⁄ 8 in./70.6 x 99.5 cm

Lit. Sanguesa, Barcelona Cond A.

An exposition of fruits and vegetables from the countryside of Barcelona is advertised with a lovely señora showing off some of her products.

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

Giovanni Mataloni (1869-1944)

370. Festa di Cervara. 1904. 44 x 94 1⁄4 in./112 x 239.4 cm

A. Marzi, Roma

Cond B/Slight tears in top sheet.

Ref: Menegazzi-I, 134; Menegazzi-II, 42; PAI-XLVI, 404

Mataloni’s playfully lustful three-sheet creation promotes a Pre-Lenten shindig taking place in a commune approximately fifty kilometers to the east of Rome. His design features the inviting sight of a freshly unmasked maiden swinging au naturel from the branches of a decorative—yet suggestive—and vaguely heart-shaped arbor. Rare!

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

Albert Matignon (1869-1937)

371. Biscuits Lefèvre-Utile. 1907. 20 1⁄ 2 x 27 3⁄4 in./52 x 70.6 cm

Imp. F. Champenois, Paris

Cond A-/Slight tears, largely at edges. Clearly an admirer of Mucha, Matignon conjures a lovely young biscuit lover enshrouded in apple blossoms. There’s not a biscuit in sight, which is fairly typical for LefèvreUtile—the brand would rather focus on emotion and ambiance than technicalities.

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

Luciano Achille Mauzan (1883-1952)

372. El Perfume de Nasiba. 1930. 41 x 61 1⁄4 in./104.3 x 155.7 cm

Affiches Mauzan / Cosmos Cond B+/Slight tears at edges. Ref: Mauzan, 56; PAI-X, 308

This haughty lady in fancy headgear, elaborate jewelry, and very little else on her body represents “the girl of your dreams” for a brand of perfume. Rare!

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

Lucien Métivet (1863-1932)

373. Martigny. 1909. 28 5⁄ 8 x 41 1⁄4 in./72.8 x 104.5 cm

Minot, Paris

Cond B+/Slight tears in top margin. Ref (both var): Chemins de Fer, 48; PAI-LXIV, 365 Métivet is renowned as a poster artist and cartoonist: he was the hand behind the famous “Eugénie Buffet” ( see PAI-LXXXII, 361), as well as many covers of Le Rire . This is one of his finest and rarest: a charming railway poster for the resort of Martigny, in the Vosges mountains of northwest France. In dreamy lines and pastel hues, we see two fashionable ladies with parasols, a young caddy, and—across the pond—a garden party taking place in front of silhouetted mountain peaks. This is the smaller, one-sheet format.

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

374

Leopoldo Metlicovitz (1868-1944)

374. Exposition Internationale / Milan 1906. 25 3⁄4 x 38 3⁄ 8 in./65.5 x 97.4 cm Ricordi, Milano Cond B+/Slight tears at folds. Framed. Ref: Menegazzi-I, 139; Ricordi, 186; Timeless Images, 69; Masters 1900, p. 131 (var); PAI-XXXIV, 459

This was the winning entry in the contest to celebrate the opening of the Simplon Alpine tunnel in 1906, which first provided a direct link between Paris and Milan. It is one of Metlicovitz’s most famous and inspired designs; the red of the engine’s light emphasizes the movement of the train out of the tunnel. This is the rare larger format variant with text in French and the official Ministry of Commerce inaugural invitation in gold ink. Est: $3,000-$4,000.

Victor Mignot (1872-1944)

375. Le Sillon. 1897.

33 3⁄4 x 43 4⁄ 8 in./85.7 x 100.2 cm

Imp. J. E. Goossens, Bruxelles Cond A-/Unobtrusive folds. Framed. Ref: DFP-II, 1097; PAI-LXXI, 421

This especially evocative piece by Mignot invites the viewer to the 1897 Annual Salon at the Museum of Modern Art; the artist appears to be rapt in the moment of creation as he draws the two siren-esque maidens whose flowing skirts, billowing in the wind, wrap about the artist. The Poster of August 1900 noted that “this composition is a chef d’oeuvre ... Its gift of color, the simplicity of his line, and the general character of his designs have made him one of the Maîtres de l’affiche ” (p. 222).

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

Carl Moos (1878-1959)

376. Magasins de l’Ancre. ca. 1916.

35 1⁄ 2 x 50 3⁄4 in./90.4 x 128.7 cm Fretz Frères, Zürich

Cond B+/Slight tears at horizontal fold.

For a Swiss department store just south of the French border, Moos depicts an already dapper man who sees his future fashions in his shadow. An upgraded top hat, walking cane, and long trench coat will see him through the winter in the Jura mountains.

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

ALPHONSE MUCHA

Alphonse Mucha (1860-1939)

377. La Trappistine. 1897. 30 x 81 1 2 in./76.2 x 207 cm

Imp. F. Champenois, Paris Cond A-/Slight tears at edges.

Ref: Rennert/Weill, 30; Lendl/Prague, p. 97; DFP-II, 631; PAI-LXXVI, 356

A liqueur made by Parisian Trappist monks requires a bit of reverence: an ideal commission for Mucha, whose first artistic epiphany arrived while he was a young chorister at a Czech cathedral, and had a revelation while gazing at the baroque embellishments. This time, our maiden’s divine halo is a labyrinth of concentric circles enclosing Celticstyle crosses. Rather than the wild, sensuous tangles of Job’s leading lady, “the hair is entirely orderly and hangs down in a single thick strand, but that is because it has the function to lead our eyes to the tabouret in the foreground which holds the bottle” (Rennert/Weill, p. 134).

This is a two-sheet poster.

Est: $25,000-$30,000.377

Mucha (Continued)

378. Hamlet. 1899. 30 x 81 1⁄4 in./76.2 x 206.5 cm Imp. F. Champenois, Paris Cond A-/Slight tears at fold and seam.

Ref: Rennert/Weill, 63; Lendl/Prague, p. 61; Wagner, 77; PAI-LXXVIII, 369 Mucha. Sarah Bernhardt. Hamlet. What more needs to be said? Bernhardt gazes out hauntingly as the Prince of Denmark; behind her is the Ghost of Hamlet’s Father; below her feet, the drowned Ophelia. “What a piece of work is a man, how noble in reason, how infinite in faculties...” After performing in Britain, the Birmingham Gazette wrote, “[Bernhardt’s] Hamlet is a man in constant frenzy, possessed with the one thought of avenging his father’s death. He is not mad, but maddened.” The rest is silence. This is a two-sheet poster.

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

379. Sarah Bernhardt / American Tour. 1896. 30 1 2 x 78 7⁄ 8 in./77.3 x 200.4 cm Strobridge Litho., Cincinnati Cond A-/Slight tears in bottom text area.

Ref: Rennert/Weill, 3, Var. 2; Lendl/Prague, 43; Masters 1900, p. 24 (var); PAI-LXXXI, 380

Sarah Bernhardt made one of her periodical tours of the United States from January through June of 1896. In the process, not only did she introduce American audiences to her luminescent acting style, but also to her personal posterist, Alphonse Mucha. She had the two-sheet “Gismonda” design ( see PAI-LXXXIV, 380) recreated at Strobridge and used it throughout her American tour.

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

380. Lorenzaccio. 1896.

30 1 4 x 81 7⁄ 8 in./76.7 x 27.4 cm Imp. F. Champenois, Paris Cond A.

Ref: Rennert/Weill, 20; Lendl/Prague, p. 47; DFP-II, 626; Maitres, 144; Mucha/Art Nouveau, 7; Bernhardt/Drama, p. 62; Posters of Paris, 87; PAI-LXXXVI, 303

Sarah Bernhardt adopts the pose of a pensive Lorenzo the Magnificent (1449-1492), the most powerful of the Medicis, in this play by Alfred de Musset. In the drama, Lorenzaccio struggles to save Florence, which had grown rich during his reign, from the grip of a power-hungry conqueror. Mucha represents this tyranny with a dragon menacing the city coat of arms (top left); Lorenzo has closed the book he was reading to ponder his course of action. Bernhardt adapted this 1863 play for herself, and the new version, represented by this poster, opened December 3, 1896.

“Never afraid to tackle a male role, Bernhardt made Lorenzaccio one of the regular parts of her repertoire” (Lendl/Prague, p. 47). Anatole France’s review says it all: “In her latest transformation she is astonishing... She has created a living masterpiece by her sureness of gesture, the tragic beauty of her pose and glance, the increased power in the timbre of her voice, and the suppleness and breadth of her diction—through her gifts, in the end, for mystery and terror” (Bernhardt/Gottlieb, p. 140). This is the two-sheet larger format.

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

Mucha

381. Lorenzaccio.

Imp. F. Champenois, Paris

A-/Slight

Ref: Rennert/Weill, 20, Var. 2; Lendl/Prague, p. 47 (var); DFP-II, 626; Maitres, 144; Mucha/Art Nouveau, 7 (var); PAI-LXXXVI, 304

This is the smaller format version of the

$4,500-$5,500.

382. Ilsée, Princesse de Tripoli.

Published by L’Edition d’Art, Paris

and in excellent

Ref: Mucha/Paris, 34; PAI-LIII, 375

This is one of the limited edition of 180 numbered books

printed on vellum and in period binding.

book contains 132 color lithographs and cover design by Mucha, in addition to typographical headings and embellishments, and represents a tour-de-force of singular magnitude in the history of the French illustrated book.

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

384

384. The Flowers / Carnation. 1900.

17 1⁄ 8 x 41 1⁄4 in./43.5 x 105 cm

Imp. F. Champenois, Paris (not shown)

Cond A-/Slight tears at edges.

Ref: Rennert/Weill, 49b; Lendl/Paris, 69c; Mucha/Art Nouveau, 50c; PAI-XXXVI, 450

The Flowers set of decorative panels consisted of four stunning women intended to embody the Rose ( see following lot), the Iris, the Lily, and, shown here, the Carnation. The Carnation is the only brunette represented in a field of blondes, seen casting a coy glance over her shoulder. The pose was so enticing that she, alone amongst these four, was later used to advertise a commercial product ( see Rennert/Weill, 61) with only slight changes to detail.

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

385. The Flowers / Rose. 1900.

18 x 42 1⁄ 2 in./46 x 108 cm

Imp. F. Champenois, Paris (not shown)

Cond B+/Recreated borders.

Ref: Rennert/Weill, 49; Lendl/Paris, 69; Mucha/Art Nouveau, 50b; PAI-XXXIX, 395

One flower rises above the rest when the air is filled with romance: the Rose. And Mucha’s personification of that fleshy blossom stands on its own, “proud and closed in her strictly formal pose” (Mucha/Art Nouveau, p. 196). But lest we judge this constrained beauty too harshly, let’s not forget that the rose, of all the avidly sought blooms, is the only one equipped with thorns to protect her from the uninvited. Mucha’s alluring yet restrained vision calls to the fore artistically what is often overlooked in casual observations of nature.

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

Mucha (Continued)

386. F. Champenois / Reverie. 1897. 23 x 28 7⁄ 8 in./58.3 x 73.2 cm

Imp. F. Champenois, Paris Cond A. Framed.

Ref: Rennert/Weill, 47, Var. 1; Lendl/Prague, p. 174-175 (var); PAI-LXXXI, 402

For many years, this design was simply known as “Reverie,” the name under which the decorative panel version of the design was widely sold by La Plume without lettering. However, further research appears to establish that its original use was as an in-house poster for a variety of establishments, from printing firms to chocolate manufacturers. Here, however, is the first incarnation of the design, used by F. Champenois to usher in the New Year of 1898. This is the version with text, wider margins, and the best specimen we’ve seen!

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

387. Salon des Cent / XXme Exposition. 1896. 16 3⁄ 8 x 24 1⁄4 in./41.6 x 61.6 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-LXXXVII, 385

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-desiècle lithography—Toulouse-Lautrec, Bonnard, Steinlen, and 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.

Mucha (Continued)

388. Moët & Chandon / Grand Crémant Impérial. 1899. 9 3⁄4 x 24 1⁄ 2 in./25 x 62.4 cm

Imp. F. Champenois, Paris Cond A. Framed.

Ref: Rennert/Weill, 65b; Lendl/Prague, p. 101; Wine Spectator, 68; Mucha/Art Nouveau, 28a & b; PAI-LXXVI, 376

Mucha and Moët were always meant to be together—he created menus, postcards, and other publicity for the Champagne house founded in 1743—but this is a pure transubstantiation of Moët & Chandon Champagne into artistic form. The Grand Crémant Impérial becomes a Byzantine empress, with a seriousness matched only by her sumptuousness. It’s a masterpiece by any measure.

Est: $15,000-$20,000.

389. Job. 1896. 15 1⁄4 x 20 in./38.8 x 50.8 cm

Imp. F. Champenois, Paris (not shown)

Cond A-/Matted to image. 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-LXXXVII, 386

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.

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

390. Job. 1898. 41 1⁄ 2 x 61 in./105.3 x 155 cm

Imp. F. Champenois, Paris

Cond A.

Ref: Rennert/Weill, 51; Lendl/Prague, p. 121; DFP-II, 634; Modern Poster, 9; Wine Spectator, 74; Gold, 2; Posters of Paris, 71; Encyclopédie/Weill, p. 121; PAI-LXXXV, 385

“In both of Mucha’s posters for Job cigarette papers... he gives us women sensually involved in the act of smoking. Here, the figure is full-length, her abandoned hair an echo of the pale fabric volumes of her gown. As she watches the lazy waft of smoke, even her toes curl deliciously in pleasure. The artist’s meticulous craftsmanship can be seen in such details as the gown’s clasp (of Mucha’s own design), and in the way he worked the product name into the background pattern” (Gold, p. 2).

Est: $8,000-$10,00.

389

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Mucha (Continued)

391. The Seasons. 1896.

Each: 20 3⁄4 x 40 in./52.7 x 101.5 cm

Imp. F. Champenois, Paris (not shown)

Cond A/Horizontal folds in Summer. Framed.

Ref: Rennert/Weill,18; Lendl/Prague, p. 182-183; Mucha/Art Nouveau, p. 186-187; PAI-LXXXVI, 313

“One of Mucha’s most endearing and enduring sets... Spring is a blonde sylph who seems to be fashioning a makeshift lyre out of a bent green branch and her own hair, with some birds as interested spectators. Summer, a brunette, sits dreamily on the bank of a pond, cooling her feet in the water and resting her head against a bush. Autumn is an auburn lady, making ready to partake of the ripe grape. Winter, her brown hair barely visible as she huddles in a long green cloak, snuggles by the snow-covered tree trying to warm a shivering bird with her breath” (Rennert/Weill, p. 90). It’s not only the passage of time that makes this series rare—they were difficult to find even at the time of their publication. The editor of The Poster couldn’t help a reader locate this set back in 1899, concluding: “they are getting scarce” (January 1899, p. 42). This is the first state before the addition of the seasons’ names at bottom and in the larger format.

Est: $35,000-$45,000. (4)

392. The Seasons. 1897. 23 1⁄ 8 x 14 in./58.7 x 35.5 cm

Imp. F. Champenois, Paris (not shown) Cond A. Framed.

Ref: Rennert/Weill, 37 Var. 3

This is the second set of beguiling women Mucha created to represent the four seasons. Other than Winter, who is cozily hooded against the cold, they all sport Mucha’s trademark flowing cascades of hair and assume languid poses of sensual allure. A big marketing success for the printer Champenois, this set was used in a number of ways: with calendars for various years or without them, with the names of each season imprinted or not, sometimes with commercial clients’ names, and sometimes entirely blank. This variant, printed on a single sheet, is without text and calendarium, allowing us to focus on Mucha’s artistry.

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

Mucha (Continued)

393. The Seasons. 1897.

Each: 5 3⁄4 x 17 in./14.5 x 43.2 cm

Imp. F. Champenois, Paris (not shown) Cond B-/Slight stains at top and bottom; matted to image. Framed. Ref (all var): Rennert/Weill, 37; Lendl/Prague, p. 188-189; PAI-LXI, 364

This is the smaller format version of Mucha’s second Seasons set, promoting Chocolat Mexicain and Chocolat Masson. Rare!

Est: $6,000-$8,000. (4)

394. The Arts / Dance. 1898. 14 1⁄ 2 x 23 in./36.8 x 58.4 cm

Imp. F. Champenois, Paris (not shown) Cond A. Framed.

Ref: Rennert/Weill, 54; Lendl/Prague, p. 207; PAI-LXXVI, 366

It is a wondrous work that can create such a sense of motion in a perfectly still image. Our figure of Dance is on pointe, with the wind sweeping around her gown, tresses, and train in a gust of ardor, causing rose petals to drift to the ground. This is the Dance panel of “The Arts” series.

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

395. Waverley Cycles. 1898. 42 1⁄4 x 33 1⁄ 8 in./107.4 x 84.2 cm

Imp. F. Champenois, Paris Cond B+/Horizontal fold; slight stains. 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-LXXXVII, 401

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: $25,000-$30,000.

Mucha (Continued)

396. La Primevère / Chocolate-Amatller. 1901. 10 3⁄ 8 x 26 1⁄4 in./26.5 x 67 cm Cond B/Restored tears, largely at edges. Framed.

(all var): Rennert/Weill, 64b; Mucha/Art Nouveau, 51b; PAI-LXXVI, 367

This is a rare variant of Mucha’s Primevère panel from his Plume et Primevère set; here, the romanticized young woman promotes Chocolate Amatller, a brand which commissioned Mucha to create several designs for their chocolates, including his Têtes Byzantines ( see PAI-LVII, 430).

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

397. Lefèvre-Utile : Box Top. ca. 1901. 8 3⁄ 8 x 11 1 4 in./21.2 x 28.5 cm Cond A. Framed. Ref: PAI-LXXXVI, 312A (var)

Mucha created a host of box designs for the Lefèvre-Utile biscuit company, each consisting of a central design and two back-to-back trademarks, all printed on one sheet. In the individual distinguishing pictures, Mucha depicted fashionable social occasions at which biscuits are being consumed, mostly with wine—otherwise, lush nymphs enjoying the outdoors also suit the purpose. All of the background patterns, ornamental borders, and decorative elements are executed with Mucha’s typical attention to detail. Here is one design for the company’s Madère biscuits.

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

398. Chansons d’Aïeules. ca. 1898.

10 x 13 in./25.6 x 33 cm

Imp. F. Champenois, Paris

Complete 134-page book in excellent condition.

Ref: Mucha/Bridges, p. 95; Mucha/Art Nouveau, p. 230

“Chansons d’Aïeules, a book of songs sung by Madame Amel from the Comédie Française with a foreword by Jules Claretie of the Académie française, was published in 1897 or 1898 in Paris. Mucha designed the colorful cover and the lithographs for pages 39, 45, and 51. The drawing for and the print of the cover appeared at Mucha’s exhibition in the Salon des Cent as catalogue numbers 65 and 66. According to Nosek, the cover picture was also sold separately as a decorative panel” (Mucha/Art Nouveau, p. 230). This includes scores and libretto plus lithographs by Mucha, Grasset, Léandre, Steinlen, Veber, and Willette.

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

399. Times of the Day / Reverie du Soir. 1899.

15 5 8 x 41 in./39.7 x 105.5 cm

Imp. F. Champenois, Paris (not shown) Cond A.

Ref: Rennert/Weill 62; Lendl/Prague, p. 215; Wine Spectator, 77; PAI-LXXXV, 378 Evening Reverie, the third Times of the Day panel, permits us to share in a dreamy moment of twilight reflection, suspended in the eternity of pensive beauty as she ponders the bittersweet fleeting of remembrances past and the divergent uncertainties of the paths which lay ahead. This is the larger format.

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

400. Times of the Day / Répos de la Nuit. 1899.

15 1⁄ 2 x 41 5⁄ 8 in./39.5 x 105.8 cm

Imp. F. Champenois, Paris (not shown) Cond A-/Slight tears at edges.

Ref: Rennert/Weill, 62; Lendl/Prague, p. 215; Wine Spectator, 77; PAI-LXXXIV, 385

This is the fourth panel in the Times of the Day series, representing Nightly Rest.

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

401. Flirt. 1900.

11 1 8 x 24 1⁄ 8 in./28.2 x 61.2 cm

Imp. F. Champenois, Paris

Cond A-/Slight stains at bottom edge. Framed.

Ref: Rennert/Weill, 72, Var. 1; Lendl/Prague, p. 73; Art du Biscuit, p. 9; Gold, 63; PAI-LXXXVII, 403

“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: $6,000-$8,000.

Mucha (Continued)

402. Bleuze-Hadancourt / Parfumeur. ca. 1899. 9 1⁄ 2 x 23 1⁄ 2 in./24.2 x 59.7 cm

Imp. F. Champenois, Paris Cond A. Framed.

Ref: Rennert/Weill, 71; Lendl/Prague, p. 116; PAI-LXXI, 437

“This is one of the rarest posters by Mucha—a great pity because it is a veritable pastel rhapsody. It is one of the very few of his works that does not bear his signature—although, in this case, there is not the slightest doubt that it is actually Mucha’s work... Flowers whose fragrances are used in the trade abound throughout the design, in the girl’s hair as well as in the decorative panels... The girl is one of Mucha’s loveliest creations; a bit more like a real girl of flesh and blood than some of the idealized ladies which he often depicts” (Rennert/Weill, p. 260).

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

403. Exposition de St. Louis. 1903. 28 3⁄4 x 40 1⁄ 2 in./73 x 103 cm

Imp. F. Champenois, Paris Cond A. Framed.

Ref: Rennert/Weill, 87 Var. 1; Lendl/Prague, p. 155; Mucha/Art Nouveau, 30; DFP-II, 650 (var); PAI-LXXXVI, 335

“The Mucha maiden holding hands with the Indian chief advertises the 1904 World’s Fair at St. Louis, Missouri, and invites the French traveler to take a journey involving six days by steamer and one day by train... The theme of the fair was science and industry, as shown in the circle at right. The star in it represents the rather unusual first day of the Fair, which demonstrated the sensitivity and scientific value of a rather new discovery of the time, the photocell. A photocell at the bottom of a long tube was aimed at a spot in the heavens where a bright star—Arcturus—would appear at the exact opening hour of the Fair. As the star’s light reached the photocell at the precise moment, it activated a switch which lit all the lights in the fair grounds” (Rennert/Weill, p. 310). Note the interesting marketing approach for this World’s Fair: in a typically American bent, size comparisons are listed for prior fairs in Philadelphia, Paris, and Chicago. This fair has the largest amount of real estate—in fact, twice the size of the 1893 Chicago show. For an official poster Proclamation for this event, see PAI-L, 111.

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

Mucha (Continued)

404. Princezna Hyacinta. 1911. 35 1⁄ 8 x 49 7⁄ 8 in./89.2 x 127 cm V. Neubert, Smichov Cond A. Framed.

Ref: Rennert/Weill, 97; Lendl/Prague, 273; Mucha/Art Nouveau, 34; PAI-LXXIX, 402

“One of Mucha’s best Czech posters, printed by the firm of V. Neubert in the Smichov quarter of Prague, was for Princezna Hyacinta , a fairy-tale ballet and pantomime with music by Oskar Nedbal and libretto by Ladislav Novák. The portrait of the popular actress Andula Sedlácková as the princess dominates the poster. The plot develops as a dream of a village blacksmith who falls asleep after digging for a buried treasure. In his dreams he becomes lord of a castle, and his daughter Hanicka becomes the Princess Hyacinth. Of her three suitors, one is a sorcerer who abducts her to his underground palace, but she is rescued by a poor knight who looks like her real-life lover. Mucha used the motif of the hyacinth throughout the entire design, from embroideries to silver jewelry, and for an elaborate circle sparkling against the mossy green background. The portrait of the actress is seen against a sky full of stars and encircled with images from the dream: the blacksmith’s tools, a gold crown, hearts speared by arrows of love, the sorcerer’s alchemical vessels, and his strange monsters” (Mucha/Art Nouveau, p. 175). This is the finest specimen we’ve ever seen!

Est: $35,000-$45,000.

405. Bohemian Heart Society. 1917. 9 x 16 3⁄4 in./22.6 x 42.5 cm Cond A. Framed.

Ref: Lendl/Prague, p. 283; Mucha/Bridges, CP12h; PAI-LXIX, 568

“The text under the reproduction of Mucha’s 1917 painting makes it clear that this was used as a certificate issued to donors contributing to this charity: ‘The Bohemian Heart National Aid Association designates... as a founding member.’ ‘The Bohemian Heart’ was something like the Red Cross, an organisation dedicated to helping the poor and needy” (Lendl/Prague, p. 282). In this case, the certificate is hand-signed by officers of the organization.

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

406. 1918-1928. 1928.

5 1⁄ 2 x 8 1⁄4 in./14 x 20.8 cm Cond A. Framed.

Ref: Rennert/Weill, 112; Bridges, A73

This is a small, black-and-white version of the “poster [that] commemorates the tenth anniversary of the founding of Czechoslovakia—one of several countries that arose from the ashes of the Austro-Hungarian Empire broken up after World War I. The nascent country is represented by a young girl, and the garland of freedom is being placed on her by a mythical fairy representing the victorious nations of that war, who created Czechoslovakia by the terms of the peace treaty” (Lendl/Prague, p. 292). The text here reads “From freedom to servitude—servitude to freedom.”

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

407. Pageant on the Vltava River (Slavnostní Hra na Vltave). 1925.

8 3⁄ 8 x 18 1⁄4 in./21.3 x 46.5 cm

Cond A. Framed.

Ref: Rennert/Weill, 109 (var); PAI-LVII, 444

In July of 1926, the Sokol Organization held a quadrennial gymnastics and athletics meet. At the same time, a pageant was performed in conjunction with the sporting events in the middle of the Vltava River. The performers were meant to gather on the small islands in the middle of the river and reenact historic scenes specific to Prague and the Czech people. This is the smaller format version of the poster, most likely used as a handbill.

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

Mucha (Continued)

408. Regional Fair at Ivancice (Krajinská Vystava v Ivancicích). 1912. 23 1⁄ 2 x 36 1⁄ 2 in./59.5 x 92.8 cm V. Neubert, Smichov Cond A. Framed.

Ref: Rennert/Weill, 101; Lendl/Prague, p. 279; PAI-XXIII, 400

In this poster for a “regional fair planned for his own home town of Ivancice, [Mucha] shows two girls in the festive costume of the region and the church steeple of Ivancice—one of his earliest memories and the subject of one of the earliest watercolors by him that is still preserved, which he did while still a schoolboy. This work was done in 1912, although the fair itself was not supposed to open until July 27, 1913; it turned out to be all for nothing, as the planned event never took place. Nevertheless, the poster remains as Mucha’s sincere tribute to his home town” (Rennert/Weill, p. 344).

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

409. Slavia. ca. 1935. 9 1⁄ 2 x 14 3⁄4 in./24 x 37.5 cm Cond A.

Ref (all var): Rennert/Weill, 93; Lendl/Prague, p. 265; PAI-LXX, 511

Reissuing Mucha’s 1907 design in cool sepia tones, this is an official four-page life insurance document. “Like John Bull or Uncle Sam, Slavia is a personification of a people—in this case, the Slavic people of Eastern Europe” (Rennert/Weill, p. 322).

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

410. Máj. 1903. 9 1⁄4 x 12 1⁄4 in./23.4 x 31 cm Cond A-/Slight wear at edges.

Ref: Mucha/Bridges, R26; PAI-LXXXVI, 323 Máj (May) was a magazine published by the Association of Czech Fiction Writers from 1902 to 1915. It featured prose, poetry, travelogues, and regional reports. For the November 13, 1903 issue, Mucha has designed the cover with two demure women surrounded by flowers. This is the entire 14-page issue.

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

413

411 412

Thomas Moran (1837-1926)

411. Northern Pacific / Yellowstone Park. 1924.

40 1⁄ 2 x 30 in./103 x 76.2 cm Brown & Bigelow, St. Paul, Minn. Cond A.

Ref: PAI-LXXXII, 371

Influenced by Turner’s sense of color and composition, Moran used his ability to romanticize the American wilderness in promotional commemoration of Congress establishing a National Park System in 1916. Successful, he soon created similar designs for the railroad, resulting in the “first and certainly the most reproduced poster image [of his] famous painting ‘Grand Canyon of the Yellowstone’” (Travel by Train, p. 83). This is the horizontal format of the poster. Est: $1,400-$1,700.

Jean-Raoul Naurac (1878-1932)

412. Nord-Wagons Lits-P.L.M. 1927.

30 5⁄ 8 x 42 1⁄4 in./77.8 x 107.5 cm

Imp. Lucien Serre, Paris Cond A.

Ref: Train à l’Affiche, 243; Shackleton, p. 143; PAI-LXXXII, 394

The Paris-Lyon-Mediterranée railway advertises the plush Pullman accommodations on its north-south route with an elegant couple and furnishings in matching rich blue. Although the rural countryside speeds by the window, inside the cabin is nothing short of cosmopolitan luxury. Est: $2,500-$3,000.

Hans Neumann (1888-1960)

413. Josef Nigst & Sohn. ca. 1930. 36 7⁄ 8 x 49 1⁄4 in./93.7 x 125 cm

Atelier Hans Neumann, Wien Cond A-/Unobtrusive folds.

Ref: PAI-LXIV, 410 A stylish lady and her perfectly groomed companion sit atop a variety of luggage available at Josef Nigst & Sohn—the supplier “for all your travel needs.”

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

Jacques Davial de la Nézière (1873-1944)

414. Simplon-Orient-Express. 1927. 30 1⁄ 2 x 42 5⁄ 8 in./77.5 x 111 cm

Lucien Serre, Paris Cond A.

Ref: Wagons-Lits, 142; PAI-XLIX, 415

Executed the year following a previous promotion for the Orient Express ( see PAI-XLIX, 414)—with countries replacing cities as the signposts for the route—the artist turns his eye to Syria with an awe-inspiring side view of both the outer and inner gates of the Citadel of Aleppo. This large medieval fortified palace at the center of Aleppo’s old city is considered to be one of the oldest and largest castles in the world, with usage of the Citadel hill dating back to at least the mid-third millennium BC. De la Nézière obviously had a painter’s eye for colors, which are profusely and expertly used in this design.

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

415

Marcello Nizzoli (1887-1960)

415. “Campari” / l’aperitivo. 1926. 77 x 109 1⁄4 in./195.7 x 277.5 cm Davide Campari & C., Milano

Cond B+/Slight stain at seams and edges.

Ref: Crouse/Deco, p 190; Nizzoli, p. 10 (var); Campari, Vol. 3, p. 133 (var); Menegazzi-II, 182 (var); PAI-LVI, 107

If Nizzoli’s design for Cordial Campari ( see PAI-LXXVIII, 400) references elements of Expressionism, this composition for Bitter Campari calls to mind Cubism. As the table is raked forward and down, the bottles and glass manage to stay upright, lunging toward the viewer in gravity-defying space. While the product stands sturdily off to the left, an apéritif glass gets a magically handsfree splash of soda water, creating the brand’s signature cocktail. It is one of the rarest and most brilliant Art Deco designs ever created. This is the largest, four-sheet format.

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

Joseph Maria Olbrich (1867-1908)

416. Darmstadt. 1901. 18 3⁄4 x 32 in./47.5 x 81.2 cm H. Hohmann, Darmstadt

Cond B/Restored tears at top edge and bottom text area. Framed. Ref: DFP-III, 2431; Wember, 630; Gagel, p. 72; Affiches 1000, 0041; Galerie der Strasse, 70; PAI-LV, 425

When Olbrich co-founded the Vienna Secession group in 1897 with Klimt, Hoffman, Wagner, and Moser, his main contribution was to design the group’s exhibition building, known as the Secession Hall. It became such a well-known monument that two years later, he was called on by the Grand Duke of Hesse to create other exhibition buildings for the newly formed Darmstadt Artists’ Colony. This poster is for their first exhibition, and features an intricate rendering of the Ernst Ludwig House, also designed by Olbrich, in the background. Rare!

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

Pal (Jean de Paléologue, 1860-1942)

417. Olympia / Brighton. 1893.

30 1⁄ 2 x 48 3⁄4 in./77.4 x 123.8 cm

Imp. Paul Dupont, Paris

Cond B+/Unobtrusive folds; slight stains in margins.

Ref: Maitres, 35; Maindron 1896, 99; Dance Posters, 33; Reims, 929; Spectacle, 1279; Femme s’Affiche, 63; Gold, 162; PAI-LXXXVI, 341

Just as Pal was arriving to Paris from London, the Olympia was opening its doors to the public. Here, he’s clearly enjoying introducing two Parisian cancan girls to the seashore along Brighton’s famous pier to promote Leopold Wenzel’s “grand ballet.”

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

418. Rayon d’Or. 1895.

31 1⁄ 2 x 47 1⁄ 2 in./80 x 120.8 cm

Imp. Paul Dupont, Paris Cond A.

Ref: DFP-II, 688; Reims, 951; Timeless Images, 22; Weill, 71; Femme s’Affiche, 154; Wine Spectator, 129; Masters 1900, p. 32; Gold, 21; European Electricity, p. 74; PAI-LXXXVI, 340

“Rarely has a product so humdrum as a kerosene lamp been promoted with such uninhibited zest—but then Pal, given free rein to his imagination, could be relied on to come up with something featuring one of his incomparably alluring nymphs every time. The secret of his success is the fact that even though he makes it clear in some way... that these are purely imaginary spirits, the loving care with which he draws every curve and flesh tone gives them a sensuality much too solid for make believe” (Gold, p. 17).

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

419. Folies-Bergère / Tous les Soirs. ca. 1899. 56 7⁄ 8 x 44 1⁄4 in./144.5 x 112.5 cm

Imp. Paul Dupont, Paris Cond B/Slight tears at folds. Ref: Gold, 147 (var); PAI-LXXIX, 429

While most of Pal’s numerous designs for the Folies-Bergère focus on the entertainers, this image showcases the establishment’s lovely patrons, assuring viewers of its reputation as a high class institution. This is the larger format.

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

420

M. Pathe

420. Peter Pathe. 1919. 34 1⁄ 2 x 48 1⁄4 in./87.8 x 123 cm

Oscar Consée, München Cond B/Slight tears at folds. Framed. Although the design certainly resembles the work of Schnackenberg, this image for Munich dancer Peter Pathe is signed by an unknown M. Pathe—perhaps a relative of the performer. Peter usually performed with Maria Hagen, but here he gets top solo billing; below his frolicking feet are listed other performers and a promise of dancing with a big orchestra, all taking place at the Hotel Vier Jahreszeiten in Munich. Rare!

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

Edward Penfield (1866-1925)

421. Harper’s / June. 1894.

13 x 16 3⁄4 in./33 x 42.6 cm

Cond B+/Slight tears, largely at edges. Framed. Ref: DFP-I, 333; Lauder, 150; PAI-XLVI, 16 Summer reading, one of life’s little pleasures, gets the Penfield treatment for Harper’s . And though black may not be the ideal color to refract the summer sun, this rapt reader does have the luxury of being nothing more than a passenger on this rowboat excursion. Posters from the 1894 series are exceedingly rare.

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

422. Harper’s / November. 1895. 11 3⁄ 8 x 15 3⁄4 in./29 x 40 cm

Cond A-/Unobtrusive folds. Framed. Ref: DFP-I, 350; Lauder, 171; Sponsel, p. 206; Reims, 1267

“In honor of the National Horse Show, Penfield has an elegantly dressed couple inspect one of the entries. According to The Poster (1.2 [February 1896], p. 22), the model for the gentleman was the popular young novelist Richard Harding Davis” (Lauder, p. 146).

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

423. Harper’s / Christmas. 1896.

13 x 17 1⁄4 in./32.8 x 44 cm

Cond A.

Ref: DFP-I, 363; Lauder, 187; Takashimaya, 41; PAI-LXXXVI, 90

With extraordinary economy of expression, Penfield captures all the contradictory emotions of the Christmas season: cold weather, warm feelings, anticipation, loneliness, desire, and companionship; note the little dog racing by at left, and the manila envelope clasped in the woman’s arms.

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

424. Collier’s / November 1, 1902.

9 3⁄ 8 x 14 in./23.8 x 35.6 cm Cond A-/Slight stains at edges; matted.

With a lovely view of the New York harbor, Penfield’s businessman turns his gaze towards us, readied to make an important phone call.

Est: $700-$900.

425. Collier’s / July 11, 1903.

9 1⁄ 2 x 14 5⁄ 8 in./24.2 x 37 cm Cond A. Matted.

Ref: PAI-XLIV, 425

Athleticism beat out unionism for the cover of this week’s edition of Collier’s, featuring a brawny oarsman—doubtlessly one of the competitors from the “Intercollegiate Boat Races” being covered in this issue. Previously seen as a print without text ( see PAI-XXXIV, 93), this paradigm of all-American virility potentially may also have been used in a sports themed calendar as well.

Est: $700-$900.

426. Collier’s / July 13, 1907.

11 x 15 in./28 x 38.2 cm Cond A.

Ref: PAI-LVIII, 498

Sadly, it looks like Penfield’s girl has lost a match of tennis. Luckily, she’ll have a new issue of Collier’s to revive her spirits.

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

Jean M. Peské (1870-1949)

427. L’Estampe et l’Affiche. 1898. 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-LXXXVII, 432

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: $7,000-$9,000.

Gertrud Pfeiffer-Kohrt (1875-1939)

428. Breslauer Festwoche. 1909. 24 1⁄ 8 x 35 1⁄ 2 in./61.2 x 90.2 cm Klein & Volbert, München Cond A/P.

Ref: PAI-LXXXVI, 346

In 1871, Breslau was the sixth-largest city in the German Empire. A historically German region, it was the center of German Baroque literature during the Enlightenment period. Following World War II, the region was incorporated into Poland and renamed Wrocław. Here, Pfeiffer-Kohrt offers up a jubilant prewar celebration in the historic city. The Fest Week included sports, games, and art; her adorable child and baby goat must have been a wonderful incentive to attend.

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

René Pichon

429. Photo et Cinema. 1930.

9 1⁄ 2 x 13 3⁄4 in./24 x 35.2 cm

Ateliers Pichon

Cond B+/Slight tears and stains at edges. Clearly an admirer of Cassandre, Pichon created this striking geometric design to announce an exposition of photography and cinema at the Paris Expo Porte de Versailles. Rare!

429 430

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

Emil Pirchan (1884-1957)

430. Emil Pirchan / Bühnenentwürfe. ca. 1912.

33 3⁄ 8 x 45 1⁄ 8 in./85 x 115 cm

Graphische Werke, München

Cond B+/Slight tears at folds. Framed.

Ref: DFP-III, 2555; Sachs, p. 113; Kossatz, p. 41

Using saturated blocks of color, Pirchan advertises his own exhibition of theatrical stage designs at Munich’s Moderne Galerie. Born in the Czech city of Brno, Pirchan studied art in Brunn, Germany and Vienna. After a brief stint working as an architect, he found his passion in the theatre, and spent four decades creating set designs and acting as director of the Bavarian State Theatre, the State Theatre in Berlin, the German Theatre in Prague, and the Burgtheater and State Opera in Vienna. Alongside this prolific work, he designed some 1,500 posters and also authored novels and artist monographs, including the very first monograph on Gustav Klimt.

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

Tom Purvis (1888-1959)

431. Austin Reed.

19 3⁄4 x 29 5⁄ 8 in./50.2 x 75.2 cm

Cond A-/Slight tears at edges. Framed.

Ref: PAI-L, 414

Though somewhat less formal than another poster he created for Austin Reed of Regent Street ( see PAI-XVIII, 414), Purvis doesn’t fail to communicate the clothier’s impeccable sense of style. His design not only features a fashion sense to which all gentlemen should aspire, but sumptuous fabric folds and creases that all but beg to be felt firsthand. Best known for his British railway posters, the artist ranks among the best posterists working between the Wars, making dramatic impact with his use of flat colors and simplified design.

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

Leslie Ragan (1897-1972)

432. New York Central System / For the Public Service. 1946. 15 7⁄ 8 x 33 1⁄4 in./40.4 x 84.6 cm Brown & Bigelow, St. Paul, MN Cond A. Framed. Ref (both var): Favre/Chemins de Fer, p. 108; PAI-LXI, 408

In 1867, the American railroad magnate Cornelius Vanderbilt became president of the New York Central Railroad, and through a series of mergers he formed the New York Central and Hudson River Railroad. By 1930, having absorbed other large rail companies and reverted back to its original name, the New York Central was one of the leading lines connecting the Eastern seaboard with Midwestern cities. This rare full poster with map in the lower register—set at Chicago’s La Salle Street Station with the Cerestopped Board of Trade Building towering in the background—proudly displays each engine model of the Central fleet, from the old-fashioned steam engine to the postwar marvel of the Diesel, and the Streamlined Steam model, The Twentieth Century Limited, designed by Henry Dreyfuss.

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

Armand A. L. Rassenfosse (1862-1934)

433. Soleil. 1897. 21 5⁄ 8 x 28 1⁄4 in./55 x 71.8 cm

Lith. A. Bénard, Liège Cond A-/Slight creases.

Ref: DFP-II, 1120; Rassenfosse, p. 67

Provenance: the Hans Sachs Collection

To advertise a new gas incandescent burner, Rassenfosse employs a stylish woman who is struck by the lamp’s brilliance.

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

434

Emil Ranzenhofer (1864-1930)

434. Café Lurion. 1903. 36 1⁄4 x 49 7⁄ 8 in./92.2 x 126.7 cm J. Weiner, Wien Cond B+/Slight tears at folds.

Ref: Denscher, p. 130; Tagebuch der Strasse, 77

On December 25, 1903, Maxime Lurion opened her Café Lurion, a coffee house to rival all other Viennese coffee houses—a tall order that she easily surpassed. The exquisitely decorated café not only boasted wonderful coffee and lounge areas, but a game room, an American bar, a bowling alley, and a winter garden that doubled as a concert hall. The Neues Wiener Tagblatt reported: “[The] coffee house... furnished with exquisite taste, elegance and dignified luxury, is a grand attraction of Vienna’s local art and industry; Viennese painters, sculptors, architects and arts and crafts enthusiasts were brought in to create a jewel case that not only adorns our city, but which every Viennese can look at with pride... Vienna has many fine coffee houses, but... Café Lurion has beaten an unmatched record” (Tagebuch der Strasse, p. 95). And Ranzenhofer’s stylish lady definitely sets the tone for the Café Lurion experience. Rare!

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

435. The Century / Midsummer Holiday Number. 1894.

19 x 14 in./48.3 x 35.5 cm

Cond A. Framed.

Ref: Lauder, 46; Margolin, 53; PAI-XXXVI, 514

Rhead artfully captures Art Nouveau ambiance for The Century by echoing the woman’s auburn tresses in the orange trumpets and roses which surround her, and then reflecting the wave of her hair in the lines of the stylized sky. Rhead was one of the first poster artists to gain an international reputation. He was heavily influenced by Grasset, who he admired and met while in Paris.

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

436. The Quartier Latin. 1899.

x 20 1 8 in./35.5 x 51 cm

Imp. Chaix, Paris (not shown)

Cond A. Framed.

(all var): DFP-I, 472; Lauder, 271; PAI-LXXXIV, 418

The Quartier Latin was the literary arts magazine for young British and American expats in Belle Époque Paris, featuring contributors such as Jack B. Yeats, Kate Adair, and J.K. Huysmans. While American writers decried The Quartier Latin for the “total lack of decorous restraint which should exist between young people” (The Evils of the Latin Quarter, Chicago Tribune, 1899), all is elegant artistry in Rhead’s cover illustration. Born in England, Rhead found equal success in London, New York, and Paris; his 1895 exhibition of posters in New York was America’s first. This is the rare proof before letters —with incredibly fresh colors!

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

437. Scribner’s / For Xmas. 1895.

13 3⁄4 x 18 in./35 x 45.8 cm

Cond A-/Slight tear at upper right corner. Framed.

Ref: DFP-I, 449; Affiches Etrangères, p. 153; Reims, 1317; Lauder, 260; Gold, 104; PAI-LVIII, 511

“A red-haired beauty brings some Christmas greenery to her house through a snowy wood in this charming design for Scribner’s, one of the most popular magazines of its kind. Even by Rhead’s own high standards, this is a classic” (Gold, p. 74).

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

Louis

438. Mandeville and King / Superior Flower Seeds. 1897.

18 1⁄4 x 29 in./46.3 x 73.7 cm

J. Ottman, New York

Cond B-/Tears and stains at fold and edges. Framed.

Ref: Margolin, p. 183; PAI-LXXXVI, 351

With a heavy nod to Grasset, this intricate and contemplative design for Mandeville and King flower seeds delicately portrays the romanticization of nature so popular at the time.

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

Manuel Robbe (1872-1936)

439. Corsets “Le Furet.”

39 3⁄ 8 x 53 5⁄ 8 in./100 x 136.2 cm

Affiches Atlas (not shown)

Cond B+/Unobtrusive folds.

Ref: PAI-LXXXVI, 353

For Le Furet corsets, Robbe gives us a wistfully intimate portrait of a woman at her vanity, exquisitely detailed and frosted with the romance of midsummer hues. It’s a gorgeous design, from the silver-topped crystal jars on the dressing table to the unaffected demeanor of his primper. Robbe was known mainly for producing a great many decorative prints in a bold, robust style. His posters are rare, and show an incredible flair for compositions and use of simple colors.

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

W. Graham Robertson (1867-1948)

440. The Art Journal. 1898. 18 3⁄4 x 28 7⁄ 8 in./47.7 x 73.2 cm

J. S. Virtue, London Cond A-/Unobtrusive folds.

Ref: PAI-XXXIV, 520

In addition to poetry and painting, Robertson’s hobby was fashion design—hence he chose to make a lavish gown the centerpiece of this poster for The Art Journal . It’s an ideal union of artist and subject.

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

Lucius Rossi (1846-1913)

441. Blossoming Affection. ca. 1905. 12 7⁄ 8 x 27 in./32.7 x 68.5 cm

Imp. F. Champenois, Paris (not shown) Cond A. Framed.

Ref: Champenois, p 101 (var); PAI-LXXXIII, 446

This stunning panel, printed on silk, was used to promote the fine craftsmanship of the Champenois printing company. It could not have failed to impress—either then or now—as the many fine gradations of white in the flowers and in the gauzy dress shimmer and shine as the light hits them. Artistically, the style reflects the interest in Japonisme at the time; prints like these were frequently deployed as gifts to preferred clients. That blooming affection is meant to be felt, not just seen.

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

Auguste Roubille (1872-1955)

442. Spratt’s Patent Ltd. ca. 1909.

Imp. Lemercier, Paris Cond A-/Slight tears at edges. Framed. Ref: DFP-II, 765; Livre de l’Affiche, 24; Gold, 20; Masters 1900, p. 71; PAI-LXXXI, 438

Spratt’s was a major British pet food producer with branches in several countries (their U.S. factory was located in Newark, NJ). Here, the French branch advertises with a poster stressing dog food. “Roubille uses a restrained yet warm style to show a happy mistress dispensing Spratt’s treats to her clamoring canines” (Gold, p. 14). It’s surely one of the finest animal-centered images in the poster medium. Est: $10,000-$12,000.

Raymond Savignac (1907-2002)

443. Vendre par L’Affiche. 1956. 38 x 59 7⁄ 8 in./96.5 x 152 cm

Imp. Aussel, Paris

Cond B+/Slight tears at folds.

Ref: Savignac/Forney, 540; Chaumont/Exposons, p. 57; PAI-LXXXVII, 442

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: $1,700-$2,000.

Emil Andre Schefer (1876-1942)

444. La Côte d’Azur. 1926. 27 1⁄4 x 41 1⁄ 2 in./69.2 x 105.5 cm

Imp. Lucien Serre, Paris Cond A. Framed.

Ref: Affiches Azur, 13; Train à l’Affiche, 254; PAI-LXV, 466

While not the obvious choice of visuals to promote the sun-dappled Côte d’Azur, this masculine, industrial image of a train pulling out of the station does get one in the mood for the thrill of rail travel—and our destination is just an overnight trip from Paris.

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

Paul Scheurich (1883-1945)

445. Plakate / Hollerbaum & Schmidt. 1911. 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-LXXXVII, 445

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: $3,000-$4,000.

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Walter Schnackenberg (1880-1961)

446. Die Pyramide. 1920.

35 x 47 7⁄ 8 in./88.8 x 121.8 cm

Oscar Consée, München

Cond B+/Slight tears at top and bottom edges. Framed. Ref: Plakate München, 450; Zeitzeiger, p. 176; PAI-LIII 447

In order to promote a Munich wine bar called The Pyramid, Schnackenberg goes all in on the Egyptian theme, but with Art Deco flair. The flattened shapes, geometric lines, and seminude attending server draw on ancient reliefs, while the wine glasses and spindly bread sticks reflect 1920s German culture. Rare!

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

Albert Sebille (1874-1953)

447. Normandie. 1935. 24 5⁄ 8 x 39 1⁄4 in./62.5 x 99.8 cm

Éditions de l’Atlantique, France Cond A.

Ref: PAI-XXIII, 475

Born in Marseilles, Sebille was, unsurprisingly, drawn to the sea. He received the title of Official Marine Painter in 1907 and also served as a technical consultant for many transatlantic steamships—most notably on the silhouette of the famed Normandie . This depiction of his proud creation—and arguably the world’s most elegant ship—was done the year of her maiden voyage (Le Havre-Southampton-New York). The bottom of the poster is left blank for imprinting by local ship agents. It’s one of the rarest of all Normandie images.

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

446

Sepo (Severo Pozzati, 1895-1983)

448. Anic Cigarettes. 1938. 37 5⁄ 8 x 57 1⁄4 in./95.5 x 145.5 cm Créations Idea, St. Ouen Cond B+/Creasing and tears in top and bottom text areas. Ref: PAI-LXXIV, 426

As the world prepares for war in 1938, a Picasso-esque dove of peace descends to clear the air and provide peace of mind with filters for Anic cigarettes. Est: $1,700-$2,000.

Chester N. Siebold

449. Mazda Lamp. ca. 1920.

28 x 21 in./71 x 53.5 cm

Cond B+/Slight tears at folds.

Ref: European Electricity, p. 122; PAI-XLV 511

This advertisement for the new white Mazda light bulb—textured with an unmistakable Hohlwein quality—presents a coy visual allegory by comparing the white light cast by the new Mazda lamp to the pure snowy fluff of a rabbit’s pelt. National Mazda, though a division of General Electric, was a brand name which could be attached to any manufacturer that went through a rigorous testing process at the National Plant in Euclid, Ohio. From 1910 through the 1930s, the National Mazda name was an appellation associated with excellence, and GE masterfully used it to its best advantage: it was not only an exceptional marketing tool, but the submission process was a shrewd corporate maneuver which allowed General Electric to precisely examine their competitor’s latest innovations. This design comes from Siebold’s term as art director at General Electric.

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

Louis B. Siegrist (1899-1989)

450. Indian Court. 1939.

25 1⁄ 8 x 36 in./63.8 x 91.4 cm

Cond A.

Ref: WPA, p. 92; PAI-LXXXIV, 436

An Eskimo mask, situated just so by Louis B. Siegriest, nearly becomes a work of abstract expressionism in this extraordinary WPA poster for the 1939 Golden Gate International Exposition. This was a kind of “World’s Fair” on San Francisco’s Treasure Island to inaugurate both the Golden Gate and Oakland Bay bridges, which had opened in recent years. The theme was “Pageant of the Pacific.” FDR spoke: “May this, America’s World’s Fair on the Pacific in 1939, truly serve all nations in symbolizing their destinies, one with every other, through the ages to come.” Siegriest produced a portfolio of posters for the event; this is perhaps the most fascinating of them. This is a silkscreen print.

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

451. Indian Court. 1939.

25 1⁄ 8 x 36 in./63.8 x 91.4 cm

Cond A.

Ref: WPA, p. 88

Whereas the previous poster is more serenely defined, this WPA image for the Golden Gate International Exposition features a feverish Apache devil dancer, appropriated from an Indian painting made in Arizona. According to Apache legend, devil dancers were invisible men with special abilities. Native Americans would dress in costume with bells sewn on their clothing, hide behind bushes or trees, and wait for the dance to begin. They’d then rush out, yelling and screaming, and join the dance with great joy.

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

Jan Sluyters (1881-1957)

452. De Jordaan. 1920. 31 3⁄ 8 x 46 7⁄ 8 in./79.7 x 119.2 cm Cond A. Ref: PAI-XI, 54

A new edition of a popular novel about earthy Amsterdam characters is advertised by a little tableau arranged to engage our interest. Est: $2,000-$2,500.

Elisabeth Sonrel (1874-1953)

453. Dames au Thé : Painting. 13 x 20 1 8 in./33 x 51.2 cm Signed watercolor painting. Framed. Ref: PAI-LXXX, 487

Sonrel wields her brush to depict a classic Victorian scene: two ladies, dressed to the nines, attend afternoon tea in a grand hall. Presumably sisters, the seated girl appears to be daydreaming while the other gives her a surreptitious glare of either jealousy or extreme admiration. It’s a quizzical scene, and a wonderful example of Sonrel’s technical expertise as an artist. Est: $1,400-$1,700.

J. Stall (1874-1933)

454. Champagne Joseph Perrier. ca. 1929. 47 3⁄ 8 x 63 in./120.4 x 160 cm

Imp. B. Sirven, Paris Cond A-/Slight creases. Ref: Publicité, p. 82; PAI-LXXXVI, 365

Established in 1825, the champagne house of Joseph Perrier is still in production today. Here, in one of their more famous champagne posters, a bunch of grapes has come to life, holding a bottle of her destiny aloft.

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

T. A. STEINLEN

Théophile-Alexandre Steinlen (1859-1923)

455. Compagnie Française des Chocolats et des Thés. 1895.

3 8 x 30 3⁄4 in./56.8 x 78 cm

Imp. Courmont Frères, Paris

Cond A-/Unobtrusive horizontal fold; pinholes in corners. Framed.

Ref: Bargiel & Zagrodzki, 19B; Crauzat, 494; DFP-II, 784; Timeless Images, 49; Gold, 55; PAI-LXX, 488

In one of Steinlen’s most tender posters, we are offered an intimate peek into his private life. Using his wife Emilie and his daughter Colette as models, we witness the artist’s family at breakfast. As Emilie quietly meditates over the day at hand, she sips on Chinese black tea. Meanwhile, young Colette stares curiously back at the signature household pet, protectively guarding her hot chocolate from a potential feline thief. As charming as it is cozy, this scene promotes the French Chocolate and Tea Company, a staple in all real—rather than overly fancy—homes. This is the larger format.

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

456. Lait pur Stérilisé. 1894. 36 1⁄ 2 x 92 1⁄4 in./92.7 x 132.7 cm

Imp. Charles Verneau, Paris (not shown) Cond A-/Slight tears and creases at edges. Framed.

Ref: Bargiel et Zagrodzki, 16. A1; Crauzat, 491; Wine Spectator, 112; Maitres, 95; DFP-II, 783; Abdy, p. 97; Weill, 63; Gold, 56; Encyclopédie/Weill, p. 54; Posters of Paris, 80; PAI-LXXXVI, 369

All the warmth, humanity, and affection for which Steinlen is so loved comes through gloriously in this poster for the newly marketed “lait stérilisé” that was touted over the “lait ordinaire” at that time. Charles Knowles Bolton, writing a year after its publication, proclaimed that this “is perhaps the most attractive poster ever made. No man with half a heart could fail to fall in love with the child.” Louis Rhead himself commented: “When I saw it in Paris last year... it seemed to me the best and brightest form of advertising that had appeared.”

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

Steinlen (Continued)

457. Chat Noir. 1896.

38 1⁄ 8 x 55 1⁄4 in./96.8 x 140.2 cm

Imp. Charles Verneau, Paris Cond B/Tears at fold.

Ref: Bargiel & Zagrodzki, 22:A3; PAI-VIII, 512

This is one of only three known copies of this variant of the Chat Noir with hand-stenciled text in Russian. It advertises the reopening of the café on October 3, 1896, and the start of its shows three days later. It was at the Chat Noir where “Henri [Toulouse-Lautrec] had discovered a stocky, handsome, foul-mouthed character, a master of the chanson-realiste by the name of Aristide Bruant. Henri sat happily through Bruant’s act night after night after night, listening to gritty ballads that ignored the idealised world of brightly-lit dance halls and sun-dappled boating parties so beloved of Henri’s colleagues” (Sweetman, p. 128). This is “Steinlen’s most famous cat poster... The cat is sinister, a warlock’s cat. On the halo around its head is written ‘Mon Joye, Montmartre’” (Abdy, p. 96). It is not clear if there was a sufficient expatriate Russian community to warrant this special version. Rare!

$20,000-$25,000.

458. Chat Noir / Prochainement. 1896. 15 1⁄ 2 x 24 1⁄4 in./39.3 x 61.5 cm

Imp. Charles Verneau, Paris Cond A. Framed.

Ref: Bargiel & Zagrodzki, 22.B1; PAI-LXXXVII, 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 tipon and in a new edition of the poster. This is the smaller format.

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

459. Le Petit Sou. 1900. 39 1⁄4 x 54 1⁄ 2 in./99.5 x 138.4 cm

Imp. Charles Verneau, Paris (not shown) Cond B+/Slight tears at horizontal fold.

Ref: Bargiel et Zagrodzki, 39; Crauzat, 507; Steinlen, 96; DFP-II, 795; Schardt, p. 148; Gold, 99 (var); PAI-LXV, 488

Originally designed for a workers’ daily paper, this image shows a wild Marianne calling her fellow laborers to arms against the tyranny of the State. About to storm the new Bastille, she has ripped off her shackles in protest. This is the image-only version, without the top or bottom text panels.

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

M. Stéphane

460. Cognac Briand.

1⁄4 x 63 1⁄

in./120 x 160.4 cm

Imp. Moullot, Marseille

A-/Slight creases at horizontal fold.

Ref: Gourmand, p. 54; Poitou-Charentes, cover & p. 139; PAI-LXXXV, 434

Vaulting free from the confines of her verdant launching pad, this nimble nymph brandishes a smile and a bottle of Briand cognac in each hand as she greets us with the golden optimism only a fine distillate can instill. Her wardrobe, carefully composed and palpably fertile, yet profoundly unrestrained, calls to mind a Folies Bergère showgirl’s extravagance.

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

Niklaus Stoecklin (1896-1982)

461. Binaca. 1944.

1⁄ 8 x 50 3⁄ 8 in./91.8 x 128 cm Wolfsberg, Zürich Cond A.

Ref: Stoecklin, 97

Stoecklin created several designs for this brand of toothpaste in his Sachplakat style, but this one is arguably the most adorable. If this frisky squirrel enjoys brushing her teeth with Binaca, then surely we will too!

$1,400-$1,700.

Francisco Tamagno (1851-1933) & Albert Guillaume (1873-1942)

462. Imprimerie Camis.

50 1⁄4 x 77 3⁄4 in./127.7 x 197.5 cm Imp. Camis, Paris Cond B+/Slight tears and stains at folds.

One probably wouldn’t imagine a printer’s workshop looking like the finest department store in all of Paris. But at the height of the poster craze during the Belle Époque, print shops were serious business, often housing dozens of presses and employing hundreds of lithographers. The Camis facilities are quite impressive on their own, but Tamagno decided to go all out with his design, including gold mosaic tiles, sculptures of horn-tooting angels, and an allegorical maiden, rustling in the wind, and presenting this glory for all of us to behold. Guillaume’s contribution was the hordes of Parisian sophisticates waiting— probably in extreme anticipation—to enter these gilded doors. And to make the whole thing even more impressive, Camis printed this large poster on one sheet as proof that he has the largest printing presses in the world. It’s a fantastic record of poster history, and a must-have in the poster lover’s collection.

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

464

Francisco Tamagno (1851-1933)

463

463. Naumann. ca. 1900. 46 5⁄ 8 x 62 3⁄4 in./118.5 x 159.3 cm Affiches Camis, Paris Cond A. Ref: PAI-LXXXVI, 377

As the moon beams down above Paris rooftops, our friend Pierrot watches on excitedly while his friend mends his beloved jacket. Launched in Dresden in 1868 by entrepreneur Karl Robert Bruno Naumann, the company would eventually be renamed Seidel & Naumann for businessman/investor Erich Seidel. The company, which lasted until 1992, was one of the largest producers of not only sewing machines, but also typewriters and even bicycles and motorcycles.

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

Bert Thomas (1883-1966)

464. LNER / Put it There.

39 5⁄ 8 x 59 7⁄ 8 in./100.7 x 152 cm Waterlow & Sons, London Cond B+/Slight tears at edges. Put it where? There! The LNER wants your posters, and Thomas created an appropriate poster-within-a-poster image featuring a charming bill poster at work.

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

Henry Atwell Thomas (1834-1904)

465. L’Eclair / Journal Politique Indépendant. 1897. 34 1⁄ 8 x 48 5⁄ 8 in./86.7 x 123.5 cm Imp. Chaix, Paris Cond B+/Unobtrusive folds. Framed. Ref: Abdy, p. 167; Maitres, 222; Fit to Print, 86; PAI-LXXXII, 444 Thomas was an American painter, lithographer, and co-owner of the printing firm Thomas & Wylie of New York. At the age of sixty-three, he submitted this design to a competition sponsored by the Paris newspaper L’Eclair; to the surprise of many, including runners-up Vavasseur, Meunier, and Gottlob, he won—and deservedly so. It was one of the most successful poster competitions ever mounted: 500 entries were submitted (about forty of which were printed in a handsome book by the publisher), and the jury was a “Who’s Who” of the day’s graphic giants, including Puvis de Chavannes, Chéret, Forain, Grasset, Guillaume, Mucha, Steinlen, and Willette. This is the larger format.

Est: $3,000-$4,000.465

HENRI DE TOULOUSE-LAUTREC

Henri de Toulouse-Lautrec (1864-1901)

466. Marcelle Lender, en Buste. 1895. 11 3⁄4 x 15 3⁄ 8 in./29.8 x 39 cm

Cond A. Framed.

Ref: Wittrock, 99; Adriani, 115; PAI-LXXXIII, 467

This is the deluxe French edition, numbered 63 of 100 impressions, and with the artist’s red monogram stamp. Parisian actress Marcelle Lender had been appearing in a series of comic operas, principally at the Théâtre des Variétés, since 1889. Utterly enamored with the performer, Lautrec did many drawings of her in a variety of her roles. Here, she is depicted in Chilpéric, an operetta-revue that was revived in 1895. “The main attraction in Chilpéric was the bolero, danced by Marcelle Lender as the Galaswintha at the court of King Chilpéric. It was not so much the flimsy plot of this medieval farce as the actress... who led Lautrec to sit through the operetta nearly twenty times. Always watching from the same angle, from one of the first tiers on the left, he would lie in wait with his sketch pad” (Adriani, p. 157). Lautrec’s attentions were well repaid. His half-length portrait of Lender in her fantastic Spanish costume, bowing to the audience applause, is considered a lithographic masterpiece. “No other lithograph is printed with such a wealth of subtle color combinations, and none embodies, as this does, the opulent decoration of an age moving towards its close” (Adriani, p. 161). Rare!

Est: $15,000-$20,000.

467. Elles. 1896. 18 1⁄ 2 x 23 1⁄ 2 in./47 x 59.7 cm Cond A-/Slight stain at upper left corner. Framed. Ref: Wittrock, 155-III; Adriani, 177-IV; DFP-II, 842; Reims, 782; PAI-LXXXVI, 384

This poster announces Lautrec’s famous brothel series “Elles,” an edition of lithographs depicting prostitutes simply referred to as “Elles” (Them). This ambiguous title both recalls the common phrase ces dames (these ladies), and at the same time is the pronoun indicating all females. Although the women of the “Elles” series are prostitutes, they appear desexualized, shown in postures that emphasize the everyday and unglamorous nature of their occupation. In this instance, putting her hair back up after finishing with a client; the only indication that a man is even in the room is his top hat resting gingerly on her bed. It was the pictorial epilogue to what the artist had experienced in the maisons closes of the rue des Moulins, the rue d’Amboise, and the rue Joubert. “They” are “women to my liking,” as he used to say, and he often lived with them for weeks at a time during the years 1892 to 1895, a constant witness of their daily lives, of their suffering and intimacy.

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

468. Elles. 1896. 15 1⁄ 2 x 20 1⁄ 2 in./40 x 52 cm Cond A. Framed.

Ref: Wittrock, 155-III; Adriani, 177-IV; DFP-II, 842; Reims, 782; PAI-LXXXII, 454

This is the rare state of the previous poster before the addition of bottom text, used as the frontispiece of the Elles suite. From a numbered edition of 100 copies, it also includes the stamp of Pellet, and is hand-signed by the artist—a rare feature.

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

470 Toulouse-Lautrec (Continued)

469. Jane Avril. 1893. 36 1⁄4 x 50 1⁄4 in./92 x 127.5 cm

Imp. Chaix, Paris

Cond A-/Slight tears at edges. Framed.

Ref: Wittrock, P6B; Adriani, 11-I; Wagner, 7; DFP-II, 828; Maitres, 110 (var); Driehaus, p. 109; Wine Spectator, 41; Reims, 784; PAI-LXXVIII, 465

“Universally considered his most brilliant and successful design” (Wagner, p. 22). “The Wine Spectator” introduces Toulouse-Lautrec’s world-famous lithograph this way: “Jane Avril on stage doing her specialty, which, according to contemporaries, was essentially a cancan that she made exotic by making a pretense of prudery—the ‘depraved virgin’ image aimed at arousing the prurience in the predominantly male audience. The sexual innuendo was captured by the artist by contrasting the dancer’s slender legs with the robust, phallic neck of the bass viol in the foreground—a masterly stroke that not only heightens our perception but also creates an unusual perspective: we see the performer as an orchestra member would, and this allows Toulouse-Lautrec to show, as if inadvertently, how tired and somewhat downcast she looks close-up, not at all in keeping with the gaiety of the dance that is perceived by the audience. It is clear, as Maindron has pointed out, that she is dancing entirely for the viewer’s pleasure, not hers, which makes it a highly poignant image. Seemingly without trying, Toulouse-Lautrec not only creates a great poster but makes a personal statement: Only a person who really cares about his subject as a human being would portray her with such startling candor” (Wine Spectator, 41). Est: $60,000-$70,000.

470. Confetti. 1894. 17 1⁄ 2 x 22 1⁄4 in./44.4 x 56.6 cm Imp. Edw. Ancourt, Paris Cond A. Framed.

Ref: Wittrock, P13; Adriani, 101; DFP-II, 834; Wagner, 14; Wine Spectator, 53; Driehaus, p. 105; Reims, 799; PAI-LXXXV, 448

Confetti has been with us since the Middle Ages, for weddings, triumphs, and seasonal red-letter days. But in the 19th century, “confetti” took the form of plaster lozenges. They made a mess. They hurt people. J. & E. Bella paper manufacturers of London had a better way: flecks of paper that were as pretty as they were harmless. The J. & E. Bella Co. commissioned this poster from Lautrec, then featured it as the catalog cover for one of the poster exhibitions the company hosted at the London Aquarium. “Confetti epitomizes Lautrec’s conceptual simplicity; broad masses are effectively defined with utmost economy of means. His deftly inflected lines emerge more calligraphically by virtue of the light-colored image, with its broad sweep of billowing, off-white dress. In this poster Lautrec’s dematerialization of form borders on abstraction” (Wagner, p. 2526). The result: Toulouse-Lautrec’s delightful, gladdening design popularized the new form of confetti, literally transforming the way the world celebrates.

Est: $40,000-$50,000.

471

Toulouse-Lautrec (Continued)

471. May Milton. 1895.

24 1⁄ 8 x 31 in./61.3 x 78.8 cm

Imp. Edw. Ancourt, Paris

Cond A. Framed.

Ref: Wittrock, P17A; Adriani 134-I; PAI-LXXXIV, 456

With a banjo-playing clown as a remarque in the lower right corner, this distinctive version of May Milton was printed in an edition of just 25 copies. “Extremely rare,” says Wittrock (p. 788). An English dancer at the Moulin-Rouge, May Milton was in an affair with May Belfort ( see following lot). Toulouse-Lautrec’s portrait of her is so subtly bizarre that Picasso included it in the background of his early painting “The Bath” (1901). “Milton is shown in a seemingly impossible position,” Ebria Feinblatt writes. “Lautrec so twists the position of Milton’s right leg that, instead of a back kick, the foot emerges from the side. At the same time, this pose answers the artist’s need to continue the unbroken, undulating pattern that starts with the wavy hair hanging down to her puffed shoulder sleeve... the undeniable presence of the figure [is] arresting” (Wagner, p. 27). This is hand-signed and numbered 6 from an edition of 25 copies, and extremely rare! Est: $40,000-$50,000.

472. May Belfort. 1895. 24 x 30 7⁄ 8 in./61.5 x 78.5 cm Imp. Edw. Ancourt, Paris Cond A-/Slight stains at edges. Framed. Ref: Wittrock, P14A; Adriani, 126-III; PAI-LXXXIV, 457 This limited edition print includes Lautrec’s cat remarque, and is one of 25 copies. “May Belfort, whom [Lautrec] represented in at least ten works, had gained a reputation for corrupt innocence by appearing onstage dressed as a baby holding a black kitten in her arms, and ‘miaowing or bleating’ her popular song, ‘Daddy Wouldn’t Buy Me a BowWow,’ whose lines had a double meaning which was not lost on the French-speaking audience: ‘I’ve got a pussycat, I’m very fond of that’” (Frey, p. 382). This would have been particularly amusing for the audience, as Belfort was in an openly lesbian affair with the English dancer May Milton. According to Wittrock, this is the “extremely rare” version: number 6 of 25 hand-signed and numbered copies with the cat remarque. Est: $60,000-$70,000.

473

Toulouse-Lautrec (Continued)

473. May Belfort : Trial Proof. 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 but PAI): Wittrock, P.14 (trial proof ii); Adriani, 126 (first state); PAI-LXXXVII, 472

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).

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

474. Le Théâtre Libre. 1893. 9 1⁄ 2 x 12 5⁄ 8 in./24 x 32 cm

Imp. Eugène Verneau, Paris Cond A.

Ref: Wittrock, 15; Adriani,40-III; PAI-LXXXI, 479

The Théâtre Libre, founded by André Antoine in 1887, was exempt from the censorship of the day—possibly due to its unique financing structure. Its 200 season-ticket holders were treated to some of the most avant-garde theatre of the era, witnessing productions such as Ibsen’s Ghosts, which had been banned elsewhere. By 1893, its financial situation was perilous, perhaps reflected in the two plays listed for the 1893-’94 winter season: A Bankruptcy and The Poet and The Financier . Toulouse-Lautrec’s print was originally published without lettering as “La Coiffure,” showing one of the women from the rue des Moulins brothel having her hair done.

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

475. Reine de Joie. 1892. 37 1⁄ 8 x 55 1⁄4 in./94.4 x 140.5 cm Imp. Edw. Ancourt, Paris Cond B+/Slight tears at folds. Framed.

Ref: Wittrock, P3; Adriani, 5; DFP-II, 823; Wagner, 4; Posters of Paris, 88; Wine Spectator, 49; PAI-LXXXV, 461

Victor Joze, a Polish writer of cheap erotic novels and a friend of Lautrec, in 1892 published “Reine de Joie/Moeurs du Demi-Monde” (Queen of Joy, or, The World of Easy Virtue). It was a perfect subject for Lautrec. The Reine de Joie of the title is Alice Lamy, the central character in a book which at 180 pages is little more than a novella, and tells a picaresque tale of a pretty Parisienne who, when jilted by her lover, Charles, embarks on a career as a courtesan. She “finally hits the jackpot” when she’s “introduced to the superrich Baron Rozenfeld... Alice enters into a purely mercenary arrangement with the Baron whereby he will pay her a huge monthly retainer and provide her with a fabulous mansion... in exchange for her services as his mistress. The denouement comes at a dinner when Alice unrolls her napkin to discover the title deeds to the property, whereupon she kisses him, sealing their bargain” (Sweetman, p. 306-308). As Ebria Feinblatt notes: “The poster is one of the most piquant and popular that the artist produced... Aside from the acutely realistic characterizations, the impact of the composition lies in the skillful use of pure color to model the forms, which assume an abstract quality” (Wagner, p. 19).

Est: $50,000-$60,000.

476

Toulouse-Lautrec (Continued)

476. 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-LXXXVII, 475

“This official poster for La Revue Blanche is considered by many to be Lautrec’s strongest individual work. In it, using a combination of economical line and implied movement, large flat areas of color and carefully observed detail, he shows Misia Natanson, wife of the magazine’s editor, Thadée Natanson, ice-skating at the Palais de Glace, an ice rink opened at the Rond-Point des Champs-Élysées by Jules Roques in 1894. The entire poster is like a little joke, as if Lautrec were amusing himself by proving that he could show an ice-skater without ever showing her skates” (Frey, p. 408).

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

477. Bruant au Mirliton / Bock 13 Sous. 1893. 23 1⁄ 8 x 31 1⁄ 2 in./58.7 x 80 cm Imp. Chaix, Paris Cond A. Framed. Ref: Wittrock, P10A; Adriani, 57-II; DFP-II, 831; PAI-LXXXV, 453

This is the first of three versions of this poster: one announces Bruant’s latest cabaret ( see PAI-LXXVI, 444); one advertises the sale of a songbook by the performer ( see PAI-LXXXV, 455); this version promotes the 13 sous beer special that will be available during Bruant’s show. All are distinguished by Bruant’s insolent stance: the point made is that we can recognize the famous performer not only despite his turning his back to us, but because of it. Wittrock rates this design as “Rare.”

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

478. Aristide Bruant Dans Son Cabaret. 1893. 37 3⁄ 8 x 54 in./95 x 137 cm

Imp. Charles Verneau, Paris Cond A-/Slight 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: $40,000-$50,000.

479

Toulouse-Lautrec (Continued)

479. 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-LXXXVII, 490

“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: $25,000-$30,000.

480. The Ault & Wiborg Co. / Au Concert. 1896. 9 1⁄ 8 x 12 in./23.2 x 30.5 cm Cond B+/Slight tear at bottom edge; matted to image. Framed. Ref: Wittrock, P28B; Adriani, 196-II; Wagner, 27 (var); PAI-LXXXIV, 473

Lautrec’s smallest poster—and one of his rarest—is also the only one executed by him on zinc plates and the only one printed in the United States. He sent the plates to the Cincinnati ink and printing company, Ault and Wiborg, who commissioned it from him. It represents the actress Emilienne d’Alençon and Lautrec’s cousin, Dr. Gabriel Tapié de Céleyran in a loge. Lautrec also printed a small edition under the title “Au Concert” in Paris. This is the extremely rare French version before letters, and executed before the plates were sent off to the Cincinnati printing house. According to Adriani, only 20 copies were printed.

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

Toulouse-Lautrec (Continued)

481. The Ault & Wiborg Co. 1946.

13 5⁄ 8 x 17 in./34.7 x 43 cm

Cond A. Framed.

Ref: Wittrock, P28/Note; Adriani, 196/New edition; Wagner, 27 (var); PAI-LXIX, 679

In 1946, 50 years after Lautrec printed The Ault & Wiborg Co., the Chicago Art Institute used the original plate to produce 100 limited edition prints before defacing the plate. This is #37⁄100.

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

482. Babylone d’Allemagne. 1894. 33 x 47 1⁄ 8 in./83.8 x 119.7 cm

Imp. Chaix, Paris

Cond A. Framed.

Ref (all var): Wittrock, P12B; Adriani, 58; DFP-II, 832; PAI-LXXXVII, 493

This rare proof before letters includes a hand-signed dedication to Jules Chéret. The subject is a book exposing the decadence of Berlin society, written by Lautrec’s friend Victor Joze. His poster “focuses the spectator’s attention on the hindquarters of four horses, the largest of which [is] also being closely observed by a caricature of the Kaiser standing in a guardbox. The implications of this, along with the book’s title, provoked a protest from the German ambassador to France and nearly caused an international incident. Joze, too, wrote Lautrec asking for him to withdraw the poster, as he felt the depiction of a German officer, together with the anti-German tone of the book, would not be tolerated by the police and could get him in trouble. Lautrec, however, refused to stop distribution of the poster, and as he had paid for it [himself], the publisher was not able to stop the distribution. [Thereafter], according to art dealer Edmond Sagot, the value of [Lautrec’s] work quadrupled” (Frey, p. 398).

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

3,

Adriani, 9

PAI-LXXXII, 461

This is the extremely rare one-color proof; Wittrock notes there are only two other known copies. “By 1893 if there were any doubts that there was a printmaking renaissance and that lithography dominated this general print revival, those doubts were quieted forever by a new publication entitled L’Estampe Originale ... From March 1893 to early 1895, in collaboration with [critic] Roger Marx, [André] Marty published a series of quarterly albums of ten prints each (except for the last which contained fourteen prints) in the media of etching, drypoint, mezzotint, woodcut, wood engraving, gypsography, and lithography. In all, the publication encompassed ninetyfive prints by seventy-four artists representing the young avant-garde such as Lautrec and the Nabis, as well as their established mentors including Gauguin, Puvis de Chavannes, Redon, Chéret, Whistler, Bracquemond, and Lepère. L’Estampe Originale offers a remarkable cross-section of the most advanced aesthetic attitudes in Finde-Siècle French art” (Color Revolution, p. 22). Marty felt that Lautrec “deserved ‘a place of honour in the golden book of the modern print’... [and he] accorded Henri exactly that place, using him as the artist for the cover of the first issue” (Frey, p. 323). Lautrec shows us his favorite model, Jane Avril, at his favorite lithographic workshop, Ancourt, studying a proof pulled by Père Cotelle, the experienced printer at the Bisset press behind her.

$25,000-$30,000.

484A. 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-LXXXVII, 478

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; both Wittrock and Adriani indicate that there are only two known copies of this rare state.

Est: $27,000-$30,000.

484B. Yvette Guilbert : Ceramic Tile. 1895. 11 1⁄4 x 20 1⁄4 in./29.6 x 51.5 cm

Cond A. Framed.

Ref: Dortu, Vol. II, C.1; Joyant, Vol. II, p. 44 & 208; Lautrec/Montmartre, p. 182; PAI-XLIX, 489A

The relationship between legendary performer, Yvette Guilbert, and Toulouse-Lautrec was certainly tumultuous. He was attracted to her and sketched her repeatedly for several years, portraying her, as Frey mentions, “always as ugly and generally without her permission” (p. 311). However, Guilbert eventually realized that Lautrec was helping to advance her career and they became friends. But the irritation between the two never faded, particularly in the manner in which they mocked one another. Frey recounts Guilbert’s anecdote of this ceramic design: “One day he admired a large turquoise tile table of mine and I expressed the wish to have a tile from him to make a little tea table. He did not answer but later brought me a caricature of myself to sign. I wrote:

484A

‘Mais petit-monstre, vous avez fait une horreur!! Yvette Guilbert.’ (But little monster, you have made me horrible!) Soon after this incident a tile made from that sketch with my criticism and my signature arrived” (p. 311). Lautrec took the sketch to the potter, Emile Muller, in Ivry, and it was copied onto a ceramic tile; ten copies were made, the glazing on each quite different. What to make of this? Julia Frey, as always, provides a perceptive analysis: “The design is similar to the rejected sketch for the 1893 poster and may be interpreted as a joke to tease Guilbert for her anger. His decision to place a comment so insulting to himself on a work which in reproduction was almost certain to be seen by people who were not in on the joke seems complex. In a way, this is another negative self-image, a joke on himself to ward off the unkind jokes of others” (p. 312). Only four copies are known to exist outside of museums, with this being one of the finest specimens.

Est: $200,000-$250,000.

Toulouse-Lautrec (Continued)

486

Toulouse-Lautrec (Continued)

485. Le Jockey. 1899.

14 1⁄ 8 x 20 1⁄ 8 in./35.8 x 51.2 cm

Cond A-/Slight crease at lower right edge. P. Framed.

Ref: Wittrock, 308-II; Adriani, 345-II; PAI-LXXXVI, 406

“In Paris from the autumn of 1899 to the summer of 1900, [Lautrec] seemed to live his former existence, making paintings and prints and maintaining contact with friends... In some ways he seemed more willing to live conventionally than he had before. He returned to his childhood interest in horses and the race track, having driven himself regularly to Chantilly, the Bois and Longchamps to watch horses. The works he did now maintained the fine-lined, almost drawing-like quality of his painting” (Frey, p. 480). Though “The Jockey” and three other lithographs were created with the intention of publishing a portfolio of horse racing subjects for the print dealer Pierrefort, this was the only one of the four ever realized as a print. But it’s one of his finest, conveying the raw energy and speed present on the track. You can almost feel the weight of the hooves as they hit the turf and hear the breath of the animal as it gallops by on this overcast, cold morning. This is one of 112 impressions.

Est: $70,000-$90,000.

486. Les Vieilles Histoires. 1893. 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-LXXXVII, 471

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: $15,000-$20,000.

Toulouse-Lautrec (Continued)

487. Salon des Cent. 1896. 16 1⁄ 8 x 24 1⁄ 8 in./41 x 61.2 cm

Imp. Bourgerie, Paris Cond A. Framed.

Ref: Wittrock, P20; Adriani, 137-III; Salon des Cent, p. 37; Wagner, p. 31; Gold, 195; Reims, 790; PAI-LXXXV, 451A 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.

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

488. Au Bal des Etudiants. 1901. 14 3 4 x 22 1⁄ 8 in./37.4 x 56.2 cm Cond A-/Usual horizontal fold. Framed. Ref: Adhémar, p. XXXI; Wagner, p. 34; Dortu, D.4.636, vol. VI; Joyant, p. 240; Lautrec by Lautrec, p. 71; PAI-LXXXVI, 409

This is Lautrec’s last poster, designed a few months before his death. At the time, he was living in Bordeaux, where this Students’ Ball was to take place. It’s a fitting coda to Lautrec’s career, featuring the sort of audacious and lecherous personalities he was always so drawn to. And he especially loved masked balls: “Henri was very interested in this sexually charged fad. The masked ball and its accompanying reputation for libertine behavior—a happy combination of bordello and circus—[appeared] repeatedly in his work and became a long-lasting fascination” (Frey, p. 244-245). It should be noted that Lautrec was not involved with the printing process, nor did he create the lettering.

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

Lots 489 through 492 will be sold without reserves, and the consignor has requested that all proceeds be donated to the Museum of Modern Art in New York.

489. L’Estampe Originale. 1895.

32 3 8 x 22 5⁄ 8 in./82.2 x 57.5 cm

Imp. Edw. Ancourt, Paris

Cond A. Framed.

Ref: Wittrock, 96; Adriani, 129-III; PAI-LXXVIII, 469B

“During its two-year print run, the print portfolio L’Estampe Originale brought together the most sophisticated developments in printmaking by a range of vanguard artists. It was issued in nine installments and distributed to print enthusiasts by Parisian print publisher André Marty. Despite its brief life span, it exerted tremendous influence on printmaking as an artistic medium” (Britany Salsbury, Metropolitan Museum of Art). For the ninth and last edition in March 1895, Lautrec was chosen for the cover. It shows “the scenery for the unsuccessful play Le Chariot de Terre Cuite ... On the left half of the large sheet, which is used in horizontal format, Lautrec has varied the motif of the Divan Japonais poster, though the much-feted Misia Natanson is now seated in the box instead of Jane Avril” (Adriani, p. 181).

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

488

Lots 489 through 492 will be sold without reserves, and the consignor has requested that all proceeds be donated to the Museum of Modern Art in New York.

Toulouse-Lautrec (Continued)

490. La Dépêche / Le Tocsin. 1895.

17 3⁄4 x 22 1⁄ 2 in./45 x 57.3 cm

Cassan Fils, Paris (not shown)

Cond A. Framed.

Ref: Wittrock, P19A; Adriani, 143-I; PAI-LXXXVII, 473

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: $4,000-$5,000.

491. Portraits of Actors and Actresses / Jeanne Granier. 1898.

11 1⁄ 2 x 14 in./29.2 x 35.5 cm

Cond A. Framed.

Ref: Wittrock, 250; Adriani, 264

“The operetta star Jeanne Granier (1852-1939) may be shown here in the play Le Nouveau Jeu (The New Game) which opened on 8 February 1898. Lautrec mentions a drawing of her in a letter to the London publisher Sands on 5 March 1898, but he adds a question mark and goes on to say: ‘I shall do a better one.’ This portrait is probably the final version” (Adriani, p. 326).

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

492. Portraits of Actors and Actresses / Sarah Bernhardt. 1898.

11 7⁄ 8 x 14 7⁄ 8 in./30.2 x 37.7 cm

Cond A. Framed.

Ref: Wittrock, 249; Adriani, 260

This is one of 13 lithographs that Lautrec created for his “Portraits of Actors and Actresses” portfolio.

“Sarah Bernhardt is probably shown here in the play Les Mauvais Bergers (The Wicked Shepherds), that had opened in Paris on 15 December 1897. The drawing on the stone was made at the beginning of January 1898, for Lautrec wrote to [his publisher] Sands on the 14th of that month that he was going to send him ‘a Sarah Bernhardt with the text’” (Adriani, p. 320).

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

Hans Unger (1876-1936)

493. Estey-Organs. 1896. 49 1⁄ 2 x 43 in./125.8 x 109.2 cm

Wilhelm Hoffmann, Dresden Cond A-/Slight tears at fold and bottom edge. Framed. Ref (all var but PAI): DFP-III, 3285; Wember, 770; Reims, 1116; Sachs, p. 52; PAI-XLI, 573

This monochromatic image of a stern-looking keyboard player virtually defines spooky chic—made all the more arresting with its tangerine border and funerary flowers—creating a spectacular advertisement for this organ and piano firm. Unger was an illustrator and painter who worked mostly in Germany—and briefly in Paris—and was an active member of the Munich Secession. This is the English version.

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

494. Nicodé Concert. 1897. 23 3 4 x 41 1⁄4 in./60.3 x 104.8 cm

Wilhelm Hoffmann, Dresden Cond B+/Slight tears at folds.

Ref: DFP-III, 3287; Sachs, p. 53 (var); PAI-XI, 421

This is a stock poster for conductor Nicodé whose orchestra performed at many functions; performance details were added by letterpress as needed. This poster is hand-signed by the artist.

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

Maurice Utrillo (1883-1955)

495. Bal de Nuit de l’A.A.A.A. / Magic-City. 1925. 29 x 46 1⁄4 in./73.6 x 117.5 cm

Cond A. Framed.

Ref: PAI-LXXVIII, 478

Utrillo created this sweet, freely drawn poster to promote an artists’ benefit at Magic-City, a popular dance hall two blocks East of the Eiffel Tower. While Utrillo was a prolific artist, he created very few posters, with this being one of his most subdued and lovely.

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

Suzanne Valadon (1865-1938)

496. L’Aide Amicale aux Artistes. 1927.

31 x 48 in./79 x 122 cm

Affiches Gaillard, Paris Cond A.

Ref: PAI-LXIX, 689

Created by the wife of Don Miguel Utrillo and mother of Maurice Utrillo (both poster artists), this poster announces the 4-A Ball of May 20, 1927.

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

Marie Vassilieff (1884-1957)

497. 2me AAAA Bal / Bullier. 1924.

30 5 8 x 45 1⁄4 in./77.8 x 115 cm

Risacher, Paris

Cond A-/Unobtrusive folds. Framed.

Ref: PAI-LXXXII, 469

At the center of this poster, a conductor—yes, that’s him with the baton—raises his hands, signaling that the symphony is about to commence: the second ever AAAA Ball (Aide Amicale Aux Artistes, or “friendly help to artists”). Numerous benefits and balls for artists were held in Paris around this time; this one was an overture to Russian artist émigrés from the Bolshevik Revolution. The artist, Marie Vassilieff, preceded them: she arrived in Montparnasse in 1907, opened her own atelier in 1912, and collected works by Chagall, Modigliani, Picasso, and Léger. She was a nurse for the French Red Cross during World War I, and painted the ornamental panels for the pillars in the dining room of La Coupole. She exhibited puppet portraits in London in 1920 and in Paris in 1923; these were obviously inspiration for this 1924 poster.

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

Marcel Vertès (1895-1961)

498. Rivalda. 1920.

37 1⁄ 2 x 49 1⁄ 2 in./95.2 x 126 cm

Radó, Budapest Cond A-/Folds. P.

Ref: PAI-LXXXVI, 414

Edited by the journalist Egyed Zoltan, Rivalda was an offbeat theatrical magazine printed in Budapest during the early 1920s. This is one of those rare instances where the poster is far better than the product being advertised, as Vertès gives the viewer a Lautrec-like figure scrutinizing every detail of a barely clad redhead for her interview in the publication.

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

Bernard Villemot (1911-1989)

499. Orangina. ca. 1984.

155 1⁄4 x 116 3⁄ 8 in./394.4 x 295.3 cm

Imp. Karcher, Paris Cond A.

Ref: Bon Salle, 381; PAI-LXXII, 398 (var)

A master of colors and forms, Villemot created an indelible visual identity for Orangina and carried it through dozens of iterations over the years. This one cheerfully exploits the ’80s MTV trend for primaryhued pop art. We hardly notice that the curvaceous sunbather—reminiscent of a Matisse nude—is carrying the familiar orange-peel swirl in red on her hat and bikini-top. This is the larger, eight-sheet format.

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

500

Jacques Villon (1875-1963)

500. L’Anti-Bélier / A Cruchon. 1899. 16 3⁄4 x 23 1⁄4 in./42.5 x 59 cm

Imp. Malfeyt, Paris Cond A. Framed.

Ref: Villon, 34; PAI-LXXVII, 399

Both an important figure in the history of Modern art as well as a staple of bohemian society at the turn of the century, Villon dabbled in everything from Cubism to illustration to printmaking. Creating only about six posters in his lifetime, they stand out from the rest of his oeuvre, showcasing a graceful drawing style and a sensitive expression of character. In this exceptionally rare image by the artist, we catch an auburn-haired sophisticate in the midst of primping herself. Seated before her morning toilet, she is putting on the finishing touches to her look before facing the world. Despite all this detail, the actual product being advertised remains a mystery—the term “anti-bélier” has no known meaning that would match the image (today, it is used to describe a very specific type of plumbing). This leaves us to speculate that it is either a hair detangler (“bélier” is a wool-bearing mammal, similar to a sheep, which was often compared to unruly hair), or possibly even the atomizer before her (the word “atomizer” did not yet exist, but, as mentioned, the term used here is a type of pump). Despite the ambiguous product, the poster itself is simply exquisite, and a gorgeous homage to beauty for beauty’s sake.

Est: $15,000-$20,000.

Villon (Continued)

501. Au Moulin Rouge: Valentin le Desossé. 1897. 11 3 4 x 15 1⁄4 in./30 x 39 cm Signed watercolor painting. Framed. Ref: PAI-LXXXIII, 483

Valentin le Desossé (Valentin the Boneless) flashes his characteristic angular profile behind a female dance partner at the Moulin Rouge. Valentin was a regular performer at the venerable cabaret; he was most famously depicted there in Toulouse-Lautrec’s 1891 poster, Moulin Rouge / La Goulue ( see PAI-LXXXII, 447). As for his companion, the jury is out—she is not La Goulue, but she did make another appearance in Villon’s oeuvre in issue #2 of Cocorico magazine from January 15, 1899, titled “Au Music Hall.” Villon’s dreamy impression provides an intimate look at the iconic music hall and its renowned dancer, making this a very valuable original work by Villon. Est: $17,000-$20,000.

René Vincent (1879-1936)

502. Au Bon Marché. 1930.

47 3 8 x 31 1⁄4 in./120.3 x 79.3 cm

Imp. Duval et Bedos, Paris Cond A-/Slight tears, largely at edges.

Ref: Weill/Art Deco, p. 28; PAI-LXVIII, 657

This is one of the more than fifty posters Vincent produced for the Paris department store during the 1920s and ’30s. Here, in order to promote a Spring Sale of children’s clothing, two young flappers look on in bemused curiosity as their fluffy white toy bear knocks over a hat display.

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

Andy Warhol (1930-1987)

503. Bank / RCA Color Scanner. 1968.

45 1⁄4 x 30 in./115 x 76.2 cm

Cond A.

Ref: Images of an Era, 90; Warhol Posters, 7; Weill, 627; PAI-LXXXIII, 485

“Pretty as a pigture, huh?” In 1968, RCA came up with a novel piece of technology: a device that could scan camera film for printing. Warhol immediately saw the implications: the traditional processes of the graphic artist and lithograph designer would become obsolete, since one could lift an image directly from film to poster. Since Warhol’s own art involved messing about with photos, he must have looked at RCA’s invention with a wry sense of humor. So the poster he created is a multilayered joke: a live pig is painted as a piggy-bank, photographed, and scanned, with all the fine detail of fur reproduced perfectly. Warhol then went one step further. As Warhol painted the pig at RCA’s ad agency J. Walter Thompson, Irwin Horowitz photographed it. Andy’s entire team from the Factory was there. Warhol then negotiated the film rights to the work, seizing back the means of production in a move both artistically and professionally savvy. If any of our readers have a copy of it, please call us.

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

Werner Weiskönig (1907-1982)

504. Lindberg

Seitz, St.

A.

Ref: PAI-LXIV,

Named in honor of Charles Lindbergh after his historic flight, Lindberg cigarettes first appeared on the market in 1928. Here, a Futuristic design filled with sharp angles and kinetic energy explains that the brand is available in all convenience stores and smoke shops.

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

Kurt Werth (1896-1983)

505. Ausstellung von Werbekunst.

Cond A.

Provenance: the Hans Sachs Collection Werth advertises an exhibition of advertising art and commercial graphics at the Academy for Graphic Arts and Book Trade in Leipzig. Werth was best known for his work as an illustrator for children’s books; here, he offers us a more mature, though no less expressionist, design.

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

Due to delays, we have regretfully used a stock photograph. For a photograph of the actual poster, please visit our website.

Jessie Willcox Smith (1863-1935) & Elizabeth Shippen Green (1871-1954)

506. The Child / A Calendar - 1904.

Each: 13 x 19 in./33 x 48.4 cm

C. W. Beck, Philadelphia

Cond A. Framed.

Created by two of America’s preeminent female illustrators, this rare illustrated calendar is a classic. In 1904, Frank Leslie’s Popular Monthly reported, “It is not often... that a child’s calendar serves two years, or that it is elevated into a book after doing its work as a mere record of days and weeks. Yet ‘The Child,’ a calendar for which Jessie Willcox Smith and Elizabeth Shippen Green made the drawings, proved so deservedly popular that this year the drawings are published as a book.” This is the original 1904 calendar set, including the cover and six illustrated calendars.

Est: $2,500-$3,000. (7)

Adolph L. Willette (1857-1926)

507. Côte d’Azur. 1898. 30 x 41 3 4 in./76.2 x 106 cm

Ateliers d’Alesi, Paris

Cond A-/Slight stains and tears, largely at bottom edge.

Ref: Affiches Riviera, 108; Affiches Azur, 1; Karcher, 401; PAI-LXXXVI, 421

Overflowing with characters, this fanciful pastel design for the PLM Railway seems more like a painting than an advertising poster. Shown are the various delights, from shopping to entertainment, by which one can get swept up along the Côte d’Azur.

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

Jean d’Ylen (1866-1938)

508. MIK.

15 3⁄4 x 23 3⁄4 in./40 x 50.3 cm

Imp. Vercasson, Paris Cond A.

Ref: PAI-LXXI, 536

Morning, midday or night, MIK is your coffee alternative, and this kindly gentleman in triplicate is here to assure you of the fact. Morning MIK’s bed-head is perhaps the most charming element of d’Ylen’s genteel design, which distills the whimsy of your favorite grandfather into ’round-the-clock wit. However, the precise nature of MIK is currently lost to time.

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

Sacha Zaliouk (1887-1971)

509. Bal de la Horde / Bullier.

1⁄ 2 x 31 1⁄ 2 in./60 x 79.8 cm

R. Lefèvre, Paris

Cond B+/Slight stains at folds.

To announce a ball at the Bullier cabaret, Zaliouk opts for bold typography and rich hues of red and purple. Born in Ukraine, Zaliouk moved to Paris in 1910 and studied at the École des Beaux-Arts. He was a founding member of La Horde de Montparnasse, an artists’ collective that held annual fundraising balls to support young immigrant artists—this poster advertises one such event.

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

Anna Katrina Zinkeisen (1901-1976)

510. Dovercourt. 1933.

5⁄ 8 x 39 1⁄ 2 in./62.6 x 100.5 cm

Ben Johnson, York

Cond A-/Unobtrusive folds. Framed.

In a field largely dominated by men, Anna Katrina and her sister Doris Clarke carved out a significant space for posters designed by women. They both created a number of images for the London Underground and various British railways. Here, Zinkeisen uses her sensitive perspective to present a verdant view of Dovercourt, a seaside resort in the county of Essex. A mother in her sun hat leads her child down the path towards the beach, adding a charming feminine touch to the pastel-hued scene.

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

SELECTED INDEX

ALCOHOL

Absinthe 358

Apéritifs / Digestifs 178, 239, 367, 415

Beer 29-37

Champagne / Wine 180, 185, 242, 273, 388, 454

Liqueur s / Spirits 210, 231, 238, 272, 302, 360, 377, 460

ANIMALS

Birds 26, 36, 53, 54, 75, 130, 152, 244, 342

Cats 175, 190, 261, 272, 455-458

Dogs 42, 78, 151, 413, 423, 442

Horses 2, 3, 15, 55, 64, 73, 76, 128, 172-174, 194, 215, 422, 482, 485

Other 29, 31, 50, 85, 110, 115, 176, 183, 236, 256, 314, 428, 449, 461, 486, 503

ART EXHIBITIONS

203, 295, 308, 347, 354, 364, 375, 387, 416, 430, 443, 487, 505

BEAUTY / HEALTH / PERFUME

156, 157, 182, 191, 271, 280, 310, 314, 365, 372, 402, 461, 500

FASHION

18, 197, 211, 243, 247, 260, 300, 306, 315, 317, 366, 368, 376, 431, 439, 502

FILM

121, 133, 174, 187, 190, 195, 350, 429

FOOD / DRINK

183, 199, 202, 234, 291, 303, 304, 314, 341, 343, 344, 361, 369, 371, 396, 397, 401, 434, 446, 453, 455, 456, 499, 508

JEWISH INTEREST

104, 112, 142, 143, 147, 149, 158, 160, 163, 168, 193

LITERARY

38-43, 47, 119, 124, 179, 212, 232, 267, 328, 421-427, 435-437, 440, 452, 459, 465, 475, 476, 482, 489, 490, 498

MUSIC / DANCE

Balls 196, 227, 258, 269, 270, 327, 488, 495-497, 509

Cabarets / Music Halls 257, 259, 275, 266, 281, 294, 305, 322-324, 332, 417, 457, 458, 501

Dance 287, 289, 326, 332, 417, 420, 469, 471-473, 479

Folies-Bergère 233, 268, 419

Opera 178, 255, 278, 339, 340, 466, 480, 481

Pianos & Organs 186, 307, 331, 345, 493

Singers 193, 281, 288, 348, 351, 398, 477, 478, 484B

Other 195, 296, 486, 494

POSTERS ON POSTERS

212, 295, 321, 336, 337, 357, 427, 443, 445, 462, 464, 483, 505

SCIENCE & TECHNOLOGY

245, 276-278, 293, 418, 433, 449, 463, 503

SPORTS

Golf 204, 217, 319, 335, 346

Olympics 1-16

Tennis 204, 222, 251, 252, 344, 364, 426

Winter Sports 17-23, 25-28, 252, 262-264, 476

Other 38, 103, 129, 353, 425, 485

THEATRE

201, 207, 228, 229, 237, 279, 290, 325, 333, 349, 378-381, 404, 474, 489, 492

TOBACCO

188, 198, 215, 246, 316, 355, 389, 390, 448, 504

TRAVEL

By rail 194, 202, 204, 216-226, 254, 292, 298, 312, 334, 373, 374, 411, 412, 414, 432, 444, 464, 507, 510

By ship 98, 117, 181, 191, 192, 199, 200, 248-250, 318, 320, 447

New York 47, 74, 97, 109, 114, 116, 134, 141-143, 184, 191, 249, 255, 320, 424

World’s Fairs / Expos 83, 249, 256, 283, 311, 321, 334, 369, 374, 403, 429, 450, 451

Other 22-24, 26, 27, 85, 95-98, 103-116, 131, 189, 214, 251-253, 297, 301, 319, 335, 338, 413

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 87 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

The French poster, by Jane Abdy. New York : Clarkson N. Potter, 1969.

Absinthe

Absinthe : history in a bottle, by Barnaby Conrad, III. San Fransisco : Chronicle Books, 1988.

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 1000

1000 affiches de 1890 à nos jours , by Cees W. de Jong, Alston W. Purvis & Martijn F. Le Coultre. [Paris] : Hazan, 2010.

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 Belges

Affiches Belges/Belgische affiches, by Ph. Min guet. Liège, Belgium : IBM, 1981.

Affiches d’Aviation

Affiches de l’histoire d’aviation , by Gerard Hart mann & Francoise Leloup-Perier (with Englishlanguage insert: The history of aviation in post ers ). Paris : Citadelles & Mazenod, 2009.

Affiches Etrangères

Les affiches etrangères illustrées, by M. Bau wens, T. Hayashi, La Forge, Meier-Graefe & J. Pennel. Paris : Boudet, 1897.

Affiches Riviera

Affiches de la Riviera, by Annie de Montry, Fran çoise 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.

Affiches Vins

Les Affiches des Vins, by Emmanuel Lopez and Matthieu Benoit. Paris : Éditions Citadelles & Mazenod, 2016.

Affichomanie

L’affichomanie : collectionneurs d’affiches, affich es de collection, 1880-1900 , by Alain Weill Paris : Musée de l’Affiche, 1980. Catalogue of the exhibition on the subject of the Postermania of the 1880-1900, held at the Musée de l’Affiche, Paris, January 30-April 30, 1980.

Ailes

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.

Airline Artistry

Airline artistry : vintage posters & publicity , by Don Thomas. Dunedin, Florida : D. Thomas, 1992.

Alpes

Les Alpes à l’affiche, by Yves Ballu. Grenoble : Editions Glenat, 1987.

Art du Biscuit

L’art du biscuit, by Patrick Lefèvre-Utile. Verona : Éditions Hazan, 1995.

Art/Skiing

The art of skiing, by Jenny de Gex. New York : Universe Publishing, 2006.

Atché

Jane Atché , by Claudine Dhotel-Velliet Le Pont du Nord, 2009.

Ateny-Atlanta

Athens-Atlanta : 100 years of modern Olympic Games, by Jan Lis, et al. Warsaw : Polski Komitet Olimpijski, 1996. Catalogue of the exhibition held at the Poster Museum of Wilanów, Poland, under the auspices of the Polish Olympic Committee, February 15-May 12, 1996.

Auto Show I

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 exhibi tion at the Musée de l’Affiche, Paris, September 29-October 14, 1979.

Auto Show III

L’automobile et la publicité. Catalogue of the ex hibition at the Musée de la Publicité, Paris, 1984.

Auto s’Affiche

L’auto s’affiche , by Thierry Favre. Paris : Mas sin, 2007.

Automobile/Lopez

Affiches de l’automobile , by Emmanuel Lopez. Paris : Citadelles & Mazenod, 2011.

Avant Garde

The 20th century poster-design of the avant garde, by Dawn Ades. New York : Abbeville Press, 1984. The catalogue of the exhibition of the Walker Art Center, Minneapolis, 1984.

Bambace

Will H. Bradley : his work, a bibliographical guide, by Anthony Bambace. New Castle, Del. : Oak Knoll Press, 1995.

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).

Belgique/Paris

L’affiche en Belgique : 1880-1980 , by Raymond Morini, et al. Paris : Musée de l’Affiche, 1980. Catalogue of the exhibition at the Musée de l’Affiche, Paris, 1980.

Belgische Affiche

De Belgische affiche : 1892-1914, by Yolande Oostens-Wittamer. Brussels : Koninklijke Biblio theek Albert I, 1975.

Belle Epoque 1970

La Belle Epoque : Belgian posters, watercolors and drawings from the collection of L. WittamerDe Camps , by Yolanda Oostens-Wittamer. New York : Grossman, 1971. The catalogue of the touring exhibition of the Wittamer-De Camps collection.

Belle Epoque 1980

La Belle Epoque : masterworks by Combaz, Léo Jo, and Livemont : a loan exhibition from the Collection of L. Wittamer-De Camps , by Yolande Oostens-Wittamer. Washington : International Exhibitions Foundation, 1980. Catalogue of the loan exhibition from the Wittamer-De Camps collection.

Bernhardt/Drama

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.

Bernhardt/Gottlieb

Sarah: The Life of Sarah Bernhardt by Robert Gottlieb. New Haven, Conn. : Yale University Press, 2010.

Berthon & Grasset

Berthon & Grasset, by Victor Arwas. London : Academy Editions; New York : Rizzoli, 1978.

Bicycle Posters

100 years of bicycle posters, by Jack Rennert. New York : Harper & Row, 1973.

Boissons

Les boissons : un siècle de réclames, by F. Ghoz land. Toulouse : Editions Milan, 1986.

Bon Salle

Embracing an Icon: The Posters of Bernard Vil lemot , by George & Jeanne Bon Salle. New York: The Poster Art Library, Posters Please, 2015.

Bouvet

Bonnard : the complete graphic work, by Francis Bouvet. New York : Rizzoli, 1981.

Broadway Posters

The Art of the Broadway Poster, by Michael Pat rick Hearn. Oregon City: Ballyntine Books, 1986.

Broders

Voyages : les affiches de Roger Broders, by Annie de Montry & Françoise Lepeuve. Paris : SyrosAlternatives, 1991.

Broders/Travel

Roger Broders : travel posters, by Alain Weill & Israel Perry. New York : Queen Art Publishers, 2002.

Broido

The posters of Jules Chéret : 46 full color plates and an illustrated catalogue raisonné, 2nd ed., by Lucy Broido. New York : Dover, 1992.

Brown & Reinhold

The poster art of A. M. Cassandre, by Robert K. Brown & Susan Reinhold. New York : E. P. Dut ton, 1979.

Bu can

Boris Bucan : Breakfast at the Printer’s, ed. by Kristina Bonjekovic Stojkovic. Zagreb : Museum of Contemporary Art, 2016. Catalogue of the exhibi tion 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.

Buffalo Bill/Legend

Buffalo Bill’s Wild West : an American legend, by R. L. Wilson & Greg Martin. New York : Random House, 1998.

Campari

Thirty years and a century of the Campari Com pany, in three volumes, by Guido Vergani Milano : Davide Campari, 1900.

Cappiello

Cappiello, 1875-1942 : caricatures, affiches, peintures et projets decoratifs , by Claire FrèchesThory & Réjane Bargiel. Paris : Réunion, 1981. Catalogue of the exhibition at the Galerie Na tionale du Grand Palais, Paris, April 3-June 29, 1981.

Cappiello/Rennert

Cappiello : the posters of Leonetto Cappiello, by Jack Rennert. New York : Poster Art Library, Post ers Please, Inc., 2004.

Cappiello/St. Vincent

Leonetto Cappiello : dalla pittura alla grafica , by Raffaele Monti & Elisabeth Matucci. Firenze : Artificio, 1985. Catalogue of the exhibition at the Hotel Billia in Saint-Vincent, Italy, March 30-May 30, 1985.

Cardinaux

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 exhi bition at the Musée de l’Affiche, Paris, November 26, 1980-March 29, 1981.

Cassandre/BN

A. M. Cassandre : oeuvres graphiques modernes, 1923-1939 , by Anne-Marie Sauvage. Paris : Bib liothèque Nationale de France, 2005. Catalogue of the exhibition at Chaumont, May 21-July 23, 2005, and the Bibliothèque Nationale de France, Paris, September 20-Dcember 4, 2005.

Cassandre/Suntory

Every face of the great master Cassandre , by Masutani Yoko. Tokyo : Suntory Museum, 1995. Catalogue of the exhibition held at the Suntory Museum, Osaka, Japan, June-August, 1995.

Cassandre/Weill Cassandre, by Alain Weill. Paris : Editions Hazan, 2018.

Célébrités

Célébrités à l’affiche, by A. C. Lelieur & R. Ba chollet. 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.

Chemins de Fer

100 ans d’affiches des chemins de fer, by Pierre Belves. Paris : Edition NM–La Vie du Rail, 1980.

Chéret

La Belle Epoque de Jules Chéret : de l’affiche au décor , ed, by Réjane Bargiel and Segolène Le Men. Paris : Les Arts Décoratifs, 2010. (Dis tributed 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.

Chéret/Lumière

Jules Chéret : L’Esprit et la grâce, curated by Maître Pierre Blanchet and ed. by Pierre Blan chet. Vaumarcus : ACATOS Publishing, 2008.

Catalogue of the exhibition at the Palais Lumière in Ville d’Évian, June 14-September 21, 2008.

Colin

100 posters of Paul Colin, by Jack Rennert. New York : Images Graphiques, 1977.

Colin Affichiste

Paul Colin : affichiste, by Alain Weill & Jack Rennert. Paris : Editions Denoel, 1989.

Collectionneur

Collectionneur d’affiches, edited by Laurence Prod’homme. Paris : Editions Apogé, Musée de Bretagne, 1996.

Color Revolution

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.

Compagnies Maritimes

Affiches des companies maritimes , by Gabriele Cadringher & Anne Weallans. Paris : Citadelles & Mazenod, 2008.

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.

Crime Movie Posters

Crime movie posters, ed. by Bruce Hershenson. West Plains, Missouri : B. Hershenson, 1997.

Crouse/Deco

The art deco poster , by William Crouse & Alastair Duncan. New York : Vendome Press, 2013.

Cushing

Revolución! Cuban Poster Art, by Lincoln Cushing. San Francisco : Chronicle Books, 2003.

Cutler

J.C. Leyendecker : American imagist , by Lau rence S. Cutler & Judy Goffman Cutler. New York : Abrams, 2008.

Dance Posters

100 years of dance posters, by Walter Terry & Jack Rennert. New York : Avon Books, 1973.

Darracott

The First World War in posters, by Joseph Darra cott. New York : Dover Publications, 1974.

Deco Affiches

Affiches art deco, by Alain Weill. Paris : InterLivres, 1990.

Denscher

Österreichische plakat kunst : 1898-1938, by Bernhard Denscher. Wien : Verlag Brandstätter, 1992.

DFP-I

Das frühe plakat in Europa und den USA. Volume I, British and American Posters. Edited by Ruth Malhotra and Christina Thon. Berlin : Mann Ver lag, 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.

Driehaus

L’Affichomania : Catalogue of the exhibition at the Driehaus Museum, Chicago, by Jeannine Falino. Chicago: University of Chicago Press, 2017.

Dudovich

Marcello Dudovich : cartellonista, 1878-1962, by Roberto Curci. Treiste : Lint Edizioni, 1976.

Dutch Moderne

Dutch moderne, by Steven Heller. San Francisco : Chronicle Books, 1994.

Encyclopédie/Weill

Encyclopédie de l’affiche , by Alain Weill. Paris : Hazan, 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.

Fantastic Voyage

Fantastic voyage : luxury and sophistication on the ocean liners , by Yoko Masutani. Tokyo : Suntory Museum, 1996. Catalogue of the 1996 exhibition at the Suntory Museum, Osaka.

Femme s’Affiche

La femme s’affiche : exposition d’affiches publici taires, 1843-1990 , by P.A. Luginbuuhl. Montreux : Office du Tourisme, 1990. Catalogue of the exhibition of the Kellenberger Collection held in Montreux, June 6-July 8, 1990.

Fête

Le fête de l’affiche : poster, balocchi e profumi , by Elvio Soleri & Giovanni Gaidano. Torino : Olfa torio, 2010. Catalogue of the exhibition at the Olfattorio Art Gallery, Torino, Italy, April, 2010.

de Feure

Georges de Feure : maitre du symbolisme et de l’art nouveau , by Ian Millman. Paris : ACR Edi tions, 1991.

Fit to Print

Fit to print : the newspaper and the poster, by Marc Davidson. Daytona Beach, Fla. : The NewsJournal Corporation, 2004.

Flagg

James Montgomery Flagg , by Susan E. Meyer. New York : Watson-Guptill Publications, 1974.

Fly Now

Fly Now: The Poster Collection of the Smithsonian National Air & Space Museum . Washington, D.C. : National Geographic, 2007

Folies-Bergère

100 years of posters of the Folies Bergère and music halls of Paris, by Alain Weill. New York : Im ages Graphiques, 1977.

Fox-Parkinson

The circus in America, by Charles Philip Fox & Tom Parkinson. Waukesha, Wisc. : Country Beau tiful, 1969.

Frey

Toulouse-Lautrec : a life , by Julia Frey. New York : Viking Penguin, 1994.

Gagel

Studien zur motivgeschichte des Deutschen plakats 1900-1914 , by Hanna Gagel. Berlin : Omnia-Organisations, 1971. Doctoral thesis at Freien Universität Berlin.

Gallo

The poster in history, by Max Gallo. New York : American Heritage Publishing, 1974.

Galerie der Strasse

Galerie der Strasse : Höhepunkte der Plakatkunst von ihren Anfängen bis heute, ed. by Martina Harms-Lückerath. Heidelberg : Kehrer Verlag, 1998. Catalogue of the exhibition at Hessischen Landesmuseum, Darmstard, February 1-Marc 22, 1998.

Gesmar

Charles Gesmar : 1900-1928 , by Angelo Luerti, Milano : Luerti, 2009.

Gold

First ladies of the poster : the Gold collection, by Laura Gold. New York : Poster Art Library, 1998.

Golf

L’affiche de golf/Golf posters, by Alexis Orloff. Toulouse : Éditions Milan, 2002.

Gourmand

Un voyage gourmand : 60 affiches de gastrono mie, by Alain Weill. Paris : Musée-galerie de la SEITA, 1992. Catalogue of the exhibition at the Musée-Galerie de la Seita, Paris, June 11-Sep tember 22, 1984.

Graphic Design/Taschen

The History of Graphic Design , by Jens Müller and Julius Weidermann. Koln : Taschen, 2017.

Graphicar

Graphicar, by Claudio Bertieri. Milano : Fratelli Fabbri, 1976.

Grün

Jules-Alexandre Grün : the posters/les affiches, by Alain Weill & Israel Perry. New York : Queen Art Publishers, 2005.

Guerres

Guerres et batailles : la Deuxième Guerre Mon diale racontée par les affiches. Narbonne : Tran sworld Publications, 1974.

Handlebars/Joystick

Du guidon au manche a balai : affiches du Musée Mational du Sport de France/From handlebars to joystick : posters from the French Sport Museum, by Jean Durry. Lausanne : Musée Olympique, 2001. Catalogue of the exhibition at the Musée Olympique, Lausanne, March 8-June 17, 2001.

Health Posters

Posters of health, by Marine Robert-Sterkendries. Brussels : Therabel Pharma, 1996.

Hohlwein

Ludwig Hohlwein, 1874-1949 : kunstgewerbe und reklamekunst, by Volker Duvigneau & Norbert Gota. Munich : Klinkhardt & Bierman, 1996.

Hohlwein/Frenzel

Ludwig Hohlwein, ed. by Professor H. K. Frenzel. Berlin : Phönix Illustrationsdruck und Verlag, 1926.

Hohlwein/Stuttgart

Ludwig Hohlwein : plakate der jahre 1906-1940 , by Christian Schneegass. Stuttgart : Staatsgal erie, 1985. Catalogue of the Hohlwein exhibition at the Staatsgalerie Stuttgart, March 2-April 21, 1985.

Image de Mer

L’image de la mer , by Alain Weill Paris : U.C.A.D., 1984. Catalogue of the exhibition held at the Mu sée de la Publicité, February 15-April 30, 1984.

Images of an Era

Images of an era : the American poster, 19451975 , by John Garrigan. Washington, D.C. : National Collection of Fine Arts, 1975. Catalogue of the exhibition at the Corcoran Gallery of Art, Washington, D.C., November 21, 1975-January 4, 1976.

Imagination

Power to the imagination : artists, posters and politics/Phantasie an die macht : politik im kün stlerplakat , by Jürgen Döring. Munich : Hirmer Verlag, 2011.

Imperial War Museum I

First World War Posters: The Imperial War Mu seum, by Joseph Darrecott and Belinda Loftus. London: The Corwin Press, 1972.

Imprimerie

Les cent plus belles images de l’imprimerie , by Daniel Bordet. Paris : Éditions Debecom, 2004.

Iskin

The Poster , by Ruth E. Iskin. Hannover, New Hampshire: Dartmouth College Press, 2014.

Italia che Cambia

L’Italia che cambia : attraverso i manifesti della raccolta salce , ed. by Pepa Sparti. Firenze : Arti ficio, 1989.

Joyant

Henri de Toulouse-Lautrec, by Maurice Joyant. Paris : H. Floury, 1927. In two volumes.

Judd

Posters of World War II , by Denis Judd. New York : St. Martin’s Press, 1973.

Kamekura

Exhibition of works by Yusaku Kamekura. Osaka : Kirin Plaza, 1988. Catalogue of the exhibition held at the Kirin Plaza, Osaka, March 5-16, 1988.

Karcher

Memoire de la rue : souvenirs d’un imprimeur et d’un afficheur , by Alain Weill. Paris : WM Edi tions, 1986. (Distributed in the U.S.A. by Posters Please, Inc., New York, with a translation of text and the addition of an index).

Kauffer/Poster Purpose

The art of the poster : its origin, evolution & purpose, ed. by E. McKnight Kauffer. London : Cecil Palmer, 1924.

Kossatz

Ornamental posters of the Vienna Secession, by Walter Koschatzky & Horst-Herbert Kossatz.

London : Academy Editions; New York : St. Mar tin’s Press, 1974.

Kunstlerplakat

Kunsterplakat, by Jurgen Doring. Hamburg : Museum fur Kunst und Gewerbe, Edition Braus, 1998.

Lauder

American art posters of the 1890s in the Metro politan Museum of Art : including the Leonard A. Lauder Collection , by David W. Kiehl, Phillip Den nis Cate & Nancy Finlay. New York : Metropolitan Museum of Art, 1987. Catalogue of the exhibi tion of the Metropolitan Museum of Art, New York, October 22, 1987–January 10, 1988.

Lautrec/Montmartre

Toulouse-Lautrec and Montmartre , by Richard Thomson, Phillip Dennis & Mary Weaver Chapin. Princeton, N.J. : Princeton Unversity Press, 2005. Catalogue of the exhibition at the National Gal lery of Art, Washington, D.C., March 20-June 12, 3005, and the Art Institute of Chicago, July 16-October 10, 2005.

Le Coultre

A century of posters, by Martin F. Le Coul tre & Alston W. Purvis. Burlington, VT : Lund Humphries, 2002.

Lendl/Prague

Ivan Lendl : Alfons Mucha , by Jack Rennert & Karel Srp. Bratislava : Nakladatelství, 2013.

Leyendecker

J. C. Leyendecker, by Michael Schau. New York : Watson-Guptill Publications, 1974.

Lichtenstein

Lichtenstein Posters, by Jürgen Döring and Claus von der Osten. Munich : Prestel Verlag, 2019.

Lincoln Center

Lincoln Center Posters , by Vera List & Herbert Kupferberg. New York : Harry N. Abrams, 1980.

Livemont

Privat Livemont : entre tradition et modernité au Coeur de l’Art nouveau, 1861-1936, by Benoit Schoonbroodt. Bruxelles : Editions Racine, 2007.

Livre de l’Affiche

Le livre de l’affiche/The book of the poster, by Réjane Bargiel-Harry & Christophe Zagrodzki. Paris : Editions Alternatives, 1985.

Loïe Fuller/Current

Loïe Fuller: Goddess of Light , by Richard Nelson Current & Marcia Ewing Current. Boston: North eastern University Press, 1997.

London Underground

Art for the London Underground , by Oliver Green. New York : Rizzoli, 1990.

Looping the Loop

Looping the loop : posters of flight, by Henry Ser rano Villard & Willis M. Allen, Jr. San Diego, Calif. : Kales Press, 2000.

Loupot

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.

Loupot/Forney

Loupot: Peintre en Affiche. Catalogue of the 2018 exhibition at Bibliothèque Forney, Paris. Edited by Thierry Devynck.

Loupot/Lyon

Loupot: Peintre d’Affiches. Catalogue of the exhi bition at the Musée de l’Imprimerie, Lyon, France, 2016. Text by Thierry De Vynck.

Loupot/Zagrodzki

Charles Loupot : l’art de l’affiche, by Christophe Zagrodzki. Paris : Le Cherche-Midi, 1998. (Ameri can distributor: Posters Please Inc., New York)

Made in Israel 60

Made in Israel 60 : 60th anniversary of Israel : an exhibition of rare, historical Israeli posters & photographs . New York : JCC in Manhattan, 2008. Catalogue of the exhibition to celebrate 60th anniversary of Israel, co-sponsored by the Farkash Gallery and the JCC in Manhattan, 2008.

Magic

Magic : 1400s-1950s , by Noel Daniel & Ricky Jay. Cologne : Taschen, 2009.

Maindron 1886

Les affiches illustrées: ouvrage orné de 20 chromolithographies , by Ernest Maindron. Paris, France : H. Launette, 1886.

Maindron, 1896

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, Kunst gewerbemuseum, September 20-November 11, 1984; and the Museum für Gestaltung, Gewerbe museum Basel, January 29-March 3, 1985.

Manifesti Italiani

Manifesti Italiani : dall’art nouveau al futurismo, 1895-1940, by Giampiero Mughini & Maurizio Scudiero. Milano : Ricordi, 1997. Posters of the Massimo & Sonia Cirulli Collection.

Manifesti Posters/Eat & Drink

Manifesti Posters/Eat & Drink in Italian Advertis ing 1890-1970 by Mario Piazza & Alessandro Bellenda. Milano : Silvana Editoriale, 2014.

Manifesti/WWII

Manifesti della Second Guerra Mondiale , by Mario de Micheli. Milano : Fratelli Fabbri, 1972.

Margadant

Das Schweizer plakat/The Swiss poster : 19001983, by Bruno Margadant. Basel : Birkhaus Verlag, 1983.

Margolin

American poster renaissance, by Victor Margolin. New York : Watson-Guptill Publications, 1975.

Martini & Rossi

Da Dudovich a Testa: L’Illustratione Pubblicitaria della Martini & Rossi . Lucca: Titania Edritice, 1996.

Marx

Bonnard : lithographie, ed. by Claude Roger-Marx. Monte Carlo : Éditions du Livre, 1952.

Masters 1900

Masters of the poster 1900, by Alan Weill. Paris : Bibliothèque de l’Image, 2001.

Mauzan

The posters of Mauzan : a catalogue raisonné, by Mirande Carnévalé-Mauzan. Gières : Mirande Carnévalé-Mauzan, 2001.

Menegazzi-I

Il manifesto Italiano : 1882-1925, by Luigi Men egazzi. 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.

Menegazzi-IV

Il manifesto Italiano , by Luigi Menegazzi. Milano : Electa, 1995.

Mer s’Affiche

La mer s’affiche, by Daniel Hillion. Rennes : Edi tions Ouest-France, 1990.

Meunier

Georges Meunier : affichiste, 1869-1942. Paris : Société des Amis de la Bibliothèque Forney, 1978. Catalogue of the exhibition at Bibliothèque Fourney, Paris, May 25-July 1, 1978.

Moderno Francés

El cartel moderno Francés : el espectáculo está enel calle : Colin, Carlu, Loupot, Cassandre , by Carlos Pérez. Madrid : MNCARS, 2001. Cata logue for the Colin, Carlu, Loupot and Cassandre exhibition at the Museo Nacional Centro de Arte Reina Sofia, Madrid, November 15, 2001-January 21, 2002.

Montagne

La montagne s’affiche, by Daniel Hillion. Rennes : Editions Ouest-France, 1991.

Mouron

A. M. Cassandre, by Henri Mouron. New York : Rizzoli, 1985.

Mucha/Art Nouveau

Alphonse Mucha : the spirit of art nouveau , by Victor Arwas, Jana A. Brabcová-Orlíková & Anna Dvorák. Alexandria, Va. : Art Servicse Internation al, 1998. Catalogue of the traveling exhibition.

Mucha/Bridges

Alphonse Mucha : the complete graphic works, by Ann Bridges. London : Academy Editions, 1980.

Mucha/Paris

Mucha, 1860-1939 : peintures, illustrations, affiches, arts décoratifs. Paris : Editions des Musées Nationaux, 1980. Catalogue of the ex hibition at the Grand Palais, Paris, held February 5-April 28, 1980.

Nizzoli

Marcello Nizzoli, by Germano Celant. Milano : Edizioni di Comunità, 1968.

Olympic Posters

A century of Olympic posters, by Margaret Tim mers. London : V&A Publishing, 2008. Catalogue of the exhibition at the Victoria & Albert Museum, London.

Olympics

L’olympisme par l’affiche/Olympism through post ers : 1896-1984 , by Monique Berlioux. Lausanne : International Olympic Committee, 1983.

PAI – Books of the auctions organized by Poster Auctions International, Inc.

PAI-I

Premier Posters. Auction held in New York City, March 9, 1985.

PAI-II

Prize Posters. Auction held in Chicago, November 10, 1985.

PAI-III

Poster lmpressions. Auction held in New York City, June 1, 1986.

PAI-IV

Prestige Posters. Auction held in New York City, May 3, 1987.

PAI-V

Poster Pizzazz. Auction held in Universal City, California, November 22, 1987.

PAI-VI

Poster Splendor. Auction held in New York City, May 1, 1988.

PAI-VII

Poster Potpourri. Auction held in New York City, November 13, 1988.

PAI-VIII

Poster Treasures. Auction held in New York City, May 7, 1989.

PAI-IX

Poster Palette. Auction held in New York City, November 12, 1989.

PAI-X

Elegant Posters. Auction held in New York City, May 20, 1990.

PAI-XI

Poster Passion. Auction held in New York City, November 11, 1990.

PAI-XII

Poster Panache. Auction held in New York City, May 5, 1991.

PAI XIII

Poster Jubilee. Auction held in New York City, November 10, 1991.

PAI-XIV

Poster Extravaganza. Auction held in New York City, May 3, 1992.

PAI XV

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.

PAI-XXV

Sterling Posters. Auction held in New York City, November 9, 1997.

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.

PAI-XXVIII

Poster Vogue. Auction held in New York City, May 2, 1999.

PAI-XXIX

Posters for the Millennium. Auction held in New York City, November 4, 1999.

PAI-XXX

Poster Allure. Auction held in New York City, May 7, 2000.

PAI-XXXI

Poster Power. Auction held in New York City, November 12, 2000.

PAI-XXXII

Dream Posters. Auction held in New York City, May 6, 2001.

PAI-XXXIII

Swank Posters. Auction held in New York City, November 11, 2001.

PAI-XXXIV

Poster Pride. Auction held in New York City, May 5, 2002.

PAI-XXXV

Posters Perform. Auction held in New York City, November 10, 2002.

PAI-XXXVI

Posters Persuasion. Auction held in New York City, May 4, 2003.

PAI-XXXVII

Poster Holiday/The Wright Stuff. Dual auction held in New York City, November 9, 2003.

PAI-XXXVIII

Poster Style. Auction held in New York City, May 2, 2004.

PAI-XXXIX

Poster Intoxication. Auction held in New York City, November 14, 2004.

PAI-XL

Posters Excel. Auction held in New York City, May 1, 2005.

PAI-XLI

Matchless Posters. Auction held in New York City, November 13, 2005.

PAI-XLII

Posters Charm. Auction held in New York City, May 7, 2006.

PAI-XLIII

Posters Va-Va-Voom. Auction held in New York City, November 12, 2006.

PAI-XLIV

Winning Posters. Auction held in New York City, May 6, 2007.

PAI-XLV

Top Posters. Auction held in New York City, No vember 11, 2007.

PAI-XLVI

Picture-Perfect Posters. Auction held in New York City, May 4, 2008.

PAI-XLVII

Posh Posters. Auction held in New York City, November 9, 2008.

PAI-XLVIII

Poster High. Auction held in New York City, May 3, 2009.

PAI-XLIX

Soaring Posters. Auction held in New York City, November 8, 2009.

PAI-L

Poster Celebration. Auction held in New York City, May 3, 2010.

PAI-LI

Rare Posters. Auction held in New York City, November 14, 2010.

PAI-LII

The Winter Sale . Auction held in New York City, February 13, 2011.

PAI-LIII

Rare Posters . Auction held in New York City, May 1, 2011.

PAI-LIV

Rare Posters . Auction held in New York City, September 8. 2011.

PAI-LV

Rare Posters. Auction held in New York City, November 13, 2011.

PAI-LVI

Food & Wine . Auction held in New York City, February 12, 2012.

PAI-LVII

Rare Posters . Auction held in New York City, May 6, 2012.

PAI-LVIII

American Posters . Auction held in New York City, September 6, 2012.

PAI-LIX

Rare Posters . Auction held in New York City, November 18, 2012.

PAI-LX

Rare Posters. Auction held in New York City, March 10, 2013.

PAI-LXI

Rare Posters . Auction held in New York City, September 12, 2013.

PAI-LXII

Rare Posters . Auction held in New York City, January 12, 2014.

PAI-LXIII

Rare Posters . Auction held in New York City, May 4, 2014.

PAI-LXIV

Rare Posters . Auction held in New York City, September 21, 2014.

PAI-LXV

Rare Posters . Auction held in New York City, January 25, 2015.

PAI-LXVI

Rare Posters . Auction held in New York City, May 3, 2015.

PAI-LXVII

Rare Posters . Auction held in New York City, October 11, 2015.

PAI-LXVIII

Rare Posters . Auction held in New York City, January 31, 2016.

PAI-LXIX

Rare Posters. Auction held in New York City, May 15, 2016.

PAI-LXX

Rare Posters. Auction held in New York City, October 30, 2016.

PAI-LXXI

Rare Posters. Auction held in New York City, March 12, 2017.

PAI-LXXII

Rare Posters. Auction held in New York City, June 22, 2017.

PAI-LXXIII

Rare Posters. Auction held in New York City, October 22, 2017.

PAI-LXXIV

Rare Posters. Auction held in New York City, February 25, 2018.

PAI-LXXV

Rare Posters. Auction held in New York City, June 26, 2018.

PAI-LXXVI

Rare Posters. Auction held in New York City, October 28, 2018.

PAI-LXXVII

Rare Posters. Auction held in New York City, February 24, 2019.

PAI-LXXVIII

Rare Posters. Auction held in New York City, June 23, 2019.

PAI-LXXIX

Rare Posters. Auction held in New York City, October 27, 2019.

PAI-LXXX

Rare Posters. Auction held in New York City, February 23, 2020.

PAI-LXXXI

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

Rare Posters. Auction held in New York City, March 14, 2021.

PAI-LXXXIV

Rare Posters. Auction held in New York City, July 20, 2021.

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.

PAI-LXXXVII

Rare Posters. Auction held in New York City, July 12, 2022.

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 Aéro nautique Internationale, October 2005.

Persuasive Images

Persuasive Images: Posters of War & Revolution , by Peter Paret, Beth Irwin Lewis, and Paul Poret. Princeton University Press, 2010.

Petite Reine

La petite reine : le vélo en affiches à la fin du XIXeme , by Réjane Bergiel. Paris : Musée de l’Affiche, 1979. Catalogue exhibition held at Musée de l’Affiche, Paris, May 31-September 23, 1979.

Pierrot

Les 100 plus belles images de Pierrot, by Daniel Bordet. Paris : Editions Dabecom, 2003.

Plakate München

Plakate in München 1840-1940 : eine documen tation zu geschichte und wesen des plakats in München , by Gude Suckale-Redlefsen & Volker

Duvigneau. München : Stadtmuseum, 1975. Catalogue of the exhibition at the Münchner Stadtmuseum, October 16, 1975-January 6, 1976.

Plakatkunst

Plakatkunst von Toulouse-Lautrec bis Benetton , by Jürgen Döring. Hamburg : Edition Braus und Museum für Kunst und Gewerbe, 1994.

Pneu

Les 100 plus belles images du pneu , by Daniel Bordet & Jacques Dreux. Paris : Editions Debe com, 2003.

Poitou-Charentes

Poitou-Charentes, by Arthur Saizeau and JeanMichel Saizeau. Toulouse : Editions Privat, 2007.

Portraiture

Ballyhoo! : posters as portraiture , by Wendy Wich Reaves. Seattle : University of Washington Press, 2008. Catalogue of the exhibition at the National Portrait Gallery, Washington, D.C., Mat 8, 2008-February 8, 2009.

Posters of Paris

Posters of Paris : Toulouse-Lautrec & his con temporaries , by Mary Weaver Chapin. New York : Delmonico, 2012. Catalogue of the exhibition at the Milwaukee Art Museum, June 1-September 9, 2012.

Publicité

Affiches de la Publicité, by Emmanuel Lopez. Paris : Citadelles & Mazenod, 2013.

Rademacher

Masters of German art , by Hellmut Rademacher. New York : October House, 1966 (Original Ger man edition published in 1965 by Edition Leipzig).

Rassenfosse

Armand Rassenfosse : affiches et illustrations, by Marie Laurence Bernard. Bruxelles : Claude Van Loock, 1989.

Rawls

Wake up, America : World War I and the American poster, by Walton Rawls. New York : Abbeville Press, 1988.

Reel Art

Reel art : great posters from the golden age of the silver screen, by Stephen Rebello & Richard Allen. New York : Abbeville Press, 1988.

Reims

Exposition d’affiches artistiques Françaises et étrangères, modernes et retrospectives , by Alexandre Henriot. Reims : Impr. Coopérative de Reims, 1896. Catalogue of the exhibition at the Cirque De Reims, November 7-17, 1896. Reis sued in a numbered edition of l,000 copies by the Musée de l’Affiche in 1980.

Rennert/Weill

Alphonse Mucha : the complete posters and panels, by Jack Rennert & Alain Weill. Boston : G. K. Hall, 1984.

Revolución

El Cartel de la Revolución / Posters of the Revolu tion, ed. by Julio Larramendi. Ediciones Polymita S.A., 2017.

Rickards

Posters of the First World War , by Maurice Rick ards. New York : Walker & Company, 1968.

Richmond

The technique of the poster , by Leonard Rich mond. London : Sir Isaac Pitman & Sons, 1933.

Ricordi

Grafica Ricordi : dal manifesto storico all pro duzione 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.

Rockwell’s America

Norman Rockwell’s America , by Christopher Finch. New York : Harry N. Abrams, 1976.

Sachs

Kunst! Kommerz! Visionen! : Deutsche plakate, 1888-1933 , by Hellmut Rademacher & René Grohnert. Heidelberg : Braus, 1992. Catalogue of the exhibition of the Hans Sachs collection at the Deutsches Historisches Museum in Berlin, May 16-August 18, 1992.

Salon des Cent

Le Salon des Cent, 1894-1900 : affiches d’artistes , by Jocelyne Van Deputte. Paris : ParisMusées, 1994. Catalogue of the exhibition held at the Musée Carnavalet, Paris, 1995.

Salon des Cent/Neumann

Les affiches du Salon des Cent , by Helen Biri Thomson, Patricia Eckert Boyer, Jocelyne van Deputte & Edith Carey. Gingins : Fondation Neumann, 1999. Catalogue of the exhibition sponsored by the Foundation Neumann at the Musée de Pont-Aven, Paris, Jannuary 31, 2000, and the Musée des Arts Decoratifs de Bordeaux, May 17-August 19, 2001.

Savignac/Forney

Savignac Affichiste, by Anne-Claude Lelieur and Raymond Bachollet: Hoëbeke, 2011. Catalogue raisonné published to coinbcide with the retro spective at the Bibliothéque Forney, Paris, Sept 11, 2001 – Jan. 12, 2002

Schardt

Paris 1900 , by Hermann Schardt. New York : Putnam’s Sons, 1970; reprinted New York : Port land House, 1987. (Originally published as Paris l900: Französiche plakatkunst , Stuttgart : Belser Verlag, 1968).

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.

Seurat

Seurat’s Circus Sideshow, by Richard Thomson. Catalogue of exhibition at the Metropolitan Muse um of Art, New York, Feb-May 2017. New Haven : Yale University Press, 2017.

Shackleton

The golden age of the railway poster, by J. T. Shackleton. Secaucus, N.J. : Chartwell, 1976.

Shahn

The complete graphic works of Ben Shahn , by Kenneth W. Prescott. New York : Quadrangle/New York Times Book Co., 1973.

Shell

The Shell poster book, by David Bernstein. Lon don : Hamish Hamilton, 1992.

Shell Advertising

Shell Art & Advertising, by Scott Anthony, Oliver Green, and Margaret Timmers. London : Lund Humphries, 2021.

Shell Exhibition

“That’s Shell – that is!”, ed. by Ted Sheppard and John Hoole. London : Barbican Art Gallery and Shell UK Ltd, 1983. Catalogue of the exhibition at the Barbican Art Gallery, July 5 to September 4, 1983.

Skiing in Arts & Design

Skiing in Arts & Design, by Karin Rase. Leipzig : Internationaler Ski Verband, 2009.

Sluiter

Willy Sluiter : gentleman-kunstenaar, 1873-1949, ed. by Monieck Peters & Peter Marijnissen. Dor drecht : Dordrechts Museum, 1999. Exhibition at the Dordrechts Museum, Dordrecht, June 27-Oc tober 17, 1999.

Sorlier

Chagall’s posters : a catalogue raissonné, ed. by Charles Sorlier. New York : Crown Publishers, Inc., 1975.

Spectacle

Les arts du spectacle en France : affiches iIl lustrées, 1850-1950, by Nicole Wild. Paris : Bibliothéque Nationale, 1976. Catalogue of the Bibliothèque de l’Opera (part of the Bibliothèque Nationale).

Sponsel

Das moderne plakat, by Jean Louis Sponsel. Dresden : Verlag von Gerhard Kuhtrmann, 1897.

Sport à l’Affiche

Sport à l’affche, by Jean Durry. Paris : Editions Hoebeke, 1988

Sportissimo

Sportissimo : cent ans de grandes et petites histoires du sport, by Françoise Laget & Serge Laget. Paris : Editions du Chêne, 1996.

Steinlen

Théophile-Alexandre Steinlen, by Phillip Den nis Cate & Susan Gill. Salt Lake City : Gibbs M. Smith, 1982.

Stoecklin

Niklaus Stoecklin : 1896-1982 , by Bruno Halder. Basel : Gewerbemuseum, 1986. Catalogue of the retrospective exhibition at the Gewerbemuseum, Museum für Gestaltung, Basel, April 15-June 1, 1986; Kunstgewerbemuseum, Museum für Gestaltung, Zürich, June 18-August 3, 1986; and the Deutsches Plakat Museum, Essen, December 12, 1986-February 1, 1987.

Sweetman

Explosive Acts : Toulouse-Lautrec, Oscar Wilde, Félix Fénélon and the Art & Anarchy of the Fin de Siècle, by David Sweetman. New York : Simon & Schuster, 1999.

Swiss/Basel

Swiss posters from historism to computer design : 450 selected works from the Basel Poster Collection , by Rolf Thalman. Osaka : Toho Shup pan 2004.

Swiss Posters

50 ans : affiches suisses preimées par le Départ ment Fédéral de l’Intérieur. Bern : KummerIy & Frey, 1991.

Swiss Winter Posters

A century of Swiss winter sports posters, by Jean-Charles Giroud. Geneva : Patrick Cramer, 2006.

Tagebuch der Strasse

Tagebuch der strasse : geschichte in plakaten, by Bernhard Denscher. Wien : Österreichischer Bundesverlag, 1981.

Takashimaya

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.

Theaterplakate

Theaterplakate : ein internationaler historischer uberblick, by Hellmut Rademacher. Leipzig : Edi tion Leipzig, 1990.

Theofiles

American posters of World War I, by George Theofiles. Dafran House, New York.

Timeless Images

Timeless images , by Jack Rennert. Tokyo : Isetan Museum of Art, 1984. Catalogue of the exhibi tion at the Isetan Museum of Art, Tokyo, October 10-23, 1984.

Tolmer

Tolmer : 60 ans de création graphique dans l’Ile St. Louis. Paris : Biblithèque Forney, 1986. Cata logue of the exhibition at the Bibliotèque Fourney, Paris, May 22-July 5, 1986.

Toujours Plus Haut

Toujours plus haut : affiches aviation , by François-Régis Gastou & Laurence BerasateguiCouranjou. Paris : Chorus, 2004. Catalogue of the aviation poster exhibitions at the Centre de l’Affiche, Toulouse, France, Spetember 2004-Au gust 2005.

Tourism/Suntory

Tourism in posters , by Keiko Ueki, Alain Weill & Yukie Takeuchi. Osaka : Suntor Museum, 1997. Catalogue of the exhibition at the Suntory Mu seum, Osaka, September 10-October 26, 1997.

Train à l’Affiche

Le train à l’affiche : les plus belles affiches fer roviaires française, by Florence Camard & Chris tophe Zagrodzki. Paris : La Vie du Rail, 1989.

Travel by Train

Travel by train : the American railroad poster, 1870-1950, by Michael E. Zega & John E. Gru ber. Bloomington : Indiana University Press, 2002.

V & A

The power of the poster, by Margaret Timmer. London : V & A, 1998. Catalogue of the exhibi tion at the Victoria & Albert Museum, London, April 2-July 26, 1998.

Veloscopie

Veloscopie. Knotte-Heist [Belgium] : Casino Knokke, 1977. Catalogue of the exhibition help at Casino Knokke, June 26-September 4, 1977.

Villon

Jacques Villon : les estampes et les illustrations, by Colette de Ginestet & Catherine Pouillon. Paris : Arts et Métiers Graphiques, 1979.

Voyage

L’invitation au voyage , by Alain Weill. Paris : Somogy, 1994.

Wagner

Toulouse-Lautrec and his contemporaries : post ers of the Belle Epoque from the Wagner collec tion , by Ebria Feinblatt & Bruce Davis. Los Ange les : Los Angeles County Museum of Art, 1985. Catalogue of the exhibition at the Los Angeles County Museum of Art, April 9-June 16, 1985.

Wagons-Lits

125 jahre Internationale SchlafwagenGesellschaft : die luxuszüge, geschichte und placate/125 years International Sleeping Car Company, by Albert Mühl & Jürgen Klein. Freiburg : EK-Verlag, 1998.

Warhol Posters

Andy Warhol: The Complete Commissioned Posters, 1964-1987 , by Paul Maréchal. Munich: Presetel Verlag, 2014.

War Posters

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.

Weill/Art Deco

L’Affiche Art Deco, by Alain Weill. Paris: Editions Hogan, 2013.

Wember

Die jugend der plakate : 1887-1917, by Paul Wember. Krefeld : Scherpe Verlag, 1961.

Wine Spectator

Posters of the Belle Epoque : the Wine Spectator collection, by Jack Rennert. New York : The Wine Spectator Press, 1990.

Wittrock

Toulouse-Lautrec : the complete prints, by Wolf gang Wittrock. London : Sotheby’s, 1985.

Wobmann

Touristikplakate der Schweiz/Tourist posters of Switzerland, by Karl Wobmann & Willy Rotzler. Aarau : AT Verlag, 1980.

Word & Image

Word and image : posters from the collection of the Museum of Modern Art , by Mildred Constan tine & Alan Maxwell Fern. New York : New York Graphic Society & the Museum of Modern Art, 1968. Catalogue of the exhibition at the Museum of Modern Art, New York, January 25-March 10-1968.

WPA

Posters of the WPA : 1935-1943 , by Christopher DeNoon. Los Angeles : The Wheatley Press, 1987.

d’Ylen

Jean d’Ylen, by Anne-Claude Lelieur Paris : Bibliothèque Forney, 1980. Catalogue of the exhibition at the Bibliothèque Forney, Paris, April 18-June 28, 1980.

Zeitzeiger

Zeitzeiger : Plakate aus zwei jahrhunderten , by René Grohnert. Mainz : Verlag Herman Schmidt, 2007.

CONDITIONS OF SALE

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.

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.

3. Transfer of title and property.

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.

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.

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.

DESCRIPTION OF THE POSTERS

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.

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.

5. Condition of the Poster.

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.

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.

(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.

The following ratings have been used:

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.

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!

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.

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.

Absentee Bid Form

PAI-LXXXVIII: Rare Posters

Poster Auctions International, Inc.

at Rennert’s

26 West 17th Street, New York, NY 10011 Tel: 212.787.4000

Fax: 212.604.9175 www.posterauctions.com | info@posterauctions.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

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

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.

The purchase price will be the total of the

of the final

the

a premium of 20% (23% for online bidding; 25% for online bidding thro ugh Invaluable/

Unsuccessful bidders will not be informed but may telephone for sales results.

Date

START BIDDING NOW

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 223 or download at posterauctions.com.

For absentee bidding, indicate your maximum bid for each desired lot. You may indicate an “either-or” bid if you want to purchase only a portion of the items on your wish list. You can also indicate an overall maximum dollar amount. We’ll execute your bid on your behalf at the lowest price possible.

For telephone bidding, complete the absentee bidding form with the best phone number to reach you on Nov. 13. 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. NY, NY 10011. It should arrive by Friday, November 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 221

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

Lot 344: Kaffee Hag, by Ludwig Hohlwein.