PAI-XCI: Rare Posters by posterauctions

PRESENTS

SUNDAY, NOVEMBER 12, 2023 AT 11 AM EST VIEWING: OCT 20 - NOV 11 (DAILY 11- 6 ) TO BE HELD LIVE AND ONLINE AT

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

The front cover is a detail of lot 156: Remington, 1910, by Leonetto Cappiello. This page is a detail of lot 325: Sarah-Bernhardt / Farewell American Tour 1905-1906, by Alphonse Mucha. Page 220 is a detail of lot 315: Exposition Internationale / Milan, 1906, by Leopoldo Metlicovitz.

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Consignments are accepted until December 15, 2023.

Jack Rennert - License 0797440 ISBN: 978-1-929530-76-2

Detail of lot 176: Pan-American Exposition / Buffalo, 1901, by Evelyn Rumsey Cary.

TABLE OF CONTENTS 1 WINTER IMAGES

AVIATION

LEONET TO CAPPIELLO

1-9

63-74

146-174

AMERICAN LITERARY POSTERS

WAR & PROPAGANDA

JULES CHÉRET

10-37

75-100

182-206

BICYCLES

BUFFALO BILL

PAUL COLIN

38-52

101-106

209-228

AUTOMOBILES

ROGER BRODERS

LUDWING HOHLWEIN

53-62

1-2, 141-142

281-293

Detail of lot 306: Grieder, 1919, by Charles Loupot.

TABLE OF CONTENTS 2 ALPHONSE MUCHA

HENRI DE TOULOUSE-L AUTREC

CONDITIONS OF SALE

319-367

427-443

PAGE 217

TOM PURVIS

BOOKS AND PERIODICALS

ABSENTEE BID FORM

387-393

460-462

PAGE 219

WALTER SCHNACKENBERG

SELECTED INDE X

409-411

PAGE 210

THÉOPHILE-ALE X ANDRE STEINLEN

BIBLIOGRAPHY

417-422

PAGE 211

WINTER IMAGES

1 1. Sports d’Hiver / Col de Voza. ca. 1929. Artist: Roger Broders (1883-1953) 24 1⁄ 2 x 39 1⁄ 8 in./62.3 x 99.4 cm Imp. L. Serre, Paris Cond B/Slight tears at folds and edges. Framed. Ref: Broders, p. 37 (var); Broders/Travel, p. 73 (var); Montagne, p. 216; PAI-XLII, 137 This design in subdued colors for the PLM Railroad shows sports lovers arriving for some skiing activity at a small station in the Alpine winter wonderland. In the period between the wars, Roger Broders was the finest designer of French travel posters bar none. Many images were for the French Railways, and specifically the Paris-LyonMéditerranée. He used three distinct approaches in his travel and tourism posters. One highlighted the fashionable sorts of people who frequented the advertised resorts and hotels. The second approach was the impressionistic rendering of the scenery alone. The third was Art Deco influenced stylization of the scenery into areas of flat color and boldly graphic, near-geometric patterns. He was especially masterful at setting up his compositions—the view is often elevated to provide some panoramic sweep with a defined area of focus. The result is always an engaging, effective design: one doesn’t just view the scene, but one comes upon it. Est: $5,000-$6,000.

WINTER IMAGES

2. Les Sports d’Hiver / St. Pierre de Chartreuse. 1930. Artist: Roger Broders (1883-1953)

4. Oberland Bernois. Artist: Hans Falk (1918-2002)

24 3⁄ 8 x 39 5⁄ 8 in./63 x 100.7 cm Imp. de Vaugirard, Paris Cond A. Framed. Ref: Broders, p. 61; Broders/Travel, p. 75; Alpes, 104; Montagne, p. 195; Livre de l’Affiche, p. 195; Affiche Réclame, 107; Sport à l’Affiche, 199; PAI-LI, 136

25 3⁄ 8 x 40 in./64.6 x 101.7 cm Cond A.

In one of Broders’ most snapshot-esque designs, we are situated in the best spot possible to watch a team of amateur bobsledders whizzing around the bend. Not a single member of the crowd is the same—some lean forward, mouths agape with excitement, while others rest casually on their skis. It’s a testament to the surprising popularity of bobsledding amongst tourists at St. Pierre de Chartreuse, easily reached by PLM rail. Est: $7,000-$9,000.

3. 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-LXXXVIII, 18 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.

The Swiss Alps are drenched in the glow of a wintry sunset, providing the perfect backdrop for a friendly romp with a cheerful snowman. Falk was born in Zurich and attended the Kunstgewerbeschule there. A painter by training, he designed a series of posters for the 1964 Swiss National Exhibition and went on to become one of Switzerland’s most prized posterists. Rare! Est: $1,700-$2,000.

5. PKZ. 1942. Artist: Herbert Leupin (1916-1999) 35 1⁄ 2 x 50 1⁄ 2 in./90.2 x 128.4 cm Wolfsberg, Zürich Cond A. Ref: Swiss Posters, 42.1; Leupin, p. 82; PAI-XLV, 47 A gent wearing a crimson PKZ overcoat makes his way through a snowy day wearing the contented look of a satisfied customer despite his cold-reddened nose. It’s a most delightful poster. Est: $1,200-$1,500.

6. MOB. Artist: Martin Peikert (1901-1975) 25 1⁄4 x 40 1⁄ 8 in./64 x 102 cm Lith. Klausfelder, Vevey Cond A. The Montreux Oberland Bernois Railway (MOB) is one of the oldest electric railways in Switzerland, beginning its service in 1901 from Montreux to Les Avants. Peikert captures the thrill of an Alpine ski journey at exhilarating speeds. Est: $2,000-$2,500.

WINTER IMAGES - AMERICAN LITERARY POSTERS

7. Rochers de Naye. ca. 1943. Artist: Herbert Berthold Libiszewski (1897-1985)

8. Olympic Winter Games / St. Moritz. 1948. Artist: Fritz Hellinger (1923-1977)

9. Austria. 1952. Artist: Walter Hofmann (1906-1973)

25 1⁄ 2 x 39 7⁄ 8 in./64.8 x 101.3 cm Säuberlin & Pfeiffer, Vevey Cond A-/Slight stains at edges. Ref: PAI-LXVII, 396

25 1⁄ 2 x 40 3⁄ 8 in./64.8 x 102.4 cm Wolfsberg, Zürich Cond A. Ref (both var): Olympics, p. 55; PAI-XC, 273

24 3⁄4 x 37 1⁄ 8 in./63 x 94.2 cm Josef Eberle, Wien Cond A. Ref: Art/Skiing, p. 29 (var); PAI-LXVII, 363

Our Modern skier is soaring with glee as she overlooks Lake Geneva from the Alpine peaks of Rochers de Naye.

After photographer Keerl shot the filigree of snowflakes on a window, Hellinger blew up the image and printed it in blue and green. Adding a dazzling yellow burst and multicolor snowflakes that resemble stars, he created a design that evokes both a Christmas tree and a holiday sky. With its bright couple out for a day’s skiing, the postwar poster emphasizes the pleasures of the event rather than its competitive nature. This is the English language variant.

Hofmann created numerous posters for his home country’s many outdoor activities. Here, he anthropomorphizes a set of ski poles into a cuddling couple to promote “romantic skiing” in Austria. This is the English-language version of the design.

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

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

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

AMERICAN LITERARY POSTERS One of the best of our native talents, Penfield is well-known for the decade of 1891-1901, during which he was the art director of Harper’s. For five of these ten years, he produced posters for each month’s issue of the then-popular magazine. His drawings are deceptively simple, with flat colors and clear lines, but they always manage to convey class and refinement. In “A Book of the Poster,” by W. S. Rogers, the author comments that “Scorning decoration, Penfield puts down his figure, and there is his poster. But it must not be concluded from this that he shirks the rules of his craft; on the contrary, his designs invariably charm by their pleasing line, broad, strong treatment, and directness of purpose” (p. 88). And there’s quite often a gentle touch of refreshing humor or irony. Penfield’s posters are models of effective composition and economy of expression. The series became immediately popular with collectors, with everyone buying and trading to be sure to fill in their collection, lest a month be missing. We heartily recommend the same procedure for the contemporary aficionado.

10. The Yellow Book / Copeland and Day. 1894. Artist: Aubrey Beardsley (1872-1898) 9 x 25 1⁄ 2 in./22.8 x 64.8 cm Geo. H. Walker, Boston Cond B+/Slight folds in top and bottom text areas. Framed. Ref: DFP-I, 9 (var); Beardsley, 335 (var); PAI-XLVII, 119 Originally used to advertise a line of children’s books, here Beardsley’s design announces the January 1895 issue of The Yellow Book. Brian Reade notes: “Such winged chairs were known as grandfather’s chairs, and Beardsley may have intended to represent a grandmother sitting in an appropriate chair and reading to her grandchildren from one of the books... The gown with its leg-of-mutton sleeves is of the Nineties, but the feather is in the mode of the late eighteenth or early nineteenth century. Instead of age and maturity therefore Beardsley has formulated a disturbing sensuality in the features of the woman. This was the kind of negligent irony which repelled so many of his own generation” (Beardsley, p. 343). During his short life, Beardsley’s principal works were black-and-white illustrations, primarily for books and magazines. Additionally, he created several posters of great artistic merit.

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

11. The August Century / Midsummer Holiday Number. 1896. Artist: Joseph C. Leyendecker (1874-1951) 14 5⁄ 8 x 20 1⁄4 in./37.2 x 51.5 cm W. B. Orcutt, New York Cond A. Ref: Margolin, p. 50; DFP-I, 282; Reims, 1239; Modern Poster, 112; Leyendecker, p. 66; Lauder, 112; PAI-LXXXIX, 268

This is the prize-winning design in The Century’s contest that got Joseph Leyendecker started on his long career. The model’s gold hair and the red stylized poppies dominate the inviting design. Although he was one of America’s favorite illustrators and trend setters in graphic design, Leyendecker remained an intensely private person throughout his life. He was born in Germany of Dutch ancestry and came to the United States with his family at the age of eight, where they settled in Chicago. He studied at the Chicago Art Institute while apprenticing as an engraver; from the age of twenty he made his living as an illustrator. Est: $2,000-$2,500.

12. The Saturday Evening Post / October 5, 1940. Artist: Joseph C. Leyendecker (1874-1951) 21 3⁄4 x 27 3⁄4 in./55.5 x 70.7 cm Cond A/P. Ref: Cutler, p. 168 (var); Leyendecker, p. 201 (var); PAI-LXXXIX, 113

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

As her husband died five years prior, this poster announces the first time Mrs. Rogers released intimate information about her life with the famed American star. Est: $1,200-$1,500.

AMERICAN LITERARY POSTERS

13. Poster Calendar 1897. Artist: Edward Penfield (1866-1925)

14. Harper’s / November. 1895. Artist: Edward Penfield (1866-1925)

16. Harper’s / May. 1896. Artist: Edward Penfield (1866-1925)

12 x 17 1⁄4 in./30.5 x 43.8 cm Cond A/P. Ref: DFP-I, 373; Affichomanie, 140; Penfield, title page; Lauder, 191; PAI-LXXXI, 424

11 3⁄4 x 16 1⁄ 8 in./30 x 41 cm Cond A. Ref: DFP-I, 350; Lauder, 171; Sponsel, p. 206; Reims, 1267; PAI-LXXXVIII, 422

11 7⁄ 8 x 17 3⁄4 in./30 x 45 cm Cond A-/Slight tears and stains at edges. P. Ref: DFP-I, 336; Lauder, 180; Maitres, 115; Penfield, 3; Margolin, p. 67; Gold, 101; PAI-LXXXIII, 429

Both an advertisement for Edward Penfield’s poster calendar and its cover, this is a self-portrait of the artist at work creating the calendar whose cover you are now gazing upon—a cheeky bit of meta-imagery from this gruffly introspective New Yorker. The family cat looks on, with both patient affection and malevolent trickery. Artists with cats all know how felines enjoy getting in the way of one’s work. This is the finest condition of this cover ever seen!

“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).

“Of this whole series, the May poster, of the girl with the two Angora cats has, perhaps, the greatest and most lasting charm. Its quaint originality and the absolute informality of its subject and the extraordinary simplicity of its treatment makes it a poster that one remembers for years after it has been put away” (Price, p. 235-36). It is noteworthy that Chéret selected this Penfield for inclusion in the Maîtres de l’Affiche portfolio.

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

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

15. Harper’s / February. 1896. Artist: Edward Penfield (1866-1925) 10 1⁄ 2 x 19 1⁄ 2 in./26.7 x 49.6 cm Cond A/P. Ref: DFP-I, 353; Lauder, 177; PAI-LXXIV, 398 In classic Harper’s mode, Penfield delivers a sensitive, subtle interpretation of the month: wet-weather mackintosh and boots, the blackened trees of midwinter... and the look of love. Est: $1,000-$1,200.

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

17. Harper’s / October. 1896. Artist: Edward Penfield (1866-1925) 13 1⁄ 2 x 18 1⁄ 8 in./34.2 x 46 cm Cond B+/Slight tears in “O” of October. Framed. Ref: DFP-I, 473; Lauder, 185; PAI-LXXIV, 400 Penfield’s subject for the October 1896 issue of Harper’s is frozen in a moment of photographic elegance. Est: $1,000-$1,200.

AMERICAN LITERARY POSTERS

19 18. Harper’s / March. 1897. Artist: Edward Penfield (1866-1925) 19 x 14 in./48.2 x 35.6 cm Cond A. Ref: DFP-I, 376; Lauder, 194; Penfield, 4; Modern Poster, 22; PAI-LXXXVI, 92 Reminiscent of Bonnard’s 1895 screen “Promenade,” this simple yet stylish couple quietly passes a row of horse-drawn carriages. While their garments imply brisk winter weather, the time of year tells us that spring is right around the corner. Est: $1,700-$2,000.

19. Harper’s / April. 1897. Artist: Edward Penfield (1866-1925) 12 5⁄ 8 x 18 1⁄ 8 in./32 x 46 cm Cond B/Slight tears at edges. Framed. Ref: DFP-I, 377; Lauder, 195; PAI-LXXXVI, 91

Spring has sprung, and this blonde has put together a spiffy ensemble that’s perfect for the season, including a prudent parasol in case of April showers. It’s a simple but stylish design from Penfield. Est: $800-$1,000.

20. Harper’s / June. 1897. Artist: Edward Penfield (1866-1925) 18 1⁄ 2 x 14 1⁄ 8 in./47 x 36.2 cm Cond A. Framed. Ref: DFP-I, 379; Lauder, 197; Weill, 117; PAI-LXXVII, 333 What better way to spend a lazy June afternoon than reading the latest issue of Harper’s outside in your rocking chair, accompanied by a friendly pup? Est: $1,200-$1,500.

21. Harper’s / September. 1897. Artist: Edward Penfield (1866-1925) 18 3⁄ 8 x 13 1⁄4 in./46.6 x 33.6 cm Cond A-/Vertical fold. Ref: Lauder, 200; PAI-LXXXVII, 431 This determined young lady has taken the reigns, and the groom pouts; if this design had a title, it would no doubt be “Sulking in a Sulky.” It’s another poignant and amusing slice-of-life moment from Penfield.

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

AMERICAN LITERARY POSTERS

22 23

24 22. Harper’s / November. 1897. Artist: Edward Penfield (1866-1925)

24. Harper’s / July. 1898. Artist: Edward Penfield (1866-1925)

25. Harper’s / August. 1899. Artist: Edward Penfield (1866-1925)

19 1⁄4 x 14 1⁄4 in./48.8 x 36.2 cm Cond A-/Slight tears at edges. P. Ref: DFP-I, 384; Lauder, 202; PAI-LXII, 517

14 3⁄4 x 9 3⁄ 8 in./37.5 x 23.7 cm Cond A. Ref: DFP-I, 392; Lauder, 212; PAI-LXVIII, 545

12 1⁄4 x 11 3⁄ 8 in./31 x 29 cm Cond A-/Slight creasing in upper left corner. Ref: DFP-I, 404; Lauder, 224; PAI-LXX, 572

This handsome design in muted tones announces the November issue of Harper’s. Clearly, Penfield had a thing for horses this year.

For this summer issue of Harper’s, Penfield returns to one of his favorite subjects—his cats—who are eagerly inspecting a new potted plant.

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

The most intriguing aspect of many Penfield designs is what the artist chooses to withhold from the viewer. It’s almost as if he gives us a well-executed framework which allows us to create a unique story around the image. Here, it’s unclear what the relationship is between the woman at the reins and the gentleman doffing his boater to her as he waits, suitcase in hand, at a trolley stop. There are several scenarios which could play themselves out, but no matter what tale evolves, it’s certain that the couple has attracted each other’s attention, and in the process, engaged the curiosity of the passersby.

23. Harper’s / Christmas. 1897. Artist: Edward Penfield (1866-1925) 13 x 18 3⁄4 in./33 x 47.6 cm Cond B/Slight tears at edges. Ref: Lauder, 203; DFP-1, 385; Kauft Bücher, p. 65; PAI-LXXX, 466 The studious young man absorbed in his Harper’s makes the statement that the gentry are avid readers of the magazine—a message that appears in many guises from all Penfield designs during his tenure at the magazine. Est: $1,000-$1,200.

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

AMERICAN LITERARY POSTERS

26. Harper’s / November. 1898. Artist: Edward Penfield (1866-1925)

27. Harper’s / April. 1899. Artist: Edward Penfield (1866-1925)

28. Harper’s Weekly / November 24, 1900. Artist: Edward Penfield (1866-1925)

18 5⁄ 8 x 11 5⁄ 8 in./47.3 x 29.4 cm Cond A-/Slight tears at edges. Ref: DFP-I, 396; Lauder, 216; PAI-LXX, 568

9 1⁄ 8 x 10 in./23.2 x 25.4 cm Cond A. Ref: DFP-I, 400; Lauder, 220; Price, 249; PAI-LXX, 570

11 x 16 in./28 x 40.6 cm Cond A. Ref: PAI-LVIII, 496

Though most of the Harper’s posters tend to place the spotlight on the goings-on of the upwardly mobile, Penfield could slyly inject a bit of humor with the inclusion of a working class stiff who didn’t wholly appreciate these shenanigans. Case in point: this coachman with the less-than-accommodating expression. The power of the design comes from its unspoken narrative and a curiosity as to what could have transpired to put that look of disdain on his face.

An artist, portfolio tucked neatly under his arm, stands on the boardwalk of an empty strand, seemingly oblivious to the world around him as he ruminates over his next endeavor. Penfield made his first visit to Holland the year this poster was created, and were it not for the absence of the artist’s mustache, one can imagine this piece to be an autobiographical slice-of-life, capturing Penfield meditating on the influence the Dutch travels would have on his early 20th century designs.

For “A Journal of Civilization,” Penfield gives us a refined sporting scene.

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

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

29. Life. 1922. Artist: Edward Penfield (1866-1925) 7 5⁄ 8 x 10 7⁄ 8 in./19.3 x 27.8 cm Cond A. As the text below states, “All aboard for 1923.” Penfield shows us a mother and child boarding an early automobile in this Life cover. Est: $1,000-$1,200.

AMERICAN LITERARY POSTERS

32B 30. Collier’s / November 21, 1903. Artist: Edward Penfield (1866-1925)

32B. Bradley / His Book : Seven Issues. 1896-1897. Artist: William H. Bradley (1868-1962)

10 1⁄4 x 15 in./26 x 38 cm Cond A. Ref: PAI-LIII, 403

Prospectus and first 4 issues: 5 1⁄4 x 10 1⁄ 2 in./13.3 x 26.7 cm Last 3 issues: 8 x 11 in./20.3 x 27.9 cm All books in excellent condition; some wear to covers. Ref: PAI-LXXXIX, 157

With no tagline or accompanying text to explain the issue to a potential buyer, Penfield’s cover illustration must work alone to attract attention. Serene and simple, we see a country girl peeling potatoes in a kitchen with a lazy cat perched on the windowsill.

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

31. Collier’s / September 17, 1904. Artist: Edward Penfield (1866-1925) 10 3⁄ 8 x 15 1⁄4 in./26.2 x 38.8 cm Cond A. Penfield appeals to the equine-inclined sophisticates with this cover for Collier’s. Est: $1,000-$1,200.

32A. Collier’s / The National Weekly. 1907. Artist: Edward Penfield (1866-1925) 10 1⁄4 x 15 in./26 x 38 cm Cond A. In this quizzical cover for Collier’s, a polar bear dubbed “Lord of the North” appears to have knocked over a box of... puffins? Given the diminishing climate in today’s Arctic, we certainly hope this polar bear has at least been well fed. Est: $1,000-$1,200.

32A

This lot includes Bradley’s prospectus for His Book and the following seven complete issues; a February 1897 issue was never completed, and therefore it was not printed separately. 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. The artist designed, wrote, and printed each issue and also released a poster for every publication. He even illustrated the advertisements, and they are some of the loveliest commercial advertising images to exist. The magazine’s first issue—printed in 10,000 copies—was entirely sold out before the day of publication, and subsequent issues were highly sought and critically lauded. In 1896, the Syracuse Herald wrote, “Bradley, His Book is a new aspirant to magazine honors, and it puts forth strong claims to recognition. It is a model of neatness, and its literary quality is in keeping with its external appearance.” The Manchester Cricket noted, “It is a unique affair, and one of the most artistic works extant.” Est: $2,000-$2,500. (8)

AMERICAN LITERARY POSTERS

33. The Century Magazine / For June. 1896. Artist: Louis J. Rhead (1858-1926)

35. The Christmas Scribner’s. 1897. Artist: Maxfield Parrish (1870-1966)

10 1⁄ 2 x 21 in./26.8 x 53.2 cm Cond A-/Slight tears at edges. Framed. Ref: DFP-I, 461; Margolin, p. 49; Lauder, 265; Keay, p. 98; PAI-XLVI, 37

13 3⁄4 x 21 5⁄ 8 in./35 x 55 cm Cond A-/Slight creasing at bottom. P. Ref: Lauder, 137; Margolin, p. 77; PAI-LXXXII, 100

Rhead places one of his preferred redheads amongst bright yellow roses, giving the impression that she may be serving as a trellis for them as they wrap themselves around her and even adorn her hair. The peaceful pastoral settings of his designs make it perfectly clear that The Century is appropriate reading material in every surrounding. Rhead was one of the first poster artists to gain an international reputation. Born in England, he was quite active in London, New York, and Paris with equal success; his exhibition of posters in New York in 1895 was America’s first, and was well received. Est: $1,700-$2,000.

34. The Century / Christmas Number. 1894. Artist: Louis J. Rhead (1858-1926) 13 1⁄ 2 x 19 5⁄ 8 in./34.3 x 49.8 cm Cond A. Ref: PAI-LXX, 610 Throughout Europe in the 16th and 17th centuries, it would not be uncommon for the ultra-wealthy to feast upon peacock at Christmas and other special events. That archaic tradition is referenced in this elegant poster by Rhead promoting The Century’s Christmas number, featuring “poems and pictures, 25 full-page illustrations, Rudyard Kipling’s first American story [and] the new life of Napoleon.” This is the smaller format version of the design. Est: $1,400-$1,700.

Atop mustard-colored paper, a maroon liveried servant serves up what appears to be an enormous Christmas pudding. Parrish designed his first two posters only the year before, but they both won prizes; immediately several publishers commissioned him to create posters for them. Est: $1,200-$1,500.

36. Outing / Holiday Number. 1896. Artist: Henry Summer Watson (1868-1933)

15 x 20 1⁄ 2 in./38 x 52 cm Cond A-/Slight stains at bottom edge. In publication from 1882 to 1923, Outing magazine focused on sporting activities. For the 1896 holiday number, Watson has a bit of fun and places Santa Clause and a young lady on the slopes with festive glasses of champagne. Est: $1,000-$1,200.

37. The Saturday Evening Post. 1941. Artist: Norman Rockwell (1894-1978) 21 3⁄4 x 28 in./55.2 x 71.2 cm Cond A. Ref: Rockwell’s America, 15; PAI-LXXXVIII, 39 Turning the delivery van into the official Saturday Evening Post vehicle, this charmingly flirtatious design—a poster for the July 26, 1941 issue—has a rosy-cheeked pinup girl appear blissfully unaware of her effects on the blue-collared set. Est: $1,400-$1,700.

BICYCLES

38 38. Cycles Gladiator. ca. 1895. Artist: Anonymous 51 1⁄4 x 37 1⁄ 2 in./130 x 95.2 cm Imp. G. Massias, Paris Cond A. Framed. Ref: Bicycle Posters, 42; Petite Reine, 47; Posters of Paris, 104; Ailes, p. 11; Musée d’Affiche, 22; Reims, 154; PAI-LXXXVII, 45A This design is a lithographic masterpiece. Acclaimed as one of the world’s greatest posters, this image of a flame-tressed sylph, propelled among the stars by the Gladiator and its winged pedals, has been appropriated throughout culture ever since its debut in 1895. Shockingly, it remains anonymous, despite the presence of the faint initials LW in the lower right corner. Even in the famed 1896 Reims exhibition, it was attributed to “Anonyme.” Est: $40,000-$50,000.

BICYCLES

40 39. Marque Georges Richard / Cycles & Automobiles. 1899. Artist: Eugène Grasset (1841-1917)

40. Marque Georges Richard / Cycles & Automobiles. 1899. Artist: Eugène Grasset (1841-1917)

58 x 41 1⁄ 8 in./147.2 x 104.3 cm Imp. de Vaugirard & G. de Malherbe, Paris Cond B/Slight tears and stains at folds and edges. Framed. Ref: DFP-II, 415; Bicycle Posters, 21; Berthon & Grasset, p. 34; Weill, 41; Timeless Images, 28; Dodge, p. 132; Ailes, p. 119; Gold, 78; Encyclopédie/ Weill p. 41; Posters of Paris, 54; PAI-LXXXVI, 3

23 3⁄ 8 x 17 in./59.4 x 43.2 cm Imp. de Vaugirard & G. de Malherbe, Paris Cond A/P. Ref: DFP-II, 415; Bicycle Posters, 21; Berthon & Grasset, p. 34; Weill, 41; Timeless Images, 28; Dodge, p. 132; Ailes, p. 119; Gold, 78; Encyclopédie/Weill p. 41; Posters of Paris, 54; PAI-LXXXV, 24

Here, in one of the most appealing of Grasset’s posters, atmosphere is paramount. “Of the product, we see barely a handlebar: it is the moody and enigmatic rider who carries the weight of the sale. The twilight effect adds warmth to the image in which type and design are beautifully integrated. Georges Richard was one of quite a number of bicycle manufacturers who were hurriedly adding automobiles as a sideline around the turn of the century; within a few years, the sideline would become the main, or as here, the only product of the company” (Gold, p. 56). This is the larger format.

This is the rare, smaller format version of the previous image.

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

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

BICYCLES

41. Liberator Cycles & Automobiles. 1899. Artist: Pal (Jean de Paléologue, 1860-1942)

43. Cycles Terrot / Dijon. 1898. Artist: Francisco Tamagno (1851-1933)

54 1⁄ 2 x 77 1⁄4 in./138.5 x 196.4 cm Caby & Chardin, Paris Cond B/Slight tears and stains at folds and seam. Ref (all var but PAI): DFP-II, 696; Bicycle Posters, 48; Petite Reine, 33; PAI-LXXIX, 50

43 1⁄ 2 x 61 3⁄4 in./110.5 x 157 cm Imp. P. Vercasson, Paris Cond A-/Slight tears in background. Ref: DFP-II, 808; PAI-LXXXIV, 10

This is one of the most famous posters in the world— often copied, and often poorly. But this original large-format printing has vibrant coloration and exquisite detail that we rarely see—note our Valkyrie’s chain-mail miniskirt, with textured rings and metallic shimmer. Pal’s triumph here is the culmination of the “Bicycle Craze” of the 1890s, which indeed delivered liberation for female riders and sparked the modern women’s rights movement. This is the rare and larger two-sheet poster. Est: $1,700-$2,000.

42. Phébus. ca. 1899. Artist: Pal (Jean de Paléologue, 1860-1942) 42 3⁄4 x 57 1⁄ 2 in./108.6 x 146 cm Imp. Paul Dupont, Paris Cond A-/Slight tears at edges. Ref (all var but PAI): Petite Reine, 28; Collectionneur, p. 232; Pierrot, 69; PAI-XC, 57

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.

Tamagno made many inspired images for Terrot cycles, where chutzpah trumps decorum—and this is the original incarnation that he would reinterpret again later. But wouldn’t you show some gestural bravado if you owned a bike that allowed you to outpace a train? We thought as much. Est: $1,700-$2,000.

44. Bicyclette Rudge / Charles Terront. 1894. Artist: Anonymous 39 x 59 3⁄ 8 in./99 x 150.8 cm Lith. F. Appel, Paris Cond B+/Slight tears at folds. Ref: PAI-XXXVIII, 109 We’re shown Charles Terront, “Winner of the 1,000 Kilometer Match,” pedaling his Rudge alongside a quiet river at sunset. It isn’t clear which race is being referred to here; in 1894, the 34-year-old Terront lead the pack of 205 cyclists to win the 1,200 km ParisBrest-Paris race on a Humber cycle. He went on—this time on a Rudge—to win the 3,000 km St. PetersurgParis challenge as well. Rudge was a British make, manufactured by Dan Rudge of Wolverhampton, but was sold and advertised extensively in France. Est: $1,200-$1,500.

BICYCLES

45 45. Rambler Cycles. Artist: Anonymous

47. Châlet du Cycle. 1899. Artist: René Péan (1875-1940)

37 x 51 1⁄4 in./94 x 130 cm Imp. Kossuth, Paris Cond A.

34 5⁄ 8 x 49 3⁄ 8 in./88 x 125.3 cm Imp. Chaix, Paris Cond A-/Unobtrusive folds. Ref: Bicycle Posters, 58; PAI-LXXXI, 82

Lit by the glow of a starry sky, our goddess of the wheels has taken flight on her Rambler bicycle. Manufactured in Chicago starting in 1878, this poster was geared toward the company’s French audience. Est: $1,700-$2,000.

46. Cycles Rudge. 1897. Artist: Jacques Debut 45 7⁄ 8 x 63 1⁄4 in./116.6 x 160.5 cm Imp. Caby & Chardin, Paris Cond A-/Horizontal fold. Ref: Petite Reine, 43; PAI-LXXXII, 57 As Actaeon once stumbled upon the goddess Diana bathing in the woods, so does this modern cyclist peer out from the branches at the latest Rudge bicycle—a machine so finely crafted it could only be from the gods. Est: $2,000-$2,500.

The woods and forests that surrounded Paris at this time were filled with châlets like this one in the Bois de Boulogne. The cafés there were meeting places for Parisian cyclists. Although this flavorful poster depicts the social importance of the bicycle, it also demonstrates that the motorcycle and the automobile were beginning to threaten the quiet landscape. Est: $2,000-$2,500.

48. Nimes / Tour de France. 1949. Artist: J. J. Fresquet 12 1⁄4 x 16 in./31 x 40.7 cm Sadiac, Nimes Cond B/Slight tears and stains; grommets. Framed. For Stage 13 of the 1949 Tour de France, Fresquet takes us to the ancient Roman city of Nîmes, which can be seen in the upper right-hand corner. The cyclist at center is depicted with focused intensity; the contrast of the darkened ground below his yellow shirt makes it appear that he’s ready to take off into the atmosphere. Rare! Est: $1,700-$2,000.

BICYCLES - AUTOMOBILES

49. Michelin. Artist: Anonymous

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

18 7⁄ 8 x 26 3⁄ 8 in./48 x 67 cm Bonetti, Milano Cond A-/Slight tear at bottom edge. P. Ref: PAI-LXXXVIII, 58

46 x 61 in./116.8 x 155 cm Imp. Max Courteau, Paris Cond A-/Slight stains in background. Framed. Ref: PAI-LXXV, 32

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

This is the second of two posters Ham designed for Motobécane, and was most likely created when the motorbike company was at the height of its popularity, and Ham was perfecting his style: a combination of aggressive action and exhilarating freedom.

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

50. Michelin. 1959. Artist: Anonymous 18 3⁄4 x 26 3⁄ 8 in./47.6 x 67 cm Verga, Milano Cond A. Ref: Discount, p. 229 (var); PAI-LXXXVIII, 61 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: $1,400-$1,700.

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

52. Montreuil / Moto Cross. ca. 1948. Artist: Geo Ham (Georges Hamel, 1900-1972) 46 1⁄ 2 x 48 1⁄ 2 in./118 x 123.2 cm Cond A-/Unobtrusive folds. Ham promotes an animated moto-cross race in the eastern Parisian suburb of Montreuil. Although no information exists on this specific event, Ham makes sure to provide plenty of rollicking action. Est: $1,200-$1,500.

AUTOMOBILES

53 53. Coupe Pilette. 1907. Artist: Tsas 47 5⁄ 8 x 33 in./121 x 83.8 cm Gouweloos, Bruxelles Cond A. Ref: Belgique Sportives, p. 113 “The creator of this coupe, Théo Pilette, was the Mercedes factory agent for Belgium. A racer himself, he took part with twenty other competitors at the start of the race, to climb the hill from Spa to Malchamps four times in a row. The respective power of the vehicles taken into account at the start divided them into six different categories and the final classification, including the winner of each category, crowned the car with the most regular time: the Bayart-Clément du Chevalier de Spirlet. A poster within the poster, the announcement of the race appears as a road sign in this composition by Tsas, one of the greatest successes of his work as a poster designer. This process is frequently used in the ‘sports’ posters of the years 1900-1910: the program of a cycle race is inscribed in a cupboard glued to the wall, etc.” (Belgique Sportives, p. 113). Est: $4,000-$5,000.

AUTOMOBILES

54 54. Georges Richard / “Unic.” ca. 1908. Artist: Henri Béhel (1865-1929)

55. Automobile Club of America / Savannah Race. 1908. Artist: Malcolm A. Strauss (1883-1936)

62 1⁄ 2 x 46 in./159 x 116.6 cm Imp. J. van Gindertaele, Paris Cond A/Slight stains in margins. Ref: Auto Posters, p. 17; PAI-LVII, 26

26 5⁄ 8 x 39 1⁄ 2 in./67.7 x 100.4 cm Cond A. Framed. Ref: PAI-XXI, 418

While Georges Richard had his own line of automobiles between 1897 and 1902, he ultimately sold that firm, joined another, and then founded Unic in 1906. Here, in serene seaside elegance, we see one of the brand’s earliest models; the white area in the lower right is waiting to be filled with the local retailer’s information. Est: $3,000-$4,000.

This poster for the 400-mile Grand Prix in Savannah, Georgia in 1908 is arguably the rarest and finest of all early American racing posters. It’s a most powerful image, showing the driver and mechanic on the open road at dawn amidst the palmettos, with the wheels and front exhaust spewing out a cloud of smoke, fumes, sparks, and dust. It must have been hellish—but it looks very glamourous. America was the second country (after France) to stage a Grand Prix. The winner was Louis Wagner in a Fiat, going at an average 65.2 mph over the 16 laps of the 25.13 mile road circuit; no American cars ran the full distance. Strauss was a lifelong resident of New York City who honed the illustrative skills we see here by creating magazine covers and advertising art. Est: $8,000-$10,000.

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AUTOMOBILES

57 56. Michelin. 1925. Artist: Gilbert Philibert

58. Nervol. ca. 1930. Artist: Jean Cassarini (1910-?)

47 1⁄4 x 68 3⁄4 in./120 x 174.8 cm Imp. L. Serre, Paris Cond B+/Slight tears and stains. Framed. Ref: Discount, p. 171; PAI-LX, 449

15 1⁄ 2 x 23 1⁄ 2 in./39.4 x 59.7 cm Imp. Robaudy, Cannes Cond A-/Slight creases. P.

In this simple but bright design, Bibendum—better known today as the Michelin Man—runs alongside his namesake tire as it traverses the globe.

Cassarini created a quite transfixing design for a little-known motor oil branded as the “long life engine elixir.” Rare! Est: $1,200-$1,500.

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

57. Radio Sport Veglione. 1929. Artist: Anonymous 27 3⁄4 x 39 1⁄ 2 in./70.6 x 100.2 cm Antonio Vicenzi, Bassano del Grappa Cond A-/Slight tear at horizontal fold. We’re not entirely sure what a “sports radio New Year’s Eve” entails, but based on the vibrant poster created for the celebration, we’re absolutely intrigued. The event was sponsored by the Bassano del Grappa Automobile Club, but this anonymous artist only gives us a hint of a 1920s car. Instead, he focuses our attention on the stylish couple prancing off into the venue. Rare!

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

59. Mabor. 1947. Artist: Caldas 27 3⁄4 x 39 3⁄ 8 in./70.6 x 100 cm Bertrand, Lisboa Cond A. Still manufactured in Portugal today, a Mabor tire is advertised alongside a duo of sprinting greyhounds who seem to be excited by their new racing companion. Est: $1,400-$1,700.

AUTOMOBILES

60. Montagne d’Auvergne. 1958. Artist: Geo Ham (Georges Hamel, 1900-1972)

61. Monaco 1962 / XXe Grand Prix. Artist: Michel Trublin (1939- )

62. Gd Prix d’Europe / Monaco. 1963. Artist: Michel Beligond (1927-1973)

23 1⁄ 2 x 31 5⁄ 8 in./59.7 x 80.3 cm I.P.C. Clermont-Ferrand Cond A. Ref: PAI-LV, 73

9 3⁄ 8 x 12 1⁄ 2 in./23.8 x 31.8 cm Éditions J. Ramel Cond A. Ref (both var): Monaco, p. 59; PAI-L, 41

16 x 23 1⁄ 2 in./40.6 x 59.7 cm Imp. J. Ramel, Nice Cond A. Ref: Monaco, p. 61; PAI-LXXV, 73

Although the track was first proposed in 1908, the Montage d’Auvergne circuit was not completed until 1958, the year of this poster. This design “d’après” Ham recalls many of his other more famous automobile images by relying on the drama of movement to recreate the thrill of the event for the viewer.

In Trublin’s vision for the twentieth running of the road race, the Formula One has reached such an impressive velocity that its very matter appears to have come undone, transubstantiating into an altogether new dimension of speed. The winner of that year’s race was New Zealander Bruce McClaren behind the wheel of a Cooper-Climax. This is the rare smaller format.

The 1963 Monaco Grand Prix is best known in racing history as the first of five victories for British driver Graham Hill on that track, ultimately granting him the unofficial title of “The King of Monaco.”

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

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

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

AVIATION

63. PLM / Ville de Nancy. 1909. Artist: Ludo 27 1⁄4 x 20 5⁄ 8 in./69.4 x 52.4 cm Lith. Berger-Levrault, Nancy Cond A. Ref (both var): DFP-II, 553; PAI-LXXXIX, 32

An aeronautic retrospective is the overwhelming draw in this poster for the International Science, Industry, and Art Exhibition in Nancy, the capital of the industrial area of Lorraine. PLM promotes their transport services to the event in this variant without the addition of text at top and bottom. Est: $1,700-$2,000.

64. Farman & Latham : Two Posters. ca. 1910. Artist: L. Pousthumis Each: 16 5⁄ 8 x 11 1⁄4 in./42.2 x 28.5 cm K. F., Paris Cond A. Pousthumis gives us two idyllic scenes of early flight that celebrate French aviators Henry Farman and Hubert Latham. In the first, we see a typical Voisin Farman biplane with its characteristic box-kite tail structure taking to the skies alongside a flock of birds. In the second, Latham’s Antoinette monoplane slices across the landscape; this model was one of the first monoplanes produced, and Latham’s attempted Channel flights made the plane quite popular in the early years of aviation. Although both aviators are famous for their groundbreaking aerial feats, no information exists on the artist. Est: $1,700-$2,000. (2)

65. Pilotes d’Avions. 1927. Artist: Jean Chassaing (1905-1938) 24 3⁄ 8 x 34 3⁄ 8 in./62 x 87.4 cm Imprimerie Nationale Cond B+/Slight tears at folds. Ref: PAI-XXX, 306 Not wishing to repeat their air presence debacle of World War I, the French Ministry of War focused their efforts on creating an air force which could safeguard the country from on high. To that end, recruiting posters like this one began to appear as a part of the graphic landscape. They were patriotic, iconoclastic images that not only fanned the flames of nationalist pride, but also generated a sense of adventure that soared above the horrible reality of trench warfare. So this appeal to the youth of France served not only as a reminder of the fact that joining the air force was a legitimate way of fulfilling their military service, but held forth an opportunity—accurate or not—of escaping the drudgery of service on the ground.

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

AVIATION

65 66. KLM / Royal Dutch Airlines. 1928. Artist: Charles C. Dickson 24 1⁄ 2 x 36 1⁄ 2 in./62.3 x 92.7 cm Van Leer, Amsterdam Cond B/Slight tears and stains. Ref (both var): KLM, 38; PAI-II, 120 KLM announces flights to the 1928 Olympic Games in Amsterdam with this bold design centered on the newly developed Fokker F.VIII. Designed for English-speaking audiences by British artist Charles Dickson, the main goal of this image was to entice Londoners to the Games; in fact, the London-Amsterdam route was incredibly popular, and KLM had to increase service to meet demand. And in terms of the Games, this year saw the introduction of the now iconic Olympic Flame. Est: $2,500-$3,000.

67. Aéropostale / Au Maroc Par Avion. 1930. Artist: Jean Jacquelin (1905-1989) 23 1⁄ 2 x 31 3⁄ 8 in./59.7 x 79.7 cm Éditions STEP, Paris Cond A. Ref: Jacquelin, p. 37; Airlines, p. 55; Air France, checklist; PAI-LXIII, 327 “This Aéropostale poster of the early 1920s depicts a typical Moroccan scene. Aéropostale, which in 1931 was the largest airline in the world, was originally Lignes Aériennes Latécoère, and later C.G.E.A. The airline carried mostly mail, and was absorbed in 1933 by Air France” (Airlines, p. 55). Est: $3,000-$4,000.

AVIATION

68 69

68. Vincennes / Aéro Club de France. 1930. Artist: Don

69. United Air Lines / Hawaii. ca. 1950. Artist: Joseph Feher (1908-1987)

70. Air France / Dans Tous les Ciels. 1951. Artist: Eduard Badia Vilato (1914-2012)

16 x 23 3⁄ 8 in./40.6 x 59.3 cm Imp. de l’Ae.C.F. Cond B+/Slight tears at horizontal fold.

25 1⁄ 8 x 39 3⁄4 in./64 x 101 cm Cond A. Ref: PAI-LXVIII, 61

The French tricolor serves as a multiplying geometric background for the plane taking to the skies at the French Aero Club’s air meet in Vincennes. Co-hosted by the Parisian press union, the event aimed to benefit the aeronautics relief fund.

Shortly after the end of World War II, United began regular service to Hawaii. This is one of the first posters from that time period. Feher attempts to lure visitors to the exotic islands with beautiful girls and sun-drenched beaches.

24 5⁄ 8 x 39 3⁄ 8 in./62.6 x 100 cm Perceval, Paris Cond A. Ref: Air France, p. 85; PAI-LXXII, 64

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

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

Vilato is one of the most mysterious commercial artists in the pantheon. Surrealist in his aesthetics and anarchist in his politics, he fled Spain during the Civil War for France and accomplished some of Air France’s most beautiful posters, including this one: a work that transcends mere physical flight into something more profound, mystical, and metaphysical. At the end of the 1950s, he settled in South America. Nothing more is known about him. Est: $1,200-$1,500.

AVIATION

73 72 71. Qantas / Canada. ca. 1952. Artist: Harry Rogers (1929-2012)

73. TWA / St. Louis. ca. 1961. Artist: David Klein (1918-2005)

14 1⁄4 x 19 5⁄ 8 in./36.6 x 49.8 cm Posters Pty., Australia Cond A/P. Ref: PAI-LXXXIV, 56

25 x 40 3⁄ 8 in./63.3 x 102.6 cm Cond A. Ref: PAI-LXX, 421

A simple teal background gives way to a dynamic multicolored moose who advertises trips to Canada via Australia’s Qantas Airline. Rogers not only designed posters for the airline from the 1950s through 1985, but also designed their logo in the 1960s, art directed their in-flight and staff magazines, and oversaw a total rebranding of the company from 1970-1984, which included a new typeface and the design of upstairs cocktail bars in the early Boeing 747s. This is the smaller format. Est: $1,400-$1,700.

72. TWA / l’Amérique. ca. 1957. Artist: Anonymous 25 1⁄4 x 39 7⁄ 8 in./64 x 101.5 cm Cond A. Ref: PAI-LXXXV, 88 (var)

Featuring the Old Courthouse and the iconic Gateway Arch, this minimalist design by Klein celebrates his foray into the world of Modern composition. Est: $1,000-$1,200.

74. Fly TWA Jets / Paris. 1962. Artist: David Klein (1918-2005) 25 x 40 1⁄4 in./63.3 x 102.2 cm Cond A-/Slight tears at bottom edge. Ref: PAI-LXXXVIII, 111 This is one of David Klein’s most celebrated posters, and the image itself is jubilant: the City of Light is ablaze with Klein’s stylized fireworks that mimic the illustrated showgirls of the Folies-Bergère in Belle Époque posters. Est: $1,200-$1,500.

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

WAR & PROPAGANDA

75 75. National Soldiers Reunion. 1885. Artist: Anonymous 37 1⁄ 8 x 26 1⁄ 2 in./94.3 x 67.3 cm Strobridge, Cincinnati Cond B+/Slight tears at edges. Framed. Just 20 years after the American Civil War ended, veterans from both sides attended a reunion with an encampment and competitive drill. The illustrious Strobridge printers created this detailed tableau featuring actual generals of the time. Rare! Est: $2,000-$2,500.

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WAR & PROPAGANDA

76. I Want You for U.S. Army. 1917. Artist: James Montgomery Flagg (1870-1960)

77. Wake Up, America! 1917. Artist: James Montgomery Flagg (1870-1960)

29 3⁄4 x 40 1⁄4 in./75.6 x 102.2 cm Leslie Judge Co., New York Cond A-/Slight tears at edges. Framed. 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-LXXXIX, 56

25 7⁄ 8 x 38 5⁄ 8 in./65.7 x 98.2 cm The Hegeman Print, New York (not shown) Cond A-/Horizontal fold. Framed. Ref: Rawls, cover & frontispiece; Theofiles, 7; Flagg, p. 68; PAI-LXXXV, 110

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: $6,000-$8,000.

Columbia sleeps, clothed within the Stars and Stripes on a front-porch rocker in this alarm clock to the nation. One of the best and rarest of World War I posters, its slogan has been used as a title for innumerable books, including Rawls’ famous “World War I and the American Poster” —and its message is seemingly inexhaustible and just as potent today as 106 years ago. Est: $6,000-$8,000.

WAR & PROPAGANDA

79 78. Navy / Don’t Read American History – Make It! 1918. Artist: James Montgomery Flagg (1870-1960) 28 x 42 ⁄4 in./71.2 x 107.3 cm Miner Litho., New York Cond A-/Slight tears and stains at bottom. Ref: Rawls, p. 75; Flagg, p. 65; PAI-LXXVI, 95 1

This fascinating recruitment poster positions its persuasion on the fulcrum of class, education, and American masculinity. Ironically, in this same year, the American Library Association published posters soliciting books for American WWI soldiers who needed distractions from the tedium and horror of making history (see John E. Sheridan, PAI-LXXII, 356). Est: $1,200-$1,500.

79. The Camp Library is Yours. 1917. Artist: Charles Buckles Falls (1874-1960)

80. Get in the Game. 1917. Artist: Joseph C. Leyendecker (1874-1951)

27 3⁄4 x 32 1⁄ 8 in./70.2 x 81.8 cm Cond A. Ref: Theofiles, 275 (var)

18 1⁄4 x 24 1⁄ 2 in./46.3 x 62.3 cm Cond A. Ref: Cutler, p. 180 (var)

“The camp library served as a place of recreation and education for soldiers both in the United States and abroad. While the American Library Association would raise funds with the help of the Carnegie Corporation to build thirtysix library buildings, most of the libraries were housed in YMCA and Knights of Columbus recreation buildings or YWCA hostess houses. The libraries were filled with books, periodicals, and even games for the soldiers to play. For servicemen who were stationed on naval ships, the Association sent reading materials to ships and naval stations. For many soldiers waiting to be deployed or already overseas, books became a source of entertainment and solace to fill idle hours in the camps and the trenches. For other soldiers, the camp library and books provided by the Library War Service were a chance for them to learn to read” (American Library Association Archives, 2019).

What’s more American than Uncle Sam playing baseball? Leyendecker pulls out all the patriotic stops to get Americans involved in the war effort.

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

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

81. They Are Giving All / Will You Send Them Wheat? 1918. Artist: Harvey Dunn (1884-1952) 56 1⁄4 x 36 1⁄ 2 in./142.8 x 92.5 cm W.F. Powers Litho., New York Cond A. Ref: Theofiles, 77; War Posters, 138 “Dunn was one of eight artists who traveled to Europe with the American Expeditionary Force. As a painter of the prairie, he transferred his sense of the wide-open spaces to the battlefield, to impose the American experience onto the European landscape” (War Posters, p. 115). Est: $1,200-$1,500.

WAR & PROPAGANDA

82 82. La Réponse de l’Amérique aux Boches. ca. 1918. Artist: Anonymous

84. Fight or Buy Bonds. 1917. Artist: Howard Chandler Christy (1873-1952)

31 1⁄4 x 46 5⁄ 8 in./79.4 x 118.5 cm Louchet Publicité, Paris Cond A-/Slight stains at horizontal fold. Framed. Ref: Rickards, 164; Rawls, p. 234 (var)

20 x 30 in./50.8 x 76.2 cm Forbes, Boston Cond B/Slight tears at edges. Ref: Rawls, p. 209; Theofiles, 156; PAI-LXXXIX, 67

This anonymous artist compares World War I to the Crusades by depicting the ghosts of medieval soldiers flanking the contemporary American army. This image was used to promote the “first official American war picture,” titled “Pershing’s Crusaders,” in 1918 (see Rawls, p. 234). For the French release, the title has been changed to “America’s Response to the Huns,” but the message remains clear.

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

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

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

83. I Want You For the Navy. 1917. Artist: Howard Chandler Christy (1873-1952) 27 x 41 3⁄ 8 in./68.5 x 105 cm Forbes, Boston Cond B+/Slight tears at folds and edges. Ref: Rawls, p. 78; PAI-LXXXIX, 65 This sultry Christy girl was created at precisely the same time as Flagg’s Uncle Sam, and both are saying “I Want You”—but with ever-so-slightly different inflections. Not only is this an interesting comparison to Christy’s “Gee!! I Wish I Were a Man” (PAI-XC, 75), but the sheer sexiness with which she dons the sailor’s dress uniform anticipates the Van Heusen shirt campaigns of many years later. Est: $1,200-$1,500.

85. Americans All! 1919. Artist: Howard Chandler Christy (1873-1952) 26 3⁄4 x 39 5⁄ 8 in./68 x 100.7 cm Forbes, Boston Cond A. Ref: Rawls, 222; PAI-XXXVIII, 284 “Columbia places a laurel wreath above an Honor Roll of fallen heroes containing many foreign names, but, for obvious reasons, no German surnames” (Meehan Military Posters, Cat. 23, No. 79). Ohio-born Christy had a reputation as a patriot, both as a graphic artist and an American citizen. After training at New York City’s Art Students League (where he was forced to drop out of William Merit Chase’s painting class when it was discovered that he sold illustrations to magazines), he accompanied the troops to Cuba during the SpanishAmerican War, earning regard as a combat artist. An illustrator, portrait painter, and muralist, he is much esteemed for his recruitment posters. Est: $800-$1,000.

WAR & PROPAGANDA

86. Third Liberty Loan / Over The Top. 1918. Artist: Sidney H. Riesenberg (1885-1971)

87. Prestito della Liberazione. 1917. Artist: Luciano Achille Mauzan (1883-1952)

88. Sesquicentennial / Liberty. 1926. Artist: Dan Smith (1864-1934)

20 1⁄ 8 x 30 in./51 x 76.2 cm Ketterlinus, Philadelphia Cond A. Ref: Theofiles, 150; Rawls, p. 248; PAI-XXXIV, 421 (var)

40 1⁄ 2 x 56 1⁄ 2 in./103 x 143.5 cm G. Ricordi, Milano Cond B+/Slight tears at folds. Ref: Mauzan, A075; Menegazzi-I, 57; Menegazzi-II, 18; Mauzan/Pinerolo, p. 11; Mauzan/Treviso, p. 19; Mauzan/Paris, p. 37; Bocca, p. 97; PAI-XLII, 426

17 1⁄4 x 27 in./43.8 x 68.5 cm Cond A-/Slight stains at edges. Ref: PAI-LXVIII, 163

Riesenberg’s soldier takes his inspiration from Sergeant Guy Empey’s popular book, “Over the Top,” an enthusiastic battlefield account that galvanized American support for entering the First World War. Est: $800-$1,000.

During World War I, in which Italy was on the Allied side, Mauzan designed a number of posters for Italian war bonds. In this one—for what can be best translated as Liberty bonds—a solemn-faced allegorical figure of Italy, winged and laurel-wreathed, extends a sword to which arms reach in the ancient Roman oath-swearing gesture. On a banner, a quote from Italy’s wartime leader Orsini obliquely refers to “the return of what was ours”: conquered Italian territory, and, perhaps, Italian pride. Est: $1,400-$1,700.

The main highlight of the 1926 Philadelphia World’s Fair was the 150th anniversary of the signing of the Declaration of Independence. Organizers constructed an eighty-foot replica of the Exposition’s symbol—the Liberty Bell—covered with 26,000 light bulbs at the gateway to the festival. Est: $1,200-$1,500.

WAR & PROPAGANDA

89. Sesquicentennial / Philadelphia. 1926. Artist: Dan Smith (1864-1934)

90. Lenin Flagship Dirigible Squadron. 1931. Artist: G. Kibardin

91. Aiuti Americani. ca. 1940. Artist: Anonymous

17 7⁄ 8 x 26 3⁄4 in./45.3 x 68 cm Cond A. Ref: PAI-LXVIII, 164

28 5⁄ 8 x 40 3⁄4 in./72.8 x 103.4 cm Cond B+/Unobtrusive folds; slight stains at edges. Ref: Iconography of Power, p. 157; PAI-XXXVI, 363

27 5⁄ 8 x 39 1⁄ 2 in./70 x 100.3 cm Centro Grafico, Roma Cond B+/Unobtrusive folds.

The companion piece to the previous lot, this poster shows a Marianne-like figure bearing the flags of the world.

A Constructivist design of powerfully iconoclastic proportions uses a photomontage treatment and an awesome grasp of balanced propaganda to deliver its message of strength through zeppelin supremacy. Executed in a dialect of Russian, Kibardin’s poster exalts Lenin as the leading proponent of dirigible power, and backs this up with an impressive gathering of the stratospheric behemoths above and an admiring proletariat throng below. Sporting names meant to inspire, the zeppelins run the gamut of monikers, from Party legends (Lenin, Stalin, and Voroshilov) to the ideological (Truth and Collective), to the oddly complimentary (Handsome Bolshevik).

This incredibly dramatic World War Two poster features three of the four horsemen of the apocalypse: Famine, Death, and War (or Revolution, as denoted here). Notably, conquest is omitted from the group, as the poster aimed to provide aid to the allied Americans. Rare!

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

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

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

WAR & PROPAGANDA

92 92. 20 Anti-Semitic Serbian Posters. 1941. Artist: Various

93. United We Win. 1943. Artist: Anonymous

Varying sizes from 19 x 27 in./48 x 69 cm to 27 1⁄4 in./69.2 x 97 cm Cond A/Folded paper.

22 x 28 in./56 x 71 cm U.S. Government Printing Office, Washington, D.C. Cond B+/Slight tears at folds. Ref: Weapons, p. 25; PAI-LXXXII, 39

This collection of 20 posters is featured in the book “Anti-Masonic posters 19411942,” from the Mirko Ilić Private Collection of Posters. Editor Jelena Banjac wrote, “‘The Grand Exhibition of the Work of Masons, Jews and Communists’ better known as ‘The Anti-Masonic Exhibition’ was held at the headquarters of what was earlier the Masonic Grand Lodge ‘Yugoslavia’... in Belgrade. The exhibition was directed against Masonry only formally. This propaganda manifestation served the purpose of conducting a major anti-Semitic campaign in order to justify the pogrom of Jews in Serbia and to prepare the Serbian people to accept ‘the new Europe’; all this was under the veil of revealing the role of the Masonic organization... and the joint plan of Jews, the English people and Communists to destroy ‘the new order in Europe’” (p. 41). This lot includes the book. Est: $25,000-$30,000. (20)

The dramatic scope of World War II called for a surge in American factory production. As more laborers were needed to fulfill these efforts, employers eased “the segregation policies that had previously kept African Americans out of many industrial workplaces. But as black workers poured into cities and factories they often met with resentment from white counterparts... Racial prejudice needed to be temporarily set aside to maximize production for the war effort. [This poster] shows two actual employees—a black man (Louis Ward) and a white man (Walter Shippe)—working together at a Republic Aircraft Corporation plant... The intent behind United We Win was to encourage all workers, regardless of race, religion, or ethnicity, to rise above their personal differences” (Weapons, p. 25). While the designer of this poster remains unknown, the photograph was taken by Alexander Liberman. Est: $1,400-$1,700.

WAR & PROPAGANDA

94 94. Speed Up America. Artist: James Montgomery Flagg (1870-1960)

96. Hier, Aujourd’hui, Demain? 1942. Artist: Anonymous

28 7⁄ 8 x 45 1⁄ 8 in./73.3 x 114.6 cm Plampin Litho., New York City Cond B+/Slight tears at folds. Ref: Flagg, p. 40 & 41; PAI-XC, 77

31 1⁄ 8 x 47 1⁄4 in./79 x 120 cm Cond A-/Slight tears at folds.

As in his famous poster I Want You for U.S. Army (see No. 76), Flagg once again used himself as the model in this very rare image. The poster was originally titled “Wake Up America,” but perhaps because he had already created a poster with this title in 1917, Flagg opted to use “Speed Up America” instead. Est: $6,000-$7,000.

95. Buy Extra Bonds / Jap... You’re Next! 1945. Artist: James Montgomery Flagg (1870-1960) 14 x 20 1⁄4 in./35.4 x 51.4 cm Cond A-/Unobtrusive folds. Ref: PAI-LXXVI, 121 Uncle Sam rolls up his sleeves for round two of WWII on the occasion of V-E Day and the 7th War Loan. James Montgomery Flagg introduced the character of Uncle Sam in his 1917 I Want You poster (see No. 76).

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

Issued by Vichy France, this gobbling bulldog is meant to represent the greed and atrocities of the British government in an attempt to undermine a potential Allied invasion of France. A timetable of violent attacks against the French details events from the murder of Joan of Arc to the seizing of various colonies and the shedding of French blood abroad. Rare! Est: $1,400-$1,700.

WAR & PROPAGANDA - BUFFALO BILL

97. U.S. Marine Corps. 1943. Artist: Carl Shreve 21 1⁄ 8 x 27 7⁄ 8 in./53.6 x 70.8 cm McCandlish Litho. Co., Philadelphia Cond A. Shreve harkens the spirit of the American Revolution to incentivize enlistment in the U.S. Marine Corps. Est: $1,200-$1,500.

98. Less Dangerous Than Careless Talk. 1944. Artist: Albert Dorne (1904-1965) 28 3⁄ 8 x 40 in./72 x 102 cm U.S. Government Printing Office, Washington, D.C. Cond A. Framed. Some of us may have a fear or snakes, but Dorne makes a powerful case that the sneering cobra is actually less dangerous than discussing military tactics with the wrong person. Born in New York, Dorne cut classes to study art in the city’s illustrious museums and later became an advertising illustrator for magazines including Life, Collier’s, and The Saturday Evening Post. In 1943 he graced the cover of American Artist as “one of the best and highest paid in the field of advertising illustration.” Along with a group of artists including Norman Rockwell, he founded the Famous Artists School, the Famous Photographers School, and the Famous Writers School in Westport, Connecticut. Rare! Est: $1,700-$2,000.

99. No Vietnamese Ever Called Me N*****. 1968. Artist: Milton Glaser (1929-2020) 22 x 35 1⁄ 2 in./55.7 x 90 cm Cond A-/Usual folds. P. Ref: Glaser Posters, 94

Directed by David Loeb Weiss, this political documentary film takes its title from Muhammad Ali’s statement against serving in the Vietnam War. The film follows the 1967 antiwar march of four thousand people from Harlem to the United Nations building in New York City where Martin Luther King, Jr. spoke out against the incommensurate amount of black men enlisted in Vietnam. Of his design, Glaser wrote, “A racist image of a young black man eating watermelon is broken apart by a more objective image for this powerful political film” (Glaser Posters, p. 94). On the verso are selected quotes from film reviewers and participants in the march. Rare! Est: $2,500-$3,000.

100. Stop H. Bomb Tests. 1969. Artist: Ben Shahn (1898-1969) 29 5⁄ 8 x 42 1⁄ 8 in./75.4 x 107.2 cm Cond A. Ref: Shahn/Hiroshima, 141; Shahn, p. 140; Shahn/Prescott, XXIII “The devil mask was a motif used by Shahn several times... The frightening devil mask suggests the evil consequences of hydrogen bomb tests. The red ‘stop,’ overprinted on the black mask, acts as a barrier between the viewer and the mask, visually suggesting that the evil can be averted... It was produced for a fund-raising effort in a campaign advocating control of nuclear bomb tests” (Shahn, p. 140). This is a silkscreen print numbered 40 from an edition of 128. Rare!

100

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

BUFFALO BILL From 1883 to 1916, Buffalo Bill starred in his Wild West. It became the most sensational and widely seen show, witnessed by more than 50 million people in over 1,000 cities in about 12 countries. Buffalo Bill and his posters dramatized the West and made it real, vital, and thrilling through live performances and widespread postings. His most marked characteristic was to see the advertising possibilities in the life he actually lived as an Indian fighter, Army scout, guide, and buffalo killer.

101 101. Buffalo Bill / The Last of the Buffalo. Artist: Anonymous 122 5⁄ 8 x 83 3⁄ 8 in./311.5 x 212 cm Enquirer, Cincinnati Cond A-/Restored tears at edges. One of the unusual aspects of Buffalo Bill’s posters are the many billboards his Wild West used. Cody was by no means the first to use large billboards, but there is no question that he did the most to popularize them, and these billboards reached their height (and length) when advertising the Wild West. This six-sheet, 10 footwide poster recreates Buffalo Bill’s scouting days (”Buffalo Hunting in 1869”) and features the military heroes for whom he worked, all identified in the bottom text. This same image, slightly shortened and without the cameos, was printed by Chaix and used in the 1905 European tour. This is the only known copy! Est: $40,000-$50,000.

BUFFALO BILL

102. Buffalo Bill Portrait. Artist: Anonymous 19 3⁄4 x 30 1⁄4 in./50 x 77 cm A. Hoen, Baltimore Cond A. From 1872, for a period of about ten years, Cody gave up his military scouting and went on stage with what became known as the Buffalo Bill Combination. This photographic poster, which captures Buffalo Bill dressed to the nines and ready for action, is no doubt from this theatrical period. A printed signature is included at the bottom. Est: $3,000-$4,000.

103. Buffalo Bill’s Wild West / Indian Canoe Scene. ca. 1893. Artist: Anonymous 21 3⁄4 x 25 1⁄ 2 in./55 x 64.8 cm A. Hoen, Baltimore Cond A. Ref: Buffalo Bill, 52 “This is yet another incredibly beautiful lithograph by Hoen. There is gold stamping and the design is beautifully drawn, all the elements fitting just right, to give a serene look to the scene of Indians on a canoe heading back to their camp grounds from whence smoke arises in the distance. The lettering is fine and the way the water is allowed to shimmer through the bottom gold border gives the viewer an ‘entrance’ to this unique view of life in the West. There is also the juxtaposition of the two cameo portraits, with gun and knife of the scout crossing that of Cody and spears and tomahawk behind that of the Indian. But note that here the Indian is respectfully given his proper title, ‘The American’” (Buffalo Bill, p. 9). Est: $10,000-$12,000.

104. Buffalo Bill’s Wild West / Mounted Warriors. 1902. Artist: Anonymous 42 x 28 5⁄ 8 in./106.7 x 72.7 cm Courier Litho., New York Cond A. Ref: Buffalo Bill/Art & Advertising, p. 49

102

In a scene typical of Buffalo Bill posters, we are offered a tableau of cowboys, Indians, warriors, and young civilians representing a multitude of nations. “Fourteen individual nationalities of skilled riders and marksmen are sketched into one diverse group for the poster, with Cody commanding. His right arm holds his hat high, while his horse bows to the arena crowd. Cody completed this familiar action after his opening stride on horseback into the arena at the beginning of each Wild West performance. The poster shows the raucous groups of performers already in the arena when Cody enters to the cheers of the audience. The [poster] captures the action and energy of all the riders, each with his own unique uniform and national character, from the rearing bronco with American cowboy rider to the Arab horseman and American Indian chief in headdress and breastplate. This poster reflects the powerful and realistic military-style performance staged during the Wild West” (Buffalo Bill/Art & Advertising, p. 51). Est: $10,000-$12,000.

105. Buffalo Bill / Broncho Busters et Cow Punchers. 1905. Artist: Anonymous 14 1⁄4 x 40 in./36.3 x 101.7 cm Weiners, Paris Cond A-/Unobtrusive folds. To announce Buffalo Bill’s Wild West shows during his 1905 French tour, this anonymous artist focuses his attention on the “broncho busters” and “cow punchers” of the troupe. Est: $4,000-$5,000.

106. Buffalo Bill’s Wild West. 1905. Artist: Anonymous 19 5⁄ 8 x 29 5⁄ 8 in./49.8 x 79.3 cm Weiners, London Cond B/Stains at edges; slight tear at horizontal fold. Ref: PAI-XXXVI, 97 The Native Americans in the Wild West posters (and in the show itself) were always treated with great respect. They were given top billing, along with the cowboys, and portrayed in the posters with an air of dignity, be it through warm, stoic portraiture or, as seen here, as a fearsome—though not grotesquely exaggerated—nemesis in the battle for the Plains’ supremacy. Cody insisted that only authentic tribe members participate and that the material in which they appeared be historically accurate and respectful.

103

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

BUFFALO BILL

104

105

106

INTERNATIONAL POSTERS A-Z

107

108

109

Anonymous 107. Cirque d’Hiver / Madrid-Paris. ca. 1889.

108. Nouveau Cirque / À Fond de Train. 1892.

109. Champagne Louis Royer. ca. 1898.

34 3⁄ 8 x 48 in./87.3 x 122 cm Imp. Chaix, Paris Cond A-/Unobtrusive folds.

34 1⁄ 8 x 47 3⁄4 in./86.8 x 121.2 cm Ch. Levy, Paris Cond B/Tears at folds.

The Parisian Cirque d’Hiver brought a big dose of Spanish flavor to the venue featuring 100 professors of the Madrid Artistic and Musical Society, an orchestra, and 200 dancers. The signature at bottom right is unidentified.

La Plume reviewed this show at Paris’ Nouveau Cirque as such: “The train that takes the Nouveau Cirque revue over the network of performances to the hundredth station is chauffeured by Messrs. Surtac and Alévy. And never really did the employees of the Great Belt put more heart into their work... Their skill assures the machine of an inextinguishable source of gaiety” (Volume 4, p. 76, 1892).

11 1⁄4 x 24 5⁄ 8 in./28.6 x 62.6 cm Lith. E. Plantet, Ay Cond A. Framed. Ref: Wine Spectator, 90; PAI-LXXXIX, 124

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

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

“The anonymous artist who designed the Champagne Louis Royer poster was obviously an obedient disciple of Mucha’s; the workmanship on the details of the lady’s dress, the minute attention to ornamental framing of the image, even such touches as the hem of the dress overlapping the border, attest to the fact that he (or she) studied Mucha’s techniques carefully and diligently... a fine example of Art Nouveau in full bloom” (Wine Spectator, 90). Est: $2,500-$3,000.

ANONYMOUS | A-Z

110

111

112

110. St. Raphaël Quinquina. ca. 1897.

111. Licor Sant Jordi. ca. 1920.

112. Hagenbeck / Original Cubanos. 1931.

38 7⁄ 8 x 51 1⁄4 in./99 x 130.2 cm Affiches Camis, Paris Cond A-/Unobtrusive folds. Ref: PAI-LIII, 47

30 3⁄ 8 x 43 1⁄ 2 in./77.2 x 110.5 cm Lit. Horta, Barcelona Cond A. Ref: PAI-XC, 136

28 x 73 3⁄ 8 in./71 x 186.2 cm Lith. Adolph Friedlander, Hamburg Cond B+/Slight stains at horizontal fold.

Certainly channeling the spirit of Misti, this poster presents a lively mise-en-scène of afternoon café culture at its most charming. As a young couple and their dog enjoy a sun-dappled afternoon, a threesome of older intellectuals ruminate over the watchful eye of a merry waiter. What they all seem to have in common is a love for the apéritif St. Raphaël Quinquina, as its ruby-red hue noticeably fills all the glasses.

The legend of Saint George slaying a dragon dates back to the 11th century, but it’s a perfectly adaptable tale for the potency of this namesake Spanish apéritif that will hopefully vanquish your modern-day demons.

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

This rare and quizzical design announces a performance of the Original Cubanos, though the text advertises a Mexican wonder who can jump 25 meters up in the air from a trapeze. Circus and theatrical posters were the mainstay of Friedlander. This is a two-sheet poster. Est: $1,200-$1,500.

A-Z | ANONYMOUS - BEAUDOIN

113

116

Anonymous (Continued) 113. La Vestale.

115. Premiers Jeux Africains. ca. 1965.

43 x 59 ⁄4 in./109.2 x 150.5 cm Imp. P. Dupont, Paris Cond A. Ref: PAI-XLIII, 117

30 3⁄4 x 47 1⁄ 2 in./78 x 120.7 cm Serma, France Cond A. Ref: PAI-LXXXV, 143

This fireplace brand calls upon the Roman goddess of hearth, home, and family, Vesta, to advertise their product. But this anonymous artist has taken a few creative liberties by depicting a sensuous maiden instead of the fire that usually represented Vesta. Ultimately, the “sex sells” strategy most likely paid off.

The African Games were originally the brainchild of Pierre de Coubertin, the man responsible for the 1894 revival of the Olympic Games and the founder of the International Olympic Committee. After several failed attempts to launch the Games, they finally began in 1965 in Brazzaville. This poster marks that first edition of the Games, as well as the event’s official film. The multi-sport competition continues to take place every four years across the African continent, and is recognized by the IOC.

114

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

114. Cunard / Europe to All America.

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

24 ⁄ 8 x 39 ⁄ 8 in./62.6 x 101.3 cm Cond A-/Slight tear in bottom text. Ref: PAI-XXXIX, 109

Jack Abeillé (1873-1949)

Printed in England, this anonymous creation for Cunard liner service literally catches you coming and going with the twin vessels, the Queen Mary and the Queen Elizabeth, respectively arriving in New York and departing Southampton. It’s a stately design, yet not overpowering—sophisticated, yet accessible. After World War II, the Cunard Line was finally able to put both of its Queens into service. Although the Queen Mary had taken to the seas on May 27, 1936, she left Great Britain in 1940 without a single passenger in order to escape the potential devastation of German bombing; her maiden voyage with customers arrived in October, 1946. The war decimated rival lines and left Atlantic dominance to Cunard, something they would not relinquish until the airlines finally wrested it away. Est: $1,200-$1,500.

115

116. Parisiana / T’en Auras. 1903. 45 1⁄4 x 62 7⁄ 8 in./115 x 159.8 cm Imp. Thil, Paris Cond B+/Slight tears at edges. Abeillé was an illustrator known primarily for his numerous contributions to French humor magazines. This poster for a revue called “You’re gonna get it!” shows a darkly comedic scene of a beautiful young woman being sacrificed amidst an army of seemingly pleased women. The Parisiana was located at 27 Blvd. Poissonière in the Montmartre area (this address was also the first Paris home of Frederic Chopin from 183132). Set up in 1894 as a circular room with a stage, large balcony, and strolling gallery, it originally charged no admission; the public paid only for drinks. In 1897 the Isola brothers established a different format: a singer before intermission and a play or revue such as this one afterwards. New management changed the policy to revues-only in 1905, and the building was turned into a movie house in 1911. Est: $1,200-$1,500.

ANONYMOUS - BEAUDOIN | A-Z

118

117

Cuno Amiet (1868-1961)

Marc Auguste Bastard (1863-1926)

117. Wolfsberg / Schweizer Künstler. 1921.

119. Bières de la Meuse. 1896.

36 x 50 ⁄ 8 in./91.3 x 128 cm Wolfsberg, Zürich Cond A. Ref: PAI-VII, 26

37 3⁄4 x 59 1⁄4 in./96 x 150.6 cm Imp. Lemercier, Paris Cond B/Slight tears at edges. Ref: DFP-II, 51; Reims, 218; Weill/Art Nouveau, p. 122; PAI-LXXXI, 186

Wolfsberg was the abbreviated name of the printing firm’s founder, Johann Edwin Wolfensberger (1873-1944), an exacting master printer whom Baumberger called “a fanatical seeker of quality.” He was also appreciative of the artists who used his firm and kept a gallery as part of the plant (which is still in use today). For one such exhibition of Swiss art, the painter Cuno Amiet provided one of his delightful posters. Amiet was one of those painters who thoroughly understood the needs of the poster medium and always produced an original design appropriate to exhibitions rather than relying on a reproduction of a work. His posters were few, but their quality was high. “Needless to say, he designed a poster for each of his many exhibitions, the last when he was 92 years old for his exhibition at the Kunsthalle in Basel, in 1960, a year before his death” (Margadant, p. 58). Est: $2,500-$3,000.

McClelland Barclay (1891-1943) 118. Beaumal Topcoats. 1923. 16 3⁄ 8 x 24 in./41.4 x 61 cm C. B. Shane Co. Cond A/Mounted on board. A 1922 ad for Beaumal topcoats in The Clothier and Furnisher described the product as such: “They’re rain or shine coats; fine for both. Motor coats, street coats; practical for all kinds of purposes—and really waterproof. Crosstwist’s a new all-wool fabric; topcoats of it are great values at $45.” Here, a couple enjoys a romantic outing in their stylish new wares. This poster is on a display board. Est: $1,000-$1,200.

Little is known about Marc Bastard, and this seems to be the principal representation of his artwork, but what a piece! Channeling both Botticelli and Grasset, this Venus of the Barley Fields was created a year before Mucha’s more famous poster on the subject. At the time, the brewers of the Meuse valley were facing slowing sales and consolidation, so they wished to advertise as a collective. At the bottom is a tip-on with the dealer’s Paris address.

119

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

Eugène Beaudoin (1898-1983) & Marcel Lods (1891-1978) 120. Paris 1937 / Exposition Internationale. 1936. 47 3⁄4 x 62 7⁄ 8 in./121.4 x 160 cm Imp. Bedos, Paris Cond A. Ref: Purvis, p. 84 (var); PAI-LXII, 272 Winning first prize in a competition held by the French Ministry of Commerce for the Paris 1937 World’s Fair, this poster magically combines romance and Futurism in a haunting and dreamy design. Its co-creators were architects who, in addition to working together on various projects in Paris, were also in charge of the overall design for the upcoming World’s Fair. As poster design was not their passion, this is the only lithographic result of their combined artistic talents. This is the largest format. Est: $2,500-$3,000.

120

A-Z | BERGEVIN - BERTHON

121

122

123

Albert Bergevin (1887-1974)

Emile Berchmans (1867-1947)

Lucian Bernhard (1883-1972)

121. Avranches. ca. 1920.

122. L’Art Independant. 1897.

123. 20 Jahre Deutscher Plakatkunst. 1908.

31 3⁄ 8 x 47 1⁄ 2 in./79.7 x 120.7 cm Imp. Syndicat d’Initiative d’Avranches Cond A. Ref: PAI-LXVII, 172

19 3⁄4 x 26 in./50 x 66 cm Lith. Aug. Bénard Cond A. Ref: DFP-II, 983; Sponsel, p. 131; Wember, 26; Internationale Plakate, 77

23 1⁄ 2 x 17 1⁄ 2 in./59.5 x 44.5 cm Druckerei Schenkalowsky, Breslau Cond A. Framed. Ref: Bernhard, p. 29 (var); Chaumont/Exposons, p. 39; PAI-LXXXVII, 187

Berchmans, a Belgian artist, created this striking image for the Parisian art gallery and store, L’Art Independant. Using only red and green paint, he forms the figure of the painting woman and the text at right out of the blank paper.

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

Promoting Mont Saint-Michel and the Normandy coast, this poster puts us alongside a wind-blown young woman merrily taking in the sights. Above, the names of surrounding coastal towns decorate Japanese lanterns in evocative Art Nouveau script. Est: $2,000-$2,500.

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

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

PAUL BERTHON

124

125

Paul Berthon (1872-1909) 124. Salomé. 1898.

125. Phryné. 1898.

14 3⁄4 x 32 1⁄ 2 in./37.4 x 82.6 cm Cond A. Ref: Berthon & Grasset, 24; PAI-LXXVIII, 188

14 3⁄4 x 32 3⁄4 in./37.5 x 83.2 cm Imp. Chaix, Paris (not shown) Cond A. Ref: Berthon & Grasset, p. 121; PAI-XXXIII, 210

Salomé is one of two panels in the Courtisanes Célèbres suite (the other being Phryné; see the following lot). This image was described by Arwas as “a fleshy beauty with a Cléo de Mérode hairdo, printed skirt and net mesh undies” (Berthon & Grasset, p. 118). She gazes out at the viewer with wanton eyes, and an innocence present in her face which belies the utter carnage at her feet. Est: $1,700-$2,000.

The second in his “Courtisanes” series, “Phryné stands naked, her cloak held high, framing her. Her soft pink skin is cut at the legs by sandal straps, at waist by a snake belt, at upper arm by a snake bracelet and at both wrists by tight bangles. The bearded faces of the three judges surround her. She, however, ignores them; eyes closed she appears to be lost in a reverie, ready at any moment for transfiguration, should it come” (Berthon & Grasset, p. 118). Although it was clearly Berthon’s intent to create other images in this series, only the two shown here were published. The artist himself laid out his plans in a May, 1899 interview in The Poster: “After Salomé personifying the Jewish beauty, and Phryné showing her triumphant charms before Greece, I want to study a medieval type of beauty, and it will be for me, an opportunity to revive some old pieces of jewelry or some fantastical landscape” (p. 204). Est: $1,700-$2,000.

A-Z | BERTHON

126

128

127

Berthon (Continued) 126. Mai. 1898.

127. La Viole de Gambe. 1899.

128. Sarah Bernhardt. 1901.

18 x 28 1⁄ 2 in./45.7 x 72.4 cm Imp. Chaix, Paris Cond A. Ref (both var): Berthon and Grasset, p. 107; PAI-L, 129

19 1⁄ 2 x 25 1⁄ 2 in./49.5 x 64.7 cm Cond A. Ref (both var): Berthon & Grasset, p. 113; PAI-LVII, 169

18 7⁄ 8 x 24 7⁄ 8 in./48 x 63.2 cm Imp. Bourgerie, Paris Cond A. Ref: Berthon and Grasset, p. 90; Gold, 173; PAI-LXXVII, 138

“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 flower-like—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). This is one of 100 numbered prints (#29). Est: $1,700-$2,000.

“Gabriel Mourey, writing in The Studio, illustrated La Viole and commented: ‘It may perhaps be urged against this artist that he is somewhat too much under the influence of M. Grasset, an influence from which, it must be remarked, decorative draughtsmen do not take sufficient care to escape. Nevertheless, M. Paul Berthon has an exquisite sense of line and colour, and he seems to attach more importance to expression than does his master” (Berthon & Grasset, p. 104 & 114). This decorative panel is hand-signed by the artist. Est: $2,000-$2,500.

“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). Est: $1,700-$2,000.

BERTHON | A-Z

129

130 129. La Mandore. 1901.

130. Concert Mistique. 1901.

25 x 19 1⁄ 8 in./63.5 x 48.5 cm Imp. Bourgerie, Paris Cond A. Ref: Berthon & Grasset, p. 112; PAI-LVII, 166

26 x 19 3⁄4 in./66 x 50.2 cm Cond A. Ref: Berthon & Grasset, p. 115; PAI-LXXV, 227

A popular theme for Berthon was women playing Medieval musical instruments, a fine example of which is shown here with a young blonde strumming on a mandore. Similar to the lute and the mandolin, it first appeared in musical history in the late 1500s. This image is part of a series of three from 1901, which corresponds to an earlier collection of musical prints which Berthon created in 1899. Est: $1,700-$2,000.

To Berthon, art was the search for the beautiful—and he believed that decoration was “one of the highest forms of all art.” His aesthetic, which sought a sensibility connecting the medieval, the Pre-Raphaelites, and the Symbolists, is fully on display in this decorative panel. While his subjects almost always appear aloof and impassive, the rhythmic line of the composition sweeps up the viewer in a romance of sound and subtle pattern. As a visual transmutation of a lyric poem, it’s one of Berthon’s best decorative lithographs. Est: $1,700-$2,000.

A-Z | BIELEFELD - BONNARD

131

133

132

134

Bruno Bielefeld (1879-1973)

Montague Birrel Black (1884-1964)

Jean-Alcide-Henri Boichard (1817-?)

131. C. Bechstein.

132. Ship in Twilight.

134. Cirque d’Hiver. ca. 1900.

36 x 21 in./91.4 x 53.3 cm J. C. König & Ebhardt, Hannover Cond A-/Slight tears in bottom text. Framed.

25 x 20 5⁄ 8 in./63.4 x 52.3 cm Cond A.

36 x 50 5⁄ 8 in./91.4 x 128.6 cm Affiches V. Palyart, Paris Cond A-/Unobtrusive folds. Ref: Artisten/Zirkus, 81; PAI-LXXX, 84

Born in the former East Prussia, Bielefeld studied art in Berlin and became fond of painting the city’s constant architectural changes; during World War II, his creative focus shifted to capturing the city’s destruction. Sadly, most of these works were lost in the following years. But this image for C. Bechstein pianos lives on, and in contrast to his highly detailed oil paintings, it’s a refined and simple evocation of the elegance of music. Est: $5,000-$6,000.

Without any text to designate the ship or the overseeing company, Black’s serene sunset image becomes a work of fine seafaring art rather than an advertising image. Est: $800-$1,000.

133. White Star / Canada. 16 x 24 1⁄ 2 in./40.8 x 62 cm Liverpool Printing, Liverpool Cond A. The RMS Teutonic forges across the Atlantic from the United Kingdom to Canada as part of the White Star line’s Dominion Service. Launched in 1870, the passenger line sailed from the Port of Liverpool to Montreal, Quebec City, Halifax, Portland (Maine), and Boston. Est: $1,000-$1,200.

Little is known of lion tamer Countess X; her mask doubled as a stylish accessory and a means to conceal her identity. However, an 1896 review provides the following insight on her performances: “The Countess has been training these beasts for the last fifteen months, but she does not seem to have subdued their savage nature to any great extent. Her only protection is afforded by a wooden shield, which she violently thumps upon the ground to emphasize her orders. At times she brandishes a whip, at others she holds a thin bar of bright metal in her hand; but she never uses either of these weapons. The nearest approach to taming the lions consists in the evident appreciation of her coaxing tones of voice and the tickling of the nose by the playful application of the thong of the whip” (The Sketch, Vol. 15). Perhaps by the time Boichard designed this image, she’d mastered beastly authority—but in any case, her ensemble remains fierce. Est: $1,700-$2,000.

BIELEFELD - BONNARD | A-Z

135

Pierre Bonnard (1867-1947) 135. France-Champagne. 1891. 23 1⁄ 2 x 31 1⁄ 2 in./59.7 x 80 cm Imp. Edw. Ancourt, Paris Cond B+/Restored tears in bottom text area. Framed. Ref: Marx, 1; DFP-II, 76; Bouvet, 1; Musée d’Affiche, 23; Word & Image, p. 27; Maindron 1896, p. 40; Weill, 42; Encyclopédie/Weill, p. 10; Posters of Paris, 7; Timeless Images, 57; Wine Spectator, 57; Reims, 233; PAI-LXXXVII, 193 “Bonnard was just 24 when he made his first foray into lithography and poster design, but his initial effort, France-Champagne, was a stunning success. The great poster connoisseur, Maindron, immediately called it ‘one of the most interesting works to be seen on the walls of Paris.’ It created a marked contrast to Chéret’s colorful fairyland: it was sparse and subtle, making the most of a few strokes of black against a muted yellow and pink background, with ingenious composition and fluid lettering. Some saw in it the first major advance in the art of poster-size prints since the work of Daumier a generation earlier” (Wine Spectator, 57). Jane Abdy adds this interesting note: “He received a hundred francs for this ebullient design, in which the froth of the champagne foams like a bubble bath. Toulouse-Lautrec so admired it in the hoardings that he sought an introduction to Bonnard, and the two artists were intrigued by each other’s talents. Bonnard took Toulouse-Lautrec to Ancourt, his printers” (Abdy, p. 90). Est: $25,000-$30,000.

A-Z | BONNARD - BOUISSET

Bonnard (Continued) 136

136. Salon des Cent. 1896. 16 3⁄ 8 x 23 3⁄4 in./41.6 x 60.3 cm Imp. Chaix, Paris Cond A. Framed. Ref: DFP-II, 79; Salon des Cent, p. 53; Salon des Cent/Neumann, p. 35; Marx, 45; Bouvet, 39; Ives, illus. 19; Posters of Paris, 11; Word & Image, p. 27; PAI-LXXXIX, 150 The drawing of a woman admonishing her dog appears only half-finished, with the right side remaining blank, but all the pertinent elements are there: the fashionable veiled hat, the gesture of the gloved hand, and the attentive pose of the pooch. Colta Ives, in the catalogue of the Bonnard exhibition at the Metropolitan Museum, speaks of “the softly delineated forms, enhanced with touches of modeling and color” and feels that although he was part of the Nabis group, “his adoption of a more relaxed and lyrically sensuous approach” set him apart from that fraternity (Ives, p. 6). This charming invitation is surely one of the finest and most sensitive lithographs of Bonnard and of the entire Salon des Cent series. Est: $5,000-$6,000.

137. L’Estampe et l’Affiche. 1897. 24 x 31 5⁄ 8 in./61 x 80.2 cm Cond A. Ref: Marx, 38; Bouvet, 44; DFP-II, 80; Gold, 89; Iskin, 24; PAI-XC, 161 Although it appeared for only two years during the heyday of postermania (March 1897 to December 1899), this magazine exercised a major influence on poster designers and collectors alike. Bonnard’s poster was featured on the first page of the first issue, and it was seen as a declaration of intentions on the part of the posterists: we see the older woman—representing the Print—look with curiosity at the brash kid with her portfolio—representing the up-and-coming Poster—obviously ready to take over as the collectible of choice.

137

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

BONNARD - BOUISSET | A-Z

139

138

140

Michel Bouchaud (1902-1965)

Firmin Bouisset (1859-1925)

138. La Plage de Monte Carlo. 1929.

139. Maggi. 1895.

140. Salon des Cent. 1899.

31 1⁄ 2 x 47 1⁄ 8 in./80 x 119.7 cm Publicité Vox, Paris Cond A-/Slightly light-stained. Ref: Tolmer, p. 81; Karcher, 408; Weill/Art Deco, p. 103; PAI-LXXXVIII, 214

38 1⁄ 2 x 53 3⁄ 8 in./97.7 x 135.5 cm Imp. Maggi Cond B+/Slight folds. Ref: Maggi, p. 43

16 3⁄ 8 x 24 3⁄ 8 in./41.5 x 62 cm Imp. Chaix, Paris Cond A. Ref: DFP-II, 89; Salon des Cent, p. 83; Salon des Cent/Neumann, p. 46; PAI-XLIX, 141

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: $8,000-$10,000.

Bouisset’s Maggi girl has previously been seen holding up the brand’s metal sign (see PAI-LXVIII, 261), but here, an older model has given the sign a rest in order to enjoy a sip of steaming broth. Est: $2,000-$2,500.

The young red-haired quill-bearer appears to have found her way through the vegetative Art Nouveau maelstrom swirling about her. Its an engaging, enigmatic, delicate, and sumptuous creation set forth by Bouisset to promote an ensemble exhibition at the Salon des Cent. It has the feeling of a fresh-faced allegory, but exactly what is it intended to embody: an examination of the creative process, a commentary regarding commercial acceptance, or the pursuit of an artistic muse? While no immediate answers are forthcoming, each question provoked by the artwork deepens an appreciation of the expression. Est: $1,700-$2,000.

A-Z | BRODERS - BYRD

141

Roger Broders (1883-1953) For others by Broders, see Nos. 1 and 2. 141. La Plage de Calvi. Corse. 1928. 31 1⁄4 x 42 1⁄ 8 in./79.5 x 107 cm Lucien Serre, Paris Cond A. Ref: Broders, p. 99; Broders/Travel, p. 28; Voyage, p. 80; Mer s’Affiche, p. 11; PAI-LXXXVIII, 218 Here is a rapturously beautiful and supreme Deco celebration of Corsica, the Mediterranean, and the idylls of beach life from the travel poster master. The colors are impossibly crisp, especially considering this Grande Dame of posterdom is now 95 years of age. This is actually an advertisement for the PLM railway; the line not only advertised destinations in southern Europe, but also points across the water accessible from those ports. This is the French-language version. Est: $12,000-$15,000.

BRODERS - BYRD | A-Z

143

142 142. Agay. 1928. 30 1⁄4 x 41 3⁄4 in./76.8 x 106 cm Imp. Lucien Serre, Paris Cond B/Tears at top edge. Ref: Broders, p. 84; Broders/Travel, p. 24; PAI-LXXXIV, 214 In one of his most striking posters for his longtime client, the PLM railway, Broders frames a view of golden beach, azure sea, and green hills with trees; the sublime tones suggest a moody sunset.

Wilhelm F. Burger (1882-1964) 144. Muottas-Muragl. 1937. 25 1⁄ 2 x 40 in./64.8 x 101.6 cm J. C. Müller, Zürich Cond A-/Slight tears at edges.

Rolland Brunhoff (1899-1950)

Burger, one of the top Swiss posterists, drops us off at the panoramic restaurant atop the summit of this Alpine mountain range in Graubünden, Switzerland. From this vantage point, we’re offered a stunning view of the Engadin valley region which is home to several towns, most famously St. Moritz. And, as he depicts, the summit is accessible by funicular railway. Rare!

143. Kowä. 1934.

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

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

35 ⁄4 x 50 ⁄ 8 in./90.8 x 127.3 cm J. C. Müller, Zürich Cond A-/Slight tears at edges. P. Ref: PAI-XIX, 237 3

144

The headline for this Swiss lingerie poster is “She wears Kowä”—though not right at this moment. Though “she” isn’t pictured, her pooch is standing on her nightie, and his wide eyes and excited tail tell us a bit of what he’s looking at. It’s an amusing poster by Brunhoff who seldom ventured into this medium—the Swiss artist was primarily a painter of portraits, landscapes, and still lifes, which he exhibited in Paris at the Salon des Indépendants and the Salon d’Automne. Est: $1,700-$2,000.

David Edward Byrd (1941- ) 145. Woodstock Music & Art Fair. 1969. 13 1⁄ 2 x 22 3⁄ 8 in./34.4 x 56.8 cm Cond A/P. Ref: Art of Rock, p. 257; PAI-LXXXI, 203 This seldom seen design is the original poster for the Woodstock festival that would go on to become a cultural phenomenon. When the venue was changed from the town of Wallkill to Max Yasgur’s private farm at the last minute, a new poster had to be commissioned to redirect attendees (see PAI-LXVI, 472). Unfortunately, Byrd had just left for a month-long trip to a remote town in the Caribbean and was unreachable by phone, which left this design to wallow in obscurity despite its far greater artistic merits. But it’s a poignant time to revisit Byrd’s Ingres-inspired design as Woodstock is celebrating its 54th anniversary. Est: $2,000-$2,500.

145

LEONETTO CAPPIELLO

146

Leonetto Cappiello (1875-1942) 146. Nos Actrices. 1899. 13 3⁄4 x 17 7⁄ 8 in./35 x 45.2 cm Broken spine and binding; plates are excellent. Ref: Cappiello/Rennert, p. 6; PAI-LXXXIX, 175 Commissioned a few months after Cappiello’s arrival in Paris in 1898, this collection of theatrical caricatures attests to the artist’s immediate popularity with the French public. The book consists of eighteen plates featuring seventeen noted actresses (Bernhardt is shown in two poses). Other featured actresses include Réjane, Jeanne Granier, Marcelle Lender, Lucie Gerard, Simone Girard, and Mariette Sully. In many ways, this book launched his career, and the bold outline and flat color backgrounds in them foretell the early Cappiello poster style. Est: $2,500-$3,000.

147. Nuyens’s Menthe. 1902. 39 3⁄4 x 55 in./101 x 139.6 cm Imp. P. Vercasson, Paris Cond A. Ref: DFP-II, 117; Cappiello/Rennert, 24 (var); Cappiello, 248 (var); Gold, 45 (var); PAI-LX, 130 For a crème de menthe with an unusual rose color, Cappiello creates a design in red and vermillion featuring a lady who’s clearly enjoying her cordial. Est: $2,000-$2,500.

CAPPIELLO | A-Z

148

147 148. Amandines de Provence / Biscuits H. Lalo. 1900. 37 7⁄ 8 x 53 1⁄ 2 in./96.2 x 136 cm Imp. P. Vercasson, Paris Cond B+/Slight tears in top text. Ref: Cappiello/Rennert, 5; Wine Spectator, 193; PAI-LXXVIII, 210 “We are happy to tell you that we are very satisfied with both the design and the printing... We found it at once original and very personal,” wrote the owner of the company that created Amandines de Provence (Cappiello, p. 116). It’s the first poster Cappiello created for a product; you can almost taste the crisp almond crunch, and hear the lady insinuating, “Darling, isn’t this divine?” A variant of this poster has the bottom text “Biscuits Pernot,” but “Amandines de Provence” is the original branding. Est: $5,000-$6,000.

149. Les Parfums de J. Daver. 1903. 39 1⁄ 2 x 55 in./100.3 x 139.8 cm Imp. P. Vercasson, Paris Cond A-/Slight tears at right edge. Ref: Cappiello/Rennert, 46; DFP-II, 126; Parfum, p. 76; PAI-XC, 176 The French love affair with perfume—so mysterious, so serious, so studied by the masters of Grasse—gets a playful twist in Cappiello’s work for J. Daver Perfumes, as the rose-hatted, rose-dressed madame gleefully drips a few drops of the scent upon her feather boa, becoming enraptured. It’s a private moment, reflecting the idea that the anointment is a gift to oneself. J. Daver continued to create exotic scents well into the 1920s and beyond; his most memorable were d’Autrefois, de Dentelles, and de Léonard. Est: $4,000-$5,000.

149

A-Z | CAPPIELLO

150

Cappiello (Continued) 150. Colin / Bijoux Ciselés. 1903. 23 1⁄ 2 x 31 1⁄ 2 in./59.7 x 80 cm Imp. P. Vercasson, Paris Cond B+/Unobtrusive folds. Ref: Cappiello/Rennert, 40; Wine Spectator, 208; PAI-LVII, 207 “A magnificent demonstration of stylish simplicity and command of craft. Rendered primarily in black and white with sparse, yet striking gold accents, Cappiello presents a blonde woman being swept along by the sheer purchasing satisfaction she feels at Colin, vendors of delicately chiseled jewelry and modern art. Today, the address is home to Villeroy & Bosch” (Cappiello/Rennert, p. 62). Est: $2,500-$3,000.

151. Chocolat Klaus. 1903. 79 x 148 1⁄4 in./200.5 x 376.5 cm Imp. P. Vercasson, Paris (not shown) Cond B+/Slight tears and creases. Ref (all var): Cappiello/Rennert, 49; DFP-II, 120; Timeless Images, 102; Menegazzi-II, 192; Wine Spectator, 199; Cappiello, 257; Weill, p. 125; Gold, 61; PAI-LXXIX, 265 This is the three-sheet format with vivid colors! “It is with this poster, printed in 1903, that Cappiello firmly established himself as the master of the modern poster—if not modern advertising itself. He begins to slowly distance himself from caricature, not only in preoccupation but also in its form. With a newfound flamboyance of style and imagination, the artist pursued the posterist’s goal with a clarity and purpose that was to set him apart from all his colleagues. A green lady on a red horse... to sell chocolate! Preposterous! Precisely! So very preposterous, so very in congruous in fact, that the message would be indelibly etched in the consciousness of the viewer. So powerful was the graphic message that it became the trademark of the Chocolat Klaus company—and remains so to this date. With this poster, Cappiello declared—for all future posterists and commercial artists—a new freedom from the restrictions and limitations of the previous realist and idealized realist renderings” (Cappiello/Rennert, p. 66). Est: $15,000-$20,000.

151

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CAPPIELLO | A-Z

153 152. La Revue Illustrée. 1905.

152

44 1⁄ 2 x 64 1⁄4 in./113.2 x 163.2 cm Imp. P. Vercasson, Paris Cond B+/Slight tears at folds. Ref: Cappiello/Rennert, 90; PAI-XLIX, 155 “La Revue Illustrée claims to ‘span the world,’ but Cappiello goes one step further, suggesting that with the assistance of the golden-orange airborne figure, it pierces the globe and thus becomes the new axis around which the world turns” (Cappiello/Rennert, p. 86). The Revue Illustrée focused on all facets of the decorative—including the aesthetics of the automobile— and the performing arts, with astute articles and, as its title implies, numerous photographs. Est: $3,000-$4,000.

153. Réglisse “Car.” ca. 1905. 14 1⁄ 8 x 10 1⁄ 2 in./36 x 26.6 cm Radiophane Vercasson, Paris Cond A. Framed. Ref (both var): Cappiello/Rennert, 72; PAI-LXVIII, 284 In one of Cappiello’s rarest images, a steadfast knight stands atop a map of the world, his lance made up of Réglisse Carénou & Tur—France’s finest brand of licorice candy. This is an unsigned mounted in-store display with grommets at the top. Est: $1,400-$1,700.

154. Maurin Quina. 1906. 47 3⁄ 8 x 63 1⁄ 8 in./120.2 x 160.2 cm Imp. P. Vercasson, Paris Cond A. Ref: Cappiello/Rennert, 114; Cappiello, 266; Encyclopédie/Weill, p. 61; Posters of Paris, 18; Affiches 1000, 0097; PAI-XC, 178 Cherry-flavored with a hint of quinine, Maurin’s apéritif was only fairly recently reintroduced to French and international markets—more than a century after it faded into obscurity the same year this poster was printed. Referencing the infamous green fairy imagery commonly associated with absinthe, this green devil is one of Cappiello’s most famous characters. This is the one-sheet version of the poster.

154

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

A-Z | CAPPIELLO

155

Cappiello (Continued) 155. Mele. 1907.

156. Remington. 1910.

58 5⁄ 8 x 80 1⁄ 2 in./146 x 204.5 cm Ricordi, Milano Cond A-/Unobtrusive folds. Ref: Mele, 23; Cappiello/Rennert, 29; Cappiello/St. Vincent, 4.17; Menegazzi-I, 481; Ricordi, 35; PAI-LI, 408

51 x 78 1⁄ 2 in./129.6 x 199.4 cm Imp. P. Vercasson, Paris Cond B+/Slight tears at folds. Ref: Cappiello/Rennert, 169; PAI-XVIII, 212

The last of many designs Cappiello created for the department store, he captures the end of a successful shopping trip. The lady, not even bothering to look back, is about to hop into a cab as her driver leans forward to make sure she’s seated before he departs. Behind her, a snooty yet overloaded footman carries a bevy of carefully wrapped parcels, all displaying the Mele logo. Rather than show a particular item, we can imagine anything our hearts desire within those packages. It’s a truly ideal shopping spree. This is a two-sheet poster. Est: $17,000-$20,000.

“A red-haired secretary types up a storm on her Remington. The usual Cappiello creative overflow turns humdrum office work into an exciting poster. Remington was a gunsmith in upstate New York; when typewriting was invented, he noted that some of the precision metal work involved used machining techniques very similar to those used in making gun parts, and quickly set up a new department in his factory to manufacture typewriters” (Cappiello/Rennert, p. 125). Rare! Est: $20,000-$25,000.

CAPPIELLO | A-Z

156

A-Z | CAPPIELLO

157

158

CAPPIELLO | A-Z

159

Cappiello (Continued) 157. Je ne fume que Le Nil. 1912.

158. Je ne fume que Le Nil : Stained Glass. ca. 1912.

159. Galeries Lafayette : Screen. 1912.

63 1⁄ 8 x 47 in./160.4 x 119.6 cm Imp. P. Vercasson, Paris Cond A-/Slight stains in margins. Ref: Cappiello/Rennert, 227; PAI-LXXXVII, 214

Diameter: 33 1⁄ 2 in./85 cm In excellent condition.

Each panel: 27 x 92 7⁄ 8 in./69 x 236 cm Total size of screen: 108 5⁄ 8 x 92 7⁄ 8 in./276 x 236 cm

This is a stained glass rendering of Cappiello’s famous Le Nil poster (see previous lot). This was placed at the entrance of the Nil factory.

Although Cappiello is not famously known for interior decor, he did apply his skills at the illustrious Parisian department store, Galeries Lafayette. “The result was quite striking: There were stained glass windows in the smoking room, elaborate lighting fixtures and four decorative wall panels depicting the seasons for the auditorium, tapestries, mirrors, and a glass ceiling for the tea room, as well as specially designed standard furnishings. His friend and admirer Apollinaire, writing in L’Intransigeant, found that everything was ‘joyously colored, graciously arranged, delicately assembled,’ and ‘marvelously modern’” (Cappiello/Rennert, p. 14). This exquisite hand-signed oil-painted screen was created for the store’s Salon de Thé.

Although the slogan reads “I only smoke Nil,” Nil isn’t actually a cigarette, but rather a brand of cigarette rolling paper. Nil claimed to be as “tough as an elephant’s hide,” which is how the company’s spokes-elephant came into being.

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

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

Est: $50,000-$60,000.

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A-Z | CAPPIELLO

160

161

Cappiello (Continued) 160. Produits Otto. ca. 1912.

161. Children’s Charity : Maquette. 1919.

46 ⁄4 x 62 ⁄ 2 in./117.5 x 159 cm Imp. Vercasson, Paris Cond A-/Unobtrusive folds. Ref: Cappiello/Rennert, 238; PAI-LXXVII, 152A

7 7⁄ 8 x 12 in./20 x 30.5 cm Signed pastel drawing. Framed. Ref: PAI-XC, 181

“A woman in a billowing dress perched precariously on a ladder deposits bunches of grapes into a barrel in order to promote the ‘qualité’ and ‘quantité’ of wines that will result from the use of Produits Otto. The product was meant to promote the health of the vineyards and their use in all areas of French winemaking is evidenced by the bottles sporting their regional labels” (Cappiello/Rennert, p. 162). This poster is extremely rare! Est: $4,000-$5,000.

This tender drawing was created for an association’s fundraising event for war orphans. The laurels on their heads may indicate they were the victorious forces. The woman offering the bread wears a dress bearing the French tricolor. Est: $4,000-$5,000.

162. Sachet Persan. 1920. 10 1⁄4 x 15 5⁄ 8 in./26 x 39.7 cm Imp. Devambez, Paris Cond B+/Slight tears and stains. Ref: PAI-LXXXIII, 260 This incredibly obscure work by Cappiello, mounted on an in-store display board, touts a sultan presenting two packages of dye that bear his image. Though positioned as the Tables of the Law, these precious objects result in an explosion of rainbows—an effect both graphically and commercially powerful. Est: $1,700-$2,000.

CAPPIELLO | A-Z

162 163. Théâtre National de l’Opéra / Gd Bal Masqué. 1921. 30 1⁄ 8 x 43 1⁄ 8 in./76.5 x 109.5 cm Imp. Devambez, Paris Cond A. Framed. Ref: Cappiello/Rennert, 319; Karcher, 306; Femme s’Affiche, 30; PAI-LXXIV, 232

163

Cappiello is better than anyone at delivering the exuberance of pure celebration. From the 1880s onward, the Paris Opera’s masked balls were the social event of the year. Chéret’s attempts in the 1890s (see, for example, No. 198) were great seas of people in the regal expanse of the Opéra Garnier. Cappiello releases us from those claustrophobic confines and gives us a sense of weightless effervescence. Est: $4,000-$5,000.

164. Bitter Campari. 1921. 27 1⁄ 2 x 39 3⁄ 8 in./69.7 x 100 cm Imp. Devambez, Paris Cond B+/Slight wrinkling in background; slight tears in lower margin. Ref (all var but PAI): Cappiello/Rennert, 330; Menegazzi-I, 180; Takashimaya, 94; Affiches Vins, 142; PAI-LXXXV, 221 “As we have seen, 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 the Bitter Campari. This image has become one of the classics of poster design, effortlessly combining the element of surprise with the essence of the product. The story of this world-famous brand name started in 1860 in the little Italian town of Novara, where Gaspar Campari opened his small wine shop. Within two years, he earned enough to open a cafe on a busy street corner in Milan. Annoyed that his competitors were able to sell everything that he did, he determined to produce his own distinctive liqueur in order to serve something unique; to this end, he developed a recipe for a type of bitters and made a sample batch. His timing was impeccable: bitters... were just coming into vogue at the time, and the Campari bitter was an instant success. The enterprise grew, and by the time of Gaspar’s death in 1882, the product was selling throughout the world. His son, Davide (1887-1936), expanded the family business even more, and in 1892, added a second successful beverage, Cordial Campari” (Cappiello/Rennert, p. 214). This is the smaller format. Est: $3,000-$4,000.

164

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166

Cappiello (Continued) 165. Contratto. 1922. 77 1⁄ 8 x 108 7⁄ 8 in./196 x 276.6 cm Imp. Devambez, Paris Cond B+/Slight tears and creases at edges. Ref (all var but PAI): Cappiello/Rennert, 366; Cappiello/St. Vincent, 4.45; Menegazzi-I, 436; Affiches Vins, 146; PAI-LXXXV, 224

165

In one of Cappiello’s most instantly recognizable designs, we are presented with a whimsically dressed lady offering up an oversized glass of Contratto champagne that overflows with effervescent foam. This is the larger and rarer four-sheet version of the poster. Est: $4,500-$5,500.

166. Contratto. 1922. 38 1⁄4 x 54 1⁄4 in./97.2 x 137.8 cm Les Nouvelles Affiches Cappiello, Paris Cond A. Framed. Ref: Cappiello/Rennert, 366; Cappiello/St. Vincent, 4.45; Menegazzi-I, 436; PAI-XC, 186 This is the medium format version of the previous poster. Est: $3,000-$3,500.

167. Cognac Monnet. 1927. 46 x 74 1⁄ 2 in./117 x 189.2 cm Imp. Devambez, Paris Cond A. Framed. Ref: Cappiello/Rennert, 443; Publicité, p. 92; PAI-XC, 190 Founded by a group of local vintners in 1838 under the name “Company of the Vineyard Owners of Cognac,” Cognac Monnet did not obtain its current name until 1897 when Jean-Gabriel Monnet became the owner of the society. Here, the slogan “sunshine in a glass” is interpreted quite literally by Cappiello as a Bacchus-like nymph expresses adoration for the beverage. This is the larger format. Est: $5,000-$6,000.

168. “Unic.” 1927. 45 x 60 7⁄ 8 in./114.5 x 154.7 cm Imp. Devambez, Paris Cond A-/Slight tears at edges. Ref: Cappiello/Rennert, 458 “Processed Unic cheese has the good fortune to have a spectacular parrot attesting to its merits. We doubt that Gruyère, the Swiss district that lent its name to this type of cheese, has anything to do with exotic birds, but it does pique our interest” (Cappiello/Rennert, p. 283).

167

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

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168

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169

170

Cappiello (Continued) 169. Parapluie-Revel. 1929. 78 1⁄ 8 x 121 3⁄4 in./199 x 309.5 cm Imp. Devambez, Paris Cond A. Ref: Cappiello/Rennert, 373; Karcher, 245; Cappiello/St. Vincent, 4.68; Publicité, p. 86; PAI-LXXXIX, 181 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.

170. Le Bas Revel. 1929. 78 3⁄ 8 x 23 7⁄ 8 in./199.2 x 315.2 cm Imp. Devambez, Paris Cond A. Ref: Cappiello/Rennert, 269; PAI-LXXXVII, 224 Cappiello had great success with the well-known Parapluie-Revel (see previous lot)—a cascade of three umbrellas for the Revel apparel company of Lyon—so Monsieur Revel asked him to help out with a new line of hosiery. Cappiello’s cheerful, leggy assortment picks up from the cancan kicks of Montmartre days, converts the assemblage into a five-pointed star, and makes the ladies cheery rather than titillating—although the lasses continue to blush. This is a three-sheet poster.

171

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

CAPPIELLO | A-Z

172 171. Costumé Canetta.

172. Conchita Supervia / Frasquita. 1932.

35 3⁄4 x 52 7⁄ 8 in./90.6 x 134.2 cm Imp. Devambez, Torino (not shown) Cond B-/Restored tears at folds and edges. Ref: Cappiello/Rennert, 308; PAI-IX, 104

47 1⁄ 8 x 62 7⁄ 8 in./119.6 x 159.7 cm Imp. Devambez, Paris Cond A. Ref: Cappiello/Rennert, 496; PAI-LXXXV, 234

“The bottle of the Milanese apéritif, Canetta, being the only bright, warm-colored element of the poster, takes on a life of its own, until it feels like it’s the bottle itself that’s dancing, and the woman is just swinging along with it. It’s not easy to take a static object—a bottle, for example—and to give it movement, grace and charm with the greatest of ease. But Cappiello pulls it off. As with so many posters of this period, the design was provided by Devambez in Paris, but printed in Torino, Italy” (Cappiello/ Rennert, p. 202). Rare!

“The haughty sensuality of this Spanish dancer is captured with sunny aplomb by Cappiello, featuring the legendary Conchita Supervia (1895-1936) in the title role of [Franz Lehár’s] Frasquita, coincidentally the only light-opera appearance ever made by the sultry diva. The featherweight musical indulgence revolves around gypsy fascination, unjust accusation and, of course, eventual love” (Cappiello/Rennert, p. 307). All known copies of this image appear without text.

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

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

A-Z | CAPPIELLO - CARY

173

175

Cappiello (Continued) 173. Lingerie : Maquette. 1934. 11 5⁄ 8 x 11 3⁄ 8 in./29.5 x 29 cm Signed gouache, crayon, and ink maquette. Framed. Ref: PAI-LXXV, 262 In this maquette for a lingerie brand, Cappiello doubles down on the sexual iconography, probably to compel men to buy dainty things for their ladies. Yes, gentlemen, that’s a cockatoo tugging at the blushing young lady’s slip; they’re both superimposed upon a lion’s head. On the upper left, there’s a signed indication that the image is ready to be printed. Est: $4,000-$5,000.

174. Paris 1937. 31 x 46 1⁄4 in./78.8 x 117.3 cm Edimo, Paris Cond A-/Unobtrusive folds. Ref: Cappiello/Rennert, 526; PAI-LXVI, 176 “Cappiello became deeply involved in the planning for the Paris World’s Fair of 1937. He was named vice-president of the Publicity Department for the Fair, and as such he designed the decor for the Pavilion of Advertising, as well as preparing this poster: Paris 1937. It masterfully conveys the Fair’s dual themes with allegorical figures representing Art and Technology” (Cappiello/Rennert, p. 323). This is the smaller format. Est: $1,700-$2,000.

Alois Carigiet (1902-1985) 175. Baden. 1943. 36 1⁄4 x 50 3⁄ 8 in./92 x 128 cm Wolfsberg, Zürich Cond A. Ref: PAI-LII, 140 A green-skinned, golden-haired forest or river nymph and a deer friend sample the waters of Baden, billed as “Switzerland’s most mineral-rich thermal baths.” Carigiet was trained as a decorator and house painter, but in 1923 went to work at an ad agency and drifted into poster design, theatre decor, and mural painting. He later also gained some fame as an illustrator of children’s books.

174

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

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176

Evelyn Rumsey Cary (1855-1924) 176. Pan-American Exposition / Buffalo. 1901. 25 1⁄4 x 47 5⁄ 8 in./64 x 121 cm Gies & Co., Buffalo, NY Cond A. Framed. Ref: Keay, p. 112; DFP-1, 545; American/Virginia Museum, 29; PAI-LXVII, 236 This early and important poster promotes the Pan-American Exposition in Buffalo, New York. The allegorical image brings the origin of the name of the famous waterfall to life: “Niagara” means “Maid of the Mist” in Mohawk. It is an ethereal and dreamy composition in muted twilight hues. Cary contributed only the image for this poster, while the commercial artist Frederic F. Helmer added the gold metallic text and organic border. Est: $5,000-$6,000.

A-Z | CASSANDRE - CHAGALL

177

A. M. Cassandre (Adolphe Mouron, 1901-1968) 177. Nord Express. 1927.

178. Chemin de Fer du Nord. 1929.

29 3⁄ 8 x 41 3⁄4 in./74.6 x 106 cm Hachard, Paris Cond A. Ref: Cassandre/BN, p. 12; Cassandre/Weill, p. 53; Mouron, 10; Brown & Reinhold, p. 9; Cassandre/Suntory, p. 49; Deco Affiches, p. 27; Avant Garde, p. 162; Word & Image, p. 80; Art Deco, p. 77; Weill, 310; Affiche Réclame, p. 80; Modern Poster, p. 155; Crouse/Deco, p. 254; PAI-XC, 201

24 1⁄ 2 x 39 1⁄ 8 in./62.2 x 99.3 cm Imp. L. Danel, Lille Cond A. Ref: Mouron, pl. 16; Brown & Reinhold, 44, pl. 18; Cassandre/Weill, p. 54; Cassandre/Suntory, 52; Moderno Francés, p. 167; Crouse/Deco, p. 256; PAI-LXXX, 297

In this magnificent poster, Cassandre perfectly portrays the two most important factors in early rail travel: romance and speed. Our eyes are both focused on the geometric whirl of the wheels and the seemingly endless far-off horizon. The size and power of the engine is so brilliantly executed that one can almost feel that solid wall of hot air hitting you as it races by. Est: $14,000-$17,000.

Seldom seen, this Cassandre should be considered a masterpiece of Modern design. Advertising the French Northern Railway from Paris to the English Channel, it’s an exemplification of its own expression: meaning is conferred here swiftly, and with great elegance. The compass points—conflating with the speed lines of the train—the oblique angle of true North, and the convergence point of the rails all create dramatic, unusual geometries for a perfect symphonic whole. Note that the southeast compass point directs a beam of light onto the word “confort”—a trick that Cassandre would deploy, three years later, for his world-famous Pathé (illuminating “electrique” in 1932; see PAI-LXXI, 279). This is the smaller format of the poster. Est: $5,000-$6,000.

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179

178 179. Bonal. 1935. 46 1⁄4 x 61 5⁄ 8 in./117.6 x 156.6 cm Alliance Graphique, Paris Cond B+/Slight tears and stains. Ref: Cassandre/BN, 91; Cassandre/Weill, p. 127; Cassandre/Suntory, 43; Mouron, 63; Moderno Francés, p. 189; Apéritif, 75; Affiches Vins, 160; PAI-LXXXV, 240 “Opens the appetite,” Bonal claims, and Cassandre quite literally depicts this. Founded in 1865, Bonal is a sweet vermouth-like apéritif wine, infused with quinine, gentian, and many of the herbs featured in Chartreuse. This is the second version of the image, printed two years after the original with slightly different coloration. Est: $1,200-$1,500.

Jean-Dominique van Caulaert (1897-1979) 180. Lys Gauty. 1934. 15 1⁄ 8 x 23 1⁄ 2 in./38.5 x 59.6 cm Les Impressions Litho., Paris Cond A-/Slight tear at horizontal fold. Ref: PAI-LXXXVII, 498 Lys Gauty, with those mystical feline eyes illustrated so well by van Caulaert, was a French music-hall and

180

recording star of the 1920s and ’30s, singing at the Olympia and the Alcazar. She was awarded a Grand Prix du Disque for her role in the French adaptation of Kurt Weill’s “The Threepenny Opera.” In the 1930s, when rampant anti-Semitism had spread across France, she was one of the few French artists to show support for the Jewish people by singing “Israel-ve-atem.” Est: $1,700-$2,000.

Marc Chagall (1887-1985) 181. Nice / Soleil, Fleurs. 1962. 24 1⁄4 x 39 1⁄4 in./61.7 x 99.6 cm Imp. Mourlot, Paris Cond A/P. Ref: Affiches Azur, 56; Sorlier, p. 38; PAI-LXXXIX, 191 Far above the Corniche, in the midst of a midnight blue, a mermaid hovers, clasping and smelling a bouquet of flowers: this is Marc Chagall’s dream of Nice, the city of flowers on the Côte d’Azur. Chagall arrived in Paris from Vitebsk, Russia in 1910 and soon made a name for himself with his art of surreal and poetic dream-visions. This design was appropriated from a print entitled “The Bay of Angels.” Est: $1,700-$2,000.

181

JULES CHÉRET

182

183

Jules Chéret (1836-1932) 182. Valentino / Samedi et Mardi Gras. 1869. 35 x 48 1⁄4 in./89 x 122.7 cm Imp. J. Chéret, Paris Cond B/Slight tears at folds and edges. Ref: Broido, 323; Chéret, 413; PAI-LXXXVIII, 257 (var) 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.

183. Folies-Bergere / Holtum–L’Homme aux Boulets de Canon. 1875. 23 3⁄ 8 x 30 5⁄ 8 in./59.4 x 77.8 cm Imp. J. Chéret, Paris Cond A. Ref: Chéret, 94; Broido, 80; Maindron 1896, 77; Spectacle, 1055; Cirque, 496; PAI-XLVI, 264 John Holtum (1845-1919) was a famous strong man and juggler who also performed a cannonball act. Chéret executed a number of posters for the daredevil, including this one for a Folies-Bergère appearance that shows off various displays of his strength, as well as the centerpiece of his act: placing himself directly on the receiving end of a close-range cannon blast. You’ve really got to hand it to “The Cannonball Man”—while this looks like an act of pure insanity, he obviously knew what he was doing, as he lived to the ripe old age of seventy-four. These days when people take such pride in feats of extreme athleticism, you’d never see someone perform this kind of stunt without an excess of protective apparel. But all Holtum needed was a pair of red boots, a tight tank top, and some short shorts. Now that, my friends, is a real man. Est: $1,700-$2,000.

184. Cirque d’Hiver / Cendrillon. 1876. 34 3⁄ 8 x 47 7⁄ 8 in./87.5 x 121.5 cm Imp. J. Chéret, Paris Cond B+/Slight stains and tears at folds. Ref: Chéret, 550; Broido, 427 Perhaps Cinderella really has found her perfect slipper at the Cirque d’Hiver. Chéret creates a joyous scene with myriad characters to announce the performance of “Cendrillon.” This is one of the rarest works of Chéret. Est: $1,400-$1,700.

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184 185

186

187

185. L’Horloge / Les Frères Léopold. 1877.

186. Skating de la Rue Blanche. 1878.

187. J. Hermann-Lachapelle. ca. 1880.

15 1⁄ 2 x 22 1⁄ 2 in./39.4 x 57.2 cm Imp. J. Chéret, Paris Cond A. Framed. Ref: Chéret, 191; Broido, 149; Maindron 1896, 129; Spectacle, 1215; PAI-LXV, 195

15 1⁄4 x 22 1⁄ 2 in./38.8 x 57 cm Imp. J. Chéret, Paris Cond A. Framed. Ref: Chéret, 467; Broido, 359; Maindron 1896, 290; Reims, 514; PAI-LXV, 194

31 3⁄ 8 x 43 3⁄4 in./79.7 x 111.2 cm Imp. J. Chéret, Paris Cond B+/Slight tears at folds.

Chéret created a total of three posters for the Léopold Brothers, a troupe of acrobats and comedic jugglers. Here, two of their routines are featured in this poster for their appearance at L’Horloge.

This early Chéret poster was created for a “unique establishment” that offers every imaginable diversion: skating, theatre, cocktails, and music. This early poster from Chéret’s first printing plant is quite rare!

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

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

This poster is so rare that it does not even appear in Chéret’s catalogue raisonné. The Italian company J. Hermann-Lachapelle advertises their “continuous apparatus” for producing carbonated drinks, including seltzer water, lemonade, sparkling wines, and beer. Est: $1,400-$1,700.

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188

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189

190

Chéret (Continued) 188. Saint Jacut-de-la-Mer : Painting. 1887.

189. Folies-Bergère / La Loïe Fuller. 1893.

8.2 x 11.2 in./21 x 28.5 cm Signed oil painting on wood. Framed.

33 7⁄ 8 x 48 1⁄ 2 in./86 x 123.6 cm Imp. Chaix, Paris Cond A-/Unobtrusive folds. Ref: Chéret, 154; Broido, 125; Maindron 1896, 113; DFP-II, 233; Maitres, 73; Reims, 411; Wine Spectator, 13; Loïe Fuller/Current, p. 129; PAI-XC, 214

Exhibited: “La Normandie du Preromantique au Postimpressionnisme,” Ville de Deauville Exposition, 1973 (catalogue No. 61) This early painting by Chéret shows a young contemplative lady on the beach of the Brittany Coast. The painting is dedicated “a mon ami Maindron”—that is, Ernest Maindron—who a year earlier published the first of his important works, “Les Affiches Illustrées,” which included 20 color plates of early Chéret posters and in which Maindron urged his readers to start collecting them. Est: $17,000-$20,000.

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.

190. Grands Magasins du Louvre /Jouets, Etrennes 1891. 1890. 33 3⁄4 x 96 5⁄ 8 in./85.8 x 245.5 cm Imp. Chaix, Paris Cond B+/Unobtrusive folds. Ref: Chéret, 843; Broido, 673; Maindron 1896, 560; DFP-II, 203; PAI-XLIV, 176 Chéret gives us a cascading two-sheet image of overjoyed children with the toys and gifts they’ve received from the Louvre department store. It’s infectiously charming. Est: $2,000-$2,500.

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191

Chéret (Continued) 191. L’Auréole du Midi. 1893. 34 x 48 3⁄4 in./86.4 x 124 cm Imp. Chaix, Paris Cond A. Ref: Chéret, 1277; Broido, 975; Maindron 1896, 805; Maitres, p. 237; DFP-II, 243; PAI-LXXXIX, 201

192

Perhaps to show that this lamp can be handled even by a child, Chéret allows a little flaxen-haired girl to run around with it, while another one carries a canister of kerosene. Clearly, the days of helicopter parenting are far in the future. Est: $1,700-$2,000.

192. Palais de Glace. 1893. 33 1⁄ 8 x 48 3⁄4 in./84.3 x 124 cm Imp. Chaix, Paris Cond B+/Tears at folds and top text area. Ref: Chéret, 471; Broido, 362; Maindron 1896, p. 292; DFP-II, 240; Reims, p. 455; PAI-LXXXVIII, 262 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: $2,700-$3,000.

193. Pastilles Géraudel. 1895. 34 3⁄4 x 47 5⁄ 8 in./88.2 x 121 cm Imp. Chaix, Paris Cond A-/Horizontal fold. Ref: Chéret, 1181; Broido, 910; DFP-II, 259; Health Posters, 6; Gold, 32; PAI-XC, 221 It may be snowing, but this heavily bundled Chérette is prancing down the street as if it were spring. She has wisely chosen Pastilles Géraudel to fend off the first signs of a winter cold. As the slogan says, “If you cough, take Géraudel Pastilles”—a tag line which appeared on all of the company’s ads from France to China. “This is one of the most striking examples of the work by Jules Chéret... The clarity of the color is astonishing and denotes the influence of Impressionist painting” (Health Posters, p. 14). Est: $3,000-$4,000.

193

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194

195

194. Palais de Glace. 1900.

195. Palais de Glace. 1894.

32 ⁄ 8 x 92 ⁄ 8 in./83 x 236 cm Imp. Chaix, Paris Cond A-/Slight tears at edges. Framed. Ref: Chéret, 491; Broido, 374; PAI-LXXV, 277

32 3⁄4 x 93 5⁄ 8 in./83.2 x 238 cm Imp. Chaix, Paris Cond A. Framed. Ref: Chéret, 478; Broido, 366; Maindron 1896, 295; DFP-II, 246; PAI-XC, 215

This is the tallest—and possibly the finest image—of the Palais de Glace series. The lass in the striped dress is captured in multiple spirals of motion—skates pirouetting, skirts whipping round—at the moment of a candid flirtation with the gentleman behind. He has lightly grasped her hand: have they just met? Are they longtime partners mugging their affection for the artist’s eye? The effervescence of this design, and its quick dashes of coloration, make it clear that Chéret wanted to create something special for the Turn of the Century. This is the large, two-sheet version of this poster.

In this larger-than-life two-sheet poster, Chéret displays all the charms of a confident blond skater whizzing by the viewer. Behind her, a male admirer hopes to catch up.

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

A-Z | CHÉRET

196

197

198

Chéret (Continued) 196. 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-XC, 222

197. Théâtre de l’Opéra / Gd. Veglione de Gala / 3e Bal Masqué. 1897.

198. Théâtre de l’Opéra / Carnaval 1894 / 1er Bal Masqué. 1894.

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-LXXXIX, 203

34 1⁄ 2 x 48 1⁄4 in./87.6 x 122.6 cm Imp. Chaix, Paris Cond A. Ref (all var but PAI): Chéret, 368; Broido, 289; Maindron 1896, 246; DFP-II, 236; PAI-LXXXIII, 285

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!

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: $2,000-$2,500.

Chéret gives us a very lively scene where assorted revelers invite us to join the festivities of the first masked ball of the 1894 season. The feeling of agitated movement is conveyed with masterful perfection. Est: $3,500-$4,000.

CHÉRET | A-Z

199 199. La Comédie : Drawing. ca. 1891. 8 1⁄4 x 16 1⁄ 8 in./21 x 41 cm Signed pastel drawing on canvas. Framed. Ref: PAI-LXVIII, 321 (var) Chéret’s series of four decorative panels known as The Arts are veritable “triumphs of color and printing” (Abdy, p. 31). They are “neither prints nor posters, but which contain a bit of both... There is nothing to say about these designs other than that they are perfect” (Maindron, p. 178-79). Being freed from having to sell a product, Chéret lets his imagination soar—and these light-footed nymphs are the first clear examples of what was to adorn the walls of Paris for the next decade: the unabashedly hedonistic, carefree spirits that became known as “Chérettes.” This is the original pastel design for the Comédie panel, in which we see a gamboling lass who sees no reason to include tragic theatricality in her environment. Est: $8,000-$10,000.

A-Z | CHÉRET

200

201

Chéret (Continued) 200. Libraire Ed. Sagot / Affiches-Estampes. 1891.

201. Musée Grévin / Les Coulisses de l’Opéra. 1891.

33 1⁄ 2 x 91 in./85 x 231.2 cm Imp. Chaix, Paris Cond A-/Slight tears at seam. Framed. Ref (all var but Chéret and PAI): Chéret, 670; Broido, 528; Maindron, 427; DFP-II, 218; Reims, 406; PAI-XLVII, 188

30 1⁄4 x 93 1⁄4 in./76.8 x 236.8 cm Imp. Chaix, Paris Cond B-/Slight tears at folds and edges. Framed. Ref: Chéret, 601; Broido, 467; Maindron 1896, 380; Maîtres, 37; DFP-II, 210; Reims, 315; Wine Spectator, 10; PAI-LXXIX, 285

This is the rare proof before letters. If the pretty lass with flowers seems a tad incongruous advertising a book store, it’s because the design was prepared by Chéret for La Belle Jardinière (The Pretty Gardener) department store. However, that store’s management, for unknown reasons, didn’t like the design; Sagot, a shrewd purveyor of posters and prints, saw an opportunity to acquire a beautiful design at a bargain price, and used it to advertise his first poster catalogue, which he published in 1891. In fact, this 5-color poster, folded, came to subscribers with the 112-page catalogue for a total of 10 francs. It’s one of the loveliest of all Chéret posters: a sunny, spirited design in which the woman’s face radiates the glow of youth and vivacity.

To promote the show “Backstage at the Opera” at the Musée Grévin, Chéret gives us a bevy of ballerinas so delicately pictured that one can almost feel the air stir with their lively pirouettes. This two-sheet poster, with the dancers approximately life-size, is one of Chéret’s masterpieces.

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

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

CHÉRET | A-Z

202

203

204

202. Le Courrier Français. 1891.

203. Musée Grévin / Fantoches de John Hewelt. 1900.

204. Musée Grévin / Le Journal Lumineux. 1900.

34 x 48 3⁄ 8 in./86.4 x 123 cm Imp. Chaix, Paris Cond B+/Slight tear at bottom edge. Ref: Chéret, 741; Broido, 580; Maindron 1896, 470; Maitres, 49; DFP-II, 216; Fit to Print, 112; PAI-XLIII, 260

34 5⁄ 8 x 48 3⁄4 in./88 x 123.8 cm Imp. Chaix, Paris Cond A. Ref: Chéret, 608; Broido, 471; DFP-II, 267; PAI-LXXXVIII, 279

34 1⁄ 2 x 49 in./87.8 x 124.5 cm Imp. Chaix, Paris Cond A. Ref: Chéret, 610; Broido, 471b; PAI-VIII, 50

This charming design with an ebullient fairy was used in several ways. The well-traveled sprite was used to advertise two art exhibitions arranged by Le Courrier Français; she appeared as a circulation promotion for the newspaper without the appearance of text (this is the version seen here); the image was sold in several editions as artwork for the home; and lastly, a reduced format was used as a supplement to the magazine’s March 28 issue.

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: $2,000-$2,500.

A mime, a dancer, and a man on a mule advertise what was essentially a slide show with live actors sometimes interacting with projected images. The Musée Grévin presented such shows regularly since 1892; they preceded motion pictures and continued to coexist with them for several years. This joyous design shows up far more often without letters, or with the text for other presentations: the puppet show of John Hewelt (see previous lot) and Fête des Artistes (see PAI-LXXXVII, 257). But this version is the rarest! Est: $3,000-$4,000.

A-Z | CHÉRET

205

Chéret (Continued) 205. Femme dans le vent : Drawing.

206. La Danse : Painting. 1910.

15 x 24 in./38 x 61 cm Signed pastel drawing. Framed.

9 3⁄ 8 x 16 1⁄ 2 in./23.8 x 42 cm Signed oil painting on board. Framed.

Chéret captures a Belle Époque Parisienne battling a massive gust of wind. Luckily, with her hat secured, she’s able to maintain a positive attitude.

This is a preparatory work for Chéret’s luxurious salon at the Paris City Hall. Swishing and swirling, Chéret’s dancing ladies are full of verve and charm as they leap off into the ether. The leading lady’s characteristic yellow dress contrasts beautifully with the varying shades of mauve and pink that make up the Impressionistic background.

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

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

CHÉRET | A-Z

206

A-Z | CHOUBRAC - COLIN

207

208

Alfred Choubrac (1853-1902)

Francisco de Cidón Navarro (1871-1943)

207. Rouen Folies-Bergère : Maquette.

208. Perfumeria Ladivfer. 1903.

22 1⁄ 2 x 30 in./57.2 x 76.2 cm Signed watercolor, gouache, and ink maquette. Framed.

30 x 49 5⁄ 8 in./76.2 x 126 cm Reclam’s Font, Barcelona Cond A-/Slight tear in her hat. Framed. Ref: Timeless Images, 79; Cataluña, 101; Parfum, p. 71; PAI-LXXIX, 408

Although Choubrac created many posters for the Parisian Folies-Bergère, this is a rare preparatory work for a Folies-themed revue in Rouen. Est: $4,000-$5,000.

This delicate design won first prize in a poster contest organized by the Ladivfer cosmetics company—and rightly so, we believe. The gradation of pastel hues, the texture on the woman’s scarf, and the intimate gesture of smelling a freshly cut rose are all beautifully expressed in this lovely Art Nouveau design. Est: $3,000-$4,000.

PAUL COLIN Colin started his poster career in the late 1920s in the music hall and film genres with Art Deco as his guiding inspiration. He adapted it to his own style, which embraced symbolism and abstraction in later years. He was a master of depicting movement in deceptively simple ways, and one of his favorite devices was multiple exposure to depict two or more facets of a personality or an experience. He created dozens of posters for performers in all media, and reflected Parisian entertainment of the time perhaps better than any of his contemporaries. It has been our great pleasure to exhibit Paul Colin: The Rennert Collection this year in our gallery. It’s worth noting that the posters included here are not from that collection—in fact, I regret that I never had the Loïe Fuller or Monsavon in my archives.

209

Paul Colin (1892-1986) 209. Monsavon. 50 5⁄ 8 x 78 5⁄ 8 in./128.6 x 199.8 cm Imp. Monsavon Cond A. This is the only known copy of Colin’s design for Monsavon, in which we see a bathing beauty enjoying the sudsy deliciousness of the product. Est: $5,000-$6,000.

A-Z | COLIN

210

COLIN | A-Z

211

212

213

Colin (Continued) 210. Champs Élysées / La Loïe Fuller. 1925.

211. Congres des Jeunes. 1920.

213. Mitty Tillio et Ricaux / Casino de Paris. 1928.

46 1⁄ 8 x 61 7⁄ 8 in./117.2 x 157 cm Imp. H. Chachoin, Paris Cond A-/Slight tears in bottom text. Ref: Colin, 21; Colin Affichiste, 4; Colin/Magicien, p. 27; Colin/Spectacle, p. 104; PAI-LII, 208

31 1⁄4 x 44 3⁄ 8 in./79.4 x 112.8 cm Imp. Arts Graphiques, Nancy Cond B+/Slight tears at edges.

47 1⁄ 2 x 62 7⁄ 8 in./120.5 x 159.7 cm H. Chachoin, Paris Cond A-/Slight tears at edges. Ref: Colin Affichiste, 68; Timeless Images, 111; PAI-LXXXVIII, 287

“Josephine Baker and the Revue Nègre would be a hard act to follow for anyone less noted and less experienced than ‘La Loïe,’ but the dancer who had captivated Paris for over thirty years was still up to the task. When she came to the Champs-Élysées... she was 63 years old. ‘Old, but still very interesting,’ recalls Colin... It was her use of lighting effects and wind machines and other devices, all of which she devised herself in her own laboratory, that turned her appearance into a spectacular, ‘psychedelic’ light-and-motion show... A year later, in 1926, she gave her final performance in London; she died in 1928. And how successfully Colin has caught the swirling rotating motion of the dancer with this circular design. To hold up this poster to the Loïe Fuller designs of Chéret, Lautrec, Orazi and others, is to gain an instant lesson in the history and progress of the poster and to appreciate the fact that Colin ranks with equal stature with these luminaries of the medium” (Colin, p. 7-8). This design is very different from almost all Colin posters in forsaking the figurative and concentrating on form and color. Est: $30,000-$40,000.

This rare design for a youth congress and exposition comes from the early days of Colin’s career, before he hit his Deco stride at the Théâtre des Champs-Élysées. This poster includes a hand-signed dedication to Hunziker. Est: $1,700-$2,000.

212. Jean-Max. 46 1⁄ 2 x 62 1⁄ 8 in./118.2 x 158 cm Imp. Joseph-Charles, Paris Cond B+/Unobtrusive folds. Ref: PAI-XXVII, 378 Jean-Max (1894-1970) was a film actor who specialized in dark, brooding German espionage films of the 1930s. The Colin poster for the performer is a masterpiece of moody evocations composed of relatively few elements, but it conveys an undeniable emotional resonance. The divided face with a silhouette lurking in the shadows of the darker half demonstrates Colin’s ability to effortlessly explore a multifaceted personality. And although the shadowy JeanMax remains a bit of a mystery, Colin’s design definitely generates interest in the subject. Est: $1,700-$2,000.

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

A-Z | COLIN

215

214

Colin (Continued)

216. Josephine : Drawing.

214. Madika. 1930.

9 1⁄4 x 12 1⁄4 in./23.5 x 31 c Signed pencil and gouache drawing on paper. Framed.

31 1⁄ 2 x 47 1⁄ 8 in./80 x 119.7 cm Imp. H. Chachoin, Paris Cond B+/Slight tears at bottom edges. Ref: Colin, 42; Colin Affichiste, p. 76; Colin/Spectacles, p. 126 “This and the Olive Nègre poster are the only ones in black-and-white which I have seen in all the Colin posters viewed. The three dance positions of Madika, superimposed one on the other, give us a fine sense of dance and movement. But just who this Madika was remains a mystery. Colin frequently produced posters for obscure dancers and singers whom he befriended; this may be the legacy of such friendship” (Colin, p. 9).

Colin depicts his favorite subject, Josephine Baker, in a more peekaboo-ish stance than the sultry demeanor she often displayed while wearing her iconic banana dress. Est: $1,700-$2,000.

Albert Pietri (1894-1956) 217. Josephine : Pochoir. ca. 1933. 6 1⁄4 x 9 5⁄ 8 in./16 x 24.5 cm Signed pochoir print on paper with gold enhancement. Framed.

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

Pietri created three posters for Josephine Baker in the late 1920s. In this pochoir print engraved by Philipp Rosen, he showcases Baker’s goofy side.

215. Liqueur Izarra. 1930.

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

61 x 90 ⁄4 in./155 x 229.2 cm Imp. Bedos, Paris Cond A. Ref: Colin, 103; Colin Affichiste, 184; Boissons, 448; PAI-LXXIV, 272

216

Flanked by a Basque dancer and flamenco artist, this bottle of Liqueur Izarra is unmistakably Spanish. The beverage itself is almond in flavor, and is known as “the sun and the snow of the Pyrénées.” This is a twosheet poster. Est: $2,000-$2,500.

Colin (Continued) 218. Line Viala / Columbia. 1930. 44 1⁄ 2 x 61 1⁄ 8 in./113 x 155.3 cm Cond A. Ref: Colin/Spectacles, 150; Colin Affichiste, p. 84; Colin/Magicien, p. 100 (var) LIne Viala was a celebrated pianist and accordionist. Colin depicts both of her instruments, though the piano receives a much more minimal treatment, emerging from the black reserve. Est: $2,500-$3,000.

217

COLIN | A-Z

220 218

219. L’Ennemi dans le Sang. 1931. 47 1⁄4 x 63 in./120 x 160 cm Cond B/Slight tears at folds. Ref: Colin/Affichiste, 40; Colin/Magicien, p. 11; PAI-XLV, 265 The split image of seduction and decay serves as the perfect lithographic calling card for “Enemy in the Blood,” a peculiar 1931 educational documentary and cautionary tale on the dangers of syphilis filmed at both Grunewald Studios in Berlin and a health research institute in Switzerland. The movie is comprised of a lengthy prologue where the disease is described and theoretically explained—Spanish conquistadors are singled out for having introduced the malady to the modern world— followed by a trio of stories that illustrate the perils of casual anonymous sex. “This German-Swiss coproduction... was one of the projects of the avant-garde that flourished at the time. The director was Walter Ruttmann, a German innovator who made a name for himself with his documentary, ‘Berlin–Symphony of a Large City’ in 1927... This poster is a typical move for Paul Colin: he accepted the commission, with little remuneration as it was done for an obscure documentary with almost no chance of financial return, solely because he respected the artistic integrity of its producers” (Colin/Affichiste, p. 56). In addition to his “Symphony,” Ruttmann (18871941) helmed the dream sequences in Fritz Lang’s “Die Niebelungen” and helped edit Leni Riefenstahl’s “Triumph of the Will.” During World War II, he made propaganda films for the Nazis, an undertaking that would literally prove to be his undoing as Ruttmann was killed while filming a military exercise on the Eastern Front. Est: $4,000-$5,000.

220. L’Oeuvre Unique. 1932. 30 5⁄ 8 x 46 5⁄ 8 in./77.6 x 118.8 cm France Affiches, Paris Cond A. Ref: Colin Affichiste, 118; PAI-LI, 289 First presided over by the landscape and still life painter Antoine Villard, the Salon de l’art Française Indépendant was one of the many Parisian art salons active before World War II. Here, Colin emphasizes that painting is the single focus of this non-juried show with the image of a colorful, impressionist work floating silently toward the viewer.

219

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

A-Z | COLIN

221

222

223

Colin (Continued) 221. Bal des Affiches. 1934.

222. Quinzaine Portugaise. 1935.

223. La Dette.

14 1⁄ 2 x 22 1⁄ 2 in./36.8 x 57.2 cm Cond A-/Slight creases at bottom.

31 1⁄ 2 x 47 3⁄ 8 in./80 x 122 cm Imp. L. Serre, Paris Cond A.

46 3⁄ 8 x 62 3⁄4 in./117.8 x 159.4 cm Imp. Crete-Corbeil Cond A-/Unobtrusive folds. Ref: PAI-XLI, 238

For a Poster Ball at the Tabarin on April 17, 1934, Colin shows a multiplying dancer and artist getting his groove on. Est: $1,400-$1,700.

This is a somewhat conflicting design for the antitotalitarian Colin, who somehow wound up creating this design for a Portuguese exposition in Geneva during the dictatorial reign of António de Oliveira Salazar. Apparently, Salazar had admirers in Switzerland, and thus the leader’s personal friend and new state propagandist, António Ferro, organized this event. Politics aside, Colin created a vibrant image that combines natural beauty with architecture and engineering. Rare! Est: $1,700-$2,000.

Man’s inhumanity to man, whether it manifests itself through barbaric practice or stark indifference, is far more gruesome than the tortured Colin torso seen here. And yet, this compromised vision of the human body doesn’t fail to strike a visceral thematic chord for those upon which tragedy has fallen. In short, Colin’s national debt-relief appeal for the tragedy stricken performs its function admirably. Est: $2,500-$3,000.

COLIN | A-Z

224 224. André Renaud. 1929. 46 3⁄4 x 62 1⁄ 8 in./118.8 x 158 cm Imp. H. Chachoin, Paris Cond A. Framed. Ref: Colin, 39; Colin Affichiste, 74; Art Deco, p. 99; Affiches 1000, 0205; Crouse/Deco, p. 158; Le Coultre, p. 253; PAI-LXXXIX, 309 “The two pianos which André Renaud played simultaneously are thrown at us with seeming abandon, but, like all these geometric ‘tricks’ of Colin, they are very deliberately drawn for maximum effect. The effect Colin seeks here—to overwhelm us with the wizardry of Renaud—is achieved by the overwhelming size of the pianos. Renaud, who went on to become a bandleader, even played the two pianos blindfolded for a while” (Colin, p. 9). Est: $8,000-$10,000.

A-Z | COLIN

225

COLIN | A-Z

226

227

228

Colin (Continued) 225. Loterie Nationale / Grand Prix de Paris : Maquette. ca. 1936. 14 1⁄4 x 19 in./36.3 x 48.3 cm Signed gouache and ink maquette. Framed. Ref (all var): Colin, 81; Colin Affichiste, 177; PAI-II, 286 In this charming design for the National Lottery, Colin turns the spectators into numbers. As he put it, “In a lottery, it’s all a question of numbers. Everybody thinks about the winning number. They have numbers on their brain, the winning number, of course, and the winning sum.” The image can be regarded as a pun—or simply a comment—on the lottery buyer’s natural greed. Est: $7,000-$9,000.

226. Parc du W. ca. 1948. 24 ⁄ 2 x 32 ⁄4 in./62 x 83.3 cm Éditions Diloutremer, Paris Cond A. Ref: PAI-LI, 292 1

This imaginative design invites the viewer to a group of wildlife preserves in what was then French West Africa. Rumor has it that the preserves got their unusual name from the shape which they create if linearly connected. For reasons unknown—perhaps a printing error—the “du” of the title has been tippedon. The image was also used to promote travel to the area as a whole, with the top text changed to “Afrique-Occidentale Française.” Est: $2,000-$2,500.

227. Floralies. 1959. 45 1⁄4 x 62 in./114.8 x 157.6 cm Pub. Jean Chitry, Paris Cond A-/Unobtrusive folds. For an international flower exhibition, Colin wraps up the globe in a blossoming red poppy. Est: $2,000-$2,500.

228. Théâtre Antoine / Centenaire de Luigi Pirandello. 1967. 39 x 58 7⁄ 8 in./99 x 149.5 cm St. Martin, Paris Cond B+/Slight tears at folds. Ref: Colin, 112 “The 100th anniversary of the birth of Luigi Pirandello (1867-1936) was celebrated throughout the world. This genial author, whose plays, such as Chacun sa verité (To Each His Own Truth), La volupté de l’honneur (The Delight of Honor), and Six personnages en quête d’auteur (Six Characters in Search of an Author), set the tone for much of today’s drama, started writing at the age of 50 in 1917 and then went on to give us 43 plays. The year 1967 saw many revivals in Paris as well as a special play for the occasion, Se trouver (To Find Oneself) at the Théâtre Antoine, for which Colin produced this moving tribute” (Colin, p. 12). Est: $1,700-$2,000.

A-Z | COLLET - DEPERO

229

230

232

Pierre Collet

M. E. Curran

229. Le Soleil / Roquefort. 1926.

230. La Fiesta de Los Angeles. 1896.

11 1⁄ 8 x 16 1⁄ 2 in./28.2 x 42 cm Imp. Joseph-Charles, Paris Cond A. Framed. Ref: PAI-LXXVIII, 256

19 1⁄ 2 x 27 1⁄4 in./49.5 x 69 cm Los Angeles Lithographic Company Cond A. Ref: PAI-LVIII, 247

High above the limestone plateaus and caves of Roquefort-sur-Soulzon, a gleeful chef soars away with his massive round of cheese aloft—or is he simply petite? A typical wheel of the blue cheese weighs 5.5 to 6.5 pounds, and is about 4 inches thick. Most notably, EU law dictates that only those cheeses aged in the natural Combalou caves of this commune may bear the name Roquefort to certify their geographic origins. There’s no wonder, then, that this man has taken flight—he is one of the very few producers to make France’s “king of cheese.” This is an in-store display with grommets.

First held in 1893, La Fiesta de Los Angeles was a giant week-long festival celebrating the city’s heritage. It attracted thousands of people from around the country, entertaining them with pageants, parades, and performances. However, by the year of this poster, the festivities had gotten so wild and hedonistic that a public moral outcry led to all future events being canceled.

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

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

COLLET - DEPERO | A-Z

231

David Dellepiane (1866-1932)

Fortunato Depero (1892-1960)

231. Exposition International d’Électricité. 1908.

232. Bitter Campari. ca. 1932.

62 3⁄4 x 43 3⁄4 in./159.3 x 111.2 cm Imp. Moullot, Marseille Cond B/Slight tears at folds. Ref: Dellepiane, p. 163; European Electricity, p. 16 & 17; Masters 1900, p. 28; PAI-LIX, 330

13 3⁄ 8 x 19 in./34 x 48.3 cm Leopoldo Baroni, Milano Cond A. Ref: Depero, p. 74; Weill/Art Deco, p. 235; PAI-XC, 240

“During the 19th century, the Industrial Revolution fundamentally changed the appearance of the world due to a number of major scientific breakthroughs... A series of revolutionary discoveries enabled electricity to be generated, harnessed and sold... Innovations were sold to the steadily growing crowds visiting the pavilions at world exhibitions and electricity trade fairs. Public response to the Electricity Fairy and her vision of the future was overwhelming. The dazzling allegorical figure, giving a human face to a physical phenomenon which by its very nature cannot be depicted, conveyed intimations of luxury and festive extravagance in ever greater measure... The advent of electric power and lighting coincided with the triumphant arrival of the art poster. It comes as no surprise, then, that progressive entrepreneurs frequently used this modern medium to win over public opinion... The Electrical Fairy’s theatrical pose and the hypnotic lighting effects high above the Marseilles exhibition ground give this poster by David Dellepiane strong dramatic expressiveness. The effects of the light on the Fairy’s green body and the trailing clouds and plumes of smoke against the red sky are extremely subtle” (European Electricity, p. 17). Est: $12,000-$15,000.

Fortunato Depero was a major figure in the Italian Futurist movement, and a superb noncommercial artist within that aesthetic—his work was included in the Guggenheim’s seminal 2014 survey of Italian Futurism. In 1919, he founded the House of Futurist Art, where he began to translate the artistic precepts of Futurism into household objects like toys, tapestries, and furniture. From 1928 to 1932, Depero lived in New York City, where he created stage costumes and designed restaurants, homes, and covers for magazines. This prompted his interest in commercial design, and upon his return to Italy, he created many brilliant posters, three-dimensional objects for in-store advertising (see PAILXXI, 280), and a 1932 bottle design for Campari soda that’s still in production. This whimsical poster for Bitter Campari is equal parts strange and delightful: a classic Depero combination. Est: $2,000-$2,500.

A-Z | DEUTSCH - DOMERGUE

233 235

234

236

Ernst Deutsch (1883-1938)

Friedl Dicker-Brandeis (1898-1944)

Julius Diez (1870-1957)

233. 1. Admirals Redoute. 1912.

234. Comedian Harmonists. ca. 1930.

235. Pelikan Farben. 1898.

36 3⁄4 x 27 1⁄ 2 in./93.4 x 69.8 cm Hollerbaum & Schmidt, Berlin Cond A-/Slight tears at edges. Framed. Ref: DFP-III, 526; PAI-LXXVI, 256

37 x 27 5⁄ 8 in./94 x 70 cm Cond A. Ref: PAI-LXXXVI, 142

15 1⁄ 2 x 20 1⁄ 8 in./39.5 x 51 cm J. C. König & Edhardt, Hannover Cond A-/Slight stains at edges. Ref: DFP-III, 581

The decadence fairly vaults off the paper in this work for the 1st Admiral’s Masked Ball in pre-World War I Berlin. One’s sympathies do not extend to the porcine smoocher careening in from the right, as the louche lady is proffering a calling-card to the rednosed fondler of wrists. An artist in a similar mode to Schnackenberg, Ernst Deutsch somehow renders situations that ought to be repugnant into things of beauty, desire, and aesthetic wholeness. Est: $2,000-$2,500.

The internationally renowned harmony ensemble, Comedian Harmonists, “only sing for Odeon Records” for this bold Art Deco design. Formed in 1927 Berlin, the group quickly found success with their innovative harmonies and wide ranging repertoire. Unfortunately, three of the six members were Jewish or of Jewish descent, and the censorship of the Nazi regime eventually forced the group to dissolve. During the war, a non-Jewish group was reformed under the name “Meistersinger.” In the 1970s, their music and historical recordings were recovered, and in the 1990s, the German film “Comedian Harmonists” led to a musical play in Berlin. In 1997, an English adaptation of the musical called Harmony premiered with music by Barry Manilow, and it is being revived on Broadway this fall. Est: $1,200-$1,500.

This is the winning design in a poster contest held by Pelikan in 1897; the 550 total entries were also exhibited at the Hamburg Museum of Art and Industry. It’s clear why Diez’s design won: he used sharply contrasting blue and orange to create a striking visual treat, and the boldly rendered pelican appears almost intimidating at first—until you notice the multiple tubes of paint grasped in its beak. Est: $1,400-$1,700.

DEUTSCH - DOMERGUE | A-Z

237

238

Alex W. Diggelmann (1902-1987)

Jean-Gabriel Domergue (1889-1962)

236. PKZ / Burger-Kehl & Co. A.G. 1935.

237. Bal de la Couture Parisienne. 1921.

35 1⁄ 2 x 50 1⁄4 in./90 x 127.7 cm Wolfsberg, Zürich Cond A-/Slight tears at top and bottom edges. Ref: Margadant, 333; Plakat Schweiz, p. 137; PAI-XLV, 27

31 5⁄ 8 x 63 1⁄ 2 in./80.2 x 161.2 cm Imp. J. E. Goosens, Lille Cond A. Ref: PAI-XLIII, 305

Here is a usual PKZ understatement: we know the quality’s in the box from the Swiss clothier’s reputation, as well as from the dignity of the design. Diggelmann started out as an elementary school teacher, then studied art in Leipzig and Paris. He established himself in Zurich as a posterist specializing in travel and sports, and won awards for poster designs for the 1936 Berlin and 1948 London Olympics.

A charity ball sponsored by the Parisian fashion trade is advertised with lithe and sophisticated elegance. Fifty major design firms are listed as sponsors.

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

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

238. Bal Gavarni / Théâtre National de l’Opéra. 1923. 46 3⁄4 x 62 1⁄ 2 in./118.7 x 158.6 cm Cond A. Ref: PAI-VIII, 326 The young lady strikes a provocative pose in her black-and-white outfit in this poster for a ball at the Paris Opera. The same image was used for a masked ball there in 1925, an edition was issued before text, and it was also used for a Student Ball in 1926. This fine design was obviously quite popular—and for good reason. Est: $3,500-$4,000.

239. No Lot.

A-Z | DOMERGUE - DUDOVICH

240

241

242

Domergue (Continued)

Dorfi (Albert Dorfinant, 1881-1976)

F. Felix Douisset

240. Monte-Carlo. 1937.

241. Original-Victoria.

242. Fêtes de Charité. 1899.

24 ⁄ 8 x 38 ⁄ 2 in./62 x 97.8 cm Imp. Nationale, Monaco Cond A. Ref: Affiches Riviera, 440; Affiches Azur, 215; PAI-LXXXIX, 223

45 ⁄ 8 x 63 ⁄ 8 in./114.6 x 160.2 cm La Lithographie Parisienne, Paris Cond B+/Unobtrusive folds.

37 x 49 1⁄ 8 in./94 x 124.7 cm Affiches J. Guillau, Montauban Cond B+/Slight tears at folds. Ref: PAI-XLIV, 235

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.

It’s a plane! It’s a bicycle! It’s a... sewing machine? There’s a lot going on in this poster, and we’re honestly not sure what to make of it. But if you’re a fan of turnof-the-century technology, then this poster’s for you. Est: $1,700-$2,000.

Located thirty-one miles to the north of Toulouse, Montauban is beautifully situated on the right bank of the Tarn River at its confluence with the Tescou; it’s second only to Mont-de-Marsan as the oldest fortified town of southern France. Set out in a geometric pattern, it’s built entirely of the same pink brick used in Toulouse and boasts a charming main square (Place Nationale) surrounded by quaint shops. Of course, none of this is included in the Douisset poster lest it detract from the five-day charity festival being held there, promoted here with a female harlequin making her way sidesaddle through the floral-strewn festivities atop a stalwart donkey. This is a two-sheet poster. Est: $2,000-$2,500.

DOMERGUE - DUDOVICH | A-Z

243

244

Dransy (Jules Isnard, 1883-ca. 1945)

Marcello Dudovich (1878-1962)

243. Nicolas / Fines Bouteilles. 1930.

244. La Gioconda / Gabriele d’Annunzio. ca. 1899.

45 ⁄ 8 x 62 in./115.3 x 157.5 cm Éditions H. Perrier, Paris Cond A-/Unobtrusive folds. Framed. Ref: Nectar/Nicolas, 2; Gourmand, p. 38; Karcher, 96; PAI-LXXXIII, 308

39 1⁄4 x 79 in./99.7 x 200.7 cm Atelier Butteri, Torino Cond A-/Unobtrusive folds.

Nicolas was—and is—one of the major wine dealers/distributors in France, and in 1922, the head of the family firm, Etienne Nicolas, asked Dransy to design a poster to show that the company delivers directly to your home. The delivery man, given the name Nectar, became one of the most popular and instantly recognizable images on the walls of France, and was used in dozens of variations. The image was the inspiration for later posters by Iribe, Loupot, and Cassandre, among others. This design, however, is based on the original image of Dransy’s, which the Poyet Frères agency supplied with the name in blue on top and a different color (yellow) for the left side bottles; hence the subscript “d’après Dransy.” Est: $5,000-$6,000.

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In this incredibly rare Dudovich design, he announces the new play La Gioconda by Gabriele d’Annunzio, first performed in 1899. The tragedy was written for his lover of the time, actress Eleonora Duse. Est: $2,000-$2,500.

A-Z | DUDOVICH - DREISSER

246

245

Dudovich (Continued) 245. Federaziona Italiana / Inchiostri da Scrivere. ca. 1911. 14 5⁄ 8 x 23 7⁄ 8 in./37.2 x 60.6 cm E. Chappuis, Bologna Cond A-/Horizontal fold. Framed. Ref: Menegazzi-I, 338; Gallo, 141; Dudovich, 55; PAI-VIII, 207 “A fixed idea” is usually just a phrase, but here it takes on a more literal meaning: the Padova firm’s pens and inks are used to “fix” an idea in writing, and therefore preserve it for all time. It’s an original concept from the Italian Art Nouveau master. Est: $3,000-$4,000.

Clémentine-Hélène Dufau (1869-1937) 246. La Fronde. 1898. 54 x 39 in./137.3 x 99 cm Imp. Charle Verneau, Paris Cond A. Ref: DFP-II, 313; Gold, 98; PAI-XLII, 272 “La Fronde was the organ of the French radical feminist movement founded by suffragette Marguerite Durand. The magazine aroused much controversy and local ordinances were passed forbidding its dissemination in schools or workplaces, or sale on newsstands. Despite this persecution, the periodical somehow survived until World War I. In the design, the woman in green obviously stands for Durand, symbolically pointing the way forward to her followers. The artist Dufau was an outspoken champion of women’s rights herself, and this poster justly became her most famous work” (Gold, p. 72). Est: $5,000-$6,000.

247

DUDOVICH - DREISSER | A-Z

248

Jean Dupas (1882-1964)

Cajetan Dreisser (1889-1975)

247. Spring Fashions Are Here! 1929.

248. Leier & Palette / Rosenmontag.

35 ⁄4 x 47 ⁄4 in./89.5 x 120 cm Tolmer, Paris Cond A. Ref: Timeless Images, p. 123; PAI-LXXX, 332

34 5⁄ 8 x 47 3⁄4 in./85.3 x 121.3 cm Kohler, München Cond A-/Unobtrusive folds.

While no specific store is mentioned, it can be presumed that this poster promoted the spring fashions available at Arnold Constable, a favorite client of Dupas’. The design itself is a romantic springtime fantasy, mixing flora and fauna with breezy white dresses. This is the finest specimen we’ve ever seen!

Rosenmontag marks the beginning of Lent and Mardi Gras festivities, and is celebrated by Germans of all ages: school children usually have the day off, and adults enjoy putting down a few good beers in outlandish costumes. Dreisser announces a party hosted by the artist’s group Leier & Palette, and based on the ebullience of the design, we’re guessing it was quite the lively and entertaining party. Rare!

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

A-Z | DURST - DE FEURE

249

250

251

252

B. Durst

Hans Rudi Erdt (1883-1918)

Eric

249. Spörri. ca. 1930.

250. Die Fliege am Bayerischen Platz. 1913.

251. Philips / Blue Hand. 1961.

35 ⁄4 x 50 ⁄4 in./91 x 127.6 cm J. E. Wolfensberger, Zürich Cond A. Ref: PAI-LXXVIII, 276

37 ⁄ 8 x 27 ⁄ 8 in./95.6 x 69 cm Hollerbaum & Schmidt, Berlin Cond A. Ref: DFP-III, 831; PAI-XC, 248

63 x 46 1⁄ 8 in./160 x 117.2 cm Elvinger, Paris Cond A-/Unobtrusive folds. Ref: PAI-LXXXII, 264

Built at the end of a magnificent lake in central Switzerland, Lucerne entices visitors with its tourist sights, cultural events, and luxurious shops. In this handsomely colored and almost expressionistically designed poster for a lakeside fabric emporium, a saleswoman displays wares with the alluring grace of a Salome.

Although no information exists on this Berlin cabaret, Erdt pulled out all of the fashionable stops to advertise the venue. The text is abstracted to the point of being nearly illegible, but the sharp details of the trio’s hats supply all of the verve we could want from an early 1900s night out.

A glowing blue hand emerges out of the darkness to flip a switch on a Philips transistor radio, while other models sit patiently in the background, waiting to burst out with music. The mystery, the saturated colors, and the bold forms of the radios make this a stunning design by Eric, who created several posters for Philips and other technology companies. Sadly, no other information exists on the artist. Rare!

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

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

DURST - DE FEURE | A-Z

Fernand Fernel (1872-1934) 252. Sodanite. 37 x 50 1⁄ 2 in./94 x 128.3 cm Imp. P. Vercasson, Paris Cond A. Ref: Santé, p. 30 “Fernand Fernel is a disciple of Chéret. Like his master, he uses colors extensively, but treats them in a less nuanced and more decorative manner. The young Hetaira who serves a soft drink in a cup is an excuse to develop curves that evoke Art Nouveau and floral motifs that are sometimes stylized, sometimes more realistic. By presenting the scene against a black background, Fernel gives maximum impact to the image, which stands out like a spotlight. His work also prefigures, to a certain extent, the so-called psychedelic art of the years 1966-1969, practiced, initially, under the effect of a drug. The carbonated drink, similar to a soda, produced by a seltzer machine equipped with one of these ‘fragrant and therapeutic gas capsules’ cited in the text of the poster, fights colds and other respiratory diseases. Would it contain apomorphine, used at the time as an expectorant and obtained by dehydration of morphine, as the poppy flower in the foreground seems to suggest?” (Santé, p. 30).

253

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

Georges de Feure (1868-1943) 253. Paris-Almanach. 1894. 22 3⁄4 x 30 1⁄ 2 in./57.8 x 77.5 cm Imp. Bourgerie, Paris Cond A. Framed. Ref: DFP-II, 342; Maindron 1896, p. 64; Abdy, p. 155; Timeless Images, p. 40; de Feure, p. 72; Gold, p. 79; Reims, 618; Posters of Paris, p. 50; Weill/Art Nouveau, p. 118; PAI-LXXXVI, 225 Paris-Almanach is one of de Feure’s most collectable posters. Look carefully at the fine gradations of skin tones on our Parisian tourist’s face, or brush your hands against the textured fox-fur fringe of her cloak. Her vibrancy, and her look of sagaciousness, is in direct contrast to the grayscale, cold, and aloof crowd behind her. One gentleman looks over, stunned by her shine. She is enlightened, because she has read “Paris-Almanach,” a tourist guide to the City of Light, just as the city was being illuminated. Est: $2,500-$3,000.

254. La Loïe Fuller / Salomé. 1895. 36 1⁄ 2 x 51 1⁄4 in./92.7 x 130.2 cm Imp. P. Leménil, Asnières Cond B+/Slight tears at folds. Ref: DFP-II, 347; Maindron 1896, p. 64; Reims, 614; Abdy, p. 56; Wagner, 92; Loie Fuller, 35; Gold, 169; PAI-LXXXIX, 229 Resurrected in 2016 in the biopic “La Danseuse,” Loïe Fuller continues to captivate us as much in the 21st century as she did in the 19th. After the success of her “Serpentine Dance,” Fuller took her kaleidoscopic light-and-movement show to new heights with “The New Salomé.” De Feure’s brilliant poster appears to show Loïe’s head and body facing in different directions, implying a sense of the rapid movement and dizzying optical illusions so essential to her routine. Est: $4,000-$5,000.

254

A-Z | DE FEURE - GESMAR

256

255

257

de Feure (Continued)

Pierre Fix-Masseau (1905-1994)

André François (1915-2005)

255. A Jeanne d’Arc. 1896.

256. Philips. 1951.

257. Observateur : Three Posters. 1972.

37 x 101 1⁄4 in./94 x 257.2 cm Imp. Bourgerie, Paris Cond A. Ref: de Feure, p. 78; DFP-II, 350 (var); Maitres, 130 (var); Wember, 305 (var); Abdy, p. 157 (var); Schindler, 56; PAI-LXXXIX, 230

63 1⁄4 x 45 3⁄4 in./160.6 x 116.2 cm Imp. Courbet, Paris Cond A. Ref: Fix-Masseau BN, p. 29; PAI-LXXXIX, 233

Each: 11 3⁄4 x 15 3⁄4 in./30 x 40 cm Cond A/P. Ref: Weill, p. 364; Encyclopédie/Weill, p. 116

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 proof before bottom lettering in two sheets and it’s the best printing we’ve ever offered! Est: $4,000-$5,000.

For Philips transistor radios, Fix-Masseau presents us with an idyllic beach outing accompanied by the perfect tunes. Relaxing, isn’t it? Est: $3,000-$4,000.

Founded in 1950, Le Nouvel Observateur (today titled L’Obs) is one of the three biggest French news magazines. François created these three humorous designs which posit that anyone—or anything—can become a media connoisseur with the right pair of reading glasses. “A rich material [and] a generous line characterize his creations where characters and animals embody the subtle humor of their creator: no garish colors, no catchy images but real ideas and a poetic universe” (Encyclopédie/Weill, p. 117). Est: $1,000-$1,200. (3)

DE FEURE - GESMAR | A-Z

258

260

259

Albert Fuss (1889-1969)

Charles Gesmar (1900-1928)

258. Hamburg-Amerika Linie / Nach Nord-Amerika.

260. Leslie. 1924.

23 5⁄ 8 x 33 3⁄ 8 in./60 x 84.7 cm Kunst & Webedruck, Frankfurt Cond A-/Horizontal fold.

46 1⁄ 2 x 62 3⁄ 8 in./118.2 x 158.4 cm Imp. H. Chachoin, Paris Cond B+/Slight tears at folds. Ref: Gesmar, p. 107; PAI-XC, 252

Rather than focusing his attention on the vessel or its route, Fuss emphasizes the destination, which we presume to be the bustling streets of Manhattan. With our feet firmly grounded on land, we’re offered a bird’s eye view of the island, its surrounding rivers, and the boat that got us here. Est: $1,400-$1,700.

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

J.J. Gaudinot

261. Mistinguett. 1925.

259. Le Carnaval de Nice / Messageries Maritimes. ca. 1922. 17 x 26 3⁄ 8 in./43.2 x 67.5 cm Imp. Reunies, Paris Cond A. Ref: Affiches Azur, 93; Mer s’Affiche, p. 143; PAI-LXXII, 221 This intriguing Deco design eschews outlines for a formal feeling of a black-and-white masquerade. It’s time for Nice’s carnival, and the best way to experience it is with this four-day package on the Côte d’Azur courtesy of Messageries Maritimes. Est: $1,200-$1,500.

261

Which sophisticated hoofer is able to leap a gaggle of chorus girls in a single bound? Leslie, that’s who! Much as we saw in another poster (see PAI-LV, 311), Gesmar makes it clear with panache to spare that Leslie was without a doubt a favorite with the ladies.

45 1⁄ 2 x 61 5⁄ 8 in./116 x 157 cm Imp. H. Chachoin, Paris Cond B+/Unobtrusive folds. Ref: Delhaye, p. 47; Gesmar, p. 117; PAI-LXXXV, 290 This wry image of Mistinguett plays on her legendary performance style involving luxurious flirtation with the viewer. It’s also a testament to the seamless collaboration between the showgirl and her costumedesigner artist, the young prodigy Charles Gesmar, who designed thousands of costumes and 55 posters for her. Note the identical hue of coral upon wrist-bauble, nails, and lips; the lapis lazuli upon her finger, and in her eye shadow; the emerald upon her ring finger, and in her eyes; the black pearls and Mistinguett’s mascara. Peek-a-boo, the colors say: I see you. Est: $1,700-$2,000.

A-Z | GLASER - GRAY

262

263

Milton Glaser (1929-2020) 262. Paul Revere and the Raiders. 1968.

263. Albert. 1976.

22 1⁄ 8 x 33 in./56 x 84 cm Cond A/P.

42 x 63 in./106.7 x 160 cm Cond A/P. Ref: Glaser Posters, p. 208; Glaser/Manifesti, p. 39

This incredibly rare Glaser design was created for Columbia Records and the Boise-based rock band, Paul Revere & the Raiders. The repeating stars reference both the band’s Revolutionary War fashions and the Pop Art sensibilities of the late 1960s. It’s all groovy. Est: $1,700-$2,000.

Glaser attempts to portray the “vitality and strength” (Glaser Posters, p. 208) of legendary American blues guitarist Albert King. Born in 1923 in Indianola, Mississippi, King came to fame with his 1967 album, Born Under a Bad Sign. The late 1960s were a fruitful time for King: he performed at Bill Graham’s Fillmore shows, played live with the St. Louis Symphony Orchestra, joined The Doors on stage in Vancouver, and released multiple albums. By 1976, his music veered towards pop and was less successful, but he soon found his way back to his roots of American soul. Est: $1,000-$1,200.

GLASER - GRAY | A-Z

265

264

266

Eugène Grasset (1841-1917)

H. Gray (Henri Boulanger, 1858-1924)

264. Encre L. Marquet. 1892.

265. La Boucle. ca. 1895.

266. L’Ovale. ca. 1898.

31 x 46 1⁄ 2 in./78.8 x 118 cm Malherbe, Paris Cond B/Slight tears at folds. Ref: DFP-II, 404; Maitres, 158; Berthon & Grasset, p. 33; Musée d’Affiche, p. 52; Gold, 3; Encyclopédie/Weill, p. 40; PAI-LXX, 378

14 1⁄4 x 22 3⁄ 8 in./36.2 x 57 cm Delattre & Juliot, Paris Cond B+/Slight tears at horizontal fold. Framed. Ref: PAI-XLVII, 270

39 1⁄4 x 51 1⁄ 2 in./99.7 x 130.8 cm Imp. Courmont Frères, Paris Cond A. Ref: Gold, 9; PAI-LXV, 275

Decked out in evening attire, these glamorous patrons are waiting to experience one of the first loop-the-loop roller coasters in Paris. Also on offer is a buffet and a 40-piece orchestra. This is the smaller format of the poster.

This is perhaps one of the loveliest and most inviting advertisements for hairpins ever created. The patented rounded end also means that they are gentle on your scalp.

Visually translating the inner turmoil of writer’s block, Grasset swirls inky clouds across the night sky, wildly whipping through the lady’s fiery hair. Leaning on a harp, however—a classic symbol of thoughtfulness and contemplation—we know that soon her pages will be filled with profound thoughts, all thanks to L. Marquet ink. This is the larger format. Est: $1,700-$2,000.

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

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

A-Z | GRÜN - GUILLAUME

268

Jules-Alexandre Grün (1868-1938) 267. A la Cigale Général. 1899.

267

34 3⁄4 x 49 1⁄4 in./88.2 x 125 cm Imp. Chaix, Paris Cond B+/Slight tears at folds. Ref: Grün, p. 50; DFP-II, 433 (var); PAI-LXXIV, 317 “On July 27, 1899 P. L. Flers creates a new revue at the Cigale: ‘A la Cigale Général, à la Cigale.’ Grün, once again in demand, returns to his favorite black background with the heroine dressed in red in the foreground. Behind the horse that she is reining in, stands a coachman, losing his hat and a well-accompanied old dandy. The rosette of the Legion of Honor he is wearing may well indicate that he is a general. As usual, everything is well laid out, funny and done with brio” (Grün, p. 50). This is the larger format. Est: $2,000-$2,500.

268. Moulin Rouge / Pièces à Gd. Spectacle. ca. 1904. 34 5⁄ 8 x 48 5⁄ 8 in./88 x 128.8 cm Imp. J. Thil, Paris Cond A-/Slight tears at edges. Ref (all var except PAI): Folies-Bergère, 29; Moulin Rouge/P&C, p. 61; Moulin Rouge, p. 49; PAI-LV, 324 After being torn down, the Moulin Rouge reopened in 1903, changing its style of entertainment from a dance hall to that of a music hall and cabaret. This image was the first poster used to promote the venue and was so well received that the Moulin Rouge used it time and time again. Here we see it months after its inception, still showcasing the joys of the opera box, but with alternate text announcing the matinee programming. Est: $2,000-$2,500.

269. Bal Tabarin. 1904. 32 5⁄ 8 x 48 1⁄ 2 in./83 x 123.2 cm Imp. Chaix, Paris Cond B+/Slight tears at edges. Framed. Ref: Grün, p. 41; Noël & Herbaut, p. 72; PAI-LXXXVI, 245 In 1904, the owner of the Tabarin expanded his operation, commissioning Grün to announce the wild and exciting experiences available within his establishment’s walls. While the second version of this poster, featuring two white men and a brunette, is the most well known (and common), this is the extraordinarily rare initial design.

269

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

GRÜN - GUILLAUME | A-Z

270

271 270. Casino de Paris. 1906. 37 1⁄ 8 x 51 1⁄4 in./94.3 x 130.2 cm Imp. Dubenbis, Levallois-Paris Cond B+/Slight tears at folds. Ref: Grün, p. 71; PAI-XC, 264 Originally created for the reopening of the Casino de Paris, this variant of the design does not feature that additional text, instead simply showcasing one of Grün’s beautiful soubrettes as the eye candy for a host of male audience members. Est: $2,000-$2,500.

Grundman 271. 5th Maccabiah. 1957. 26 x 38 1⁄ 2 in./66 x 97.6 cm E. Lewin Epstein, Tel Aviv Cond A. Similar to the Olympics, the Maccabiah Games are focused on Jewish athletes from around the world. The 5th iteration of these games was held, appropriately, in Tel Aviv, with 980 athletes from 21 countries. Est: $1,400-$1,700.

Albert Guillaume (1873-1942) 272. A la Scala. 1908. 36 x 50 1⁄ 2 in./91.7 x 128 cm Imp. Minot, Paris Cond B+/Slight tears at folds. Ref: Masters 1900, p. 57; PAI-LXXXVII, 316 Considered one of Guillaume’s masterpieces, the painterly quality of this poster elevates it above his usual caricatures into the realm of fine art. Rather than showcase any of the marvelous acts at La Scala, he chose instead to depict the glitterati emerging from their carriage—implying that the audience is just as interesting as the performers.

272

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

A-Z | HARING - HEINE

273

275

Keith Haring (1958-1990) 273. Italia 83. 1983. 18 1⁄ 2 x 27 1⁄ 8 in./47 x 68.8 cm Cond A. Ref: Haring Posters, 7; PAI-LXXXII, 291 “The Galleria Lucio Amelio in Naples was one of Italy’s most well-known galleries and presented exhibitions by Andy Warhol, Joseph Beuys, and many others. For Haring, this was his only exhibition with Amelio. He spent three weeks in Milan and produced all of the works in the exhibition there, in part in collaboration with his friend Angel Ortiz, also known as LA II” (Haring Posters, p. 107). Est: $1,200-$1,500.

274. Theater der Welt. 1985. 33 1⁄ 2 x 46 1⁄ 2 in./85.2 x 118.2 cm Cond A. Ref: Haring Posters, 32 “The festival, presented by the Internationales Theaterinstitut (ITI), Theater der Welt, took place for the second time in 1985. The program included dramatic works from Austria, Germany, Italy, Poland, Japan, the Netherlands, and other countries” (Haring Posters, p. 111-112). Est: $1,200-$1,500.

275. Run DMC. 1986. 22 x 34 in./55.8 x 86.3 cm Cond A. “The New York-based band Run DMC was one of the first hip-hop and rap bands to reach a general audience. They made the Adidas Superstar sneaker their trademark for their 1986 tour. Keith Haring painted the background for the photo shoot of the poster” (Haring Posters, p. 114).

274

Est: $800-$1,000.

HARING - HEINE | A-Z

DOWNLOAD OUR MOBILE BIDDING APP AT POSTERAUCTIONS.COM

276

277 276. American Music Festival / NYC Ballet. 1988. 35 3⁄4 x 24 in./91 x 61 cm Cond A. Ref: Haring Posters, 67; PAI-LXXXIX, 253 Haring created this charmingly patriotic design for the 40th Anniversary of the New York City Ballet; it was one of a series of 11 artists’ posters commemorating the event. The poster was published by Philip Morris Companies. Est: $1,700-$2,000.

277. The Paris Review. 1988. 32 x 24 in./81.3 x 61 cm Cond A. Ref: Haring Posters, 68; Haring, p. 114 “The New York-based cultural magazine has been commissioning artists’ posters for advertising purposes since 1965 and uses their sale to finance itself. Two editions of each poster were often produced: a signed and limited edition as well as a larger, unsigned number of copies that were frequently printed on different paper. Two hundred copies were printed of Haring’s design” (Haring Posters, p. 118). This poster is the larger, unsigned printing. Est: $1,400-$1,700.

278

Thomas Theodore Heine (1867-1948) 278. Simplicissimus. 1896. 24 1⁄ 2 x 32 7⁄ 8 in./62.2 x 83.5 cm C. Wolf & Sohn, München Cond A. Ref: DFP-II, 1209; Rademacher, p. 41; Reims, 1109; Wember, 396; Internationale Plakate, 191; PAI-LXXI, 344 Heine was the first editor of this influential German humor magazine, which was launched in 1896 to ridicule the rigid hierarchy, Prussian militarism, and the newly rich. In keeping with the satirical content of the publication, Heine depicts an artist painting with the devil’s tail. Est: $2,500-$3,000.

A-Z | HOFFMANN - HOHLWEIN

279

Oskar Hoffmann (1851-1912) 279. Die Modenwelt. ca. 1905. 15 3⁄4 x 23 1⁄4 in./40 x 59.2 cm Hollerbaum & Schmidt, Berlin Cond A. Hoffmann uses an approach similar to Penfield to advertise this quarterly newspaper: though the product isn’t visible, we are offered a taste of the clientele who might read it. And wouldn’t you, too, like to be admired as you walk with a fresh bouquet of flowers and a little dog at your side? We thought as much. Est: $1,700-$2,000.

Adolfo Hohenstein (1854-1928) 280. Bitter Campari. ca. 1900. 39 5⁄ 8 x 78 3⁄ 8 in./101 x 199 cm Galileo, Milano Cond B/Restored losses in bottom text; slight stains in top edge. Ref: Masters 1900, p. 124 (var); Takashimaya, 93 (var); PAI-LXXIII, 322 One of a handful of designs Hohenstein created for Campari, this three-sheet image showcases the beverage in its purest form: as the afternoon drink of choice for two gentlemen on the town. Est: $3,000-$4,000.

280

LUDWIG HOHLWEIN

281

282

Ludwig Hohlwein (1874-1949) 281. F. Hirschberg & Co. 1907.

282. Münchener Künstlerfarben-fabrik Dr. Karl Fiedler. 1907.

24 x 33 in./61 x 84 cm Vereinigte Druckereien und Kunstanstalten, München Cond A-/Slight stains at edges. Ref (all var): DFP-III, 1327; Hohlwein/Stuttgart, 6; Wember, 408; PAI-LVII, 359

16 3⁄ 8 x 33 in./41.7 x 84 cm Vereinigte Druckereien und Kunstanstalten, München Cond A/P. Ref: DFP-III, 1326; Wember, 407; Hohlwein/Stuttgart, 4; PAI-XXXI, 480

While Hohlwein created a few posters for this award-winning outdoor clothing company in Munich, this one truly captures the allure of the exotic, and makes the clothing a necessary part of your journey into the adventurous unknown. A dignified woman in white sits atop her noble camel, smiling against the sandy heat of the desert as she languidly saunters off the page. This is the largest of three formats before the addition of text.

Weill comments that “Beginning with his first efforts, Hohlwein found his style with disconcerting facility; it would vary little for the next forty years. The drawing was perfect from the start... nothing seemed alien to him, and in any case, nothing posed a problem for him... His figures are full of touches of color and a play of light and shade that brings them out of their background and gives them substance” (Weill, p. 107-110). Here, he takes a rather literal tack for Dr. Karl Fiedler’s Munich Artist Color Works; his palette is backed by a fiddler with such stern institutional stolidity that the concept turns amusingly on itself.

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

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

A-Z | HOHLWEIN

283

HOHLWEIN | A-Z

284

Hohlwein (Continued) 283. Café Odeon und Billard Akademie. 1908.

284. Hermann Scherrer / Breechesmaker. 1907.

35 1⁄ 2 x 47 in./90 x 119.5 cm Vereinigte Druckereien und Kunstanstalten, München Cond A-/Unobtrusive folds. Ref: DFP-III, 1333; Hohlwein/Stuttgart, 12; Hohlwein, 117; Timeless Images, 133; Negripub, 167; Gagel, p. 22; PAI-LXXXVI, 255

35 x 48 in./89 x 122 cm Vereinigte Druckereien und Kunstanstalten, München Cond B/Slight tears at folds. Ref: Hohlwein, 101; Hohlwein/Stuttgart, 3; DFP-III, 1328; Internationale Plakate, 212; Plakate München, 173; Gagel, p. 20; PAI-LXXXVI, 254

In his classic poster for the Café Odeon—which also served as Munich’s leading and most fashionable pool hall at the time—a sportily attired billiards player receives a drink from a liveried black waiter. Note the use of the vertical and horizontal lines: the cue stick and the piping on the waiter’s trousers are exactly parallel, and so is the tray and the baize surface of the pool table. And of course, the checkered pattern on the man’s vest reinforces the dominance of right angles.

Hohlwein’s second design for the tailor Scherrer became one of his most resounding successes; with it, he created a distinctive style that was much admired and set the trend for German poster art for a decade or more. His own career took off spectacularly and a graphic domination was launched.

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

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

A-Z | HOHLWEIN

285

HOHLWEIN | A-Z

286

Hohlwein (Continued) 285. Hermann Scherrer / Sporting and Ladies-Tailor. 1908.

286. Beuschet den Tiergarten. 1912.

36 1⁄4 x 49 3⁄ 8 in./92 x 125.4 cm Cond A. Ref: Hohlwein/Stuttgart, 9; Plakate München 175; DFP-III, 1338; PAI-XIV, 288

28 3⁄4 x 40 1⁄ 2 in./73.2 x 103 cm Wolfrum & Hauptmann, Nürnberg Cond A-/Tape stains in margins. Ref: DFP-III, 1410; Hohlwein/Stuttgart, 66; PAI-XXXV, 343

This is the third design by Hohlwein for the ambitious Munich tailor who often described his establishment in English. To complement the image, Hohlwein put the lady in an outfit perfect for an English fox hunt, and has her riding correctly sidesaddle, as was the etiquette of the time. Rare! Est: $12,000-$15,000.

The figures brought to the fore here are the awesome North American bison. It’s a rather geographical change of pace for the designer who created several posters to induce visits to the zoo, for both Nürnberg (as seen here) and Munich. Est: $6,000-$8,000.

A-Z | HOHLWEIN

287

Hohlwein (Continued) 287. Odeon Casino. 35 1⁄4 x 49 1⁄ 8 in./89.6 x 124.6 cm Oscar Consée, München Cond A-/Unobtrusive folds. Ref: PAI-XXIX, 406 Hohlwein’s distinctive style, which set the trend for German poster art for more than a decade, is completely evidenced in this magnificently rendered, tuxedo-clad strolling violinist promoting Munich’s Odeon Casino. As the only text is the venue’s name, the elegance of the image and the assured virtuosity of the musician speak volumes for the establishment’s élan. Rare! Est: $8,000-$10,000.

HOHLWEIN | A-Z

288

288. Gustav Cords’ Frauen-Mode. ca. 1914. 38 3⁄ 8 x 27 1⁄ 2 in./97.5 x 70 cm Cond A. Ref: DFP-III, 1468; Hohlwein/Frenzel, 27; Hohlwein/Stuttgart, 111; Wember, 430; PAI-XXI, 227 To advertise the magazine Frauen-Mode (Women’s Fashions) published by silk merchant Gustav Cords and “read by every woman,” Hohlwein gives us only the most telling details of his stylish subject: a woman with a carefully reddened mouth wearing a stunning black hat and reading the journal. Est: $4,000-$5,000.

289. A la Ménagère. 36 1⁄ 2 x 48 3⁄4 in./92.8 x 123.8 cm J. E. Wolfensberger, Zürich Cond B+/Slight tears at edges. Ref: PAI-XLVI, 366 The type of fare one can procure “At the Cleaning Woman” isn’t spelled out in this curiously appealing Hohlwein poster. But from the look on this no-nonsense lady’s face, we can expect the cuisine to be hearty and meticulously made. Rare! Est: $4,000-$5,000.

289

A-Z | HOHLWEIN

290

Hohlwein (Continued) 290. Riquet Pralinen. ca. 1923. 29 5⁄ 8 x 44 in./75.2 x 111.8 cm Emil Gerasch, Leipzig Cond A. Ref: Hohlwein, 267 (var); Hohlwein/Stuttgart, 206; Hohlwein/Frenzel, 49; Plakate München, 125; Exotische, 38; PAI-XXXII, 360 Hohlwein created several fine posters for this chocolate company, and this is one of the most eye-catching, featuring a silhouetted young server presenting the decadent boxes on a tray. Est: $7,000-$9,000.

HOHLWEIN | A-Z

292 291 291. Boccaccio. 1926. 34 5⁄ 8 x 47 3⁄4 in./88 x 121.3 cm Graphia, München Cond B/Slight tears at folds and edges. P. Ref: Hohlwein/Stuttgart, 236; Hohlwein/Posters, p. 14 For a performance of the Viennese operetta Boccaccio at a local wine bar, Hohlwein gives us dramatic washes of red and pink, which represent the lustful women who fall for the title character’s erotic novellas. Est: $3,000-$4,000.

292. Hellabrunn. ca. 1935. 33 7⁄ 8 x 47 1⁄ 2 in./86 x 120.6 cm Chromo Lithographische Kunstanstalt, München Cond A. Ref: Hohlwein, index; Hohlwein/Stuttgart, 404; PAI-XVII, 304 We are invited to visit the newborn orangutan baby in the anthropoid ape section of the Munich Animal Park. Hohlwein has come a long way from the hard edges and flat colors of his early years to this soft, watercolorlike and masterful family portrait. Est: $5,000-$6,000.

293. Nacht der Amazonen. 1936. 33 1⁄4 x 46 3⁄4 in./84.5 x 119 cm Chromolith-Kunstanstalt, München Cond B/Slight tears and stains at folds and edges. Ref: Hohlwein/Stuttgart, 413; PAI-LXVII, 374 Held only from 1936 to 1939, the Night of the Amazons was the most lavish celebration associated with the Braune Band horse race in Germany. A nighttime pageant spectacular held in the park of the Nymphenburg Palace, over 2,500 guests gathered in Rococo inspired costume to watch 700 horses and various nude “Amazons” parade around the grounds. Est: $2,500-$3,000.

293

A-Z | IBELS - LABORDE

294

Henri-Gabriel Ibels (1867-1936) 294. Pierrefort / Affiches Artistiques. 1897. 31 1⁄ 8 x 23 1⁄ 2 in./79 x 59.7 cm Imp. Eugène Verneau, Paris Cond B+/Slight tears at edges; matted to image. Framed. Ref: DFP-II, 478; Maitres, 102; Affichomanie, 10; Timeless Images, 61; Wine Spectator, 54; PAI-LII, 245 One of the best and most important posters having to do with the art of the poster, this design by Ibels is always a highlight in any sale. Pierrefort was one of the many dealers involved in the sale of printed multiples of the 1890s, along with Sagot, Arnould, and Kleinmann. He commissioned a variety of posters to promote his shop, calling upon the talents of Lobel, de Feure, and Thiriet. None are quite so charming, however, as this one by Ibels, which showcases the delights of a pantomime complete with a harlequin, a singer, and Pierrot. Est: $7,000-$9,000.

IBELS - LABORDE | A-Z

295

296

Hermann Keimel (1889-1948)

Guillermo Laborde (1886-1940)

295. Carneval im Wintergarten.

296. Campeonato Mundial Football / Argentina vs. Estados Unidos. 1930.

35 x 45 1⁄4 in./89 x 115 cm Druckerei Albert Ebner Cond A. Mardi Gras in Germany is always a lavish affair, and Keimel invites us to party it up with a stylish masked dancer. Est: $3,000-$3,500.

15 5⁄ 8 x 35 1⁄ 8 in./39.7 x 89 cm Olivera Fernandez, Montevideo Cond A. Ref (all var but PAI): Crouse/Deco, p. 114; Sportissimo, p. 94; Graphic Design/Taschen, p. 256; PAI-LXXXVIII, 353 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. Est: $2,000-$2,500.

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A-Z | LAURO - LEHMAN

298

297

Maurice Lauro (1878-?) 297. Trouville. 1927. 29 1⁄ 2 x 41 1⁄4 in./74.8 x 105 cm Imp. Devambez, Paris Cond B+/Unobtrusive tear at horizontal fold. Ref: Trouville/Deauville, p. 63; Hillier, p. 248 (var); Affiche Art Deco, p. 103; PAI-XC, 293 In one of the finest travel posters ever created, Lauro perfects a vision of Trouville’s boardwalk as the place to see and be seen in the 1920s. With the famed Casino in the background, every detail here is perfect: from the beauty mark on the foremost flapper’s cheek, to the exaggerated hat-doffing of the gentleman, to the whiplash of two college lads, one éminence grise, and a German Shepherd—and don’t overlook the au courant stylings of the women’s footwear. All things contribute to the chic, dynamic, head-turning ambiance of France’s first resort town, a favorite of Monet, Flaubert, Proust, and Duras—now thoroughly fashioned as a place for the Great Gatsby to make an appearance. The artist, Lauro, is also known for his Le Rire caricatures and film posters. Est: $5,000-$6,000.

Ronald Lampitt (1906-1988) 298. Royal Leamington. 1937. 25 1⁄ 8 x 40 in./63.8 x 101.6 cm Jordison, London Cond A-/Slight creasing at edges. Ref: Happy Holidays, p. 63 “This GWR poster by Ronald Lampitt, besides giving a Marienbad look to Leamington Spa, is as bold and eye-catching as a good poster should be, another example of the experimental graphic techniques encouraged by the private railway companies in the 1930s as compared to the more staid approach of British Railways in the 1950s” (Happy Holidays, p. 63). Est: $1,200-$1,500.

300

LAURO - LEHMAN | A-Z

299

Franz Laskoff (Franz Laskowski, 1869-1921)

W. Lehman

299. Mele & Ci. / Paletots per Uomo. 1902.

300. Carneval / Hotel Wagner. 1911.

59 1⁄ 2 x 80 5⁄ 8 in./151 x 205 cm G. Ricordi, Milano Cond B/Slight tears at folds. Ref: Ricordi, 22; Mele, cat. 38; PAI-XLI, 353

30 1⁄ 2 x 73 1⁄ 8 in./77.5 x 185.8 Vereinigte Kunstanstalten, Kaufbeuren Cond A.

The gentleman is trying on an impeccably tailored coat in somber gray; to offset it, the background is a bright yellow. Without overstating the point, Laskoff sets a scene for Mele of utter elegance and refinement. A portrait painter and landscapist, Laskoff (born Franz Laskowski in Bromberg, Germany) traveled in France, England and elsewhere, but most of his work was done in the early 1900s in Italy, where he proved that he could match the best graphic artists of his day. He produced about twenty posters, all of them very distinguished, in a style that was uniquely his own. This is a two-sheet poster. Est: $6,000-$8,000.

A Pierrot and a Cappiello-esque young woman invite us to join the 1911 Mardi Gras revelry at the Hotel Wagner. This is a two-sheet poster. Est: $3,000-$3,500.

A-Z | LENHART - LIVEMONT

301

LENHART - LIVEMONT | A-Z

Franz Lenhart (1898-1992) 301. Modiano. 1933. 39 1⁄4 x 55 in./99.6 x 140 cm Grafiche Modiano, Trieste Cond A. Ref: Italia che Cambia, 216; Crouse/Deco, p. 218; Manifesti Italiani, 124; PAI-LXXXVIII, 355 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.

302

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

Georges Leroux (1877-1957) 302. Exposition Universelle / Palais de l’Optique. 1900. 37 3⁄ 8 x 50 7⁄ 8 in./95 x 129.2 cm Imp. Charle Verneau, Paris Cond A-/Unobtrusive folds. Ref (all var but PAI): Art Nouveau, p. 451; Gold, 187; PAI-LXXVI, 324 “By simply leaving the paper blank and highlighting the woman’s face and arms, Leroux makes the globe she holds seem luminous. The allegorical figure represents the spirit of progress, and the globe stands for the optics industry... The building housing the exhibit was surmounted by a lighted dome, one of the fair’s most spectacular sights” (Gold, p. 128). This is the medium format. Est: $4,000-$5,000.

Privat Livemont (1861-1936) 303. Absinthe Robette. 1896. 32 1⁄ 2 x 43 1⁄ 2 in./82.6 x 110.4 cm Goffert, Bruxelles Cond A. Ref: DFP-II, 1062; Maitres, 104; Belle Epoque 1970, 75; Timeless Images, 38; Wine Spectator, 80; Absinthe, p. 134; Masters 1900, p. 88; Weill/Art Nouveau, p. 164; Absinthe Affiches, cover & 105; Livemont, p. 93; Belle Époque/Belgique, 246; Schoonbroodt, 6; PAI-LXXXIX, 270 One of the most iconic posters of all time, Livemont’s design for Absinthe Robette perfectly captures the spirit of Art Nouveau. Every element of the image is lavishly decorative yet delicately organic. Holding up her glass with the reverence of a holy relic, we do not see the hand that pours the water over the sugar, adding a mystical, otherworldly quality to the concoction. The background is made up of sensual plumes of mint on green that echo the milky swirl within the cup. Est: $20,000-$25,000.

303

A-Z | LIVEMONT - LOUPOT

305

304

Livemont (Continued) 304. Rajah. 1899.

305. Woman Sculpting / Woman Painting. 1901.

17 1⁄4 x 31 in./43.7 x 78.8 cm Cond A. Ref: Belle Epoque 1970, 87; DFP-II, 1071; Wine Spectator, 82; Schoonbroodt, 28; Müller-Brockmann, 31; Hillier, 175; PAI-XC, 522

Each: 14 x 21 in./35.6 x 53.4 cm L. van Leer, Amsterdam (not shown) Cond A. Framed. Ref: Belle Epoque 1980, 71 & 72; PAI-LXXVIII, 341

A brand of both coffee and tea, Rajah is presented to us by an opulently dressed Byzantine lady. Set against a deep burgundy background, its name spelled in the steam, the product takes on an Eastern exoticism.

These are two of Livemont’s graphic works designed as decorative panels: one is a particularly tender study of an artist critically examining her sculpture, and the companion piece features a young lady intent on her painting. Both have a similar ornamental background. Livemont started out as an interior designer in his home town of Schaerbeek, Belgium. He came to poster art after entering a poster contest on a whim and winning it. By 1898, The Poster magazine called him “the uncontested master of Belgian posterists.”

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

Est: $5,000-$6,000. (2)

LIVEMONT - LOUPOT | A-Z

306

Charles Loupot (1892-1962) 306. Grieder. 1919. 36 x 50 3⁄ 8 in./91.4 x 128 cm Cond B+/Slight tears at top and bottom edges. Framed. Ref: Loupot/Zagrodzki, 32; PAI-LXV, 373 A famous fabric and clothing merchant in Zurich, Grieder frequently commissioned top poster artists to create lavish images for their seasonal offerings. The company repeatedly used the services of Loupot, as he perfectly captured the decadent nature of the product. Here, an ivory-skinned lady hides behind her delicate parasol as the sun sneaks a glimpse of her sensuous summer attire. Est: $20,000-$25,000.

A-Z | LOUPOT - MASSIOT

308

307

Loupot (Continued) 307. Malacéïne : Maquette. 1929.

309. Fourrures Canton / 20 rue de Bourg. 1949.

47 x 62 ⁄4 in./119.3 x 159.4 cm Signed gouache and ink maquette. Ref (all var but PAI): Loupot/Zagrodzki, 81; Loupot, 44; PAI-XC, 308

35 5⁄ 8 x 50 1⁄ 8 in./90.3 x 127.4 cm R. Marsens, Lausanne Cond A. Ref: Art Deco/Duncan, p. 426; Lopez, 27; Loupot, 13; Loupot/Zagrodzki, 54D; Margadant, 335 (var); PAI-LXXXII, 343

Provenance: Estate of Charles Loupot Selling toiletries is always a question of emotions rather than reason; hence, Loupot very adroitly supplies images of things fragrant and pleasant. This “ethereal woman-flower... is stylized in the pure spirit of Art Deco, which Loupot cherished above all else at the beginning of the 1920s” (Loupot/Zagrodzki, p. 77). This preparatory work for the poster includes Loupot’s notes for color instructions. Est: $15,000-$20,000.

308. Twining. 1930. 11 1⁄ 2 x 15 1⁄ 2 in./29.2 x 39.3 cm Les Belles Affiches, Paris Cond A. Framed. Ref: Loupot, 27 (var); Loupot/Zagrodzki, 85 (var); Loupot/Forney, 11; Affiches Réclame, 6; PAI-XC, 310 This is the point-of-purchase placard version of Loupot’s poster for Twining Tea. A steaming cup placed next to the company’s initial suits us to a Tea indeed. This original mounted in-store display has grommets at the top. Est: $2,000-$2,500.

309

Loupot created three designs for Canton Furriers in Lausanne; this image of a fur-swaddled, ivoryskinned woman with a bee-stung pout first appeared in 1924 (see PAI-LXVIII, 473). In the early 1930s, the background color changed to blue and would remain so throughout a variety of address changes for the company. This is the third edition in the series with the 20 Rue de Bourg address, printed from the same lithographic stones as the original. Asked why the black background was replaced by blue over time, the chief of operations, Richard Canton, revealed that blue provided better visibility during the winter months. Est: $2,500-$3,000.

310. St. Raphaël. 1949. 11 1⁄ 2 x 15 in./29.2 x 38.2 cm Daragnes Cond A. Framed. Loupot created numerous designs for this brand of bitters featuring his red and white waiters. Here, the two have decided to rest their tired feet for a moment, but they dutifully continue their work of keeping customers sated. Est: $2,000-$2,500.

310

LOUPOT - MASSIOT | A-Z

311

Jean Luc 311. Monaco Aquarium. 1939. 24 5⁄ 8 x 39 1⁄ 2 in./62.6 x 100.2 cm Imp. Sica, Nice Cond A. Ref: Affiches Riviera, 475; PAI-LXXVI, 333 A pair of angel fish and a parrot fish cavort above luminescent coral in this poster for the Monaco Aquarium.

312

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

Leo Marfurt (1894-1977) 312. Dover-Ostend. 1932. 23 3⁄4 x 40 in./60.3 x 101.6 cm Les Créations Publicitaires, Bruxelles Cond B+/Slight tears at folds. Framed. Ref (all var but PAI): Crouse/Deco, p. 300; Art Deco, 307; Weill/Art Deco, p. 252; PAI-LXXXVI, 289 This particularly colorful Art Deco design advertises the three hour passage from Ostend in Belgium to Dover in England. Once docked, convenient train service would take you the rest of the way to your destination of choice. It is interesting to compare this design with any of Cassiers for the same service (see PAI-LIX, 218)—while his images focus on the local working class, Marfurt emphasizes glamour and style. Est: $6,000-$8,000.

George Massiot 313. Sandeman / Porto & Sherry. 1928. 46 x 61 3⁄ 8 in./117 x 156 cm Imp. Draeger, Paris Cond A. Framed. Ref: Boissons, 584 (var); Publicité, p. 135; Weill/Art Deco, p. 193; PAI-LXXVIII, 353 Known as “The Don,” the shadowy icon of the Sandeman port and sherry company is one of the most recognizable figures in poster history. He is typically thought of as a Portuguese horseman, quietly reveling in the simple delights of a glass of ruby port. While there have been many reissues of the image, this is the original from 1928. Est: $5,000-$6,000.

313

A-Z | MÉTIVET - LE MONNIER

314

Lucien Métivet (1863-1932) 314. 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: Chemins de Fer, 48 (var); Montagne, p. 121 (var); PAI-LXXXVIII, 373 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.

315

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

Leopoldo Metlicovitz (1868-1944) 315. Exposition Internationale / Milan. 1906. 19 1⁄4 x 34 5⁄ 8 in./49 x 88 cm Ricordi, Milano Cond B/Stains at edges. Framed. Ref: Menegazzi-I, 139; Ricordi, 186; Timeless Images, 69; Masters 1900, p. 131 (var); PAI-XI, 292 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 smaller format variant with text in French. Est: $2,000-$2,500.

316. Compagnia d’Opere Comiche e d’Operette. 1910. 36 7⁄ 8 x 53 3⁄ 8 in./93.6 x 135.5 cm G. Ricordi, Milano (not shown) Cond A-/Slight tears at edges; matted to image. Framed. Ref: Ricordi, 75 (var); Italia Che Cambia, 309 (var); PAI-XIII, 312 A red-haired singer in a vibrant green gown is the focus of this poster for a comic opera company. The additional bottom banner, which is not included here, indicates that its director is Giulio Marchetti. Est: $3,000-$4,000.

316

MÉTIVET - LE MONNIER | A-Z

317

318

Mich (Michel Liebeaux, 1881-1923)

Henry le Monnier (1893-1978)

317. Le Fakyr. ca. 1921.

318. Le Gant Perrin. 1924.

47 1⁄ 2 x 63 1⁄ 8 in./120.8 x 160.5 cm Publicité Wall, Paris Cond B/Slight tears. Ref: PAI-XC, 322

46 7⁄ 8 x 63 1⁄4 in./119 x 160.5 cm Affiches Lutetia, Paris Cond B/Slight tears at folds.

This typically whimsical design by Mich was created to promote Le Fakyr apéritif. Est: $2,000-$2,500.

To advertise the glove that is “always elegant,” le Monnier brings out an overjoyed fairy whose dress is made up of miniature versions of the glove that she presents to us. Est: $1,700-$2,000.

ALPHONSE MUCHA

319

MUCHA | A-Z

Alphonse Mucha (1860-1939) 319. Job. 1896. 17 1⁄ 8 x 22 1⁄ 8 in./43.5 x 56.2 cm Imp. F. Champenois, Paris Cond A. Framed. Ref: Rennert/Weill, 15; Lendl/Paris, 48; Mucha/Art Nouveau, 20; DFP-II, 635; Maitres, 202; Masters 1900, p. 18; Weill, p. 41; Timeless Images, 33; PAI-LXXXIX, 292 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. This printing boasts excellent colors and full margins. Est: $17,000-$20,000.

320. Gismonda / Théâtre de la Renaissance. 1894. 28 7⁄ 8 x 85 in./73.3 x 216 cm Imp. Lemercier, Paris Cond B+/Slight tears, largely at edges. Ref: Rennert/Weill, 3; Lendl/Prague, p. 41; Mucha/Art Nouveau, 5; DFP-II, 624; Maitres, 27; Timeless Images, 32; Wine Spectator, 71; Posters of Paris, 66; Driehaus, p. 20; Graphic Design/Taschen, p. 65; Gold, 152; PAI-LXXXIV, 380 “This is the poster that launched Mucha’s career and introduced a new artistic style into commercial lithography. Prepared by Mucha as a rush order for Sarah Bernhardt’s theatre during the Christmas period of 1894, when the printer could not find any other artist available, it is a sensitive portrayal of the actress in an ornate costume for a deeply religious play that has her, in the third act, carry a frond in a Palm Sunday procession. The full size of the poster gives the viewer an opportunity to get the full effect of the lengthy robe; the Byzantine mosaic decoration emphasizes the biblical background; Sarah’s pious expression of faith; and the gentle pastel hues whisper the commercial message instead of shouting it. It was a radical departure from prevalent poster styles, and Paris took notice of the fact. Sarah Bernhardt was so grateful she made Mucha one of her protégés, and for the next few years he was the darling of Parisian high society. During this period, Art Nouveau and le style Mucha were synonymous, and his ideas on composition and decoration were taught in every art school. It is doubtful that any other single poster has ever had such far-reaching consequences for its creator and his whole epoch” (Lendl/Prague, p. 41). This is a two-sheet poster. Est: $20,000-$25,000.

320

A-Z | MUCHA

Mucha (Continued) 321. Bénédictine. 1898. 29 1⁄ 2 x 81 in./75 x 205.8 cm Imp. F. Champenois, Paris Cond A-/Unobtrusive folds. Framed. Ref: Rennert/Weill, 58; Lendl/Prague, p. 98; DFP-II, 648; Wine Spectator, 70; Collectionneur, p. 31; PAI-LXXXIV, 382 “Bénédictine shows two girls pressing flowers amid book leaves, to remind us of the herbs that go into making the liqueur; the bottom part of the poster has a panorama of the Fecamp Abbey where the drink originated. Around 1510, one of the monks, Dom Bernardo Vincelli, prepared a liqueur using local wine and native herbs found in nearby woods, together with a few imported ingredients including muscat, ginger, clove and cardamom” (Wine Spectator, 70). This is a two-sheet poster. Est: $10,000-$12,000.

322. La Trappistine. 1897. 29 3⁄ 8 x 81 1⁄ 8 in./74.6 x 206.2 cm Imp. F. Champenois, Paris Cond A. Ref: Rennert/Weill, 30; Lendl/Prague, p. 97; DFP-II, 631; PAI-LXXXIX, 298 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 Celtic-style 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.

323. La Samaritaine. 1897. 23 3⁄4 x 70 in./60.3 x 178 cm Imp. F. Champenois, Paris Cond A. Ref: Bernhardt/Drama, p. 3; Rennert/Weill, 24; Lendl/Prague, p. 51; Mucha/Art Nouveau, 10; Wine Spectator, 72; PAI-XC, 332 This “was a play with a Biblical theme [in which Bernhardt] played Photina, a girl from the Samaria district of Ancient Palestine, who becomes a supporter of Jesus and leads her whole tribe in converting to Christianity” (Rennert/Weill, p. 118). “Bernhardt’s mother was Jewish. For the actress, this was both a blessing and a curse. In Biblical roles such as Photine... she turned her Semitic exoticism into an alluring attribute. In the poster by Alphonse Mucha for the play, the Hebrew inscription ‘JAHWEH’ appears behind Bernhardt’s head, while ‘SHADDAI,’ another Hebrew word for God, accompanies the inset picture. Playing to the public’s appetite for beautiful Jewish women redeemed by their conversion to Christianity, Bernhardt in the role of the Samaritan woman adheres to a faith resembling pre-rabbinical Judaism. Almost Jewish, but not quite, Photine is a sort of surrogate for Bernhardt and her equivocal religious identity” (Bernhardt/Drama, p. 2). This is a two-sheet poster.

321

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

MUCHA | A-Z

322

323

A-Z | MUCHA

Mucha (Continued) 324. Cassan Fils. 1895. 7 1⁄ 2 x 18 in./19.2 x 45.7 cm Cond A-/Slight creases in bottom margin. Framed. Ref (all var): Rennert/Weill, 11; Lendl/Paris, 37; DFP-II, 640; Reims, 897; PAI-LXXXIII, 387 ”Mucha’s tendency to combine the real with the imaginary may be witnessed in this design where the seminude model is a real person whereas the muscular printer is an allegorical figure, representing the printing industry. An unusual border of eyes in the mosaic background probably is meant to indicate the multitude of readers for whom the printing trade works. It is also one of the mystic symbols used by Mucha in several other works” (Rennert/Weill, p. 70). This is the smallest format without the 1896 calendarium. That calendar indicates this is a 1⁄10 reduction of other formats of the poster, for which it gives the title: “Le bon goût inspire l’imprimerie” (Good taste inspires the printer).

324

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

MUCHA | A-Z

325. Sarah-Bernhardt / Farewell American Tour 1905-1906. 1905. 13 1⁄ 2 x 39 in./34.4 x 99 cm The Metropolitan Printing Co., New York Cond A-/Slight tears at edges. Framed. Ref: Rennert/Weill, 57, Var. 1; PAI-XXVI, 447 “Like several other posters of hers, La Tosca was also used by Sarah Bernhardt to advertise her 1905-1906 American tour, with the same changes as in all other cases: the name of the play removed and replaced by the text ‘1905 Farewell American Tour 1906,’ and the bottom panel altered to read ‘Sarah Bernhardt/Sam S. Lee Shubert & WM. F. Connor/Managers.’ Much of Mucha’s original design has been redrawn, probably by a craftsman at the Metropolitan printing firm in New York” (Rennert/Weill, p. 222). This is one of three known copies; one is in the New York Library of Performing Arts. Rare! Est: $10,000-$12,000.

325

A-Z | MUCHA

326

Mucha (Continued) 326. The Seasons. 1897. Each: 5 3⁄4 x 16 3⁄4 in./15 x 42.4 cm Cond A. Framed. Ref: Rennert/Weill, 37; Lendl/Prague, p. 188-189; PAI-LXXXII, 379 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 is the smaller format. Est: $12,000-$15,000. (4)

327. The Seasons / Winter. 1896. 20 3⁄ 8 x 40 in./51.8 x 101.6 cm Imp. F. Champenois, Paris (not shown) Cond B+/Slightly light-stained. Framed. Ref: Rennert/Weill, 18, Var. 1; Lendl/Prague, p. 180; Mucha/Art Nouveau, 44d; PAI-LXXXII, 378 “The idea of personifying the four seasons was nothing new—the printer Champenois had done it before with other artists—but Mucha breathed so much more life into it that this became one of the best-selling sets of decorative panels, and he was asked to repeat this theme at least twice more, in 1897 and 1900. Winter, her brown hair barely visible as she is huddled in a long green cloak, snuggles by a snow-covered tree trying to warm a shivering bird with her breath” (Rennert/Weill, p. 90).

327

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

MUCHA | A-Z

328 328. Plume et Primevère. 1899. Each: 11 3⁄4 x 29 in./30 x 73.8 cm Imp. F. Champenois, Paris (not shown) Cond A. Framed. Ref: Rennert/Weill, 64; Lendl/Prague, 219; Mucha/Art Nouveau, 51; PAI-XC, 329 “Plume et Primevère”—or, Quill and Primrose. “This series of decorative panels originally sold for 12 francs on paper, or 40 francs on satin. It depicts two rather pensive maidens, one blonde and one brunette, one holding a primrose, the other a goose quill and a leafy branch. Typical Art Nouveau ornamentation prevails in the background patterns and in the jewelry worn by the girls” (Lendl/Prague, p. 218). A recent exhibition catalogue rightly calls this a “masterful” work: “The beauty of this pair of panels lies in the contrast between the geometric mosaic behind the head of Quill and the floral ornamental circle inspired by nature behind the head of Primrose” (Mucha/Art Nouveau, p. 198). Est: $20,000-$25,000. (2)

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329

330

Mucha (Continued) 329. Société Populaire des Beaux-Arts. 1897. 17 1⁄ 2 x 24 in./44.5 x 61 cm Imp. F. Champenois, Paris Cond B+/Slight tears at top and bottom. Ref: Rennert/Weill, 23; Lendl/Prague, p. 137; DFP-II, 641; PAI-LXXXVII, 402 The Société Populaire des Beaux-Arts was a fancy name for a wondrous creation: in 1894, a lawyer named Edmond Benoit-Levy wanted to give art to the people, and created a society for magic-lantern shows: essentially largescale slide projections as a dazzling proto-motion-picture spectacle. In Mucha’s hands, the great goddess of art instruction sits before a rapt student. Mucha uses an abundant amount of gold ink in the hair, and in the inner frame. Est: $6,000-$8,000.

330. Job. 1898. 38 3⁄4 x 57 3⁄ 8 in./98.6 x 145.6 cm Imp. F. Champenois, Paris Cond B+/Slight tears at folds. 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-XC, 351 “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).

331

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

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332 331. Monaco-Monte-Carlo. 1897.

332. Amants. 1895.

28 7⁄ 8 x 42 1⁄ 2 in./73.4 x 108 cm Imp. F. Champenois, Paris Cond A-/Slight tears. Framed. Ref: Rennert/Weill, 31; Lendl/Prague, p. 111; DFP-II, 639; Wine Spectator, 73; Affiches Azur, 194; Voyage, p. 15; Train à l’Affiche, 114; Mucha/Art Nouveau, 24; Affiches Riviera, 92; PAI-XC, 347

52 3⁄ 8 x 39 1⁄4 in./133 x 99.7 cm Affiches Camis, Paris Cond B/Restored tears, largely at horizontal fold. Framed. Ref: Rennert/Weill, 72; Lendl/Prague, p. 44; DFP-II, 625; PAI-LXXXIX, 290

“Mucha went all out with a most opulent design. The shy maiden, kneeling, enraptured with the tranquility of the bay of Monte-Carlo, is completely encircled by the curving stalks of lilacs and hydrangeas, featuring some of the most intricate conflorescences ever painted by Mucha. Since the client was a railroad—Chemin de Fer P.L.M.—it is probable that the design is meant to suggest the tracks and wheels that convey the public to Monte-Carlo. The maiden is probably Spring herself, enraptured with the beauty of the seascape” (Rennert/Weill, p. 136). Est: $14,000-$17,000.

This “comedy by Maurice Donnay starred Maurice Granier and Lucien Guitry, and premiered on November 5, 1895. There is very rich ornamentation... which adroitly divides it into three scenes and thereby harmonizes elements which might otherwise appear quite busy: there is a Punch-and-Judy show in the upper left, a tragic commentary in the upper right, and the entire bottom section is given to the play’s party scene, replete with fashionable guests, strolling violinists, dancers, flowers, champagne, and other indications of a good time had by all” (Rennert/Weill. p. 62). Est: $17,000-$20,000.

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333

Mucha (Continued) 333. Seated Woman : Drawing. 1898. 7 5⁄ 8 x 9 5⁄ 8 in./19.4 x 24.3 cm Pencil drawing. Framed. Provenance: Christian M. Nebehay, Vienna, 1972 This intimate drawing of a female model was included in the 1898 Vienna publication Der Kunstschatz, edited by Gerlach und Schenk. Est: $4,000-$5,000.

334. Times of the Day / Éclat du Jour. 1899. 15 1⁄ 2 x 43 in./39.4 x 109 cm Imp. F. Champenois, Paris Cond A. Ref: Rennert/Weill, 62; Lendl/Paris, 71; Wine Spectator, 77; PAI-XLII, 398 At the dawn of the twenty-first century, Mucha envisioned a “quartet of barefoot young ladies [representing] the different times of the day. The borders are decorated in identical patterns, but the amber hues of the lines are changed slightly from panel to panel, and the crisscross areas at the top have different floral panels. Each girl appears in an outdoor setting, with slender trees or tall flowers emphasizing her slim figure... The borders are worked out in such an exquisite pattern that each picture appears to be mounted in an elaborate frame of its own, or else seen through a decorated window” (Rennert/Weill, p. 232). “Daytime Dash” is the second of these four panels. Here, the lovely young lady of the lake is posed with breeze-blown daisies in a border of morning glories. Est: $7,000-$9,000.

334

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335

335. Times of the Day. 1899. Each: 6 1⁄ 2 x 16 1⁄ 8 in./16.6 x 41 cm Imp. F. Champenois, Paris (not shown) Cond A-/Slight tears at edges. Framed. Ref: Rennert/Weill, 62 (var); PAI-XC, 354 This is an unrecorded set of Mucha’s Times of the Day decorative panels, in the smaller format, without the names or ornamental boxes below, and each with a December calendar. These are included in a single frame. Est: $12,000-$15,000. (4)

336. Three Seasons. ca. 1898. 15 1⁄ 2 x 24 1⁄ 2 in./39.3 x 62.3 cm Imp. F. Champenois, Paris Cond A. Framed. Ref: Rennert/Weill, 48; Lendl/Paris, 65; PAI-XC, 339 It is not clear why Mucha designed a panel of only three seasons—Spring, Summer, and Winter. However, it was obviously planned as such from the beginning and does not feel any less complete than his other panel series which include Autumn, though it is much rarer. Est: $8,000-$10,000.

336

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337

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338

Mucha (Continued) 337. Zodiac. 1896.

338. Zodiac / Bigot-Billard. 1895.

23 x 29 3⁄4 in./58.4 x 75.6 cm Imp. F. Champenois, Paris Cond A. Framed. Ref: Rennert/Weill, 19, Var. 4; Lendl/Prague, p. 165 (var); Mucha/Art Nouveau, 46; DFP-II, 629 (var); Wagner, 72 (var); Gold, 97 (var); PAI-LXXXIX, 293

9 1⁄ 8 x 12 1⁄ 8 in./23.2 x 31 cm Cond A-/Slight tears and stains at edges. Framed. Ref (all var): Rennert/Weill, 19, Var. 5; Lendl/Prague, p. 165; Mucha/Art Nouveau, 46; DFP-II, 629; Wagner, 72; Gold, 97; PAI-LXXII, 305

This poster is hand-signed by the artist. Zodiac “turned out to be one of [Mucha’s] most successful designs... The editor of La Plume liked it so much that he bought it for his magazine almost immediately and started giving it wide publicity... Mucha’s customary circular background here serves the functional role of carrying the symbols of the zodiac. The ornamental shapes and patterns around the perimeter are worked out with a precision and attention to detail unusual even for a meticulous artist like Mucha” (Rennert/Weill, p. 100). This is the fourth iteration of the design, without text or calendarium; instead, Mucha has drawn two cherubs in the bottom panel. Est: $20,000-$25,000.

This is a rare variant of the design created for the linen store Bigot-Billard, in the smaller format with calendarium. Est: $14,000-$17,000.

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339

340

Mucha (Continued) 339. Dawn : On Silk. 1899.

340. Chocolat Masson : Drawing. 1898.

341. The Arts : On Silk. 1898.

38 x 23 1⁄4 in./96.5 x 59 cm Imp. F. Champenois, Paris (not shown) Cond A. Framed. Ref (all var): Rennert/Weill, 70; Lendl/Prague, p. 217; PAI-LXXXV, 387

11 3⁄ 8 x 6 in./29 x 15 cm Signed pencil drawing. Framed.

Each: 14 3⁄ 8 x 22 7⁄ 8 in./36.5 x 57.8 cm Imp. F. Champenois, Paris (not shown) Cond A. Framed. Ref (all var but PAI): Rennert/Weill, 54; Lendl/Paris, 70; Mucha/Art Nouveau, 49; PAI-LX, 381

Part of his Dawn and Dusk duet, “Dawn throws off her cover as the morning sun chases away the night’s shadows” (Lendl/Prague, p. 216). This is the rare variant printed on silk. Est: $15,000-$20,000.

Provenance: Grosvenor Gallery, London This lovely drawing showcases a young woman lounging with a cup of tea, the paper, and what looks to be a dog. It’s the perfect scene of a lazy Sunday morning. Est: $7,000-$9,000.

“When it comes to personifying abstract concepts through beautiful women, Mucha’s inventiveness never flags. Here is abundant proof in the four strikingly posed muses representing Poetry, Dance, Painting and Music. The Mucha hair is in its glory, especially on the brunette representing the uninhibited movement of the dance. Mucha’s other habitual indulgence, the circular halo, assumes in this case the shape of a crescent filled with secondary circles, and the goddess of Painting adds yet another set of rainbow-like bands” (Rennert/Weill, p. 211). This is the exceptionally rare version of the set on silk, which imbues the images with a radiant quality. Est: $70,000-$90,000. (4)

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341

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342

Mucha (Continued) 342. Ages of Man : Maquette. ca. 1899. 9 1⁄ 2 x 8 in./24.2 x 20.2 cm Gouache and ink drawing. Framed. Ref (all var): Rennert/Weill, 47, Var. 1; Lendl/Prague, p. 174-175; PAI-LXXXVII, 394 This is a preliminary sketch for the fourth panel (Old Age) of Mucha’s Ages of Man series. The images show a young boy growing into an old man (as seen here), always accompanied by a doting female muse. The drawing style is typical of Mucha’s preparatory studies. Est: $6,000-$8,000.

343. Seated Slavic Woman : Drawing. 11 1⁄ 2 x 17 in./29.2 x 43 cm Signed pencil and chalk drawing. Framed. In another contemplative study by Mucha, we see a seated woman in a dressing gown gazing out of the frame with a studious expression. Est: $10,000-$12,000.

343

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344 344. Têtes Byzantines. 1897. Each: 17 x 23 1⁄ 2 in./43.2 x 59.7 cm Imp. F. Champenois, Paris Cond A. Framed. Ref: Rennert/Weill 40, var 1; Lendl/Prague, p. 196-197 (var); PAI-LXXXIII, 397 “The mastery evident in creating two archetypes of the female form against a decorative background confirms Mucha’s artistic maturity. Both women, portrayed in profile, have their heads decorated with beautiful jewelry, the richness and oriental nature of which suggested the name Byzantine Heads for the series. The subtle differences in details between the paintings are worth noticing. For the first time, there appears the perfect form of Mucha’s often-used motif, circle framing each head interrupted by a strand of hair. With this device, it is as if Mucha’s unreachable beauties have broken the magic border between themselves and their admirers and suggest the possibility that they might, perhaps, meet” (Mucha/Art Nouveau, p. 192). In this version, Mucha added corners filigreed with curves to the original circular designs in order to create the standard rectangular shape of decorative panels. This is the rarest of all variants. Est: $17,000-$20,000. (2)

345. Byzantine Heads / Blonde. 1897. 17 1⁄ 8 x 24 in./43.5 x 61 cm Cond A. Ref: Rennert/Weill, 40, Var. 1; Lendl/Paris, 67; Mucha/Paris, 38; PAI-XC, 363 This is the blonde half of the Byzantine duo with the elaborate decorative borders. Est: $7,000-$9,000.

345

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346

Mucha (Continued) 346. Biscuits Lefèvre-Utile. 1896.

347. Bières de la Meuse. 1897.

17 1⁄ 2 x 24 1⁄4 in./44.5 x 61.6 cm Imp. F. Champenois, Paris Cond A. Ref: Rennert/Weill, 22; Lendl/Prague, p. 71; Weill, p. 42; Gold, 59 (var); Champenois, 90 (var); PAI-XC, 335

40 x 59 1⁄ 8 in./101.6 x 150.2 cm Imp. F. Champenois, Paris Cond A. Framed. Ref (all var but PAI): Rennert/Weill, 27; Lendl/Prague, p. 93; Mucha/Art Nouveau, 23; Timeless Images, 36; Maitres, 182; DFP-II, 633; PAI-LXXVIII, 381

“One of Mucha’s most personable young ladies, her hair cascading irrepressibly in fine style, is offering a dish of wafers. The design of the girl’s dress incorporates sickle and wheat emblems... appropriate to the subject” (Rennert/Weill, p. 113). This is the original version of the poster with the 1897 calendarium.

“The jovial beer drinker has her long flowing tresses adorned with some appropriate beer ingredients, including barley stalks and green hops, and field poppy flowers indigenous to northeastern France. This is another one of Mucha’s characteristic designs featuring a beauty, semi-circular motifs, and artfully meandering hair” (Rennert/Weill, p. 126). The product being advertised is itself a bit vague—while there are a handful of other posters for Bières de la Meuse, it is never clear if they are for a particular brand of beer or simply for the many beers produced in the Meuse region of France. This is the rare, before-letters version of the poster.

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

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

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347

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348

Mucha (Continued)

350. Study for Diploma. ca. 1919.

348. The Flowers. 1898.

8 3⁄4 x 13 in./22 x 33 cm Signed pencil and charcoal maquette. Framed.

Each: 16 1⁄ 2 x 40 1⁄4 in./42 x 102.2 cm Imp. F. Champenois, Paris (not shown) Cond A-/Matted to image. Framed. Ref: Rennert/Weill, 49; Lendl/Paris, 69; Mucha/Art Nouveau, 50; PAI-XXXI, 552 “One of the fundamental premises of Art Nouveau was to look for inspiration in nature, and in ‘The Flowers’ set Mucha produced one of the best arguments for it. The four ethereal sprites represent [from left to right] the Rose, the Iris, the Carnation, and the Lily, respectively, and it is a clear case of Beauty celebrating beauty in each instance. By using only soft pastels and harmonious composition, Mucha imbued each scene with a sense of tranquility and quiet enjoyment” (Lendl/Paris, p. 86-87). Est: $40,000-$50,000. (4)

349. The Flowers / Iris. 1898.

Mucha created this preparatory work for an honorary doctorate diploma presented to French president Raymond Poincaré from Karl University in Prague. Although this particular design was not chosen for the final document, it’s an interesting look into the master’s creative and planning process. Est: $8,000-$10,000.

351. Four Moët & Chandon Menus : Proof. ca. 1899. 14 x 10 1⁄ 2 in./35.5 x 26.6 cm Cond A/P. Framed. Ref: Henderson, p. 97 (var); PAI-XC, 345 This rare olive green proof displays Mucha’s planning work for four Moët & Chandon Menus in one frame. Est: $2,500-$3,000.

17 7⁄ 8 x 41 7⁄ 8 in./45.3 x 106.4 cm Imp. F. Champenois, Paris (not shown) Cond B+/Slight tears at edges. Ref: Rennert/Weill, 49; Lendl/Paris, 69; Mucha/Art Nouveau, 50; PAI-XXXVIII, 472 This delicate beauty in a clinging dress is surrounded by irises in the gentlest shades of violet. The voluptuous shapes of the blooms are a good match for her own. Est: $7,000-$9,000.

349

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350

351

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352

Mucha (Continued) 352. L’Age d’Art. 1898. 7 3⁄ 8 x 10 1⁄4 in./18.7 x 26 cm Cond A/P. Framed. Ref: Henderson, p. 124 (var); Mucha/Bridges, R13 (var); PAI-XC, 365 Mucha designed this cover for the periodical L’Age d’Art, with color variations for each monthly issue. This proof before letters was intended for Volume 1, Number 4. Est: $1,700-$2,000.

353. Nestle’s Food for Infants. 1897. 13 1⁄ 2 x 28 1⁄4 in./34.4 x 71.8 cm Imp. F. Champenois, Paris Cond A. Ref: Rennert/Weill, 26; Lendl/Prague, p. 79; DFP-II, 646; PAI-XC, 360 “This poster is sharply divided into two halves, the bottom part devoted to the baby and the sales message, the top half providing a semi-circular mosaic background for the lovely mother. Note the use of the mother birds feeding their young in the decorative corners at top” (Rennert/Weill, p. 124). Est: $12,000-$15,000.

354. Exposition de St. Louis. 1903. 29 x 40 1⁄ 2 in./73.7 x 103 cm Imp. F. Champenois, Paris Cond A. Ref: Rennert/Weill, 87 Var. 1; Lendl/Prague, p. 155; Mucha/Art Nouveau, 30; DFP-II, 650 (var); PAI-LXXXVIII, 403 “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: $30,000-$35,000.

353

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354

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355

356

357

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358

359

360

Mucha (Continued) 355. Le Pater. 1899.

356. Allégorie à la musique : Proof. 1898.

359. Stances a ses yeux.

12 x 16 in./30.5 x 40.5 cm Some wear on cover edges. Plates are complete and excellent. Ref: Mucha/Art Nouveau, 72; Le Pater; PAI-LXXXIX, 303

10 x 14 1⁄ 2 in./25.5 x 37 cm Imp. F. Champenois, Paris (not shown) Cond A. Framed. Ref: Mucha Postcards, 81 (var); PAI-XC, 373

9 x 11 5⁄ 8 in./23 x 29.5 cm Cond A.

Consisting of a series of seven drawings, “Le Pater” is considered to be Mucha’s printed masterpiece, an intense visual study of the Lord’s Prayer. The seven verses of the prayer are represented here through Byzantine symbolism, and are executed and decorated in the very best Art Nouveau style. “In the context of Mucha’s oeuvre, this artistic and literary work combines in a fortuitously unique way his philosophy, imagination, talent, and skill; reflects his past achievements in decorative design, and is also a precursor of his future artistic developments... The ornamental pages of ‘Le Pater’ allowed Mucha to represent the symbolism of the Lord’s Prayer in the extravagantly decorative style that made him famous... Without exception, the French critics perceived ‘Le Pater’ as a work of art in its own right, noteworthy for its imagery and vision... In the increasingly materialistic world, it is important for man’s spiritual growth to contemplate works that are inspired by well-known text, and have the ability to enrich and invest it with additional meaning. ‘Le Pater’ is one of such works; it challenges the imagination and the mind, and, as Mucha would have it, leads man towards the Light” (Le Pater, p. 10-20). This complete collection consists of the seven illuminated verses, the text and illustration pages, as well as the title and Amen page. This is edition No. 461 of 510 copies.

This dreamy olive green proof of a woman clutching her lyre and gazing off into the distance was used by Belle Jardinière as a color card.

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

Mucha created this song cover for the then-popular composer Georges Norac. As is typical of Mucha, he’s selected to depict a lovely lady framed by a halo-like circular decoration. Est: $1,400-$1,700.

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

357. Le Vent Qui Passe. 1899.

360. Banquet Offert à Mr’s de Montholon et Maurice Monthiers. 1898.

8 7⁄ 8 x 12 1⁄ 2 in./22.3 x 31.8 cm Cond A/P. Framed. Ref: Rennert/Weill, 68, Var. 1; Lendl/Paris, 74 (var); Mucha/Art Nouveau, 75; PAI-LXXXI, 392

8 1⁄ 2 x 11 5⁄ 8 in./21.7 x 29.6 cm Imp. F. Champenois, Paris Cond A. Ref: Bowers/Martin, 486 (var); PAI-XC, 362

The strange shape of this design is due to the fact that it was originally meant to decorate a crescent wall space in a proposed pavilion in the 1900 World’s Fair. When that project was not realized, the printer Champenois had Mucha add a few details which would enable them to market it as “a design for a fan,” although there was never any intention actually to produce one. The design shows a girl strewing leaves to denote the passage of time; behind her, an allegorical spirit hovers as a guardian of her (i.e. mankind’s) maturation. The text (“The wind that passes by takes youth away”) goes along with Mucha’s mythological concept. This is the smaller version with text; there was also a larger one without.

This smoldering and stately image announces a commemorative banquet for Mr’s de Montholon and Maurice Monthiers in celebration of their contributions to France for the 1897 Brussels Exhibition. This may well have been a menu cover. Without the text, the image would later be used as a keepsake postcard for the Belle Jardinière in Paris. This is the black and white proof.

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

358. Ennemis d’Enfance. 12 x 9 3⁄ 8 in./30.4 x 23.8 cm Cond B+/Slight tear at top edge. Framed. This was the cover of the book “Ennemis d’enfance” by David Sauvageot, published by Armand Colin & Cie Éditeurs. Although little information exists on this novel for adolescents, Mucha created an image that is certainly elegant. Est: $1,700-$2,000.

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

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361

362

363

364

Mucha (Continued) 361. Lefèvre-Utile / Miarka : Box Top.

362. Lefèvre-Utile / Table d’hôte : Box Top.

364. Cloches de Noël et de Pâques. 1900.

8 1⁄ 2 x 11 1⁄ 2 in./21.5 x 29 cm Cond A/P.

9 x 12 3⁄ 8 in./23 x 31.3 cm Cond A/P.

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, rural country outings 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 the rarest of all his designs for the company’s cherry-flavored biscuits.

In this box top design for Lefèvre-Utile, Mucha focuses the branding on the host’s table with a lively dinner scene at center.

8 7⁄ 8 x 12 in./22.5 x 30.3 cm Complete and in excellent condition. Ref: Mucha/Bridges, L26; Jiri Mucha, p. 139; PAI-LXX, 504

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

363. Salomé. 1897. 12 x 16 in./30.5 x 40.5 cm Cond A/P. Ref: Mucha/Bridges, R10c; PAI-XII, 329 Mucha created this unbelievably seductive lithograph expressly for L’Estampe Moderne, a monthly portfolio of four lithographs issued between 1897 and 1899. His rendering of Salomé presents the legendary temptress as a Byzantine gypsy—wearing diaphanous apparel and raven tresses hung with rings, and plucking an ancient stringed instrument, no doubt to accompany herself in the “Dance of the Seven Veils.” Est: $2,500-$3,000.

Written by Emile Gebhardt, this volume consists of a trio of medieval tales associated with both Christmas and Easter. Mucha created eighty dreamlike illustrations in delicate pastels and metallics for the book, similar in style to illuminated manuscripts of the Medieval era. This is #30 of 35 copies on Japon; it includes a set of black proofs of each image and comes in a deluxe, rare edition original bound case. Est: $5,000-$6,000.

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365

366

367

365. Máj. 1903.

366. Soleil du Dimanche. 1896.

9 1⁄ 8 x 12 1⁄ 8 in./23.2 x 31 cm Cond A. Ref: Mucha/Bridges, R26; PAI-LXXXVIII, 410

11 1⁄4 x 15 in./28.5 x 38 cm Cond A. Ref: Rennert/Weill, 8 (var)

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 September, 1903 issue, Mucha has designed the cover with two demure women surrounded by flowers. This is the entire 14-page issue.

This cover for the March 29, 1896 issue of Soleil du Dimanche is a printed version of Mucha’s painting “Le Carillon de Paques Reveille la Nature.” Est: $1,200-$1,500.

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

367. Pageant on the Vltava River (Slavnostní Hra na Vltave). 1925. 32 5⁄ 8 x 47 3⁄4 in./82.8 x 121.3 cm Jan Ziegloser, Praha Cond A. Ref: Rennert/Weill, 109; Lendl/Paris, 93; PAI-XLIX, 408 “The original Czech text in a banner added at the bottom advertises a Pageant on the Vlatava, held in conjunction with the Sokol Organization’s quadrennial athletic and gymnastic meet held in Prague in July of 1926” (Lendl/Paris, p. 120). The pageant involved performers going to islands in the middle of the river, which flows through Prague, and reenacting historic scenes. The design features athletes representing the Olympics-style exercises held on the occasion, protected by Slavia, patron saint of the Slav peoples, in the background. This is the larger format. Est: $6,000-$7,000.

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368

369A

Erik Nitsche (1908-1998) 368. General Dynamics / Hydrodynamics. 1955. 35 1⁄ 2 x 50 1⁄ 8 in./90.2 x 127.4 cm R. Marsens, Lausanne Cond A. Ref (all var but PAI): Modern American Poster, 82-84; Modern Poster, 209; Images of an Era, 22; Encyclopédie/Weill, p. 104; PAI-LXXXVI, 338 Possibly the most famous image in the series, “It was an indelible logo in its day... the shell was a virtual cornucopia of progress” (I Heart Design, p. 55). “The symbol of our progress is the great atomic submarine ‘Nautilus,’” General Dynamics’ CEO said, downplaying the global nuclear strategy of which submarines were a part. The text is in French, in homage to Jules Verne’s “Twenty Thousand Leagues Under the Sea,” from which the Nautilus is named. The USS Nautilus (SSN-571) is a National Historic Landmark permanently berthed as a museum in Groton, Connecticut. Est: $4,000-$5,000.

Marcelo Nizzoli (1887-1960) 369A. “Campari” / l’aperitivo. 1926. 51 1⁄ 8 x 72 7⁄ 8 in./130 x 185 cm Cond A. Framed. Ref: Nizzoli, p. 10; Campari, Vol. 3, p. 133; Menegazzi II, 182; Affiche Art Deco, p. 230; Crouse/Deco, p. 190; PAI-LXXIX, 193 Nizzoli’s work for Campari is a masterpiece of composition and a classic of Cubism: as the table is raked forward and down, the bottles and glass manage to stay upright; the entirety of the composition lunges toward the viewer in gravity-defying space. All is grounded by the very traditional lettering. It’s one of the rarest and most brilliant Art Deco designs ever created. This is the two-sheet, Italian-language version.

369B

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

NITSCHE - ORAZI | A-Z

370

Philippe Henri Noyer (1917-1985) 369B. Source Brault. 1938. 46 3⁄ 8 x 63 in./117.8 x 160 cm Publicité Joel Bellon, Paris Cond A. Ref: PAI-LXXXV, 397 (var) To promote the natural mineral water in this lemonade beverage, Noyer concocts a fairy tale vision of mermaids flitting about the underwater bubbles. Est: $3,000-$4,000.

Eugène Ogé (1869-1936) 370. Thé L’Hirondelle. 23 5⁄ 8 x 31 3⁄4 in./60 x 80.7 cm Imp. Elie Cohen, Marseille Cond A. To advertise a tea with an avian name, Ogé depicts a stylish lady in a free-flowing dress enjoying a cup while swallows fly off in the distance. Est: $1,700-$2,000.

Manuel Orazi (1860-1934) 371. Thaïs. 1894. 15 x 41 1⁄ 2 in./38.2 x 105.4 cm Lemercier, Paris Cond B+/Slight tears at edges. Ref: Maindron 1896, p. 97; French Opera, 34; Theaterplakat, 46; Reims, 920; Affiches 1000, 0013; PAI-LXXXI, 409 Noted by Broido, this unique poster promoting Massenet’s opera has been created to resemble “a papyrus, torn, eaten away by the centuries. Orazi has created a poster that is the first to have such a curious form.” Such a different design is in perfect harmony with the opera’s plot, which takes place in Ancient Egypt during Byzantine rule. Drawn to the beautiful courtesan Thaïs, a Cenobite monk attempts to convert her from worshiping Venus to worshiping the Christian God. Ultimately, it is revealed that his interest in her is entirely rooted in lust, whereas her morals and sense of honor are far superior. Est: $1,000-$1,200.

371

A-Z | ORAZI - PAL

373

372

Orazi (Continued)

Pal (Jean de Paléologue, 1860-1942)

372. L’Hippodrome. 1905.

374. Olympia / La Fée des Poupées. 1894.

15 1⁄ 2 x 23 1⁄4 in./39.4 x 59 cm Société d’Impressions d’Art Industriel, Paris Cond A. Ref: DFP-II, 676a; Circus Posters, 30; Posters of Paris, 74; Gold, 150; PAI-XC, 392

31 3⁄4 x 48 1⁄4 in./80.5 x 122.5 cm Imp. Paul Dupont, Paris Cond A. Ref: Spectacle, 1280; Reims, 939; PAI-LXXI, 455

One of Orazi’s most exciting and intricate designs, this theatrical recreation of a Barbarian invasion barrels toward the viewer. The Byzantine style he uses on the pagan princess’s elaborate gown is reminiscent of his rendering of Sarah Bernhardt as Theodora (see PAI-XLII, 43). This is the smaller format version of the poster. Est: $2,000-$2,500.

“The Olympia opened in Paris in April of 1893 as the first establishment to call itself a ‘music-hall’—a term borrowed from British vaudeville which soon made its way into French vocabulary. From the start, the Olympia exploited feminine allure for all it was worth; whatever its various revues were called, they always featured beautiful girls in revealing costumes” (Gold, p. 112). Pal created numerous designs for the venue, including this charming image for the Doll Fairy.

Daphne Padden (1927-2009)

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

373. Royal Mail Cruises / “Atlantis.” ca. 1936.

375. La Bodinière. 1894.

25 x 40 in./63.5 x 102 cm Baynard Press, London Cond A. Ref: PAI-LXXXIV, 404

32 x 48 in./81 x 122 cm Imp. Paul Dupont, Paris Cond A-/Unobtrusive folds. Ref: DFP-II, 682; Reims, 937; PAI-LXXXII, 405

The Royal Mail Line, a British steamship company serving far-flung locations not on the routes of the major carriers of the time, carries the poshest of travelers aboard the Atlantis, the ship which delivered the rejuvenating warmth of coastal climes to the otherwise weather-impaired inhabitants of the island sovereignty. While this particular destination is unknown, the attitude is unmistakably exciting.

A nude with a portfolio of paintings under her arm calls the public to an exhibition of four contemporary painters—Pal himself among them—at the Left Bank gallery of La Bodinière. The owner clearly recognized fine talent: two months later that same year, he gave Steinlen his first important show. Uncharacteristically for Pal, the design is done solely in sepia and pale green.

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

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

374

375

ORAZI - PAL | A-Z

376

379 376. Rayon d’Or. 1895.

378. Abricotine. ca. 1898.

32 ⁄4 x 47 ⁄ 8 in./82 x 121.5 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-LXXXVIII, 418

42 1⁄ 8 x 58 5⁄ 8 in./107 x 149 cm Imp. Paul Dupont, Paris Cond B+/Unobtrusive folds. Ref: PAI-LXXXVII, 427

377

“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: $3,000-$4,000.

377. Société du Gaz Acétylène. ca. 1898. 43 x 56 3⁄4 in./109.3 x 144 cm Imp. Paul Dupont, Paris Cond B/Slight tears at folds. Ref: PAI-XXVII, 545

378

A heavenly sprite brandishes a new source of illumination and banishes her competitors who represent various other lighting devices. The soaring images are bathed in the gentlest of pastel hues as the flesh tones gleam among them. It’s one of Pal’s most ingenious creations. Est: $1,400-$1,700.

An enchantress wearing a deep emerald evening dress and matching plumed hat looks over her shoulder to toast a glass of apricot brandy. Other variants were created with a dark-haired woman and alternate text, but the seductive quality remains the same throughout. Est: $2,000-$2,500.

379. Cusenier Peach-Brandy. ca. 1900. 36 1⁄ 2 x 51 1⁄ 8 in./92.6 x 129.8 cm Affiches Pichot, Paris Cond A-/Slight tears at edges. Ref: Boissons, 516 (var); Pierrot, 38; PAI-LXXXVII, 424 In this pleasing piece by Pal, Pierrot, the perpetually lovelorn clown, is offered a pick-me-up courtesy of Columbine: a peck of Liqueur de Pêches. Note the especially fine artistry on Columbine’s black lace ruffles. Cusenier, a French spirits producer founded in 1868, was acquired by Pernod-Ricard in the late 1970s. Est: $2,000-$2,500.

A-Z | PAUL - PIKE

380

381

Bruno Paul (1874-1968)

René Péan (1875-1940)

380. Kunst im Handwerk. 1901.

381. La Danseuse : Drawing. 1915.

23 3⁄ 8 x 35 1⁄ 8 in./59.3 x 89.2 cm Vereinigte Druckereien Kunstanstalten, München Cond B+/Slight tears at folds. Ref: DFP-III, 2514; Weill, 162; PAI-LXXVII, 327

14 3⁄ 8 x 17 3⁄ 8 in./36.5 x 44.2 cm Signed and dedicated pastel drawing. Framed.

For the Munich Old National Museum’s exhibition, “Art in Craft,” Bruno Paul provided a perfectly Jugendstil-style poster with jewel tones and geometric details. Paul was a regular illustration contributor to Jugend magazine, from which Germany’s version of Art Nouveau was born, and he was an important member of both the Munich and Berlin Secessions. As if that weren’t enough, he was also an acclaimed interior designer, architect, and furniture designer, and he launched the United State School for Fine and Applied Art, which rivaled the Bauhaus school.

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

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

Péan indulges in flights of fancy with this dreamy pastel drawing of a sprite taking to the skies.

PAUL - PIKE | A-Z

382

383

André Pécoud (1880-1951)

R. S. Pike

382. Underwood Portative. ca. 1925.

383. United States Lines. ca. 1923.

23 ⁄4 x 32 ⁄4 in./59 x 83.2 cm Imp. Devambez, Paris Cond B+/Slight tear at left edge.

25 3⁄ 8 x 38 1⁄4 in./64.5 x 97 cm Cond B+/Unobtrusive folds. Ref: Compagnies Maritimes, p. 93; PAI-LXVI, 433

Pécoud illustrates the joys of typing away in the fresh air with the Underwood portable typewriter.

Pike created at least two other images for United States Lines, with this being the most impressive, as it focuses on the sheer enormity of the fleet’s signature liner: the Leviathan.

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

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

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A-Z | PURSELL - PURVIS

385

384

386

Weimer Pursell (1906-1974) 384. Chicago World’s Fair. 1933.

385. Chicago World’s Fair. 1933.

386. Chicago World’s Fair. 1934.

27 1⁄ 2 x 41 3⁄4 in./69.7 x 106.2 cm Cond A. Ref: Art for All, p. 94; Resnick, 16; PAI-LXXXIX, 354

27 1⁄ 2 x 41 3⁄ 8 in./70 x 105 cm Neely Printing Co. Cond A. Ref: Weill/Art Deco, p. 112; PAI-LXXXIX, 355

14 1⁄ 8 x 21 in./36 x 53.3 cm Cond A. Ref: PAI-LXIX, 605

Once inside the 1933 Chicago World’s Fair grounds— especially at night—visitors were treated to a dazzling display of color and light. One of the landmarks is featured here: the Federal Building on the Avenue of the States with its domed roof and soaring concave towers. The impact of the scene is doubled by its reflection in the waterway that ran around the entire site. Pursell was born in Tennessee and studied at the Art Institute of Chicago. He started out as an illustrator for Life, Esquire, Forbes, and other publications. In posters, he produced some of the finest American Art Deco designs for Coca-Cola, American Airlines, Standard Oil, and others, but his work is extremely difficult to find today. Est: $2,000-$2,500.

One of several vibrantly colored designs Pursell created for the Chicago World’s Fair, this one focuses on the Hall of Science standing boldly against a sunset yellow sky. Designed by Paul Philippe Cret, the building followed a U-shaped plan and held the majority of the Century of Progress exhibitions. Est: $1,700-$2,000.

This image focuses on the fifteen foreign villages with the city’s skyline, including the Hall of Science tower, in the distance. Est: $1,200-$1,500.

TOM PURVIS

387

Tom Purvis (1888-1959) 387. John Bull. 79 5⁄ 8 x 119 1⁄ 2 in./202.2 x 303.6 cm Odhams Press, London Cond A. From 1820 to 1964, the John Bull periodical took on various forms, from a traditional conservative Sunday newspaper to a mouthpiece for populist Parliamentary member Horatio Bottomley to a magazine akin to The Saturday Evening Post. Whatever form it was in at the time of this poster’s creation, Purvis applies literal and metaphorical stature to the four-sheet design. Rare! Est: $6,000-$8,000.

A-Z | PURVIS

389

388

390

Purvis (Continued) 388. Edwards’.

389. LNER / It’s Quicker by Rail. ca. 1930.

390. See Britain First on Shell. 1931.

78 x 117 1⁄4 in./198.2 x 298 cm Cond A.

49 1⁄ 2 x 40 in./125.6 x 101.8 cm Jarrold, Norwich Cond B/Slight tears at folds.

45 x 30 1⁄4 in./114.3 x 76.7 cm Johnson, Riddle & Co., London Cond A. Ref: Purvis/Art, p. 35

This large six-sheet poster emphasizes that Edwards’ stock will add enormous flavor to any soup. Rare! Est: $6,000-$8,000.

The kids might be a handful, but these parents seem cool and collected knowing that LNER will get them to their destination faster than any other option. “Tom Purvis was one of the leading designers who worked regularly for the LNER... By the mid-1920s he had perfected a sophisticated style in which areas of flat, bright colour were placed together like a jigsaw to create images that were legible even when pasted high on billboards” (Saunders & Timmers, p. 186). Est: $3,000-$4,000.

Purvis takes us to the coast of Wales with an overview of the local landmarks: Snowdon is the highest mountain in Wales, and it looms over the medieval Harlech Castle, built between 1282 and 1289. Est: $2,000-$2,500.

PURVIS | A-Z

392

391

393

391. LNER / Now Let Us Carry You.

392. British Industries Fair. 1932.

393. In a Raid. ca. 1941.

25 x 40 1⁄ 8 in./63.4 x 102 cm Vincent Brooks, Day & Son, London Cond B/Slight tears at folds.

20 x 30 in./50.8 x 76.2 cm Waterlow & Sons, London Cond A. Ref: Purvis/Art, p. 68

30 x 10 in./76.2 x 25.5 cm Cond A.

This dual promotion advertises LNER’s railway services as well as J. B. Priestley’s book, “The Good Companions.” The novel follows a concert party on their tour of England, and it became Priestley’s most celebrated work. Here, the celebration is carried on by LNER.

Purvis applied a powerful image to this announcement of the British Industries Fair in 1933. Est: $2,500-$3,000.

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

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When air raids began to strike London in World War II, Purvis switched his focus from travel images to awareness campaigns. Using his typical economy of means, the text takes precedence over the image to help prepare British motorists in case of emergency. Est: $1,200-$1,500.

A-Z | PUTZ - RANSON

394

Leo Putz (1869-1940) 394. Moderne Galerie. 1906. 31 1⁄ 8 x 42 1⁄ 8 in./79 x 107 cm Reichhold & Lang, München Cond A-/Slight stains at edges. Ref: Plakate München, 228; DFP-III, 2615 (var); PAI-LV, 447 Created for the opening of the landmark Moderne Galerie in Munich, we are confronted with a sensuous design of a siren offering us an oyster shell full of pearls. This gallery became famous for being on the frontier of Modern art, and was one of the first to offer works by van Gogh, the French Impressionists, and the Blauer Reiter group. Est: $2,000-$2,500.

Leslie Ragan (1897-1972) 395. New York Central System / The Century in the Highlands of the Hudson. ca. 1938. 16 x 21 1⁄ 8 in./40.8 x 53.6 cm Cond B/Slight tears, largely near edges. Framed. Ref: PAI-XLVIII, 415

395

Cognizant of the fact that superior graphics can be transplanted into different surroundings with an equally stunning impact, Ragan transposed his streamlined locomotive previously seen on the banks of the Hudson (see PAI-XC, 405) into the autumnal splendor of the Hudson Highlands. Very few changes have been made to the 20th Century—the design was also used as a calendar—but the change in location highlights the technological marvel of design and transportation as it simultaneously generates a panoramic reason to ride the rails. Est: $3,000-$4,000.

Rageot 396. Au Bon Marché / Campagne. 54 1⁄4 x 44 1⁄ 2 in./138 x 113 cm Imp. Bedos, Paris Cond A-/Unobtrusive folds. Paris’ Bon Marché department store advertises country and beach resort wear with some very soigné customers watching a horse race. If the style recalls René Vincent—who was for years Bon Marché’s favorite poster artist—it’s because when Vincent was no longer available, the store sought, and found, an artist who could keep that same special feeling alive. As we see here, Rageot succeeded delightfully. Est: $4,000-$5,000.

396

PUTZ - RANSON | A-Z

397

René Ranson (1888-1977) 397. Josephine Baker / Folies-Bergère : Maquette. 1927. 45 1⁄4 x 76 5⁄ 8 in./114.8 x 194.3 cm Signed gouache and ink maquette. Ref (both var): Folies-Bergère, p. 117; PAI-LXIII, 501A Best known for his many Deco-inspired costume designs during the heyday of Parisian music hall performances, Ranson here showcases Josephine Baker in a topsy-turvy position for her Hyper-Revue. This drawing was used in front of the entrance to the Folies-Bergère; a smaller printed poster (see PAI-LXIII, 501A) uses the same image with Baker’s name to promote the performance, “A Windy Folie.” Est: $17,000-$20,000.

A-Z | REINSBERG - RUTH

398

399

400

Paul Reinsberg

Louis J. Rhead (1858-1926)

Larry Rivers (1923-20002)

398. Grosser Masken Ball / Schloss Drachenfels. 1902.

399. Lundborg’s Perfumes. 1895.

400. First N. Y. Film Festival. 1963.

10 ⁄ 8 x 17 ⁄ 8 in./27 x 43.5 cm Gray Lithograph, New York Cond A. Framed. Ref: PAI-XIX, 472a

30 x 46 in./76.2 x 116.8 cm Cond A. Ref: Lincoln Center, p. 21; PAI-XLVII, 445

27 1⁄4 x 35 3⁄ 8 in./69.2 x 90 cm Cond B+/Slight tears at folds. A sophisticated couple is being forcefully dragged into the entrance of the Drachenburg Castle for a big masked ball. Completed in 1884 in the German town of Königswinter, the castle has served various purposes, from a private home to a convalescent home, a school, and a Federal Railways training facility—it also served as the inspiration for the Schloss Drache in the James Bond novel “Never Send Flowers.” Of the event, however, no information exists. Est: $2,000-$2,500.

An illustrator and decorator, Rhead came to the United States from England in 1883 and forged an active career designing posters for publications and other clients. He was heavily influenced by Grasset, whom he admired and met while in Paris. He was just as popular in Europe as in the United States, and his posters formed a major body of work in all the leading poster exhibitions in England, France, and Germany during this period. He designed at least three posters for Lundborg’s Perfumes, always relating the product to its floral origins. Rare! Est: $1,700-$2,000.

This poster is hand-signed, dated, and numbered (#13⁄250). With its cinematic components broken down into an edgy, stenciled schematic, Rivers announces the inception of what would rapidly become one of the most important film festivals in the world. In addition to his work as a painter, sculptor, printmaker, and poet, Rivers was also a jazz saxophonist. He painted for a short period under the influence of the Abstract Expressionists but, after seeing Pierre Bonnard’s retrospective exhibition at the Museum of Modern Art in 1948, he began to apply his facility for drawing to figurative subjects extracted from the intimate circumstances of his family life and everyday surroundings. During the early 1950s Rivers devised a loose, translucent technique that merged painting and drawing, treating images in a manner suggestive of multiple-pose montages. His work was distinguished by a versatility that enabled him to synthesize elements from the visual, literary, and performing arts. Est: $1,400-$1,700.

REINSBERG - RUTH | A-Z

401

402

403

Robys (Robert Wolff, 1916-?)

Odin Rosenvinge (1880-1957)

401. Cérès. 1933.

403. Dominion Line to Canada.

39 5⁄ 8 x 59 1⁄ 8 in./100.8 x 150.2 cm Affiches Elita, Paris Cond A. Ref: Karcher, 23; PAI-XLIII, 513

24 7⁄ 8 x 37 5⁄ 8 in./63 x 95.6 cm Turner & Dunnett Litho., Liverpool Cond A.

Whoever Robys was—he seems to not have left a clue—he must have been a charter member of Cappiello’s fan club: in virtually all the posters he left us, he borrowed the master’s various devices to create visual excitement for even the most mundane causes. A case in point is this maiden merrily skipping among the wheat stalks against Cappiello’s patented stark black background (and this is daytime!), inducing us to buy a brand of pasta. The bulk of Robys’ work hails from the 1930s. Est: $1,700-$2,000.

402. Axa Margarine. 1934. 47 3⁄4 x 63 in./121.4 x 160 cm Affiches Elita, Paris Cond B+/Unobtrusive folds. Ref: PAI-LXXII, 346 In 1931, Cappiello tried his hand at Axa Margarine by depicting its source: coconut oil. Three years later, Robys’ attempt proved much more successful, and is a triumphant answer to the question, “Well, what do you do with it?” This work, with its triangular composition, placing the cube of Axa at its apex, is a semiotic masterpiece dedicated to the joy of cooking. The Axa brand, unfortunately, has since melted away.

404

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

Rosenvinge gives us a painterly view of a Dominion Line vessel taking to the seas. Founded in 1870, the Dominion Line concentrated its routes between the United Kingdom and Canada, but offered stops in Portland, Maine and Boston. Est: $1,700-$2,000.

Rod Ruth (1912-1987) 404. Greyhound / Fall is Vivid. 27 3⁄4 x 38 in./70.5 x 96.7 cm Cond A. With no particular destination in mind, Ruth lets us know that tranquil rural towns across the country are accessible to us by Greyhound. Est: $1,200-$1,500.

A-Z | PYROL - SCHNACKENBERG

406

405

Jac Pyrol (Jacques Saignier)

Munetsugu Satomi (1900-1995)

405. Cafés Gilbert. 1923.

407. Orient Calls. 1936.

37 ⁄4 x 56 ⁄ 8 in./94.5 x 144 cm Création de Jacques Saignier, Paris Cond A-/Slight nicks. Ref: Karcher, 73

25 1⁄ 8 x 39 1⁄ 2 in./64 x 100.5 cm The Toppan Printing Co. Cond B+/Slight tears. Ref: Art Deco/Tokyo, 43; PAI-LIII, 445

A darling barefoot young lady is offering us a cup of Cafés Gilbert, which was “sold everywhere.”

A gaggle of minimally drawn Asian people and an elephant are welcoming us to the Oriental Tourist Conference. We can see references in their dress to Japan, China, India, and Taiwan.

Est: $1,500-$1,800.

Alda Sassi (1929- )

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

406. American Export Lines. ca. 1950.

Saudi

25 5⁄ 8 x 37 3⁄ 8 in./65 x 95 cm A. Pesce, Genova Cond A. Stylish travelers strut their way to the U.S.A. aboard American Export Lines. It was the leading American shipping company between the Mediterranean and the U.S. from 1919 to 1977. Est: $1,200-$1,500.

407

408. The Rolling Stones. 1981. 15 7⁄ 8 x 20 in./40.4 x 50.6 cm Cond A/P. Mick Jagger looks like a deer in headlights in this rare design for the band’s 1981 American tour for their album Tattoo You. The stadium and arena tour broke multiple records: it was the largest grossing tour of the year with $80 million in ticket sales and 2.5 million attendees who broke ticket sales records, and it broke the 33-year record for largest indoor show in New Orleans. Although those numbers might not hold a candle to Taylor Swift’s mind-boggling world tour statistics, it was definitely a great year for the Stones. Est: $800-$1,000.

408

WALTER SCHNACKENBERG

409

Walter Schnackenberg (1880-1961) 409. Peter Pathe / Maria Hagen. ca. 1918. 35 1⁄ 2 x 48 1⁄ 2 in./90.2 x 123.2 cm Kunstanstalt O. Consée, München Cond A-/Unobtrusive folds. Ref: Schnackenberg, unnumbered; Plakate München, 419; Takashimaya, 151; Encyclopédie/Weill, p. 230; Le Coultre, p. 225; PAI-LXXXIV, 432 One of several posters Schnackenberg created for this Munich-based ballet duo, this image promotes an act they dubbed “Light and Shadows”—a spin on the “Beauty and the Beast” theme. It is at once highly expressionistic and extremely tender, and employs a remarkable balance of emotions in a visually gripping composition. Schnackenberg borrows some of Lautrec’s silhouetting to create the menacing plane of the devil’s black shadow, while the girl’s figure—formed from the white of the paper—slashes through the darkness. The effect makes her appear candescent. Est: $20,000-$25,000.

A-Z | SCHNACKENBERG

410

Schnackenberg (Continued) 410. Lena Amsel. 1918.

411. Ballet und Pantomime. 1920.

34 1⁄4 x 49 1⁄ 8 in./87 x 124.7 cm Oscar Consée, München Cond B+/Unobtrusive folds. Ref: Plakate München, 421; PAI-LXII, 538

15 5⁄ 8 x 20 1⁄ 2 in./39.7 x 52 cm Excellent condition; slight stain at cover bottom. Ref: PAI-LXXX, 483

Although she had no formal dance training, Lena Amsel rose to stardom in the vaudeville and theatrical circuits of Dresden and Berlin before moving into film around 1918. This poster is from that pivotal year when she burst into film, in part due to her friendship with Max Reinhardt. Schnackenberg depicts her as an expressive, swanlike figure, contorting at impossible angles while her shadow plays on the back wall. She died in an automobile crash in 1929 while racing against André Derain. Est: $12,000-$15,000.

This is the complete portfolio of twenty-two plates, published by Georg Müller Verlag in Munich, loose in the original binding. Nowhere is Schnackenberg’s theatrical phantasmagoria better exemplified than in these twenty-two costume designs. Not only are the images exquisite—the amalgamation of Eastern inspiration, animalistic animus, and otherworldly envisioning all but defies realistic description—but they are also rare, important, and irreproachable artifacts from a distant performance era. “When we remember this [dance renaissance] movement [in Germany] we think of the Munich art fests and performances in theaters and concert halls, which came out of this art-loving city thanks to the collaboration of creative artists. Among those who actively and knowingly took part in this movement, the painter Schnackenberg attracted attention with his creations. His planes, figures, and drawings make it clear that in dance and pantomime, we can reclaim the right to rejoice in the beauty of the body, the striking pose and the animated movement. Glowing colors delight the eye, joy of life shines in the lightness, and the bright colors convey to us that the world need not remain grey and colorless if we have the courage to be guided by our yearnings” (From the Forward by Von Gleichen-Russworm). Est: $14,000-$17,000.

SCHNACKENBERG | A-Z

411

A-Z | SCHULTZ-WETTEL - VON SUCHODOLSKI

412

Ferdinand Schultz-Wettel (1872-1957) 412. Syndetikon. 1899. 37 5⁄ 8 x 27 3⁄4 in./95.6 x 70.5 cm Karl Jahnke, Berlin Cond B/Slight tears at edges. Ref: DFP-III, 3028; Wember, 86; PAI-LXXIII, 442 “Glues everything, even iron” reads the legend; thus a lovely fin-de-siècle angel is calmly using the adhesive to mend broken hearts. It’s a most romantic scene for an incredibly ordinary product. Est: $2,000-$2,500.

Élisabeth Sonrel (1874-1953) 413. The Seasons. ca. 1900. Each: 11 1⁄4 x 16 1⁄ 2 in./28.5 x 42 cm Cond A-/Slight stains at edges. P. Ref: PAI-LXVI, 473 Clearly influenced by the romance of the Pre-Raphaelites, this seldom-seen set by Sonrel quietly captures the mood of each season.

413

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

SCHULTZ-WETTEL - VON SUCHODOLSKI | A-Z

414

415

416

Percy Angelo Staynes (1875-1953)

Saul Steinberg (1914-1999)

Siegmund von Suchodolski (1875-1935)

414. Canadian Pacific / Japan & China.

415. The New Yorker / View of the World from 9th Avenue. 1976.

416. Chinesischer Turm.

25 x 39 7⁄ 8 in./63.7 x 101.3 cm Eyre & Spottiswoode, London Cond A. Staynes draws us into the allure of the East with a bevy of lovely peacocks surrounded by lush foliage—and Canadian Pacific promises to get us there quickly. Est: $1,200-$1,500.

29 x 42 1⁄4 in./73.7 x 107.3 cm New Yorker Magazine, Inc., New York Cond A. Ref: PAI-XC, 422 Steinberg’s 1976 cover for The New Yorker, also used as a poster, became legendary, iconic, endlessly copied and parodied throughout global culture, and a paragon of wit. Cover illustrations for The New Yorker have always set the bar for flashes of deep insight. But none surpass Saul Steinberg’s succinct encapsulation of a Manhattan mindset: globally self-important, yet improbably, paradoxically, deeply provincial at the same time. Est: $1,200-$1,500.

43 x 32 1⁄4 in./109.2 x 81.7 cm Wurm & Schreiber, München Cond A-/Unobtrusive folds. Opened in 1790, the Chinese Tower at the English Garden in Munich has long been a tourist destination for its observation deck and adjacent restaurants and beer hall. Here, we are offered an idyllic scene of the grounds and its landmark buildings. Est: $3,000-$4,000.

T. A. STEINLEN

418

417

Théophile-Alexandre Steinlen (1859-1923) 417. Mothu et Doria. 1893.

418. Chat Noir. 1896.

36 ⁄4 x 51 ⁄ 2 in./93.5 x 130.8 cm Pajol, Paris Cond B+/Unobtrusive folds; slight tears at edges. Ref: Bargiel & Zagrodzki, 12A.2; Crauzat, 490; DFP-II, 780; Maitres, 46; PAI-LXXXI, 453

15 3⁄4 x 24 1⁄4 in./40 x 61.7 cm Imp. Charles Verneau, Paris Cond A. Ref: Bargiel & Zagrodzki, 22.B1; PAI-XC, 424

There is no consensus as to what Steinlen’s highly regarded Mothu et Doria is actually trying to portray. A singing duo in Aristide Bruant’s social-realist mode? A stage drama? Is it a moment of socioeconomic conflict or comity? All we really know is this: a gentleman, likely returning from the Opera, proffers a cigar so that a raffish gentleman with sunken cheeks can light his own cigarette in the foggy gaslight of a Parisian night. Its ambiguity alone defines it as a superb work of art.

The text here promotes the opening tour of the Chat Noir’s resident performers, boasting a “highly illustrious troupe” presenting shadow plays, poetry readings, and songs. Incredibly popular when first unveiled to the public, the basic image was worked into a number of different formats and text arrangements. This represents the initial printing of the “Prochainement” poster; later, after Rodolphe Salis fell ill and was unable to perform with the company, the “avec” preceding his name was replaced with “de,” both as a tip-on and in a new edition of the poster. This is the earlier, smaller format.

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

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

STEINLEN | A-Z

419

419. A la Bodiniére / Exposition T. A. Steinlen. 1894. 30 5⁄ 8 x 22 3⁄4 in./77.7 x 57.8 cm Imp. Charles Verneau, Paris Cond B+/Slight tears at edges. Framed. Ref: Bargiel et Zagrodzki, 14; Crauzat, 492; DFP-II, 782; Steinlen’s Cats, 20; Steinlen/Genève, 30; Reims, 1025; PAI-XC, 423 To advertise his important first exhibition of paintings, drawings, and posters at the Bodiniére gallery, Steinlen returns to a favorite subject: his cats. The simple but masterful sketch justly remains one of the great posterist’s most famous and beloved images. Est: $5,000-$6,000.

A-Z | STEINLEN - TERZI

420

Steinlen (Continued) 420. Cocorico. 1899. 39 1⁄ 2 x 55 1⁄4 in./100.3 x 140.3 cm Imp. Charle Verneau, Paris Cond A. Ref: Bargiel & Zagrodzki, 34; Wagner, 64; Crauzat, 502; PAI-LXXVI, 419 The word “Cocorico” is the French equivalent to cock-a-doodle-do, making it rather unnecessary to show the entire word as the rooster says enough. The publication did much to encourage fine poster design by reproducing posters, selling them in its pages, and illustrating the works of major poster artists. This is Steinlen’s most forceful poster, and in the larger format. Est: $20,000-$25,000.

STEINLEN - TERZI | A-Z

422 421. Le Journal / La Traite des Blanches. 1899.

421

48 x 62 5⁄ 8 in./121.8 x 159 cm Imp. Charle Verneau, Paris Cond B+/Unobtrusive folds; slight tears at edges. Ref: Bargiel & Zagrodzki, 35; Crauzat, 503; DFP-II, 792; PAI-XC, 427 “Quite a few literary works of this era first saw the light of day as installments printed in daily or weekly papers... A major novel appearing in a trickle would hold readers for several months, with the hope that [readers] would get used to the paper’s other features and remain loyal afterwards. The lure of a new sensational novel was often used to advertise the paper itself. And sensational is the word for this poster advertising installments of ‘White Slavery.’ It depicts a heartless pimp with three of his victims. One is arguing passionately for her freedom, one seems resigned to her fate, and one in utter despair” (Gold, p. 66). This uncensored, larger format of the poster—seen here without the top text banner—is the rarest of all versions. Est: $5,000-$6,000.

422. Le Journal / La Traite des Blanches. 1899. 23 1⁄ 2 x 31 3⁄4 in./59.8 x 80.8 cm Imp. Charle Verneau, Paris Cond A-/Unobtrusive folds. Ref: Bargiel & Zagrodzki, 35D; Crauzat, 503; PAI-XC, 428 This is the smaller format, uncensored version of Steinlen’s design for this literary installment. Est: $2,500-$3,000.

Aleardo Terzi (1870-1943) 423. Cora Laparcerie. 1911. 27 1⁄4 x 39 in./69.2 x 99 cm G. Ricordi, Milano Cond B+/Slight tears at folds. Ref: Ricordi, 77; PAI-LXII, 563

423

Married to poet Jacques Richepin, Cora Laparcerie was an actress, writer, and businesswoman of some renown. Newspapers often reported her sensational fashion sense, hailing her as one of the most captivating socialites of the day. She later became the director of the Théâtre des Bouffes-Parisiens, the Théâtre de la Renaissance, and La Scala. Here, Terzi gives us one of his most breathtaking designs in a poster announcing her next performance. While she is bathed in the warm glow of the theatrical lights, her adoring audience gazes out from the shadows, their figures calling to mind the more eccentric works of Edvard Munch. Est: $2,500-$3,000.

A-Z | THOMAS - TOULOUSE-LAUTREC

424

425

426

Walter Thomas (1894-1971)

Henry Atwell Thomas (1834-1904)

424. Cunard / Queen Elizabeth / Queen Mary. 1947.

425. Booth Line / River Amazon.

426. L’Eclair / Journal Politique Indépendant. 1897.

23 x 38 7⁄ 8 in./58.3 x 98.5 cm Cond A-/Slight tears at bottom edge. Ref: PAI-XXXII, 527

25 1⁄4 x 40 1⁄4 in./64 x 102.4 cm Liverpool Printing Co. Cond A-/Slight tear in bottom margin.

After World War II, the Cunard Line was finally able to put both of its Queens into service. Although the Queen Mary had taken to the seas on May 27, 1936, she left Great Britain in 1940 without a single passenger in order to escape the potential devastation of German bombing; her maiden voyage with customers arrived in October, 1946, which would explain her prominent placement in the fore of this Thomas design. The war decimated rival lines and left Atlantic dominance to Cunard, something they would not relinquish until the airlines finally wrested it away. Thomas was a marine painter and poster artist who did most of his studies and work in Liverpool.

Founded in 1866, the British trading and shipping firm Alfred Booth and Company was in operation for over a century. Here, a group of vibrant parrots invite us to join them on a tropical cruise along the Amazon river.

23 3⁄4 x 32 3⁄4 in./60.2 x 83 cm Imp. Chaix, Paris Cond A-/Stain at horizontal fold. Ref: Abdy, p. 167; Maitres, 222; Fit to Print, 86; PAI-LIX, 619

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

Thomas, an American painter and lithographer, was 63 and relatively unknown as an artist when he submitted this design to a competition sponsored by the Parisian newspaper L’Eclair. The jury—comprising Mucha, Steinlen, Chéret, Forain, Guillaume, Grasset, and Willette—chose this poster out of 500 entries. And yet, despite this brief blip of fame, Thomas never appears to have created another poster. This is the smaller format. Est: $2,000-$2,500.

HENRI DE TOULOUSE-LAUTREC

427

Henri de Toulouse-Lautrec (1864-1901) 427. Partie de Campagne. 1897. 20 3⁄ 8 x 15 3⁄4 in./51.8 x 40.1 cm Auguste Clot, Paris Cond A. Framed. Ref: Delteil, 219; Adhémar, 322; Wittrock, 228; Adriani, 228; PAI-LXXIX, 500 “Lautrec’s memories of a journey to Holland with Maxime Dethomas or his relaxing summer stay with the Natanson family in Villeneuve-sur-Yonne may have inspired this print of a drive in the country, with its intense evocation of movement within a horizontal format. The lithograph was included in the second Album d’Estampes Originales de la Galerie Vollard in December, 1897. Abroise Vollard says in his memoirs: ‘I can still see the small limping man with his strange child-like gaze, saying to me: ‘I’ll do you a ‘housewife.’ But he then produced this well-known sheet, still regarded as one of his masterpieces” (Adriani, p. 290). This is number 14 from an edition of 100 numbered copies with a red monogram stamp. Est: $80,000-$100,000.

A-Z | TOULOUSE-LAUTREC

428

Toulouse-Lautrec (Continued) 428. Jane Avril. 1893. 35 3⁄ 8 x 50 in./89.8 x 127 cm Imp. Chaix, Paris Cond A. Framed. Ref: Wittrock, P6B; Adriani, 11-I; Wagner, 7; DFP-II, 828; Maitres, 110 (var); Driehaus, p. 109; Wine Spectator, 41; Reims, 784; PAI-LXXXIX, 395 “Universally considered his most brilliant and successful design” (Wagner, p. 22). “The Wine Spectator” introduces Toulouse-Lautrec’s worldfamous 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 ToulouseLautrec 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: $40,000-$50,000.

429. The Ault & Wiborg Co. / Au Concert. 1896. 14 x 19 in./35.6 x 48.2 cm Cond A. Framed. Ref: Wittrock, P28B; Adriani, 196-II; Wagner, 27 (var); PAI-LXXXVIII, 480 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. The stamp at the lower right is from the famed collector Emmanuel Alfred Beurdeley (1847-1919). Est: $50,000-$60,000.

TOULOUSE-LAUTREC | A-Z

429

A-Z | TOULOUSE-LAUTREC

430

431

Toulouse-Lautrec (Continued) 430. Salon des Cent. 1896.

431. Salon des Cent : Proof. 1895.

15 ⁄ 8 x 23 ⁄ 8 in./39.7 x 60.6 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-LXXXIX, 400

19 3⁄ 8 x 25 1⁄ 8 in./49.2 x 63.7 cm Cond A. Framed. Ref: Wittrock, P20/First Ed; Adriani, 137-II; PAI-LXI, 480

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.

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

This is the rare single color proof of the previous poster, before letters, signed by the artist, and from an edition of 50.

432. L’Artisan Moderne. 1896. 24 7⁄ 8 x 35 3⁄4 in./63.2 x 91 cm Imp. Bourgerie, Paris Cond A. Framed. Ref: Wittrock, P24A; Adriani, 59-II; Wagner, p. 13; PAI-LXXXVI, 395 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). Est: $25,000-$30,000.

TOULOUSE-LAUTREC | A-Z

432

A-Z | TOULOUSE-LAUTREC

433

Toulouse-Lautrec (Continued) 433. Femme au Tub. 1896. 20 5⁄ 8 x 16 in./52.4 x 40.5 cm Cond A. Framed. Ref: Wittrock, 159; Adriani, 175; PAI-LXXXIV, 469 This is one of ten images included in Lautrec’s “Elles” suite, which were created from his observations of women at the maisons closes from 1892-1895, and issued in an edition of 100 numbered copies. “Attentively he noted their monotonous routine at the wash-stand, ‘in the humble pose of bodily hygiene,’ as Huysmans called it... Lautrec showed the prostitute marked by the meaninglessness of her acts— gone are the poses of the desirable temptress—and he gave back to his Olympias and Nanas their humanity, as he showed them in their daily routine... Yet Lautrec does not take a moral stand. His sense of decency lies hidden in the graphic detail, in the beauty and reserve of the colour in these sheets” (Adriani, p. 222). This is one of 100 numbered prints. Est: $35,000-$45,000.

434. Lugné-Poé et Berthe Bady. 1894. 10 1⁄ 2 x 13 3⁄ 8 in./26.7 x 34 cm Cond A. Framed. Ref: Wittrock, 48; Adriani, 65 “The actor and actress are shown in Björnstjerne Björnson’s play Au-dessus des Forces Humaines (Beyond Human Strength), which was performed at the Théâtre de l’Œuvre” (Adriani, p. 106). This is from an edition of 50.

434

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

TOULOUSE-LAUTREC | A-Z

435 435. 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-LXXXVIII, 476 “This official poster for La Revue Blanche is considered by many to be Lautrec’s strongest individual work. In it, using a combination of economical line and implied movement, large flat areas of color and carefully observed detail, he shows Misia Natanson, wife of the magazine’s editor, Thadée Natanson, ice-skating at the Palais de Glace, an ice rink opened at the Rond-Point des Champs-Élysées by Jules Roques in 1894. The entire poster is like a little joke, as if Lautrec were amusing himself by proving that he could show an ice-skater without ever showing her skates” (Frey, p. 408). Est: $14,000-$17,000.

436. Babylone d’Allemagne. 1894. 34 x 47 7⁄ 8 in./86.3 x 121.5 cm Imp. Chaix, Paris Cond A-/Slight tears, largely at edges. Framed. Ref (all var but PAI): Wittrock, P12B; Adriani, 58; DFP-II, 832; PAI-LXXXIX, 401 The subject is a book exposing the decadence of Berlin society, written by Lautrec’s friend Victor Joze. His poster “focuses the spectator’s attention on the hindquarters of four horses, the largest of which [is] also being closely observed by a caricature of the Kaiser standing in a guardbox. The implications of this, along with the book’s title, provoked a protest from the German ambassador to France and nearly caused an international incident. Joze, too, wrote Lautrec asking for him to withdraw the poster, as he felt the depiction of a German officer, together with the anti-German tone of the book, would not be tolerated by the police and could get him in trouble. Lautrec, however, refused to stop distribution of the poster, and as he had paid for it [himself], the publisher was not able to stop the distribution. [Thereafter], according to art dealer Edmond Sagot, the value of [Lautrec’s] work quadrupled” (Frey, p. 398). This is the rare proof before letters. Est: $20,000-$25,000.

436

A-Z | TOULOUSE-LAUTREC

437

438

Toulouse-Lautrec (Continued) 437. Bruant au Mirliton / Bock 13 Sous. 1893.

438. May Belfort. 1895.

23 ⁄ 8 x 31 ⁄ 2 in./59 x 80 cm Imp. Chaix, Paris Cond A. Framed. Ref: Wittrock, P10A; Adriani, 57-II; DFP-II, 831; PAI-LXXXVIII, 477

23 1⁄4 x 31 1⁄ 8 in./59 x 79 cm Kleinmann, Paris Cond B+/Slight tears at edges. Framed. Ref: Wittrock, p. 14B; Adriani, 126; PAI-LXXXIX, 397

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.”

“May Belfort, whom [Lautrec] represented in at least ten works, had gained a reputation for corrupt innocence by appearing onstage dressed as a baby holding a black kitten in her arms, and ‘miaowing or bleating’ her popular song, ‘Daddy Wouldn’t Buy Me a Bow-Wow,’ whose lines had a double meaning which was not lost on the French-speaking audience: ‘I’ve got a pussycat, I’m very fond of that’” (Frey, p. 382). This would have been particularly amusing for the audience, as Belfort was in an openly lesbian affair with the English dancer May Milton.

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

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

TOULOUSE-LAUTREC | A-Z

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439

440

439. Elles. 1896.

440. Divan Japonais. 1893.

18 x 22 ⁄ 8 in./45.8 x 58 cm Cond A. Framed. Ref: Wittrock, 155-III; Adriani, 171-III; DFP-II, 842; Reims, 782; PAI-LXXXIX, 405

23 7⁄ 8 x 31 3⁄ 8 in./60.6 x 79.6 cm Imp. Edw. Ancourt, Paris Cond A-/Slight tears at edges. Framed. Ref: Wittrock, P11; Adriani, 8; DFP-II, 824; Maitres, 2; Wagner, 3; Modern Poster, 5; Wine Spectator, 42; Posters of Paris, 92; Lautrec/Montmartre, 164; Reims, 780; PAI-XC, 398

This poster announces Lautrec’s “Elles” collection, his famous brothel series, an edition of lithographs depicting prostitutes simply referred to as “Elles” (Them). This ambiguous title both recalls the common phrase ces dames (these ladies), and at the same time is the pronoun indicating all females. Although the women of the “Elles” series are prostitutes, they appear desexualized, shown in postures that emphasize the everyday and unglamorous nature of their occupation. In this instance, putting her hair back up after finishing with a client; the only indication that a man is even in the room is his top hat resting gingerly on her bed. It was the pictorial epilogue to what the artist had experienced in the maisons closes of the rue des Moulins, the rue d’Amboise, and the rue Joubert. “They” are “women to my liking,” as he used to say, and he often lived with them for weeks at a time during the years 1892 to 1895, a constant witness of their daily lives, of their suffering and intimacy. This is the rare before-letters version of the poster. Est: $8,000-$10,000.

Pictured at the Divan Japonais café concert, Jane Avril “appears to be almost smiling, as if the whole thing were an inside joke. Jane is accompanied—or, more likely, being accosted—by noted critic Edouard Dujardin, no doubt with amorous intentions, but Avril’s faintly bemused expression indicates that she is used to this, and will be able to handle him without any trouble. Note that the performer—although it is a great celebrity, the famous Yvette Guilbert—is not the focus of the poster, and Toulouse-Lautrec makes sure of it not only by placing her somewhat indistinctly in the poorly lit background, but even by going to the length of deliberately cutting her head off... Toulouse-Lautrec has made good use of spatter, a technique which adds another dimension to poster art: here, for example, it effectively separates the solid black of Jane’s dress from the less important dark mass of the bar and the orchestra” (Wine Spectator, 42). Est: $17,000-$20,000.

A-Z | TOULOUSE-LAUTREC

441

442

Toulouse-Lautrec (Continued) 441. La Loge au Mascaron Doré / Le Missionnaire. 1894.

442. May Milton. 1895.

9 1⁄ 2 x 12 1⁄4 in./24 x 31 cm Imp. Ancourt, Paris Cond A. Framed. Ref: Wittrock, 16/program edition; Adriani, 69-II; Lautrec/Montreal, 26; PAI-XC, 439B

24 3⁄ 8 x 31 3⁄4 in./62 x 80.5 cm Cond B+/Slight tears at edges. Framed. Ref: Wittrock, P17B; Adriani, 134-II; PAI-XC, 436

“For Lautrec the theatre was to be found in the boxes as much as on stage. One of his best known inventions, La Loge au Mascaron Doré (The Box with the Gilded Mask) was a programme for Marcel Luguet’s play Le Missionnaire (The Missionary), which had its première at the Théâtre Libre on 24 April 1894. With its economical use of colour, this is one of Lautrec’s greatest achievements in the field of small scale colour lithography... Above left we see the profile of the English illustrator Charles Edward Conder... who had met Lautrec at the Moulin Rouge” (Adriani, p. 110). This is the program cover. Est: $17,000-$20,000.

An English dancer at the Moulin Rouge, May Milton was in an affair with May Belfort. Toulouse-Lautrec’s portrait of her is so subtly bizarre that Picasso included it in the background of his early painting, “The Bath” (1901). “Milton is shown in a seemingly impossible position,” Ebria Feinblatt writes. “Lautrec so twists the position of Milton’s right leg that, instead of a back kick, the foot emerges from the side. At the same time, this pose answers the artist’s need to continue the unbroken, undulating pattern that starts with the wavy hair hanging down to her puffed shoulder sleeve... the undeniable presence of the figure [is] arresting” (Wagner, p. 27). Est: $15,000-$20,000.

TOULOUSE-LAUTREC | A-Z

443 443. Troupe de Mlle Églantine. 1896. 31 1⁄4 x 24 3⁄ 8 in./79.4 x 62 cm Cond B+/Slight tear in Églantines stocking. Framed. Ref: Wittrock, P21C; Adriani, 162-III; Wine Spectator, 43; DFP-II, 850; Wagner, 23; Posters of Paris, 100; Reims, 791; PAI-XC, 434 “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: $20,000-$25,000.

A-Z | TOUSSAINT - VERTÈS

444

445

Fernand Toussaint (1873-1955)

Adolph Treidler (1886-1981)

444. Exposition Universelle Liège-1905 / Spa.

445. Bermuda. ca. 1949.

29 x 40 3⁄4 in./73.5 x 103.4 cm O. de Rycker & Mendel, Bruxelles Cond A-/Unobtrusive folds. Ref: Wallonie, 23; PAI-XXX, 247

27 1⁄ 2 x 42 3⁄4 in./69.7 x 108.5 cm Cond A. Ref: PAI-LXVI, 57

In this railway poster promoting the 1905 International Exhibition in Liège and the nearby resort spas, a beautiful woman gingerly grasps a tennis racket and points out the small vignettes of regional attractions. In contrast to her clothes and the sunset scene behind her, her delicate face gets near-photographic treatment. Toussaint had a long and productive career in Belgium as a painter, but unfortunately produced few posters. Est: $2,500-$3,000.

Treidler was the preferred graphic artist for Furness Lines, and created a number of stylish posters for the company’s ocean travel to Bermuda. And even though the name of the line is not mentioned, nor is there a ship to be seen, it’s quite likely that this casual island tête-à-tête may have been brought about by either the Queen of Bermuda or the Ocean Monarch. Est: $2,000-$2,500.

TOUSSAINT - VERTÈS | A-Z

446

447

Adriaan van’t Hoff (1893-1939)

Marcel Vertès (1895-1961)

446. Holland America Line / Statendam. 1928.

447. Sie! Sport für Alle / Morgen.

30 ⁄4 x 41 ⁄ 8 in./78.2 x 105.2 cm Lankhout, The Hague Cond A. Ref: Schip & Affiche, 47; PAI-LXII, 66

38 x 74 3⁄ 8 in./96.5 x 189 cm J. Weiner, Wien Cond B+/Slight tears at folds.

This poster was used to advertise the first transatlantic crossing of the latest Statendam (there were two previous liners of that name), which became the flagship of the Holland America Line in April, 1929. The design uses chains, derricks, and a linear perspective to create an image of power and stateliness. This is the English-language version. Est: $3,000-$4,000.

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American boxer Jack Johnson (1878-1946) makes an appeal to Austrian readers to pick up a copy of Morgen, which promises “sports for everyone daily.” Johnson was the first black world heavyweight boxing champion. Est: $2,500-$3,000.

A-Z | VERTÈS - VILLON

448

449

Vertès (Continued)

Jacques Villon (1875-1963)

448. L’Humanité.

450. L’Anti-Bélier / A Cruchon. 1899.

31 1⁄ 8 x 46 3⁄ 8 in./79 x 117.8 cm Bataille, Paris Cond B/Slight tears at folds and edges.

16 3⁄4 x 23 3⁄ 8 in./42.6 x 59.3 cm Imp. d’Art Malfeyt, Paris Cond A-/Slight tears at bottom edge. Framed. Ref: Villon, 34; PAI-LXXXVIII, 500

In another Vertès design for a news publication, a figure similar to Mr. Monopoly has been tossed to the curb along with the Communist daily newspaper, L’Humanité. We hope he manages to rescue his pot of gold. Est: $2,500-$3,000.

Bernard Villemot (1911-1989) 449. Perrier. 1981. 46 1⁄4 x 68 in./117.8 x 172.7 cm Lalande-Courbet, Wissous Cond A-/Unobtrusive folds. Ref: Bon Salle, 400; PAI-LXVII, 550 “From 1971 to 1989, Villemot signed his name to no less than one poster per year for Perrier” (Bon Salle, p. 215). Here, he turns two bottles into the sails of a yacht catching a giant wave. This is the larger format version of the design. Est: $1,400-$1,700.

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: $12,000-$15,000.

VERTÈS - VILLON | A-Z

450

A-Z | VILLON - D’YLEN

454 451

Villon (Continued) 451. St. Romain. 1900. 36 3⁄4 x 50 3⁄ 8 in./93.3 x 128 cm Cond B/Slight tears, largely at folds. Ref: Villon, E.56; PAI-XC, 456 For a revue in four acts that has disappeared to history, Villon creates a fabulous tableau of merry revelers—including a cheekily clad lady giving us a preview of the presumed sauciness of the play. Est: $2,500-$3,000.

Andy Warhol (1928-1987) 452. Perrier. 1983. 23 5⁄ 8 x 17 3⁄4 in./60 x 45 cm Source Perrier, Vergèze Cond A. Ref: Warhol Posters, 31; PAI-LXXXIX, 416

452

Warhol created two posters for Perrier; “Each show three Perrier bottles in oblique positions, conveying the illusion of floating, and weightlessness—as if they were buoyed by the bubbles within or were themselves lighter than air. The bottle, as Warhol represents it, is as effervescent as the product and stands for its very quality. He managed this advertising tour de force showing only the bottles without accessory or graphic pyrotechnics, his purity of design reflecting the simplicity of the product itself: water” (Warhol Posters, p. 89). This is the smaller format. Est: $800-$1,000.

453. Perrier. 1983. 23 x 17 1⁄ 2 in./58.5 x 44.3 cm Lalande-Courbet Cond A. Ref: Warhol Posters, 30; PAI-LXXXIX, 417 In 1983, Warhol created a variety of images for Perrier, each taking the product and elevating it through his signature use of silkscreen color-washing. “These posters were intended for publicity in bistros and cafés in France. They won the French poster Grand Prix in 1983, the only award Warhol ever received for his work as a poster artist” (Warhol Posters, p. 85). This is the fuchsia image in the smaller format.

453

Est: $800-$1,000.

VILLON - D’YLEN | A-Z

Ethelbert White (1891-1972) 454. Live in Kent and Be Content. 1926. 25 x 40 in./63.5 x 102 cm Sanders Phillips / Baynard Press, London Cond B/Slight tears and stains at folds and edges. English painter and woodcarver Ethelbert White was commissioned by the Southern Railway to create two bucolic posters with cheeky text (the other was “Live in Surrey, Free From Worry”). White highlights Kent’s oast houses—used for drying hops in the brewing process—against rolling hills and country charm. Est: $1,200-$1,500.

Worden Wood (1880-1943)

455

455. United States Lines / S.S “Washington.” 1933. 25 1⁄ 2 x 19 1⁄ 8 in./65 x 48.6 cm Cond A. Framed. Ref: PAI-LXXXIV, 503 (var) Surging through choppy open water with nothing but lesser schooners dotting the background horizon to add perspective to her majesty, the Washington is a sight to behold in this Wood poster portrait. Launched on August 20, 1932, the Washington sailed on her maiden voyage from New York to Hamburg on May 10, 1933. At the outbreak of war, the liner was heading for Europe, so after calls at Copenhagen and Le Havre, she returned to New York, after which time the liner made two round-trip voyages to Bordeaux in order to repatriate stranded Americans in Europe. The Maritime Commission granted permission for the Washington and her sister ship, Manhattan, to operate a passenger and freight service from New York to Italy, which commenced on January 13, 1940. However, after Italy’s entry into the war, the service was ended. In 1941, both the Washington and the Manhattan were taken over by the U.S. Navy, with the Washington being renamed the USS Mount Vernon and sailing for Manila as a troop transport. After being released back into civilian service, she made her first postwar voyage from New York to Southampton on April 2, 1946 to bring war brides and children back to the United States. In the end, the Manhattan was laid-up in the Hudson River, sold for demolition, and broken up in 1964. This poster is in the original presentation framing of the U.S. Lines. Est: $1,700-$2,000.

Jean d’Ylen (1866-1938) 456. Rhum Charleston. 1924. 51 1⁄ 2 x 78 5⁄ 8 in./130.5 x 200 cm Imp. P. Vercasson, Paris Cond A-/Slight tears in bottom text. Ref: d’Ylen, 9 (var); PAI-XXXVIII, 581 Nothing indisputably attests to the durability and broad appeal of a commercial image than its repeated appearance over the years on the hoardings. Take this over-puffed citron magistrate, the flamboyant embodiment of Charleston rum—birthed into the promotional world by d’Ylen in 1921. Its enduring popularity ensured that by June of 1924, the design was already in its ninth printing. After several years as a designer of jewelry, d’Ylen became a full-time posterist in 1919 and signed an exclusive contract with Vercasson in 1922. He may have owed the job offer to the fact he was a sincere admirer and disciple of Cappiello, who was the previous star of the Vercasson shop, and thus the firm was assured of an uninterrupted flow of designs of unbridled exuberance that had been Cappiello’s trademark. Est: $2,500-$3,000.

456

A-Z | D’YLEN - BOOKS AND PERIODICALS

457

458

d’Ylen (Continued) 457. Affiches Vercasson. ca. 1919. 18 1⁄ 2 x 26 in./47 x 66.2 cm Imp. P. Vercasson, Paris (not shown) Cond A. Ref (both var): d’Ylen, 73; PAI-LXXXVII, 516 With text, this image was used to promote the services of Vercasson. Above the basket laden with gilded produce held aloft by the naked envoy from the creative realm strapped with the tools of the lithographic trade, a slogan reads thus: “Good Advertising Bears Fruit.” This is the rare proof before letters—and a great ode to the art of advertising. Est: $1,200-$1,500.

458. Spa Reine. 1926. 78 1⁄ 2 x 101 1⁄4 in./199.5 x 257.2 cm Imp. P. Vercasson, Paris Cond A. Ref: d’Ylen, 73 (var); PAI-XC, 460 D’Ylen created a number of designs for this healing mineral water; here, the Spa Reine is appropriately topped with a regal crown. Also used as a smaller in-store display, the Spa-Monopole touted their benefits to arthritic patients. This is a two-sheet poster. Est: $3,000-$4,000.

Yor 459. Chocolat L. Revault. ca. 1895. 38 7⁄ 8 x 78 in./98.7 x 198.2 cm Imp. H. Bernard, Paris Cond B/Slight tears at folds and seam. Ref: PAI-LXI, 547

459

This beautiful two-sheet Art Nouveau design features a mother and her daughter enjoying both the bar and liquid forms of L. Revault chocolate. Est: $1,700-$2,000.

BOOKS AND PERIODICALS

460 460. Les Maîtres de l’Affiche / Volume 2. 1897. 12 x 16 in./30.3 x 40.2 cm Published by Librairie Chaix, Paris Overall excellent condition; loose plates; original cover designed by Berthon. Ref: PAI-XC, 468 (var) This series of original lithographic reproductions of posters—four plates were mailed to subscribers each month for five years, with sixteen supplements—crowned the affichomanie at the end of the 19th century. Alain Weill makes two interesting observations about this series. Its appeal, in part, was due to its manageable size: “At the time posters posed a problem which, moreover, has still not been solved: how to keep and enjoy a collection consisting of very large prints which one has to preserve rolled or flat in some cabinet... [This book] provided a reduction of the most valued and consequently the most widely known posters, thus enabling collectors and other interested people to examine quickly and easily the main works of the current advertising production.” Weill notes that one month’s offerings (4 prints) could be had at the same price as an original poster by Lautrec, Mucha, or the other greats of the poster pantheon: “This is not at all surprising since the posters were printed in great quantities on ordinary paper and, to boot, the one-time art and plate costs were assumed by the company whose product it advertised; the dealers paid printers only for the overrun they wished to acquire. Hence, we must consider it normal that Les Maîtres de l’Affiche, specially produced by means of lithography on quality paper, was offered for sale at the price of an original poster. The people did not perceive these two types of products as being in competition. They were infatuated with small prints and with this kind of compilation” (Maîtres, Images Graphique edition, p. 4-5). This is the second volume in the series with the original Berthon cover, containing plates by Chéret, Grasset, Mucha, Steinlen, and Toulouse-Lautrec. Est: $6,000-$8,000.

A-Z | BOOKS AND PERIODICALS

461 461. Cocorico. 1898-1901. 9 1⁄ 2 x 12 in./24 x 30 cm Overall excellent condition; slight stains at edges. Ref: PAI-LXXXIII, 497 (var) Focusing on satire, literature, and the arts, Cocorico was a popular French magazine, lasting a mere 63 issues from December 1898 through May 1902. Featuring the works of Mucha (including unique images for each of the months in 12 of the issues), Steinlen, de Feure, Roubille, and Willette, the publication championed French Art Nouveau. Many of the posters in this auction are featured and offered for sale within its pages. This lot includes issues 1 through 52 bound together. Est: $3,000-$4,000.

BOOKS AND PERIODICALS | A-Z

462 462. Gli Avvisi Delle Officine G. Ricordi. ca. 1914. 10 3⁄ 8 x 14 1⁄4 in./26.4 x 36.2 cm G. Ricordi, Milano Excellent condition; with original slipcase. Ref: PAI-LXXXV, 486 Executed much in the manner of Les Maîtres de l’Affiche, this rare and complete portfolio of 70 beautifully lithographed Ricordi posters reproduces the work of Italian master posterists in a more manageable size. Published with the same meticulous care and quality as the Maîtres series—which in some respects makes it even more rare and impressive seeing as it exhibits the work of a single publishing firm—the artists and works presented in the portfolio are astounding: Cappiello (4 posters—a pair for Mele, Livorno, and the tremendous Musica e Musicisti), Hohenstein (10 posters, including Monaco, Germania, Monte Carlo, and Tosca), Metlicovitz (15, including Fleurs de Mousse, Exposition Milan, and several Mele designs), Dudovich (7, with Mele being the primary representative), Franz Laskoff (10, including S. Petrus and Mele), and Mauzan (a pair of film posters). Other artists present in this prodigious assemblage include Achille Beltrame, Caldanzano, Cavaleri, Gallo, Adolfo de Karolis, Gian Malerba, Giovanni Mataloni, Aldo Mazza, Plinio Nomellini, Palanti, Enrico Sacchetti, Aleardo Terzi, and Aleardo Villa. It’s an absolute must-have for the Italian poster aficionado! Est: $12,000-$15,000.

210

SELECTED INDEX ALCOHOL

FILM

POSTERS ON POSTERS

Absinthe ............................ 3 03

99, 115, 212, 219, 400

123, 137, 221, 324, 457

FOOD / DRINK

SCIENCE & TECHNOLOGY

30, 139, 148, 151, 153, 168, 187, 229, 283, 289, 290, 304, 308, 340, 346, 353, 361, 362, 369B, 370, 388, 401, 402, 405, 449, 452, 453, 458, 459

113, 156, 187, 191, 231, 241, 251, 256, 302, 368, 376, 377, 382

Beer ................................... 1 19, 347 Apéritifs / Digestifs .......... 110, 111, 147, 154, 164-167, 171, 179, 232, 280, 310, 317, 369A Champagne / Wine ........... 1 09, 135, 160, 243, 351 Liqueurs / Spirits .............. 2 15, 313, 321, 322, 378, 379, 456

ANIMALS Birds .................................. 3 4, 168, 173, 235, 380, 414, 425 Cats ................................... 1 3, 16, 24, 30, 134, 418-420 Dogs .................................. 2 0, 59, 96, 136, 143, 257, 279, 284, 427 Horses ............................... 1 4, 18, 21, 22, 25, 26, 28, 31, 75, 82, 91, 101, 104-106, 108, 111, 151, 225, 242, 285, 293, 372, 404, 416, 427, 436 Other ................................. 3 2A, 71, 98, 101, 105, 111, 157, 158, 175, 226, 247, 281, 286, 292, 311, 317, 414

ART EXHIBITIONS

SPORTS JEWISH INTEREST

Olympics.. .......................... 8 , 66, 115, 271

92, 234, 271, 323 Winter Sports .................... 1 -9, 36, 186, 192, 194, 195, 435

LITERARY Other ................................. 3 1, 80, 225, 296, 447 10-37, 79, 137, 152, 202, 246, 253, 257, 264, 277-279, 352, 358, 366, 387, 391, 415, 420-422, 426, 435, 436, 447, 448

THEATRE

MUSIC / DANCE

108, 124, 125, 128, 146, 172, 203, 228, 244, 274, 291, 320, 323, 325, 332, 423, 434, 441, 451

Balls .................................. 1 63, 196-198, 221, 237, 238, 293, 398

TOBACCO

Cabarets / Music Halls ..... 1 16, 182, 184, 185, 189, 204, 210, 233, 250, 260, 261, 267-270, 272, 287, 374, 418, 428, 437, 440

157, 158, 301, 319, 330, 417

Carnival ............................. 1 98, 248, 259, 295, 300

By rail ................................ 1 , 2, 141, 142, 177, 178, 298, 314, 315, 331, 389, 391, 395, 454

Dance ................................ 1 07, 172, 201, 206, 213, 214, 216, 217, 254, 276, 397, 409-411, 438, 442, 443

117, 122, 123, 136, 140, 220, 273, 294, 375, 380, 394, 419, 430, 431

Folies-Bergère .................. 1 83, 189, 207, 397

BEAUTY / HEALTH / PERFUME

Pianos.. .............................. 1 31, 218, 224

149, 193, 208, 209, 219, 252, 266, 307, 399, 450

Rock Music.. ...................... 1 45, 262, 275, 408

TRAVEL

By ship .............................. 1 14, 132, 133, 258, 259, 312, 373, 383, 403, 406, 414, 424, 425, 446, 455 New York ........................... 7 2, 114, 176, 258, 276, 395, 400, 415

Opera . . ............................... 2 01, 316, 371, 429

World’s Fairs / Expos ....... 8 8, 89, 120, 174, 176, 211, 222, 227, 230, 231, 302, 315, 354, 38-386, 392, 444

Singers .............................. 1 80, 234, 263, 437

FASHION 3, 5, 118, 143, 150, 155, 170, 173, 236, 237, 247, 249, 281, 284, 285, 288, 299, 306, 309, 318, 396

Other ................................. 1 27, 129, 130, 251, 256, 282, 356, 359

Other ................................. 4 , 6, 7, 9, 67, 69, 72-74, 121, 138, 144, 175, 181, 240, 249, 253, 297, 390, 404, 407, 416, 445

211

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 90 prior auctions can be found on our website, www.posterauctions.com, by clicking on “Poster Price Guide.” All results are searchable by artist or title for a nominal subscription fee. Abdy

Ailes

Auto Posters

Bernhardt/Drama

The French poster, by Jane Abdy. New York : Clarkson N. Potter, 1969.

Voici des ailes : affiches de cycles, by Nadine Besse & Paul Fournel. Saint-Etienne : Musée d’art et d’industrie, 2002. Catalogue of the exhibition at the Musée d’Art et d’Industrie, Saint-Étienne, May 3-September 22, 2002.

100 Years of Auto Posters, by Dominique Dubarry. Paris : Maeght Editeur, 1991.

Sarah Bernhardt : the art of high drama, by Carol Ockman and Kenneth Silver. New Haven, Conn. : Yale University Press, 2005. Catalogue of the exhibition at the Jewish Museum, New York, December 2, 2005-April 2, 2006.

Absinthe Absinthe : history in a bottle, by Barnaby Conrad, III. San Fransisco : Chronicle Books, 1988.

Air France Adriani Toulouse-Lautrec : the complete graphic works, by Götz Adriani. London : Thames & Hudson, 1988. The catalogue raisonné, featuring the Gerstenberg collection.

Air France : affiches/posters, 1933-1983, by Jérôme Peignot. Paris : Fernand Hazan, 1988.

Alpes

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).

Les Alpes à l’affiche, by Yves Ballu. Grenoble : Editions Glenat, 1987.

Belgique Sportives

Poster art of the airlines, by Don Thomas. Dunedin, Florida : D. Thomas, 1989.

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.

American/Virginia Museum Designed to sell : turn-of-the-century American posters in the Virginia Museum of Fine Arts, by Frederick R. Brandt. Richmond, V.A. : Virginia Museum of Fine Arts, 1994. Catalogue of the exhibition at the Virginia Museum of Fine Arts, November 9, 1994-January 8, 1995.

Affiches 1000 1000 affiches de 1890 à nos jours, by Cees W. de Jong, Alston W. Purvis & Martijn F. Le Coultre. [Paris] : Hazan, 2010.

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.

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.

Apéritif Apéritif : affiches et réclames, by Thierry Devynck & Béatrice Cornet. Barbentane : Equinoxe, 1998. Catalogue of the exhibition at the Bibliothèque Forney, Paris, October 6-December 5, 1998.

Affiches sportives en Belgique : 1890-1940. Bruxelles : Crédit Communal, 1981. Catalogue of the exhibition in Brussels, December 1, 1981-January 10, 82.

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

Art Deco posters, by Masami Shiraishi & Kenji Kaneko. Tokyo : The National Museum of Modern Art, 1995. Catalogue of the exhibition at the National Museum of Modern Art, Tokyo, August 8-October 7, 1995.

Art Nouveau

Belle Epoque/Belgique

L’affiches sportives avant 1914 : une sélection du Musée du Sport. Paris : Musée-galerie de la Seita, 1985. Catalogue of the exhibition at the Musée Galerie de la Seita, Paris, June 26-September 14, 1985.

Art Nouveau : 1890-1914, ed. by Paul Greenhalgh. London : V & A; New York : H.N. Abrams, 2000. Catalogue of the exhibition at the Victoria and Albert Museum, London, April 6-July 30, 2000, and at the National Gallery of Art, Washington, D. C., October 8-January 28, 2001.

Affiches de la Belle Epoque : 329 documents de la collection L. Wittamer-De Camps à Bruxelles, by Yolande Wittamer. Liège : Imp. Bénard et Centrale Réunies, 1961. Catalogue of the exhibition held at Fraiture-en-Condroz, and organized by L’Association Royale des Demeures Historiques de Belgique, September 9-October 31, 1961.

Affiches Vins

Art of Rock

Les Affiches des Vins, by Emmanuel Lopez and Matthieu Benoit. Paris : Éditions Citadelles & Mazenod, 2016.

The art of rock, by Paul D. Grushkin. New York : Abbeville Press, 1987.

Affiches de la Riviera, by Annie de Montry, Françoise Lepeuve & Charles Martini de Chateauneuf. Nice-Matin : Editions Gilletta, 2001.

Affiches Sportives

Art Deco/Tokyo

Art/Skiing Affichomanie L’affichomanie : collectionneurs d’affiches, affiches de collection, 1880-1900, by Alain Weill. Paris : Musée de l’Affiche, 1980. Catalogue of the exhibition on the subject of the Postermania of the 1880-1900, held at the Musée de l’Affiche, Paris, January 30-April 30, 1980.

Berthon & Grasset, by Victor Arwas. London : Academy Editions; New York : Rizzoli, 1978.

The art of skiing, by Jenny de Gex. New York : Universe Publishing, 2006.

Bicycle Posters 100 years of bicycle posters, by Jack Rennert. New York : Harper & Row, 1973.

Bocca I manifesti Italiani : fra belle epoque e fascismo, by Giorgio Bocca. Milano : Fratelli Fabri editori, 1971.

Boissons Les boissons : un siècle de réclames, by F. Ghozland. Toulouse : Editions Milan, 1986.

Belle Epoque 1970

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.

Affiches Riviera

Berthon & Grasset

Bargiel et Zagrodzki Airlines

Affiche Art Deco L’affiche Art Deco, by Alain Weill. Paris : Editions Hazan, 2013.

Avant Garde

Bouvet Bonnard : the complete graphic work, by Francis Bouvet. New York : Rizzoli, 1981.

Broders Voyages : les affiches de Roger Broders, by Annie de Montry & Françoise Lepeuve. Paris : SyrosAlternatives, 1991.

Broders/Travel Roger Broders : travel posters, by Alain Weill & Israel Perry. New York : Queen Art Publishers, 2002.

Broido The posters of Jules Chéret : 46 full color plates and an illustrated catalogue raisonné, 2nd ed., by Lucy Broido. New York : Dover, 1992.

Brown & Reinhold The poster art of A. M. Cassandre, by Robert K. Brown & Susan Reinhold. New York : E. P. Dutton, 1979.

Buffalo Bill Bernhard Lucian Bernhard : plakate, gebrauchsgrafik, verpackungsdesign, buchgestaltung, schriftentwürfe, by René Grohnert & Hubert Riedel. Stuttgart : Institut für Auslandsbeziehungen, 1999. Catologue of the exhibition at the Institut für Auslandsbeziehangen, Stuttgart, 1999.

100 posters of Buffalo Bill’s Wild West, by Jack Rennert. New York : Darien House, 1976.

Buffalo Bill/Art & Advertising Art and Advertising in Buffalo Bill’s Wild West, by Michelle Delaney. Norman, OK : University of Oklahoma Press, 2019.

Artisten/Zirkus Artisten- und zirkusplakate : ein internationaler historischer überblick, by J. Markscheiss-van Trix & Bernhard Nowak. Zürich : Atlantis, 1975.

Campari Thirty years and a century of the Campari Company, in three volumes, by Guido Vergani. Milano : Davide Campari, 1900.

212

BIBLIOGRAPHY (CONTINUED) Cappiello

Colin

DFP-II

Fix-Masseau BN

Cappiello, 1875-1942 : caricatures, affiches, peintures et projets decoratifs, by Claire FrèchesThory & Réjane Bargiel. Paris : Réunion, 1981. Catalogue of the exhibition at the Galerie Nationale du Grand Palais, Paris, April 3-June 29, 1981.

100 posters of Paul Colin, by Jack Rennert. New York : Images Graphiques, 1977.

Fix-Masseau Affiches 1928-1983. Paris: Bibliotheque Nationale, 1983.

Colin Affichiste

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.

Paul Colin : affichiste, by Alain Weill & Jack Rennert. Paris : Editions Denoel, 1989.

DFP-III

Cappiello/Rennert

Colin/Spectacles

Cappiello : the posters of Leonetto Cappiello, by Jack Rennert. New York : Poster Art Library, Posters Please, Inc., 2004.

Paul Colin et les spectacles, by Claude Pérty-Parisot. Nancy : Musée des Beaux-Arts. Catalogue of the exhibition at the Musee des Beaux‑Arts, Nancy, May 2-July 31, 1994.

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.

Collectionneur Collectionneur d’affiches, edited by Laurence Prod’homme. Paris : Editions Apogé, Musée de Bretagne, 1996.

Colin/Magicien Cassandre/BN A. M. Cassandre : oeuvres graphiques modernes, 1923-1939, by Anne-Marie Sauvage. Paris : Bibliothèque Nationale de France, 2005. Catalogue of the exhibition at Chaumont, May 21-July 23, 2005, and the Bibliothèque Nationale de France, Paris, September 20-Dcember 4, 2005.

Paul Colin : le magician des années folles, by Marguerite Erbstein-Thomé. Laxou : Éditions de l’Est, 1994.

Compagnies Maritimes Affiches des companies maritimes, by Gabriele Cadringher & Anne Weallans. Paris : Citadelles & Mazenod, 2008.

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.

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.

Flagg James Montgomery Flagg, by Susan E. Meyer. New York : Watson-Guptill Publications, 1974.

Folies-Bergère 100 years of posters of the Folies Bergère and music halls of Paris, by Alain Weill. New York : Images Graphiques, 1977.

Discount Posters from the collection of Discount Tires, by Susan Driver. Scottsdale, Ariz. : Reinalt-Thomas Corp., 2007.

French Opera

Dodge

Frey

The bicycle, by Pryor Dodge. Paris, New York : Flammarion, 1996.

Toulouse-Lautrec : a life, by Julia Frey. New York : Viking Penguin, 1994.

Driehaus

Gagel

L’Affichomania : Catalogue of the exhibition at the Driehaus Museum, Chicago, by Jeannine Falino. Chicago: University of Chicago Press, 2017.

Studien zur motivgeschichte des Deutschen plakats 1900-1914, by Hanna Gagel. Berlin : Omnia-Organisations, 1971. Doctoral thesis at Freien Universität Berlin.

French opera posters : 1868-1930, by Lucy Broido. New York : Dover, 1976.

Dudovich Marcello Dudovich : cartellonista, 1878-1962, by Roberto Curci. Treiste : Lint Edizioni, 1976.

Crauzat

Gallo The poster in history, by Max Gallo. New York : American Heritage Publishing, 1974.

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.

Enfant L’enfant dans l’affiche, by Jean-Charles Giroud and Michel Schlup. Neuchatel : Association des Amis de l’Affiche Suisse, 1998.

Gesmar

Crouse/Deco

Encyclopédie/Weill

Glaser/Manifesti

The art deco poster, by William Crouse & Alastair Duncan. New York : Vendome Press, 2013.

Encyclopédie de l’affiche, by Alain Weill. Paris : Hazan, 2011.

I manifesti di Milton Glaser, by Cristina Taverna, Jean-Michel Folon, Steven Heller, Andrea Rauch & Giorgio Soavi. Milano : Edizioni Nuages, 1989.

Cutler

European Electricity

J.C. Leyendecker : American imagist, by Laurence S. Cutler & Judy Goffman Cutler. New York : Abrams, 2008.

European electricity : flashback on a momentous era, spotlight on an exciting future, by Eurelectric. [Antwerp] : Brugge Union of the Electric Industry, 2007.

Charles Gesmar : 1900-1928, by Angelo Luerti, Milano : Luerti, 2009.

Cassandre/Weill Cassandre, by Alain Weill. Paris : Editions Hazan, 2018.

Cataluña Cataluña en 1000 carteles : desde los origenes hasta la Guerra Civil, by Jordi Carulla, et al. Barcelona : Postermil, S.L., 1994.

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.

Deco Affiches

Chemins de Fer

Affiches art deco, by Alain Weill. Paris : InterLivres, 1990.

100 ans d’affiches des chemins de fer, by Pierre Belves. Paris : Edition NM–La Vie du Rail, 1980.

Delhaye

Chéret

Art deco posters and graphics, by Jean Delhaye. London : Academy Editions, 1977.

La Belle Epoque de Jules Chéret : de l’affiche au décor, ed, by Réjane Bargiel and Segolène Le Men. Paris : Les Arts Décoratifs, 2010. (Distributed in the U.S.A. by Posters Please, Inc.) Catalogue of the exhibition at the Musée des Arts Décoratifs, Paris, June 23-November 7, 2010.

David Dellepiane : peintre, affichiste, illustrateur, by Françoise-Albane Beudon. Marseilles : Editions Parentheses, 1999.

Depero Circus Posters

Depero per Campari. Milano : Fabri Editori, 1989.

100 years of circus posters, by Jack Rennert. New York : Avon Books, 1974.

DFP-I

Cirque Le cirque : iconographie, by Nicole Wild & Tristan Rémy. Paris : Bibliothèque Nationale, 1969.

Exotische Das exotische plakat, ed. by Michael ScholzHänsel. Stuttgart : Cantz, 1987. Catalogue of the exhibition held at the Staatsgalerie Stuttgart, September 2-November 29, 1987.

Femme s’Affiche

Dellepiane

Milton Glaser Posters / 427 Examples from 1965-2017. New York : Abrams, 2017.

Gold

Darracott The First World War in posters, by Joseph Darracott. New York : Dover Publications, 1974.

Glaser Posters

La femme s’affiche : exposition d’affiches publicitaires, 1843-1990, by P.A. Luginbuuhl. Montreux : Office du Tourisme, 1990. Catalogue of the exhibition of the Kellenberger Collection held in Montreux, June 6-July 8, 1990.

First ladies of the poster : the Gold collection, by Laura Gold. New York : Poster Art Library, 1998.

Gourand Un voyage gourmand : 60 affiches de gastronomie, by Alain Weill. Paris : Musée-galerie de la SEITA, 1992. Catalogue of the exhibition at the Musée-Galerie de la Seita, Paris, June 11-September 22, 1984.

Graphic Design/Taschen The History of Graphic Design, by Jens Müller and Julius Weidermann. Koln : Taschen, 2017.

de Feure Georges de Feure : maitre du symbolisme et de l’art nouveau, by Ian Millman. Paris : ACR Editions, 1991.

Grün Jules-Alexandre Grün : the posters/les affiches, by Alain Weill & Israel Perry. New York : Queen Art Publishers, 2005.

Fix‑Masseau Das frühe plakat in Europa und den USA. Volume I, British and American Posters. Edited by Ruth Malhotra and Christina Thon. Berlin : Mann Verlag, 1973.

Pierre Fix‑Masseau : affiches 1928‑1983, by Paulette Perec. Paris : Bibliothèque Nationale, 1983. Catalogue of the exhbition at the Bibliothèque Nationale, Paris, Noveember 23, 1983-January 15, 1984.

Happy Holidays Happy Holidays : The Golden Age of Railway Posters, by Michael Palin. London : Pavilion Books Limited, 1987.

213

BIBLIOGRAPHY (CONTINUED) Haring

Internationale Plakate

Le Coultre

Manifesti Italiani

Keith Haring: Editions on Paper 1892-1990. Stuttgart : Edition Cantz, 1993.

Internationale Plakate 1871-1971, by Heinz Spielmann, et al. München : Ausstellungsleitung Haus der Kunst, 1972. Catalogue of the exhibition at the Haus der Kunst, Munich, October 9, 1971-January 2, 1972.

A century of posters, by Martin F. Le Coultre & Alston W. Purvis. Burlington, VT : Lund Humphries, 2002.

Manifesti Italiani : dall’art nouveau al futurismo, 1895-1940, by Giampiero Mughini & Maurizio Scudiero. Milano : Ricordi, 1997. Posters of the Massimo & Sonia Cirulli Collection.

Haring Posters Keith Haring – Posters, by Jürgen Döring and Claus von der Osten. Munich/New York: Prestel, 2019.

Lendl/Prague

Iskin

Ivan Lendl : Alfons Mucha, by Jack Rennert & Karel Srp. Bratislava : Nakladatelství, 2013.

Health Posters

The Poster, by Ruth E. Iskin. Hannover, New Hampshire: Dartmouth College Press, 2014.

Leupin

Posters of health, by Marine Robert-Sterkendries. Brussels : Therabel Pharma, 1996.

Italia che Cambia

Henderson The Graphic Work of Alphonse Mucha, by Jiri Mucha and Marina Henderson. London : Academy Editions, 1973.

Hillier Posters, by Bevis Hillier. London : Weidenfeld and Nicholson, 1969; New York : Stein & Day, 1969; New York : Spring Books, The Hamlyn Publishing Group, 1974.

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.

L’Italia che cambia : attraverso i manifesti della raccolta salce, ed. by Pepa Sparti. Firenze : Artificio, 1989.

Ives Pierre Bonnard : the graphic art, by Colta Ives, Helen Giambruni & Sasha M. Newman. New York : Harry N. Abrams, 1989. Catalogue of the exhibition at the Metropolitan Museum of Art, New York, December 2, 1989-February 4, 1990; The Museum of Fine Arts, Houston, February 25-April 29, 1990; and the Museum of Fine Arts, Boston, May 25-July 29, 1990.

Jacquelin J. Jacquelin : affichiste et dessinateur publicitaire, by Anne-Claude Lelieur & Raymond Bachollet. Paris : Agence Culturelle de Paris, 1993.

Karcher

Hohlwein posters in full color. New York : Dover, 1976.

Memoire de la rue : souvenirs d’un imprimeur et d’un afficheur, by Alain Weill. Paris : WM Editions, 1986. (Distributed in the U.S.A. by Posters Please, Inc., New York, with a translation of text and the addition of an index).

Hohlwein/Stuttgart

Kauft Bücher

Ludwig Hohlwein : plakate der jahre 1906-1940, by Christian Schneegass. Stuttgart : Staatsgalerie, 1985. Catalogue of the Hohlwein exhibition at the Staatsgalerie Stuttgart, March 2-April 21, 1985.

Kauft bücher! : verlagsplakate um die jarhhundertwende, by Herbert Fleissner. Dortmund : Harenberg, 1982.

Hohlwein Posters

Iconography of Power Iconography of power : Soviet political posters under Lenin and Stalin, by Victoria E. Bonnell. Berkeley : University of California Press, 1997.

I Heart Design I Heart Design, by Steven Heller. Beverley, MA : Rockport Publishers, 2011.

American art posters of the 1890s in the Metropolitan Museum of Art : including the Leonard A. Lauder Collection, by David W. Kiehl, Phillip Dennis Cate & Nancy Finlay. New York : Metropolitan Museum of Art, 1987. Catalogue of the exhibition of the Metropolitan Museum of Art, New York, October 22, 1987–January 10, 1988.

Imperial War Museum I

Lautrec/Montreal

First World War Posters: The Imperial War Museum, by Joseph Darrecott and Belinda Loftus. London: The Corwin Press, 1972.

Toulouse-Lautrec Illustrates the Belle Epoque. Catalogue of the exhibition at the Montreal Museum of Fine Arts and The Phillips Collection, Washington, D.C. 2016-2017. Distributed by Yale University Press.

Second World War Posters: The Imperial War Museum, by Joseph Darrecott and Belinda Loftus. London: The Corwin Press, 1972.

American poster renaissance, by Victor Margolin. New York : Watson-Guptill Publications, 1975.

Marx Bonnard : lithographie, ed. by Claude Roger-Marx. Monte Carlo : Éditions du Livre, 1952.

Privat Livemont : entre tradition et modernité au Coeur de l’Art nouveau, 1861-1936, by Benoit Schoonbroodt. Bruxelles : Editions Racine, 2007.

Masters 1900

Livre de l’Affiche

Mauzan

Le livre de l’affiche/The book of the poster, by Réjane Bargiel-Harry & Christophe Zagrodzki. Paris : Editions Alternatives, 1985.

The posters of Mauzan : a catalogue raisonné, by Mirande Carnévalé-Mauzan. Gières : Mirande Carnévalé-Mauzan, 2001.

Loïe Fuller

Mauzan/Paris

Loïe Fuller : magician of light, by Margaret Haile Harris. Richmond, Va. : TheVirginia Museum, 1979. Catalogue of the exhibition at the Virginia Museum, Richmond, March 12-April 22, 1979.

Achille Mauzan, by Alain Weill. Paris : UCAD, H. Veytier, 1983. Catalogue of the exhibition held at the Musée de la Publicité, Paris, September 14-October 23, 1983.

Loïe Fuller/Current

Mauzan/Pinerolo

Loïe Fuller: Goddess of Light, by Richard Nelson Current & Marcia Ewing Current. Boston: Northeastern University Press, 1997.

Omaggio a Luciano Achille Mauzan : al’arte del manifesto, by Mirande Carnévalé-Mauzan, Mario Marchiando-Pacchiola & Giuseppe Valperga. Pinerolo, Italy : Collezione Civica d’Arte Palazzo Vittone, 1984. Catalogue of the exhibition held in Pinerolo, Italy, June 2-24, 1984.

Loupot

Loupot/Forney

KLM : The First Century, by Martin F. Le Coultre. The Netherlands : Muller Visual, 2019. Catalogue of the exhibition at the Design Museum Dedel, The Hague, 2019-2020.

Margolin

Livemont

American posters of the turn of the century, by Carolyn Keay. London : Academy Editions, 1975.

Images of an era : the American poster, 19451975, by John Garrigan. Washington, D.C. : National Collection of Fine Arts, 1975. Catalogue of the exhibition at the Corcoran Gallery of Art, Washington, D.C., November 21, 1975-January 4, 1976.

Imperial War Museum II

Lincoln Center Posters, by Vera List & Herbert Kupferberg. New York : Harry N. Abrams, 1980.

Keay

KLM

Das Schweizer plakat/The Swiss poster : 19001983, by Bruno Margadant. Basel : Birkhaus Verlag, 1983.

Lincoln Center

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.

Lauder Images of an Era

Herbert Leupin : plakate, bilder, graphiken, by Karl Lüönd & Charles Leupin. Basel : Friedrich Reinhardt, 1995.

Margadant

Loupot: Peintre en Affiche. Catalogue of the 2018 exhibition at Bibliothèque Forney, Paris. Edited by Thierry Devynck.

Loupot/Zagrodzki Charles Loupot : l’art de l’affiche, by Christophe Zagrodzki. Paris : Le Cherche-Midi, 1998. (American distributor: Posters Please Inc., New York)

Masters of the poster 1900, by Alan Weill. Paris : Bibliothèque de l’Image, 2001.

Mauzan/Treviso Manifesti di A. L. Mauzan, by Antonio Mazzaroli. Treviso : Editrice Canova, 1983.

Mele I manifesti Mele : immagini aristocratiche della “belle époque” per un pubblico di Grandi Magazzini, by Mariantonietta Picone Petrusa. Milano : A. Mondadori, 1988. Catalogue of the exhibition at the Museo Diego Aragona Pignatelli Cortes, Napoli, October 22-November 30, 1988.

Menegazzi-I Maggi Maggi : et la magie du bouillon kub, by Monique Pivott. Paris : Hoëbeke, 2002.

Il manifesto Italiano : 1882-1925, by Luigi Menegazzi. Milan : Electa Editrice, 1975.

Menegazzi-II 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.

Il manifesto Italiano, by Luigi Menegazzi. Milan : Arnoldo Mondadori Arte, 1989 (revised edition).

Mer s’Affiche La mer s’affiche, by Daniel Hillion. Rennes : Editions Ouest-France, 1990.

214

BIBLIOGRAPHY (CONTINUED) Modern American Poster

Noël & Herbaut

PAI XV

PAI-XXXII

The modern American poster, by J. Stewart Johnson. Boston : Little Brown, 1983. Catalogue of the Japanese exhibition of the posters from the N.Y. Musuem of Modern Art collection, December 14, 1983-January 22,1984.

Jules Grün (1868-1938) : trublion de Montmartre, seigneur du Breuil-en-Auge, by Benoît Noël & Véronique Herbaut. Sainte-Marguerite-des-Loges : Éditions BVR, 2012.

Rarest Posters. Auction held in New York City, November 8, 1992.

Dream Posters. Auction held in New York City, May 6, 2001.

PAI-XVI

PAI-XXXIII

Poster Parade. Auction held in New York City, May 2. 1993.

Swank Posters. Auction held in New York City, November 11, 2001.

PAI-XVII

PAI-XXXIV

Poster Classics. Auction held in New York City, November 14, 1993.

Poster Pride. Auction held in New York City, May 5, 2002.

PAI-XVIII

PAI-XXXV

Winning Posters. Auction held in New York City, May 1, 1994.

Posters Perform. Auction held in New York City, November 10, 2002.

PAI-XIX

PAI-XXXVI

Prima Posters. Auction held in New York City, November 13, 1994.

Posters Persuasion. Auction held in New York City, May 4, 2003.

PAI-XX

PAI-XXXVII

Poster Panorama. Auction held in New York City, May 7, 1995.

Poster Holiday/The Wright Stuff. Dual auction held in New York City, November 9, 2003.

PAI-XXI

PAI-XXXVIII

Timeless Posters. Auction held in New York City, November 12, 1995.

Poster Style. Auction held in New York City, May 2, 2004.

PAI‑XXII

PAI-XXXIX

Positively Posters. Auction held in New York City, May 5, 1996.

Poster Intoxication. Auction held in New York City, November 14, 2004.

PAI‑XXIII

PAI-XL

Poster Delights. Auction held in New York City, November 10, 1996.

Posters Excel. Auction held in New York City, May 1, 2005.

PAI-XXIV

PAI-XLI

Poster Pleasures. Auction held in New York City, May 4, 1997.

Matchless Posters. Auction held in New York City, November 13, 2005.

PAI-XXV

PAI-XLII

Sterling Posters. Auction held in New York City, November 9, 1997.

Posters Charm. Auction held in New York City, May 7, 2006.

PAI-XXVI

PAI-XLIII

Postermania. Auction held in New York City, May 3, 1998.

Posters Va-Va-Voom. Auction held in New York City, November 12, 2006.

PAI-XXVII

PAI-XLIV

Poster Ecstasy. Auction held in New York City, November 8, 1998.

Winning Posters. Auction held in New York City, May 6, 2007.

PAI-XXVIII

PAI-XLV

Poster Vogue. Auction held in New York City, May 2, 1999.

Top Posters. Auction held in New York City, November 11, 2007.

PAI-XXIX

PAI-XLVI

Posters for the Millennium. Auction held in New York City, November 4, 1999.

Picture-Perfect Posters. Auction held in New York City, May 4, 2008.

PAI-XXX

PAI-XLVII

Poster Allure. Auction held in New York City, May 7, 2000.

Posh Posters. Auction held in New York City, November 9, 2008.

PAI-XXXI

PAI-XLVIII

Poster Power. Auction held in New York City, November 12, 2000.

Poster High. Auction held in New York City, May 3, 2009.

Olympics Modern Poster The modern poster, by Stuart Wrede. New York : Museum of Modern Art, 1988. Catalogue of the exhibition at the Museum of Modern Art, New York, June 6-September 6, 1988.

L’olympisme par l’affiche/Olympism through posters : 1896-1984, by Monique Berlioux. Lausanne : International Olympic Committee, 1983.

PAI – Books of the auctions organized by Poster Auctions International, Inc.

Moderno Francés

PAI-I

El cartel moderno Francés : el espectáculo está enel calle : Colin, Carlu, Loupot, Cassandre, by Carlos Pérez. Madrid : MNCARS, 2001. Catalogue for the Colin, Carlu, Loupot and Cassandre exhibition at the Museo Nacional Centro de Arte Reina Sofia, Madrid, November 15, 2001-January 21, 2002.

Premier Posters. Auction held in New York City, March 9, 1985.

Montagne La montagne s’affiche, by Daniel Hillion. Rennes : Editions Ouest-France, 1991.

Moulin Rouge 120 ans de Moulin Rouge, by Alain Weill. Paris : Seven Sept, 2010.

Moulin Rouge/P&C Le Moulin Rouge, by Jacques Pessis & Jacques Crépineau. Paris : Hermé, 1989.

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 International, 1998. Catalogue of the traveling exhibition.

Mucha/Bridges Alphonse Mucha : the complete graphic works, by Ann Bridges. London : Academy Editions, 1980.

Müller-Brockmann History of the poster, by Josef & Shizuko MüllerBrockmann. Zurich : ABC Edition, 1971.

Musée d’Affiche Trois siècles d’affiches francauses : 1ère exposition du Musée de l’Affiche/Three centuries of French posters, by Alain Weill & Réjane Bargiel. Paris : Muséee d’Affiche, 1978. Catalogue for the inaugural exhibition at the Musée d’Affiche, Paris, 1978.

Nectar/Nicolas Nectar comme Nicolas, by Alain Weill. Paris : Editions Herscher, 1986.

Nizzoli Marcello Nizzoli, by Germano Celant. Milano : Edizioni di Comunità, 1968.

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.

215

BIBLIOGRAPHY (CONTINUED) PAI-XLIX

PAI-LXVI

PAI-LXXXIII

Plakat Schweiz

Soaring Posters. Auction held in New York City, November 8, 2009.

Rare Posters. Auction held in New York City, May 3, 2015.

Rare Posters. Auction held in New York City, March 14, 2021.

Das plakat in der Schweiz, by Willy Rotzler, Fritz Schärer & Karl Wobmann. Zurich : Edition Stemmle, 1990.

PAI-L

PAI-LXVII

PAI-LXXXIV

Poster Celebration. Auction held in New York City, May 3, 2010.

Rare Posters. Auction held in New York City, October 11, 2015.

Rare Posters. Auction held in New York City, July 20, 2021.

PAI-LI

PAI-LXVIII

PAI-LXXXV

Rare Posters. Auction held in New York City, November 14, 2010.

Rare Posters. Auction held in New York City, January 31, 2016.

Rare Posters. Auction held in New York City, November 14, 2021.

PAI-LII

PAI-LXIX

PAI-LXXXVI

Plakate in München 1840-1940 : eine documentation zu geschichte und wesen des plakats in München, by Gude Suckale-Redlefsen & Volker Duvigneau. München : Stadtmuseum, 1975. Catalogue of the exhibition at the Münchner Stadtmuseum, October 16, 1975-January 6, 1976.

The Winter Sale. Auction held in New York City, February 13, 2011.

Rare Posters. Auction held in New York City, May 15, 2016.

Rare Posters. Auction held in New York City, March 20, 2022.

Posters of Paris

PAI-LIII

PAI-LXX

PAI-LXXXVII

Rare Posters. Auction held in New York City, May 1, 2011.

Rare Posters. Auction held in New York City, October 30, 2016.

Rare Posters. Auction held in New York City, July 12, 2022.

PAI-LIV

PAI-LXXI

PAI-LXXXVIII

Rare Posters. Auction held in New York City, September 8. 2011.

Rare Posters. Auction held in New York City, March 12, 2017.

Rare Posters. Auction held in New York City, November 13, 2022.

PAI-LV

PAI-LXXII

PAI-LXXXIX

Rare Posters. Auction held in New York City, November 13, 2011.

Rare Posters. Auction held in New York City, June 22, 2017.

Rare Posters. Auction held in New York City, March 19, 2023.

PAI-LVI

PAI-LXXIII

PAI-XC

Food & Wine. Auction held in New York City, February 12, 2012.

Rare Posters. Auction held in New York City, October 22, 2017.

Rare Posters. Auction held in New York City, July 18, 2023.

PAI-LVII

PAI-LXXIV

Parfum

Rare Posters. Auction held in New York City, May 6, 2012.

Rare Posters. Auction held in New York City, February 25, 2018.

Purvis/Art

PAI-LVIII

PAI-LXXV

Femmes de parfum : visages d’hiers & d’aujourd’hui, by Marie-Christine Grasse. Milan, Italy : Musée International de la Parfumerie, 1996.

American Posters. Auction held in New York City, September 6, 2012.

Rare Posters. Auction held in New York City, June 26, 2018.

Le Pater

Rademacher Masters of German art, by Hellmut Rademacher. New York : October House, 1966 (Original German edition published in 1965 by Edition Leipzig).

PAI-LIX

PAI-LXXVI

Rare Posters. Auction held in New York City, November 18, 2012.

Rare Posters. Auction held in New York City, October 28, 2018.

PAI-LX

PAI-LXXVII

Rare Posters. Auction held in New York City, March 10, 2013.

Rare Posters. Auction held in New York City, February 24, 2019.

PAI-LXI

PAI-LXXVIII

Alphonse Mucha, Paris 1900 : Le Pater/The Lord’s prayer, by Anna Dvorák, Helen Bieri Thomson & Bernadette de Boysson. Paris: Somogy, 2001. Catalogue of the touring exhibition at Fondation Neumann, Spetember 27, 2001-January 27, 2002; Obecní dum, Prague, June 19-September 29, 2002; Musée des Arts Décoratifs, Bordeaux, October 3, 2003-January 4, 2004; and Musée Royal de Mariemort, Belgium, April 2-June 27, 2004.

Rare Posters. Auction held in New York City, September 12, 2013.

Rare Posters. Auction held in New York City, June 23, 2019.

Penfield

PAI-LXII

PAI-LXXIX

Rare Posters. Auction held in New York City, January 12, 2014.

Rare Posters. Auction held in New York City, October 27, 2019.

PAI-LXIII

PAI-LXXX

Rare Posters. Auction held in New York City, May 4, 2014.

Rare Posters. Auction held in New York City, February 23, 2020.

PAI-LXIV

PAI-LXXXI

Rare Posters. Auction held in New York City, September 21, 2014.

Plakate München

Posters of Paris : Toulouse-Lautrec & his contemporaries, by Mary Weaver Chapin. New York : Delmonico, 2012. Catalogue of the exhibition at the Milwaukee Art Museum, June 1-September 9, 2012.

Price Posters, by Charles Matlack Price. New York : George W. Bricka, 1913.

Publicité Affiches de la Publicité, by Emmanuel Lopez. Paris : Citadelles & Mazenod, 2013.

Purvis Poster progress, by Tom Purvis, F.A. Mercer & W. Gaunt. London & New York : The Studio, 1939.

Tom Purvis / Art for the Sake of Money, by Ruth Artmonsky and David Preston. London: Artmonsky Arts, 2014.

Rawls Wake up, America : World War I and the American poster, by Walton Rawls. New York : Abbeville Press, 1988.

Reims

Designed to persuade : the graphic art of Edward Penfield, by David Gibson. Yonkers, N.Y. : Hudson River Museum, 1984. Catalogue of the exhibltion at The Hudson River Museum, Yonkers, New York, May 20-July 15, 1984.

Exposition d’affiches artistiques Françaises et étrangères, modernes et retrospectives, by Alexandre Henriot. Reims : Impr. Coopérative de Reims, 1896. Catalogue of the exhibition at the Cirque De Reims, November 7-17, 1896. Reissued in a numbered edition of l,000 copies by the Musée de l’Affiche in 1980.

Petite Reine

Reise Die reisse ins bad : die bibliophilen Taschenbücher Nr. 320. Dortmund : Harenberg Kommunikation, 1982.

Rare Posters. Auction held in New York City, July 21, 2020.

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.

PAI-LXV

PAI-LXXXII

Pierrot

Rare Posters. Auction held in New York City, January 25, 2015.

Rare Posters. Auction held in New York City, November 15, 2020.

Les 100 plus belles images de Pierrot, by Daniel Bordet. Paris : Editions Dabecom, 2003.

Rennert/Weill Alphonse Mucha : the complete posters and panels, by Jack Rennert & Alain Weill. Boston : G. K. Hall, 1984.

216

BIBLIOGRAPHY (CONTINUED) Resnick

Schoonbroodt

Theaterplakate

Weill

The American image : U.S. Posters from the 19th to the 20th century, by Mark Resnick & R. Roger Remington. Rochester, N.Y. : RIT, 2006. Catalogue of the exhibition of posters from the collection of Mark and Maura Resnick at the Bevier Gallery, Rochester Institute of Technology, Rochester, New York, September 9-October 11, 2006.

Privat Livemont : entre classicisme et art nouveau, by Benoit Schoonbroadt. Bruxelles : C.I.D.E.P., 2003.

Theaterplakate : ein internationaler historischer uberblick, by Hellmut Rademacher. Leipzig : Edition Leipzig, 1990.

The poster : a worldwide survey and history, by Alain Weill. Boston : G.K. Hall, 1985.

Shahn

Theofiles

The complete graphic works of Ben Shahn, by Kenneth W. Prescott. New York : Quadrangle/New York Times Book Co., 1973.

American posters of World War I, by George Theofiles. Dafran House, New York.

Weill/Art Nouveau

Posters of the First World War, by Maurice Rickards. New York : Walker & Company, 1968.

Ricordi Grafica Ricordi : dal manifesto storico all produzione d’avanguardia, by Giovanni Sangiorgi, Giorgia Mascherpa & Giulia Veronesi. Roma : Ente Premi, 1967.

Shahn/Hiroshima Ben Shahn. Hiroshima : Hiroshima Prefectural Museum of Art, 1970. Catalogue of the exhibition at the Hiroshima Prefectural Museum of Art, September 19-October 4, 1970.

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.

Prints and posters of Ben Shahn, by Kenneth W. Prescott. New York : Dover, 1982.

Saul Bass Saul Bass, edited by Ikko Tanaka. Tokyo : Ginza Graphic Gallery, 1993.

Saunders & Timmers The Poster: A Visual History, by Gill Saunders and Margaret Timmers. New York : Thames & Hudson, 2020.

Schindler Monografie des plakats, by Herbert Schindler. Munich : Süddeutscher Verlag, 1972.

Schip & Affiche Schip & affiche : honderd jaar rederijreclame in Nederland/100 years of Dutch ship posters, by Tanja de Boer. Rotterdam : Maritime Museum Prins Hendrick, 1987.

Schnackenberg Schnackenberg : kostüme, plakate und dekorationen, by Oskar Bie. Munich : Musarion Verlag, 1920.

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.

Tolmer : 60 ans de création graphique dans l’Ile St. Louis. Paris : Biblithèque Forney, 1986. Catalogue of the exhibition at the Bibliotèque Fourney, Paris, May 22-July 5, 1986.

Wine Spectator

Trouville/Deauville

Wittrock

Trouville Deauville a l’affiche, by Frederique Citera-Bullot. Cabourg : Editions Cahiers du Temps, 2000.

Toulouse-Lautrec : the complete prints, by Wolfgang Wittrock. London : Sotheby’s, 1985.

Posters of the Belle Epoque : the Wine Spectator collection, by Jack Rennert. New York : The Wine Spectator Press, 1990.

Spectacle Les arts du spectacle en France : affiches iIllustrées, 1850-1950, by Nicole Wild. Paris : Bibliothéque Nationale, 1976. Catalogue of the Bibliothèque de l’Opera (part of the Bibliothèque Nationale).

Word & Image Villon

Sponsel Das moderne plakat, by Jean Louis Sponsel. Dresden : Verlag von Gerhard Kuhtrmann, 1897.

Jacques Villon : les estampes et les illustrations, by Colette de Ginestet & Catherine Pouillon. Paris : Arts et Métiers Graphiques, 1979.

Sport à l’Affiche

Wagner

Sport à l’affche, by Jean Durry. Paris : Editions Hoebeke, 1988

Toulouse-Lautrec and his contemporaries : posters of the Belle Epoque from the Wagner collection, by Ebria Feinblatt & Bruce Davis. Los Angeles : Los Angeles County Museum of Art, 1985. Catalogue of the exhibition at the Los Angeles County Museum of Art, April 9-June 16, 1985.

Sportissimo Sportissimo : cent ans de grandes et petites histoires du sport, by Françoise Laget & Serge Laget. Paris : Editions du Chêne, 1996.

Wallonie

Santé La santé s’affiche, by Marine Robert-Sterkedries. Bruxelles : Thérabel, 2003.

Timeless images, by Jack Rennert. Tokyo : Isetan Museum of Art, 1984. Catalogue of the exhibition at the Isetan Museum of Art, Tokyo, October 10-23, 1984.

Tolmer Shahn/Prescott

Rockwell’s America Norman Rockwell’s America, by Christopher Finch. New York : Harry N. Abrams, 1976.

Weill/Art Deco Timeless Images

Rickards

The Art Nouveau Poster, by Alain Weill. Francis Lincoln Limited, 2015.

Steinlen/Genève Théophile-Alexandre Steinlen (1859-1923), by Carolyne Krummenacker, Philippe Kaenel & Raphaë Gérard. Paris : Fragments, 2004. Catalogue of the exhibition of the collection of the Musée du Petit Palais at the Musée de Payerne, May 14-September 20, 2004, and at the Musée de Montmartre, November 11, 2004-February 13, 2005.

L’affiche en Wallonie : a travers les collections de la Vie Wallonne, ed. by the students of the Seminaire d’Esthetique de l’Université de Liège, Liege : The University, 1980.

Warhol Posters Andy Warhol: The Complete Commissioned Posters, 1964-1987, by Paul Maréchal. Munich: Presetel Verlag, 2014.

Steinlen’s Cats

War Posters

Steinlen’s cats, by Francois Fossier. New York : Harry N. Abrams, 1990. Steinlen images from the Bibliothèque Nationale, Paris.

War Posters : Weapons of Mass Communication, by James Aulich. New York : Thames & Hudson, 2007.

Swiss Posters

Weapons

50 ans : affiches suisses preimées par le Départment Fédéral de l’Intérieur. Bern : KummerIy & Frey, 1991.

Weapons of Mass Dissemination: The Propaganda of War, ed. by Leslie Sternblieb. Miami Beach : The Wolfsonian-Florida International University, 2004.

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.

Weber France : fin de siècle, by Eugen Weber. Cambridge, Mass. : Harvard University Press, 1986.

Word and image : posters from the collection of the Museum of Modern Art, by Mildred Constantine & Alan Maxwell Fern. New York : New York Graphic Society & the Museum of Modern Art, 1968. Catalogue of the exhibition at the Museum of Modern Art, New York, January 25-March 10-1968.

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.

CONDITIONS OF SALE

217

The Conditions of Sale in this catalogue, as it may be amended by any posted notice during the sale, constitutes the complete terms and conditions under which the items listed in this catalogue will be offered for sale. Please note that the items will be offered by us as agent for the consignor. Every potential buyer should read these Conditions of Sale and it will be agreed, acknowledged and understood by such buyer that said buyer has consented to each and every term and condition as set forth herein. 1. Authenticity and Terms of Guarantee.

3. Transfer of title and property.

For a period of five years from the date of this sale, Poster Auctions International, as agent, warrants the authenticity of authorship of all lots contained in this catalogue as described in the text accompanying each lot.

Upon the fall of the auctioneer’s hammer, title to the offered lot shall pass to the highest bidder, who may be required to sign a confirmation of purchase; and, shall be required to pay the full purchase price. The purchaser shall assume full risk and responsibility for the lot purchased upon the fall of the auctioneer’s hammer. Poster Auctions International, at its option, may withhold delivery of the lots until funds represented by check have been collected or the authenticity of bank or cashier checks has been determined. No purchase shall be claimed or removed until the conclusion of the sale. In the event Poster Auctions International shall, for any reason whatsoever, be unable to deliver the lots purchased by the buyer, its liability shall be solely limited to the rescission of the sale and refund of the purchase price and purchaser’s premium.

This warranty and guarantee is made only within the five year period and only to the original buyer of record who returns the purchased lot in the same condition as when sold to said buyer; and, it is established beyond doubt that the identification of authorship, as set forth in the description in this catalogue as may have been amended by any posted signs or oral declarations during the sale, is not correct based on a reasonable reading of the catalogue and the Conditions of Sale herein. Any dispute arising under the terms in this paragraph will be resolved pursuant to final and binding arbitration at the American Arbitration Association. Upon a finding by an Arbitrator in favor of buyer, the sale will be rescinded and the original purchase price, including the buyers premium, will be refunded. In such case, Poster Auctions International and the purchaser shall be deemed released of any and all claims that each may otherwise have had against the other arising out of the sale of such item. The benefits of any warranty granted herein are personal to the buyer and are not assignable or transferable to any other person, whether by operation of law or otherwise. Any assignment or transfer of any such warranty shall be void and unenforceable. The purchaser refers only to the original buyer of the lot from Poster Auctions International and not any subsequent owner, assignee, or other person who may have or acquire an interest therein. It is understood, in the event of disputed authenticity of authorship of any lot results in a rescission of the sale and restitution of the original price and premium paid by such purchaser, stated aforesaid, such restitution is buyer’s sole remedy and Poster Auctions International disclaims all liability for any damages, incidental, consequential or otherwise, arising out of or in connection with any sale to the buyer. Poster Auctions International has provided as much background information for each item listed in this catalogue as possible and has made reasonable efforts to insure the accuracy of the descriptions provided; but Poster Auctions International disclaims any warranty with regard to such descriptions and statements which accompany the listings in this catalogue, including but not limited to, the year of publication, the size, the condition, the printer, the references or any other background information or fact. Accordingly, buyer has due notice that any such information and/or descriptions cannot and will not be considered as material facts to this transaction and will not affect any sales herein.

On the fall of the gavel, THE SALE IS FINAL. All items are sold AS IS. The consignor warrants good title to the buyer. Poster Auctions International and the consignor make no representations or warranty that the buyer acquires any reproduction rights or copyright in items bought at this sale. Any statements made by Poster Auctions International, whether in this catalogue or by its officers, agents or employees, whether oral or written, are statements of opinion only and not warranties or representations of material facts as to each and every transaction herein. 2. Auctioneer’s Discretions. Poster Auctions International has absolute discretion to divide any lot, to combine any of them, to withdraw any lot, to refuse bids and to regulate the bidding. Poster Auctions International reserves the right to withdraw lots at any time prior to or during the sale. The highest bidder acknowledged by the auctioneer will be the purchaser of the lot. Any advance made on an opening bid may be rejected if the auctioneer deems it inadequate. In the event of any dispute between bidders, or in the event of doubt as to the validity of any bid, the auctioneer shall have the final decision either to determine the successful bidder or to re-offer and re-sell the lot in dispute. If any dispute arises after the sale, the auctioneer’s sale record shall be deemed the sole and conclusive evidence as to the purchaser of any lot or item.

Poster Auctions International disclaims all liability for damages, incidental, consequential or otherwise, arising out of its failure to deliver any lots purchased. Poster Auctions International does not charge extra or sell separately any frame if a poster is so offered; but it is clear that it is the poster and not the frame which is being offered for sale. Poster Auctions International shall not be responsible for any damage to the frame or to any poster within the frame. Generally, framed posters offered for sale were received framed, photographed that way, and Poster Auctions International can make no warranty or representations regarding the condition of the poster in unseen areas of any such frame. All items are sold strictly as is and the purchaser assumes full risk and responsibility for the purchased lot upon the fall of the hammer, as stated aforesaid. All lots shall be paid for and removed at the purchaser’s risk and expense by noon of the second business day following the sale. Lots not so removed will, at the sole option of Poster Auctions International and at purchaser’s risk and expense, be stored at Poster Auctions International’s office or warehouse or delivered to a licensed warehouse for storage. Purchaser agrees, in either event, to pay all shipping, handling and storage fees incurred. In the case of lots stored at Poster Auctions International’s own warehouse, the handling and storage fee will be an amount equal to 2% of the purchase price for each such lot, per month, until removed, with a minimum charge of 5% for any property not removed within thirty days from the date of the sale. In addition, Poster Auctions International shall impose a late charge, calculated at the rate of 2% of the total purchase price per month, if payment has not been made in accordance with these Conditions of Sale. Poster Auctions International may, on the day following the sale, remove all unclaimed items in their offices or warehouse. Unless purchaser notifies Poster Auctions International to the contrary, purchaser agrees that Poster Auctions International may, at its discretion, use purchaser’s name as buyer of the item sold. If the purchaser fails to comply with one or more of these Conditions of Sale, then, in addition to any and all other remedies which it may have at law or in equity, Poster Auctions International may, at its sole option, cancel the sale without notice to the buyer. In such event, Poster Auctions International shall retain as liquidated damages all payments made by the purchaser, or sell the item and/or lots and all other property of the purchaser held by Poster Auctions International, without notice. Such liquidation sale shall be at standard commission rates, without any reserve. The proceeds of such sale or sales shall be applied first to the satisfaction of any damages occasioned by the purchaser’s breach, and then to the payment of any other indebtedness owing to Poster Auctions International, including, without limitation, commissions, handling charges, the expenses of both sales, reasonable attorneys fees, collection agency fees, and any other costs or expenses incurred thereunder. The purchaser here by waives all the requirements of notice, advertisement and disposition of proceeds required by law, including those set forth in New York Lien Law, Article 9, Sections 200-204 inclusive, or any successor statue, with respect to any sale pursuant to this section. 4. Buyer’s Premium. A premium of 25% (28% 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.

218 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.

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:

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.

26 W. 17th Street New York, New York 10011

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.

(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.

From: To:

Poster Auctions International (Seller)

From: (Seller)

To:

Poster Auctions International

or to such other address as either party hereto may have designated to the other by written notice.

(c) These Conditions of Sale shall be construed and enforced in accordance with the laws of the State of New York. (d) No waiver shall be deemed to be made by any party hereto of any rights hereunder, unless the same shall be in writing and each waiver, if any, shall be a waiver only with respect to the specific instance involved and shall in no way impair the rights of the waiving party or the obligations of the other party in any other respect at any other time. (e) The provisions of these Conditions of Sale shall be binding upon and inure to the benefit of the respective heirs, legatees, personal representatives and successors and assigns of the parties hereto.

8. Reserves. All lots are subject to a reserve, which is the confidential minimum below which the lot will not be sold. Poster Auctions International may implement the reserve by bidding on behalf of the consignor. The consignor shall not bid on consignor’s property.

(f) The Conditions of Sale are not assignable by either party without written permission of the other party; any attempt to assign any rights, duties or obligations which arise under these Conditions without such permission will be void.

DESCRIPTION OF THE POSTERS

The following ratings have been used: Cond A

esignates a poster in very fine condition. The colors are fresh; no paper loss. There D 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

esignates a poster in good condition. There may be some slight paper D 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

esignates a poster in fair condition. The light-staining may be more pronounced, D restorations, folds or flaking are more readily visible, and possibly some minor paper loss occurs. But the poster is otherwise intact, the image clear, and the colors, though possibly faded, still faithful to the artist’s intent.

Unless otherwise indicated, the name of the printer is that which appears on the face of the poster. It should be kept in mind that frequently the establishment credited on the poster is, in fact, an agency, studio or publisher.

Cond D

esignates a poster in bad condition. A good part of such poster may be missing, D including some crucial image area; colors and lines so marred that a true appreciation of the artist’s intent is difficult, if not impossible. There are no D posters in this sale!

5. Condition of the Poster.

The above condition ratings are solely the opinion of Poster Auctions International, and are presented only as an aid to the public. Prospective purchasers are expected to have satisfied themselves as to the condition of the posters. Any discrepancy relating to the condition of a poster shall not be considered grounds for the cancellation of a sale.

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.

We have attempted a simplified rating of all the posters in this sale. It should be kept in mind that we are dealing, in many cases, with 50 to 100-year-old advertising paper. The standards of the print collector cannot be used. Prints were, for the most part, done in small format, on fine paper, and meant to be immediately framed or stored in a print sleeve or cabinet. A poster, for the most part, was printed in a large format, on the cheapest possible paper, and was meant to last about eight weeks on the billboards. Most important to the condition of a poster — not eight weeks but often eighty years later—is the image of the poster: is that image (the lines, the colors, the overall design) still clearly expressed? If so, it is a poster worth collecting. While details of each poster’s condition are given as completely and accurately as possible, blemishes, tears or restorations which do not detract from the basic image and impact should not seriously impair value. All posters are lined, whether on linen or japan paper, unless otherwise indicated. But please note that posters received in frames are not inspected out of their frames and therefore no warranty can be made about them. All photos are of the actual poster being offered for sale. A close look at the photo and a reading of the text should enable the buyer who cannot personally examine the item to make an intelligent appraisal of it.

Some other notes and designations relating to the condition of a poster: Framed

here a poster is framed, this is indicated. In many cases, we have photographed W the poster in the frame and the dimensions given are those which are visible within the matting or edges of the frame.

Paper

A ll 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.

219

Poster Auctions International, Inc. at Re nnert’s Galler y

Absentee Bid Form

2 6 West 1 7 t h S t r eet , N ew York, N Y 10011 Tel : 2 1 2 . 7 8 7 . 4 0 0 0 | Fax: 212. 604. 9175 www. p os t er au c t i on s . c om | i n f o@p os terau cti on s . com

PAI-XCI: Rare Posters

Please bid on my behalf on the following lots up to the price shown. I understand that all bids are subject to the Conditions of Sale which are printed in the Catalogue. Poster Auctions International will make every effort to execute bids for those not able to attend and act on the prospective purchaser’s behalf to try to purchase the item desired at the lowest price possible up to the limit indicated by purchaser below as if the purchaser were in attendance, but Poster Auctions International cannot be responsible for any errors or omissions in this matter. Poster Auctions International may reserve the right not to bid for any such party if the order is not clear, does not arrive in sufficient time, or the credit of the purchaser is not established, or for any other reason in its sole discretion.

CUT AT PERFORATED EDGE

The purchase price will be the total of the final bid and a premium of 25% (25% for online bidding; 28% for online bidding through Invaluable/ AuctionZip) of the final bid together with any applicable sales tax. Unsuccessful bidders will not be informed but may telephone for sales results.

Date (Signed) Name Address City Phone:

State Home:

ZIP

Office:

Fax:

Email Address Bank:

Name Address Account Number

Officer

Credit Card #

Exp

V-Code

Billing Zip

n Order Bid n Telephone Bid - Telephone numbers where you can be reached on Sunday, November 12

Lot # Artist

Title

BID (excluding premium) $ $ $ $ $ $ $ $ $ $

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 25%.

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 (25%), but you may also bid through Invaluable and AuctionZip (28%).

ABSENTEE & TELEPHONE BIDDING Complete the form on page 219 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 November 12. When your lot comes up, one of our staff members will call you and execute your bids on your behalf. The buyer's premium for both is 25%.

SEND US THE COMPLETED FORM Email: info@posterauctions.com Fax: 212-604-9175 Mail: 26 W. 17th St. N Y, N Y 10011. It should arrive by Friday, November 10. 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 217. Beginning at 11am EST on auction day, you’ll be able to access a live video feed at posterauctions.com.