PAI-XCII: Rare Posters by posterauctions

PRESENTS

SUNDAY, MARCH 3, 2024 AT 11 AM EST VIEWING: FEBRUARY 9 - MARCH 2 (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 341: Buttericks Moden-Revue, 1912, by Paul Scheurich. This page is a detail of lot 154: Excelsior, ca. 1910, by Leonetto Cappiello. Page 192 is a detail of lot 234: Hotel du Pacha Noir, 1899, by Jules-Alexandre Grün.

ACKNOWLEDGMENTS: I am most grateful to the many individuals who have given their full support and assistance in the preparation of this PAI-XCII: RARE POSTERS sale. First and foremost, our thanks to the 101 consignors in 25 states and

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McCobb was in charge of production and design. Helping with many of the administrative aspects were Ms. Julie Press, Mr. Xavier Serbones, Mr. Angel Caraballo, and Mr. Oliver James L’EROE. And, as always, I benefit immensely from the support of Barbara Rennert, the director of the Poster Photo Archive.

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We are now accepting consignments for our Summer 2024 sale. Consignments

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are accepted until April 15, 2024.

Detail of lot 119: California / Travel by Train, ca. 1930, Anonymous.

TABLE OF CONTENTS 1 OLYMPICS

WAR & PROPAGANDA

JULES CHÉRET

1-5

72-93

177-183

BICYCLES

CIRCUS & WILD WEST

PAUL COLIN

6-23

94-99

188-198

AUTOMOBILES

ISRAEL

JULES-ALE X ANDRE GRÜN

24-47

100-106

232-238

AVIATION

LEONET TO CAPPIELLO

LUDWIG HOHLWEIN

48-71

148-167

27, 249-252

Detail of lot 351: Affiches Charles Verneau. “La Rue,” 1896, by Théophile-Alexandre Steinlen.

TABLE OF CONTENTS 2 ALPHONSE MUCHA

TADANORI YOKOO

CONDITIONS OF SALE

274-312

399-401

PAGE 189

EDWARD PENFIELD

BOOKS AND PERIODICALS

ABSENTEE BID FORM

320-325

405-407

PAGE 191

THÉOPHILE-ALE X ANDRE STEINLEN

SELECTED INDE X

351-357

PAGE 183

HENRI DE TOULOUSE-L AUTREC

BIBLIOGRAPHY

370-380

PAGE 184

OLYMPICS

1 1. IXe Olympiade / Amsterdam 1928. Artist: Joseph Rovers ( 1893-1976) 24 1⁄4 x 39 in./62.2 x 99 cm Joh. Enschedé en Zonen, Haarlem Cond A. Ref: Olympic Posters, 23; Olympics, p. 35; PAI-XLIX, 448 The determined muscularity of Rovers’ runner garnered him both the honor and five-hundred guilder purse promised by the Organizing Committee to the Dutch artists invited to create the official poster for the 1928 Amsterdam games. The stadium designed for the Olympiad by Jan Wils with its marathon tower provides the design’s majestic background. Though not visible in the poster, the top of the tower provided an appropriately regal home for the Olympic flame, which—for the first time in the modern Games—burned throughout the length of the proceedings. Rovers also reproduces the billowing flag with the five interlaced rings, designed by Coubertin, which had been approved at the Paris Congress of 1914. This is the rarest of all pre-World War II Olympic posters! Est: $12,000-$15,000.

OLYMPICS

2. London 1948 Olympics. 1947. Artist: Walter Herz ( 1909-1965)

3. Lake Placid / III Olympic Winter Games 1932. Artist: Anonymous

20 x 29 7⁄ 8 in./50.8 x 76 cm McCorquodale, London Cond A. Ref: Olympics, p. 53; Olympic Posters, 39 (var); PAI-LXXXVIII, 8

24 7⁄ 8 x 40 1⁄4 in./63 x 102.3 cm Cond B/Slight tears at top and bottom edges. Ref: PAI-XL, 450

The first Olympiad after World War II was held, fittingly, in the town that had suffered grievous losses during the long ordeal, but emerged victorious. There was only one official poster, by an artist who escaped from Nazism in 1939 and settled permanently in England; at this time, Herz was the art director of Heros Publicity Studios in London. The poster was printed in three sizes, of which this is the medium format. It gives the story in perfect shorthand: the Grecian athletic spirit meets the British Houses of Parliament. Est: $2,500-$3,000.

Part photo, part graphics in blue and gold metallic ink, this completely uncredited design for the 1932 Winter Games is one of the rarest of all Olympic posters. The official poster, by Witold Gordon, showed the profile of a jumping skier in silhouette; this was evidently an alternative design not known to the International Olympic Committee. This is the larger format. Est: $1,400-$1,700.

4. Squaw Valley. ca. 1960. Artist: Heinrich Berann ( 1915-1999) 33 5⁄ 8 x 24 in./85.3 x 60.7 cm Cond A. Ref: PAI-LXXX, 231 Berann was an Austrian painter and cartographer who achieved acclaim with his panoramic maps that combined modern cartography with classical painting. Here, he presents us with an aerial view of Squaw Valley, California—one of the largest ski areas in the country, and the host of the 1960 Winter Olympics. If the sheer size of these mountains is not enough to impress you, Berann also provides a number of measurements for the various valleys, slopes, and peaks; the Granite Chief peak tops out at 9,050 feet. Est: $1,200-$1,500.

OLYMPICS

5 5. Olympics: Munich 1972. Artist: Various Each: 25 1⁄4 x 39 3⁄4 in./64 x 39 3⁄4 cm Cond A/P. Ref: Olympics, p. 100-102; PAI-XLVI, 460 This is the complete Artistic Series set of 28 posters in the original portfolio cover, and includes the official emblem design of Vasarely (see upper left) and an additional print by Wunderlich. There were two poster series for this event—one group of twenty-two posters featuring individual sports (see PAI-XXXVIII, 92); the other of twenty-eight posters commissioned from top international artists. It’s this latter group, offered here, that celebrates the artistic spirit of Olympic competition. Artists of every age, background, and style are represented, including Joseph Albers, Otmar Alt, Horst Antes, Shusaku Arakawa, Allen d’Arcangelo, Max Bill, Eduardo Chilada, Piero Dorazio, Milton Glaser, R. B. Kitaj, Oskar Kokoschke, Charles Lapicque, Jan Lenica, Marino Martini, Serge Poliakoff, Pierre Soulages, Victor Vasarely, Fritz Winter, and Paul Wunderlich. Although the 1972 Games were marred by an act of terrorism against the Israeli team, the posters glorify the international spirit of peaceful competition with graphic eloquence. Est: $3,000-$4,000. (28)

BICYCLES

6. Pegaseo. ca. 1895. Artist: Carlo Casaltoli ( 1856-1903)

8. Cycles et Automobiles Legia. 1898. Artist: Georges Gaudy ( 1872-1940)

48 1⁄ 8 x 64 1⁄ 8 in./122.5 x 162.8 cm Lith. Armanino, Genova Cond B+/Slight tears at folds. Ref: PAI-LXXXII, 49

24 1⁄ 2 x 37 1⁄4 in./62 x 94.8 cm O. de Rycker & Mendel, Bruxelles Cond A-/Unobtrusive folds. Ref: Bicycle Posters, 30; Weill, 93; Livre d’Affiche, 44; PAI-LIII, 254

The allegorical goddess is no stranger to the world of bicycle posters, and this Italian muse guides us toward the splendor of Pegaseo bicycles and illustrates its everyday joys. The models were manufactured by De-Battisti Montanari in Firenze; little information exists on the company, but they produced both bicycles and motorcycles. Casaltoli was born in Florence and started out as a painter and ceramist before expanding into advertising graphics, which earned him great acclaim.

A specialist in automobile and bicycle posters, Gaudy gets to show off both of his talents in this image for Legia. As a despondent female cyclist gazes off into the distance, a couple can be seen whizzing along in their new motorized, open-air car. It is a meeting of the old and the new. Moreover, the sharp white outlines around the images reminds us how in vogue Japanese woodblock prints were at this time. Est: $2,500-$3,000.

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

7. Cycles Peugeot. ca. 1896. Artist: Eugene Vavasseur ( 1863-1949) 44 ⁄4 x 61 ⁄ 8 in./112.6 x 157.2 cm Imp. Camis, Paris Cond A-/Unobtrusive folds. Ref: PAI-LXX, 44 1

Peugeot began production as a maker of various household goods, especially items which required simple mechanisms, such as pepper grinders. Their specialization in metal domestic necessities led to making the steel rods needed in female undergarments, which, as the company grew, ultimately landed them in the bicycle business. Est: $1,700-$2,000.

9. Crawford American Cycles. ca. 1895. Artist: Anonymous 38 1⁄ 8 x 55 1⁄4 in./97 x 140.5 cm Imp. Courmont Frères, Paris Cond A-/Slight tears at edges. Ref: Bicycle Posters, 41 (var); PAI-LXXXII, 65 Crawford was manufactured in Hagerstown, Maryland, and like many American companies of the 1890s, export was a large part of the business. The same image appeared on their posters in several countries; this version bears the address of a local Paris agent. “The artist too... could not cope with spokes, although here it adds not so much to the feeling of speed as to one of lightness as the pretty lady seems to be floating over the road” (Bicycle Posters, p. 8). Est: $1,700-$2,000.

BICYCLES

10. Cycles & Automobiles / Deuxième Exposition. 1897. Artist: Armand A. Rassenfosse ( 1862-1934) 40 x 28 7⁄ 8 in./101.5 x 73.4 cm Lith. A. Benard, Liège Cond A-/Unobtrusive folds. Ref: Rassenfosse, p. 65; Wallonie, 61; Automobile/Lopez, p. 15; PAI-LXXIV, 109 The precursor to the poster by Koister (see PAI-LXIX, 27), this simple image showcasing both the audience and the products announces the second annual Bicycle and Automobile Show of Liège. Est: $2,000-$2,500.

11. Cycles A. Mercier. ca. 1900. Artist: G. Berni 37 x 51 5⁄ 8 in./94 x 131.3 cm Imp. L. Gaillard, Paris Cond B+/Slight tears at folds. Ref: PAI-LXXXV, 29 A young lady makes the Mercier cycle she hoists in her left hand seem as light as the butterfly she balances on her right. Of course, given her getup—outlandish even by bicycle standards: feathered boater hat, bare bosom, broad tiger-striped skirt, and argyle socks—one might easily overlook the bicycle altogether, but not the poster. Little is known of this artist; there are only two of his posters in the collection of the Bibliothèque Nationale, of which this is not one. Est: $1,700-$2,000.

BICYCLES

13 12. American Crescent Cycles. 1899. Artist: Frederick Winthrop Ramsdell ( 1865-1915) 41 1⁄4 x 61 5⁄ 8 in./104.8 x 156.6 cm Imp. Chaix, Paris Cond A-/Unobtrusive folds. Ref: Bicycle Posters, 19; Petite Reine, 40; Dodge, p. 160; PAI-LXXV, 9

Ramsdell studied at the Art Students League of New York, then left for Paris, where his work was shown at the Paris Salon between 1891 and 1898. This was the sweet spot for the French advertising poster, of course, and especially the work of Éugene Grasset, whose style Ramsdell appropriates in spectacular style. Est: $4,000-$5,000.

13. Clément. ca. 1900. Artist: Arthur Foache ( 1871-1967) 37 3⁄4 x 54 1⁄ 2 in./96 x 138.4 cm Imp. Bourgerie, Paris Cond B/Slight tears at folds. Ref: Bicycle Posters, 65; DFP-II, 610; Schardt, p. 158; Dodge, p. 121; Weill/Art Nouveau, p. 61; PAI-LXXXV, 25 Arthur Foache created a radiant—even erotic—image for Clément bicycles, a field that he certainly specialized in. Adolphe Clément opened his first bicycle manufacturing business in 1878, complete with a repair shop and cycling school. By 1890, his small local business had become the most popular bicycle brand in France. As Clément was also a fanatical racer, it seems only fitting that the muse in this poster should be carrying the many laurels won by him and his brand. Est: $2,700-$3,000.

14. Terrot & Co / Cycles Motorettes. ca. 1901. Artist: Francisco Tamagno ( 1851-1933) 38 x 53 1⁄ 2 in./96.6 x 135.8 cm La Lithographie Parisienne Robin, Paris Cond A-/Unobtrusive folds. Ref: PAI-LXXXVII, 55

The trademark of Tamagno’s Terrot advertising was sheer attitude combined with a healthy dose of overstatement. Many of his designs for the company feature a young lady atop her Terrot outpacing airplanes and locomotives, or easily pedaling through mountainous terrain. Here, a different type of attitude is on display: masculine confidence and industry in action. And while this architect surveying the construction of his latest building is doing so in rapid fashion courtesy of his Terrot motorbike, Tamagno makes sure to include the previously noted predilection on the “Publicité Reservée,” which just so happens to be covered in almost every other design he created for Terrot. It’s not only a wonderful turn-of-the-century construction document, but a virtual Tamagno sampler as well. Terrot bikes were successful enough during the 1890s, but the firm really came into its own with motorcycles in 1901, and remained in business until the 1960s with one of the best makes in France. Est: $2,000-$2,500.

BICYCLES

15 15. Terrot / Dijon / Cycles-Motocyclettes. 1902. Artist: Francisco Tamagno ( 1851-1933)

17. Peugeot. 1905. Artist: Walter Thor ( 1870-1929)

39 1⁄ 8 x 54 5⁄ 8 in./90.5 x 139 cm La Lithographie Parisienne, Romanet Cond B/Slight tears at folds and top text area. Ref: PAI-XLIII, 558

41 1⁄ 8 x 57 1⁄ 8 in./104.6 x 145.2 cm Imp. G. Elleaume, Paris Cond A-/Slight tears at edges. Ref: PAI-LXXXIV, 28

Attitude is everything in the several Terrot bicycle posters Tamagno created at the turn of the century. In all of them a young lady makes it to the top of a hill way ahead of the competition, effortlessly outdistances an airplane, beats a locomotive coming on at full speed, and, as seen here, keeps pace with a male companion atop a Terrot motorbike— although she appears to have taken some sort of shortcut through the underbrush. Her gentleman friend is the picture of good sportsmanship as he outpaces the other riders, but this feisty female—as is always the case in a Tamagno Terrot poster— doesn’t neglect to let the competition know in no uncertain terms who’s the champ.

It all started with crinoline dresses—which used steel rods—leading to umbrella frames, wire wheels, and ultimately bicycles. Thus is the ancestry of the Peugeot bicycle, whose “Le Grand Bi” penny-farthing model was introduced to the public in 1882 by Armand Peugeot, along with a range of other bicycles. Thor’s poster for the company demonstrates that as long as there have been people riding around on bicycles, there have been dogs that love to give chase. This female rider looks rather concerned—though her choice of riding attire would appear to be more of an immediate concern than the elegant pooch keeping pace with her—and we’re not even convinced that she’s aware of the additional two pups closing in on her quickly from the other side. Though the public in general is more familiar with their automotive output, Peugeot continues to manufacture bicycles to this day. However, the car and bike companies parted ways in 1926. Thor, a member of the Salon des Artistes Français, is best known for his humorous turn-of-the-century transportation posters.

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

16. The “Nelson.” Artist: Anonymous 38 7⁄ 8 x 78 3⁄ 8 in./98.8 x 199 cm Stafford & Co., Netherfield Cond B+/Slight tears at folds and seams. This very early and rare advertisement comes from the inaugural years of Thomas Humber’s prolific career. And although the mechanics of the “Nelson” being advertised remain a mystery, the image itself is a wonderful document of the early days of cycling, when women got their first taste of freedom on two wheels—even though the long skirt was quite inconvenient. This is a three-sheet poster. Est: $1,400-$1,700.

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

BICYCLES

18 18. Cycles Brillant. 1925. Artist: A. M. Cassandre ( Adolphe Mouron, 1901-1968) 30 1⁄ 2 x 46 in./77.2 x 117 cm Imp. Hachard, Paris Cond A-/Horizontal fold at top. Ref: Cassandre/Weill, p. 44; Cassandre/Suntory, p. 37; Crouse/Deco p. 129; PAI-LXXVI, 204 This is one of Cassandre’s most economically realized images, with every line, curve, and shape serving a well-defined function. It is also one of his rarest: it nearly defies logic that such a splendid image was not preserved with more available copies. The reason may well be that this was one of the very first posters ever created by the Art Deco master. Est: $10,000-$12,000.

BICYCLES

19. FN (Fabrique Nationale). 1925. Artist: Marcello Nizzoli ( 1887-1960)

20. Peugeot. Artist: Max Ponty ( 1904-1972)

21. Cycles Peugeot. 1931. Artist: Roger Pérot ( 1908-1976)

31 x 46 3⁄4 in./79 x 118.8 cm Publivox, Genève Cond A-/Horizontal fold. Ref: Timeless Images, 117; Crouse/Deco, p. 64; PAI-LXXXIV, 32

31 x 47 1⁄ 8 in./79 x 119.7 cm Imp. Hachard, Paris Cond B+/Slight tears at folds. Ref: PAI-XXXV, 447

31 1⁄4 x 47 1⁄ 2 in./79.3 x 120.6 cm Hachard, Paris Cond A-/Horizontal fold. Ref: PAI-LIX, 60

This exquisite Ponty dream ride shows the tenuous delineation between the dream and the drive, a line blurred even further in the minds of the motorcycle lover. Ponty’s known designs are few, but the ones that do exist more than suffice to establish him as a foremost Art Deco posterist.

Forty-eight years after being founded by Émile Peugeot, the company obtained the lion as its trademark. The animal would go on to appear in hundreds of advertisements for the company, including posters such as this, where the cyclist is bringing the sprit of the beast along his path while sitting proudly atop his Peugeot bicycle.

Nizzoli’s arresting Art Deco design with a phantomlike motorcycle rider emphasizes both power and comfort, as the fashionable passenger can easily put on her lipstick during the ride. Nizzoli was a most versatile artist: he was a painter, decorator, textile designer, and posterist. Many of his posters were for automobile companies. In 1938 he joined Olivetti and was responsible for some of their finest designs in the 1940s and 1950s. He produced a monograph on the firm in 1968. FN, Fabrique Nationale, was the Belgian manufacturer of armaments as well as bikes. Est: $3,500-$4,000.

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

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

BICYCLES - AUTOMOBILES

22. Gran Premio Motociclistico. 1948. Artist: A. Ossani

23. Championnat du Monde / Clermont-Ferrand. 1959. Artist: René Garmy

39 x 54 1⁄4 in./99 x 137.8 cm Litografie Artistiche Faentine Cond B+/Slight tears at edges.

31 5⁄ 8 x 47 1⁄4 in./80.3 x 120 cm Imp. Mont-Louis, Clermont-Ferrand Cond A-/Unobtrusive folds. Ref: L’Auvergne, p. 154 (var)

Vroom vroom! Ossani takes us on a motorized international journey to Faenza for the Italian Motorcycle Grand Prix. Launched in 1914, the race continues to take place annually. This is a two-sheet poster. Est: $1,400-$1,700.

This vibrant scene brings us right into the action of the Grand Prix motorcycle race organized by the Auvergne Moto-Club. Est: $1,700-$2,000.

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

AUTOMOBILES

24 24. Auto Barré. ca. 1903. Artist: Marcellin Auzolle ( 1862-1942) 63 1⁄ 2 x 47 in./161.3 x 119.5 cm Imp. Th. Dupuy, Paris Cond B+/Slight stains at edges; unobtrusive folds. Ref: Auto Show III, 22; Gold, 76; PAI-LXXXIX, 1 “The two women have just passed a string of other automobiles, and one of them can’t resist bragging about their vehicle’s superiority with a sassy, surprising thumbing of her nose. The poster not only implies that women should take up motoring, but also shows how the freedom of the road may lead them to break some of the shackles of the era’s propriety. It’s hard to tell what astounds the gathered villagers most: the women’s beauty, their nerve, or their ramshackle contraption” (Gold, p. 55). The thumbing of the nose and other gesticular insults appear to have been a trademark of the automobile company: another design by Walter Thor shows a quartet of drivers displaying identical behavior towards an exasperated road repair crew (see PAI-LXXXVII, 8). Auzolle remains someone of whom we know little. The Bibliothèque Nationale has 34 of his posters dating from 1898 to 1927, but they’re missing his best-known work: the 1895 poster announcing the opening of the world’s first movie house, the Lumière Brothers’ cinématographe (see PAI-V, 7). Est: $1,700-$2,000.

AUTOMOBILES

25 25. Gladiator. ca. 1903. Artist: H. Gray ( Henri Boulanger, 1858-1924)

27. Mercedes. 1914. Artist: Ludwig Hohlwein ( 1874-1949)

61 1⁄4 x 45 1⁄ 2 in./155.6 x 115.5 cm Imp. E. Bougard, Paris Cond A. Ref: PAI-LXV, 279

29 7⁄ 8 x 40 1⁄ 2 in./75.8 x 103 cm Cond A. Ref: DFP-III, 1478; Roberts, p. 60; Mercedes, 6; Auto Posters, p. 25; Hohlwein/Stuttgart, 162; PAI-XXV, 71

Founded in 1891 by Alexandre Darracq, Gladiator— along with Humber—was purchased by Clément in 1896, forming one of the largest bicycle conglomerates in France. Around 1902, it released its first automobile, the results of which are on display in this Ben-Hur themed poster.

The orchid color suggests an aura of gentility and refinement in one of the earliest car posters to subtly entice women to take up motoring. The airplane in the background serves two purposes: it associates the car with the latest advancements in technology, and reminds auto enthusiasts that Daimler, the company that produces Mercedes, also made aircraft engines at this time. In fact, a few diehard buffs had those installed in their vehicles for higher power, according to the firm’s published history—which also identifies the depicted model as the 37⁄90 PS chain drive with a 9.5-liter 4-cylinder engine. Rare!

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

26. En Reconnaissance. Artist: Ernest Montaut ( 1879-1936) 17 3⁄4 x 33 7⁄ 8 in./45 x 86 cm Cond A/P.

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

A peaceful outing serves as the perfect landscape for Montaut to promote Bayard-Clément’s dirigible and automobile offerings. For a contrasting image featuring these two modes of transit, see Montaut’s Bayard, PAI-LXXXII, 80. Est: $1,400-$1,700.

AUTOMOBILES

28A 28A. Peugeot. ca. 1904. Artist: G. de Burggeill 45 7⁄ 8 x 62 1⁄4 in./116.5 x 158 cm Imp. Moderne, Paris Cond B+/Slight tears at folds. Ref: Auto Show I, 21; Auto Show III, 25; Khachadourian, p. 95; Automobile/Lopez, p. 47; Auto s’Affiche, p. 15; PAI-LXXV, 41 A masterful work of motion and emotion, Burggeill’s rare, early poster for Peugeot creates an enthralling fantasy of motoring in the winter. As the steam and dust swirl about to form the brand up above, we notice that a woman is in the driver’s seat: an unusual choice for the time. Est: $5,000-$6,000.

AUTOMOBILES

28B 28B. Pneus Prowodnik. Artist: O’Galop ( Marius Rossillon, 1867-1946) 44 1⁄ 8 x 62 3⁄4 in./112 x 159.5 cm Imp. Moullot, Paris Cond B/Slight tears and stains at folds. Ref: Discount, p. 118; PAI-XC, 34 O’Galop is, of course, the artist who gave Michelin the beloved character of Bibendum, who is still in use today. Here, he creates a memorably funny image for another French tire company that manufactures and sells in Russia. A bear in racing goggles is ensconced in a tire that rolls easily through the snowy Russian woods— much to the aggravation of the local inhabitants. Est: $1,700-$2,000.

29. Meeting Aérien de Reims : Maquette. 1909. Artist: René Lelong (1871-1933) 12 5⁄ 8 x 17 7⁄ 8 in./32 x 45.5 cm Unsigned watercolor and gouache painting. Framed. Ref: PAI-XC, 1 Lelong’s preparatory work for the 1909 Reims Air Meet captures the audience’s awed reactions to the flying machines above them, which include a Wright, a Blériot, and a Farman. While most air meet images focus on the spectacle in the skies, Lelong takes a refreshing-and beautifully expressed-look at the crowds who gathered at street level to take in the newest aircraft. Regrettably, this delicate artwork did not result in a printed poster. Lelong is best known for his posters for Kodak.

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

30A. Automobile : Maquette. ca. 1910. Artist: Daniel de Losques (David Thoroude, 1880-1915) 39 7⁄ 8 x 25 5⁄ 8 in./101.5 x 65.2 cm Signed oil painting. Framed. Vroom vroom! Our open-air riders seem to have escaped the stratosphere and are floating amongst the planets while a French police officer appears to try to snag them. The vehicle itself is likely either a Darracq SS20 or an Opel Touring, both from about 1910. We do not know of a final poster created from this image, though it would have made for a great lithographic advertisement. De Losques was the pseudonym of David Thoroude, who studied law and started out as a law firm employee before switching to art. Along with designing posters, he drew magazine illustrations and caricatures from 19041914. His career was cut tragically short by his death in aerial combat during World War I. Est: $3,000-$4,000.

30A

AUTOMOBILES

30B

31B 30B. Salon de l’Automobile : Maquette. ca. 1927. Artist: Edouard Courchinoux (1891-1968) 44 1⁄ 8 x 51 1⁄4 in./112 x 130.3 cm Signed watercolor and ink maquette. Framed. Ref: PAI-XC, 38 For the 21st edition of the Paris Motor Show, Courchinoux created this simple but playful maquette in reverence of the newest automobile of the time. Held at the Porte de Versailles, the exposition continues to be the most visited auto show in the world. Est: $3,500-$4,000.

31A. Internationale Automobil Ausstellung / Berlin : Maquette. 1939. Artist: Ottomar Anton (1895-1976) 24 1⁄4 x 38 5⁄ 8 in./61.5 x 98.2 cm Signed gouache and ink maquette. Framed. Ref: PAI-XC, 44 Launched in 1897, the Berlin Motor Show was hosted annually (with a pause during World War I) until 1939, the year of this maquette. This 29th edition of the event saw the introduction of the Volkswagen Beetle and amassed a whopping 825,000 visitors. The exposition was then suspended during World War II. Although another poster was ultimately chosen to announce the event, Anton’s preparatory work is a powerful evocation of German automobile manufacturing. Est: $6,000-$8,000.

31B. La Baraque. ca. 1931. Artist: Erma 31 3⁄ 8 x 47 1⁄ 8 in./79.8 x 119.7 cm Affiches Mont-Louis, Clermont-Ferrand Cond A. Home to tire-giant Michelin, Clermont-Ferrand is a natural choice for an automobile race. Its geography was historically altered by the presence of the now-dormant Puy de Dôme, a volcano which has left sharp black rocks and jutting hills all over the landscape. Here, the Automobile Club of Auvergne promotes an event for both automobile and motorcycle racers.

31A

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

AUTOMOBILES

32B

32A

32A. Amilcar. 1933. Artist: A. Chazelle

32B. Energol. ca. 1934. Artist: René Vincent ( 1879-1936)

33. Michelin. 1959. Artist: Anonymous

46 x 61 5⁄ 8 in./116.8 x 156.5 cm H. Chachoin, Paris Cond A. Ref: PAI-XLVIII, 169

46 3⁄ 8 x 63 1⁄ 8 in./117.8 x 160 cm Imp. Bedos, Paris Cond A-/Slight stain at bottom edge. Ref: PAI-XXIII, 41

18 1⁄ 2 x 26 1⁄ 8 in./47 x 66.3 cm Verga, Milano Cond A. Framed. Ref: Discount, p. 229 (var); PAI-LXXXVI, 29

The small Amilcar was one of the sportiest French automobiles of the 1920s, and the dream car of every French couple of limited means. The company was launched by two Paris businessmen, Emil Akar and Joseph Lamy, in 1921. By 1930, Amilcar was prosperous enough to also produce large touring cars, but the company couldn’t escape the worldwide Depression and went out of business in 1939. Bold, flat colors add to the impact of this Chazelle poster, which shows a fashionable family on an outing to the shore. Note that the driver is on the right—during this period one could pick which side of the car was preferred for the steering wheel position.

Vincent, usually the master of the sleek and elegant, takes a rare humorous approach here. The rosycheeked driver in his racy car leaps out of its snowcovered garage to demonstrate the “lightning-quick winter starts” this motor oil promises.

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: $4,000-$5,000.

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

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

AUTOMOBILES

34. Pau / Grand Prix Automobile. 1952. Artist: Geo Ham ( Georges Hamel, 1900-1972)

36. Circuit Rouen les Essarts. 1957. Artist: Geo Ham ( Georges Hamel, 1900-1972)

15 3⁄4 x 23 5⁄ 8 in./40 x 60 cm Imp. Reunies, Lyon Cond A-/Unobtrusive folds. P. Ref: PAI-XLIV, 35 (var)

15 x 23 1⁄4 in./38 x 59 cm Imp. Wolf-Sicar, Rouen Cond A. Framed. Ref: PAI-L, 19 (var)

The Grand Prix de Pau was first held in 1901 and started running regularly in 1933, with a race being held more or less every year since, excluding the duration of World War II. Running around a circuit laid out on the streets of the French town—in many ways similar to the more famous Monaco Grand Prix—it was the first race to ever be called a Grand Prix. The winner of the Pau Grand Prix on this Pentecost weekend was Alberto Ascari for Team Ferrari. Apart from the last two years of the decade, Italian cars dominated at Pau: specifically, Ferrari, Maserati, and Gordini. The straight-away action in the poster is actually the work of an unnamed artist working from a design originally conceived by Ham, and is thus marked “d’après.”

Rouen-Les-Essarts was a six-and-a-half kilometer (approximately four-mile) race track in Grand-Couronne, near Rouen, France. From its opening in 1950, RouenLes-Essarts was recognized as one of Europe’s finest circuits, with up-to-date pits, a wide track, and wellplaced grandstands. The circuit, which ran on public roads, was made up of medium straights, a cobbled hairpin turn at the southernmost tip, and a few blind corners situated on a wooded hillside. The circuit was shut down in 1994 due to economic and safety reasons. And while this Ham poster textually makes mention of motorcycle and bicycling competitions, it’s clearly the automotive challenge at this Fifth Grand Prix race that was the major draw, with his Number Four and Number Two cars trading paint as they hastily make their way through a Rouen-Les-Essarts turn.

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

35. Montagne d’Auvergne. 1958. Artist: Geo Ham ( Georges Hamel, 1900-1972) 15 5⁄ 8 x 23 1⁄ 2 in./40 x 29.5 cm I.P.C., Clermont-Ferrand Cond A-/Slight tears at edges. P. Ref: L’Auvergne, p. 154; PAI-XCI, 60 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. Est: $1,200-$1,500.

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

37. Winter Drive : Maquette. Artist: Geo Ham ( Georges Hamel, 1900-1972) 11 3⁄4 x 15 3⁄ 8 in./30 x 39 cm Hand-signed gouache maquette. Framed. Ref: PAI-XL, 81 The roads outside may be frightful, but the cruising’s so delightful. And since they’ve someplace to go, why not take a spin in the snow? The conditions may not be ideal for a convertible foray up a steep mountain path, but the brisk scenario, as presented with gouache panache by Ham, is packed with élan and attitude. It’s a lovely homage to those who live for the thrill of the downhill. Est: $4,000-$5,000.

AUTOMOBILES

38. Grand Prix of Cuba. 1957. Artist: Anonymous

39. Porsche / Reims. ca. 1957. Artist: E. Erich Strenger

20 1⁄4 x 28 1⁄ 2 in./51.3 x 72.3 cm Cond A-/Unobtrusive folds.

23 x 32 3⁄4 in./58.4 x 83.5 cm L. Raiber, Stuttgart Cond A. Framed.

Established the year of this poster and only lasting to 1960, the Cuban Grand Prix was meant to attract tourists, and especially visitors from the United States. This first race was won by Juan Manuel Fangio in a Maserati 300S. Est: $2,500-$3,000.

Strenger’s Impressionistic image of Porsche’s 356 Carrera (alias “the Speedster”) was used several times to announce the automaker’s racing wins. Here, the cars shine a light on Porsche’s victories and new records set at the 24 Hours of Le Mans and the 12 Hours of Reims. Est: $2,000-$2,500.

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AUTOMOBILES

40. Porsche / 6 Records / Monthlery. 1955. Artist: E. Erich Strenger ( 1922-1993)

43. Porsche / Europa-Bergmeisterschaft. 1960. Artist: Anonymous

15 1⁄4 x 22 5⁄ 8 in./38.7 x 57.5 cm Cond B/Slight creasing. Framed.

22 3⁄4 x 32 1⁄ 8 in./57.8 x 81.7 cm L. Raiber, Stuttgart Cond A-/Slight creases at left edge. Framed.

Porsche once again toots its own horn with this Modernist design announcing the racing feats of the Swiss driver Walter Ringgenberg and the German driver Richard von Frankenberg at Monthlery. The automotive parts that helped earn them these milestones are listed at bottom.

This zippy Modern design announces Porsche’s wins at the Formula Two European Hill Climb Championship—a race which the automaker dominated from 1958 to 1968. Est: $1,400-$1,700.

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

41. Florida Grand Prix / Sebring. 1958. Artist: Zito 17 1⁄ 2 x 29 1⁄ 2 in./44.6 x 75 cm Cond A-/Slight tears at folds. Framed. Opening its gates in 1950, Sebring is one of the oldest continuously operational racetracks in the country. 65 cars qualified for the 1958 12 Hours of Sebring race, with Americans Phil Hill and Peter Collins claiming first place in a Ferrari 250 TR 58. Est: $2,500-$3,000.

42. 12 Hours of Sebring. 1960. Artist: Zito 17 3⁄ 8 x 16 3⁄4 in./44 x 42.7 cm Maymac, Ft. Lauderdale Cond A-/Slight tears at bottom edges. Framed.

The 1960 Grand Prix in Sebring, Florida was also the second round of the F.I.A. World Sports Car Championship. German drivers Hans Herrmann and Olivier Gendebien claimed the top spot in their Porsche 718 RS60. Zito gives us an intimate look at the racetrack, including the Martini & Rossi sponsorship advertising. Est: $1,200-$1,500.

44. ADAC Nürburgring. 1963. Artist: Anonymous 23 3⁄ 8 x 33 in./59.3 x 83.8 cm Cond B+/Unobtrusive folds. Framed. This anonymous artist gives us an overhead view of the crowded ADAC (Allgemeiner Deutscher AutomobilClub) 1,000-kilometer race at the Nürburgring. Known simply as “The Ring” by motor sport enthusiasts, the Nürburgring—built in the 1920s around the village and medieval castle of Nürburg in the Eifel mountains—is widely considered to be one of the toughest and most demanding race tracks in the world; racing legend Jackie Stewart nicknamed it “The Green Hell.” This 1963 race was won by John Surtees and Willy Mairesse driving for Ferrari. Est: $1,000-$1,200.

AUTOMOBILES

45. Northwest Grand Prix. 1963. Artist: Anonymous

46. Northwest Grand Prix. 1964. Artist: Anonymous

47. Monaco Grand Prix 1965. Artist: Michael Turner ( 1934- )

22 1⁄ 8 x 33 1⁄4 in./56.4 x 84.4 cm Cond A. Framed.

22 1⁄ 2 x 33 1⁄ 2 in./57.2 x 85.2 cm Cond A. Framed.

The Northwest Motorsports Road Racing Club got its start in 1954 in Spokane, Washington. Their 1963 Grand Prix was won by Lloyd Ruby in a Lotus 19 Harrison Special Ford with an average speed of 138 kilometers per hour. The designer of this poster—whose name may be Gumo—gives an international flavor to this American event.

In another design by the otherwise unknown artist (whose name may be Gumo), we are offered another medley of international flags participating in the Northwest Grand Prix in Spokane. This year’s event was held at the Pacific Raceways in Seattle.

15 5⁄ 8 x 22 5⁄ 8 in./39.8 x 60 cm Imp. J. Ramel, Nice Cond A/P. Ref: Ferrari, p. 300; Monaco, 23; PAI-LXXV, 75

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

This is one of the first designs Turner created for the Monaco Grand Prix. In this particular year, England’s Graham Hill was the victor. It was also the Formula One race in which Japan debuted its Honda team. Est: $1,200-$1,500.

AVIATION

48 48. Blériot Traversant La Manche. ca. 1909. Artist: Ernest Montaut ( 1879-1909)

49. Semaine d’Aviation / Caen. 1910. Artist: M. Dessoures

31 1⁄4 x 15 1⁄ 8 in./79.4 x 38.3 cm Cond A. Ref: Continental, p. 66-67; PAI-XLIX, 378

38 x 53 7⁄ 8 in./96.4 x 136.8 cm Lith. Ch. Valin, Caen Cond B-/Slight tears at folds and top text area. Ref: Affiches d’Aviation, p. 57; Perier, p. 84; PAI-XC, 3

Above the churning seas of the North Atlantic, with the shores of England barely discernible on the horizon, this Montaut pochoir design displays the somber solemnity of Louis Blériot’s flight from Les Baraques (Calais) to Dover in just over a half hour behind the controls of the single-engine Blériot XI aircraft. Departing at 4:35 a.m., suffering with a burnt foot sustained in a crash a few days prior, the effects of the flight were farreaching. Author H. G. Wells quite astutely observed after the crossing that “in spite of our [England’s] fleet, this is no longer, from a military point of view, an inaccessible island” (History of Aviation, by John W. R. Taylor and Kenneth Munson, p. 75).

Just imagine: it’s midsummer in 1910, and nothing is sexier than watching those Magnificent Men in their Flying Machines from the top of the Église Saint-Pierre in Caen. Over 60,000 spectators a day took in the spectacle (though few, supposedly, from this vantage point), which included “competitive events between ‘civilians’ and ‘servicemen’” (Affiches d’Aviation, p. 57) in hot-air balloons and rudimentary flyers in the infancy of the aviation age. Est: $6,000-$8,000.

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

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AVIATION

50 50. S.N.E.T.A. 1921. Artist: Samuel Colville Bailie ( 1879-1926)

51. Air France / Marseille / Alger. 1934. Artist: Albert Solon ( 1897-1973)

23 3⁄4 x 40 in./60.2 x 101.8 cm O. de Rycker, Bruxelles Cond A-/Slight tears at folds. Ref: PAI-LXXXVII, 75

24 3⁄4 x 39 3⁄ 8 in./63 x 100 cm France Affiches, Paris Cond A. Ref: Air France/Dream, p. 83; PAI-LXVIII, 40

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

Air France promotes its five hour trip to the sunny coasts of Marseille and Algeria with evocative imagery of beach getaways.

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

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

52. Pan American / Germany. 1948. Artist: E. McKnight Kauffer ( 1890-1954) 28 1⁄4 x 41 3⁄4 in./71.8 x 106 cm Cond A-/Slight tears at bottom edge. Ref: Kauffer, checklist, p. 124; PAI-XLIV, 316 Although born in Montana, McKnight Kauffer spent most of his creative years in England. He returned stateside for the last fifteen years of his life, and designed posters in a New York studio, where his biggest clients were book publishers—Random House, Hartcourt Brace, Alfred A. Knopf, Doubleday, Pantheon, and Modern Library— as well as American Airlines. “His color harmonies, his arrangements of pattern, his sensitivity in the development of an appropriate image or symbol... and his mastery of execution have seldom been equaled” (Catalogue of McKnight Kauffer exhibition, Cooper-Hewitt Museum, 1989-1990). In his poster for Pan Am’s service to Germany, he dispenses with the mode of transportation altogether, opting instead to showcase the perennial beauty of Germany, even in the recent postwar years. Est: $1,200-$1,500.

AVIATION

53. Pan Am / Yucatan. ca. 1950. Artist: Anonymous

55. British South American Airways. ca. 1950. Artist: Anonymous

56. Air France / Afrique du Nord. 1946. Artist: Bernard Villemot ( 1911-1989)

27 x 36 5⁄ 8 in./68.5 x 93 cm Offset S.A., México Cond A. Ref: PAI-LXXXIV, 54

25 x 40 1⁄ 8 in./63.3 x 102 cm Industrial Publicity Service, London Cond A.

24 1⁄ 8 x 39 in./61.2 x 99 cm Hubert Baille, Paris Cond A-/Slight tear at top edge. Framed. Ref (all var but PAI): Bon Salle, 221; Villemot/Forney, 161; Air France, A19; Toujours plus Haut, p. 165; PAI-LXXXIV, 46

During the 1920s and 1930s, Pan Am broadened its service to include Mexico and South America. In 1929, the company acquired a controlling stake in Mexicana de Aviación, taking over Mexico’s Ford Trimotor route between Texas and Mexico City, and then extending this service to the Yucatán Peninsula. Here, we’re given a detailed look at some of the Mayan archaeological sites that can be found throughout the peninsula, which was the central location of the Mayan Civilization. Est: $800-$1,000.

54. Mexicana Airlines / Oaxaca. ca. 1950. Artist: Anonymous 27 3⁄ 8 x 42 1⁄4 in./69.5 x 107.3 cm Offset S. A., México Cond A. Pan Am and Mexicana Airlines bring us to the ancient city of Oaxaca in southern Mexico, where human habitation dates back to about 11,000 BCE. Today, it is still home to a number of indigenous groups, including the Zapotecs, who are likely depicted here dancing in front of an ancient temple. Mexicana was the country’s oldest and longest operating airline from 1921 to 2010. In 1929, Pan Am became affiliated and helped forge international routes. Est: $1,000-$1,200.

Only in operation from 1944 to 1950, the British South American Airways carried British passengers to Bermuda, the West Indies, Mexico, and the western coast of South America. In their brief existence, the BSAA experienced its share of turmoil: in 1947, their Star Dust plane disappeared during a flight from Buenos Aires to Santiago, and the remains were not located for fifty years; in 1948, the Star Tiger disappeared over the Atlantic Ocean; in 1949, the Star Ariel met the same fate on a trip to Jamaica. So while this poster might inspire you to “fly with the stars,” we would advise against it. Est: $1,700-$2,000.

Villemot designed posters for Air France interspersedly from 1946 through the 1970s; he was hired specifically for his “poetic, symbolic imagination [that translated] into suggestive forms and colors whatever inspiration he could draw from words as general as India, North Africa, Paris, etc.” (Bon Salle, p. 115). For North Africa, he presents us with a bird’s-eye view of the typical white walls, stucco roofs, and domes one might find in Morocco. This is the French language version. Est: $1,400-$1,700.

AVIATION

57 57. TAI. 1953. Artist: Bernard Villemot ( 1911-1989) 27 5⁄ 8 x 39 1⁄ 8 in./70.2 x 99.3 cm Éditions le Carrousel, Paris Cond A. Ref: Bon Salle, 237

Villemot illustrates the moment French colonial outposts became exotic tourist destinations. This incredible, rare design for TAI—the Compagnie de Transport Aeriens Intercontinentaux—gives the illusion of a swirling globe full of travel possibilities. TAI began as a charter airline in June 1946 in association with the Messageries Maritime Shipping Company, with its first flights departing in July of that year. The enterprise merged with the Union de Transports Aériens in 1963. The Douglas DC-6 was one of the first airplanes to fly a regularly scheduled around-theworld route, and its list of destinations at left is enough alone to inspire adventure, from Bangkok to Casablanca to Saigon and beyond. Est: $1,200-$1,500.

58. Air France / Paris. 1947. Artist: Pierre Baudouin ( 1921-1971) 24 1⁄ 2 x 39 1⁄ 8 in./62.2 x 99.4 cm La Générale Publicité, Paris Cond A. Ref: Air France/Fraile, p. 37; Airlines, p. 20; Air France/Dream, p. 25; PAI-LXXIV, 97 Two years after the end of World War II, the Arc de Triomphe is illuminated as a beacon of sightseeing delight. Est: $1,000-$1,200.

59. Alitalia. 1955. Artist: Marcello Dudovich ( 1878-1962) 27 3⁄ 8 x 39 1⁄4 in./69.5 x 99.6 cm Arti Grafiche, Milano Cond B/Slight tears at left paper edge. Ref: Dudovich, fig. 195

One of the last posters Dudovich created is this Modernist design for the fairly new Alitalia airline, which was launched in 1946. Stylistically, it’s an interesting departure from the Italian master’s romantic Art Nouveau imagery, and represents a sharp turn of the times, both aesthetically and technologically. Est: $1,000-$1,200.

AVIATION

60. TWA / Africa. ca. 1955. Artist: David Klein ( 1918-2005)

61. TWA / New York. 1956. Artist: David Klein ( 1918-2005)

25 x 39 7⁄ 8 in./63.6 x 101.2 cm Cond A-/Slight creases at edges. Ref: Publicité, p. 195; PAI-LXXXIX, 42

25 x 39 7⁄ 8 in./63.4 x 101.2 cm Cond A. Ref: PAI-LXXXV, 99

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

In Klein’s most celebrated poster for TWA, bold squares of color, representing Manhattan’s Times Square, create a pinpoint-perfect definition of New York in the midst of its mid-century Modern moment, although Mies van der Rohe’s Seagram Building wouldn’t be completed for another two years. This is Klein’s most popular and enduring work.

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

AVIATION

62. Fly TWA Jets / Paris. 1962. Artist: David Klein ( 1918-2005)

63. TWA / San Francisco. ca. 1958. Artist: David Klein ( 1918-2005)

25 x 39 5⁄ 8 in./63.3 x 100.6 cm Cond A. Ref: PAI-XCI, 74 (var)

24 7⁄ 8 x 40 in./63.3 x 101.6 cm Cond A. Ref: PAI-LXXV, 101

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. This is a rare variant with additional text at the bottom.

David Klein had an unrivaled ability to capture the soul of an American destination with a mid-century Modern aesthetic. This celebration of San Francisco and the Golden Gate Bridge is one of his finest works.

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

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

AVIATION

64 64. TWA / Ireland. ca. 1956. Artist: S. Greco 24 7⁄ 8 x 40 1⁄4 in./63.2 x 102 cm Cond A. Ref: PAI-LXXIX, 127 (var) Greco presents us with a visual conflation of the Ancient and the Modern: the 10th century Monasterboice Cross acts as an entryway into a quaint country town while a new TWA plane glides silently across a clear Irish sky. Est: $800-$1,000.

65. TWA / India. Artist: Anonymous 24 3⁄4 x 40 1⁄ 8 in./63 x 102 cm Cond A. An oversized elephant greets us at the gateway to India. TWA offered flights there in the 1960s, ’70s, and briefly in the ’80s. And although David Klein created two images for this TWA destination (see PAI-LXXXVIII, 110 and PAI-LXXXIII, 115), the artist of this evocative image remains unknown. Est: $1,400-$1,700.

66. TWA / San Francisco. ca. 1954. Artist: Anonymous 25 x 40 1⁄4 in./63.5 x 102.3 cm Cond A. Ref: Airline Artistry, p. 6; PAI-LXXXVIII, 106 Attempting to showcase all of the city’s highlights in one image, this unnamed artist has created an idyllic view of San Francisco. From Chinatown to Nob Hill to the Golden Gate Bridge, we are given a visual tour of its landmarks, all from the vantage point of a breezy cable car. Est: $1,400-$1,700.

AVIATION

67 68 67. American Airlines / New York. ca. 1980. Artist: Anonymous 29 3⁄4 x 40 in./75.7 x 101.5 cm Cond A. Ref: PAI-XC, 25 The Brooklyn Bridge, Financial District, and original World Trade Center towers make for a quintessential New York image. The green and blue city lights reflecting in the East River add a surreal quality to this view of the city at night. Est: $1,400-$1,700.

68. Lufthansa / New York. ca. 1970. Artist: Anonymous 23 3⁄ 8 x 33 in./59.3 x 84 cm Cond A/P. Ref: PAI-XC, 20 For international travelers in the late 20th century, these glimmering city lights sufficed to immediately evoke New York City. The iconic Twin Towers at the center draw us straight into lower Manhattan, where the lights of the Financial District capture and reflect the brilliant sunset. This poster by an anonymous designer is a dazzling testament to a New York that was. Est: $1,400-$1,700.

69. Pan Am / New York. Artist: Anonymous 28 x 42 in./71 x 106.6 cm Cond A/P. Ref: PAI-LXXXIV, 70 New York at night is truly intoxicating. The glittering lights of the buildings reflect in the rivers while car lights whoosh past, creating a medley of dancing, glowing orbs. Take a cab across the Brooklyn Bridge, open the windows, and let that crazy, wonderful New York energy seep into your pores. This poster captures the city’s mesmerizing effect, which is made even more special by the appearance of the old World Trade Center towers.

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

AVIATION

70. Pan Am / New York. ca. 1970. Artist: Anonymous

71. Continental to New York. Artist: Anonymous

28 x 41 7⁄ 8 in./71.2 x 106.4 cm Cond B+/Two slight tears at top. P. Ref: PAI-LXXXIV, 71

25 x 39 7⁄ 8 in./63.6 x 101.4 cm Cond A.

This anonymous designer gives us a glimpse of New York frozen in time: the original World Trade Center towers are preserved in amber, glowing in the blue light of a Manhattan summer sunset. As Joan Didion poignantly wrote, “Blue nights are the opposite of the dying of the brightness, but they are also its warning.” The towers— ever symbols of a distant New York, of loss, of evolution—will always remain a part of the collective consciousness as they’re guided by Lady Liberty into the night.

In another sunset view of a pre-9⁄11 New York, lower Manhattan is aglow in the pink haze of the sun dipping down behind the island. Est: $1,700-$2,000.

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

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WAR & PROPAGANDA

72 72. Nothing Stops These Men. 1918. Artist: H. Giles

73. Comité de l’Or. 1915. Artist: Jean Barbier

74. Food Will Win the War. 1917. Artist: Charles E. Chambers ( 1883-1941)

53 3⁄4 x 38 in./136.6 x 96.6 cm John H. Eggers, New York Cond A/P. Ref: PAI-LVIII, 550

31 1⁄4 x 47 in./79.4 x 119.5 cm Affiches Camis, Paris Cond B+/Slight tears at edges.

19 3⁄4 x 29 5⁄ 8 in./50 x 75.5 cm Rusling Wood Litho., New York Cond A. Ref (all var but Rawls and PAI): Rawls, p. 113; Theophiles, p. 94; Gallo, p. 92; PAI-LXXXII, 31

Even though it takes an entire nation to sustain any war effort, Giles’ graphic vision of life on the front lines serves as an emotional reminder as to who specifically is putting their life on the line. And if the ideal of a safe, democratic world is enough to motivate these brave souls to place themselves in harm’s way, it should be more than enough to get home front workers to put their absolute best efforts forward. This poster has exceedingly fresh colors! Est: $1,200-$1,500.

During the first World War, the French were asked to exchange their gold for paper to help the government pay for foreign imports. In Barbier’s battlefield scene, the coins are mixed with bullets that are dumped on a shocked German soldier. Est: $1,200-$1,500.

“Because of desperate food shortages in Europe, it was understood that America must find a way to feed the Allies—she already supplied wheat for ninety-percent of Britain’s daily bread. The generosity and compassion of the American people and the great agricultural resources of the North American continent would be called upon... Twenty million Americans signed pledges of membership in the Food Administration, which obligated them to conserve scarce food so that our Allies in Europe would not have to go hungry. In addition to meat and eggs, Americans were urged to cut back on wheat, the single most vital food item... Meatless and wheatless days each week were patriotically subscribed to by America’s families” (Rawls, p. 112-115). This was one of the many posters published by the U.S. Food Administration aimed at pleasing recent immigrants with an inspiring New York harbor scene that shows the Statue of Liberty and lower Manhattan shimmering under a patriotic rainbow. The poster was produced in a total of five languages: English, Italian, Spanish, Hungarian, and Yiddish. Est: $1,400-$1,700.

WAR & PROPAGANDA

75. Third Liberty Loan / U.S.A. Bonds. 1918. Artist: Joseph C. Leyendecker ( 1874-1951)

76. Souvenez-vous! ca. 1919. Artist: Fernand Louis Gottlob ( 1873-1935)

77. Die Juden wollen Krieg. 1939. Artist: Anonymous

20 x 29 7⁄ 8 in./50.8 x 75.7 cm American Lithographic Co., New York Cond A. Ref: Rawls, p. 211; Darracott, p. 30; Rickards, 50; Leyendecker, p. 75; Weill, 223; War Posters, p. 117; PAI-LXXXVIII, 140

15 1⁄ 2 x 22 3⁄4 in./39.4 x 57.8 cm Atelier F. Gottlob, Paris Cond A.

47 3⁄ 8 x 33 1⁄4 in./120.2 x 84.6 cm Cond A.

Just as Girl Scouts are today known for their cookie sales, Boy Scouts were enlisted to sell Liberty Bonds during World War I. But this is no humble boy at a folding table—Leyendecker instead creates a powerful image full of allegorical strength. Est: $1,400-$1,700.

This post-World War I poster depicts the same German in two different guises: a pillaging arsonist and a salesman. The message to French people is to not be deceived by this twosome tactic and to avoid purchasing German products. Est: $1,200-$1,500.

This Nazi propaganda claims that Jews actually want a war, and that Franklin D. Roosevelt has been swayed by the Jewish side and proudly wears a medal given to him that names him “Our modern Moses.” Est: $2,000-$2,500.

WAR & PROPAGANDA 78. Silence. 1939. Artist: Paul Colin ( 1892-1986) 15 x 23 3⁄4 in./38 x 60.2 cm Cond A. Ref: Colin, 83; Colin Affichiste, 157; Weill, 409; Manifesti/WWII, p. 98 (var); Sur les Murs, p. 17; PAI-XC, 79 Printed in several formats, this was one of the most widely distributed posters in France during World War II. “Silence,” the poster warns, “the enemy will steal your secrets.” Although the Germans had yet to invade France, there was a general paranoia about the espionage war which had certainly already begun. Est: $1,200-$1,500.

79. Free a Man to Fight. 1943. Artist: Leslie Ragan ( 1897-1972) 20 x 27 7⁄ 8 in./50.6 x 70.8 cm Brett Lithographic Co., USA Cond A/P. Ref: PAI-XC, 81

While Ragan’s best work was created in promotion of travel aboard the New York Central System, here he advertises the many jobs available to women at his primary employer. From the offices and shops to the more technical positions at the stations and on the trains, each woman working at New York Central would allow another man to fight overseas. Est: $1,400-$1,700.

80. China / First to Fight. 1943. Artist: Martha Sawyers ( 1902-1988) 26 7⁄ 8 x 41 in./68.2 x 104 cm Cond B+/Slight tears at folds. Ref: Judd, C.20 The involvement of China in World War II is often overlooked today. The Japanese invasion of Eastern China in 1937 spurred the United States’ involvement in Asia and eventually led to Pearl Harbor. In 1941, the United China Relief organization was founded in New York City to provide aid. Sawyers, who studied at the Art Students League of New York, created this powerful image that simultaneously displays the horrors of war and the perseverance of the Chinese people. Sawyer went on to work as a war correspondent in Asia for Life Magazine. Est: $1,200-$1,500.

81. The Fighting Filipinos. 1943. Artist: Manuel Rey Isip ( 1904-1987) 27 1⁄ 8 x 40 3⁄4 in./69 x 103.4 cm Cond B+/Slight tears at folds. Ref: Judd, 11.12; Weill, p. 296 Published by the Office of Special Services, Commonwealth of the Philippines in Washington, D.C., this forceful image reminds Americans that no matter how downtrodden the Filipinos may be due to the Japanese invasion, they will “always fight for freedom” alongside their American allies. Apparently, 15,000 copies of this poster were smuggled into the Philippines, where it was heartily embraced by freedom seekers. Est: $1,200-$1,500.

82. I’ll Give ’em Hell! 1942. Artist: Saul Tepper ( 1899-1987) 28 5⁄ 8 x 39 3⁄4 in./72.7 x 101 cm U.S. Government Printing Office, Washington, D.C. Cond A.

Tepper studied art under Harvey Dunn in New York City before pursuing a career as an illustrator for magazines and corporate advertising. Although he created few war posters, this image displays his knack for figurative portraits: an able-bodied young soldier is forcing out the Axis powers in exchange for more supplies. Est: $1,700-$2,000.

WAR & PROPAGANDA

86 83. Buy More Bonds and Stamps. 1943. Artist: E. B. Greenshaw

84. Libertad de Cultos. 1942. Artist: E. McKnight Kauffer ( 1890-1954)

85. Keep Buying War Bonds. 1944. Artist: Courtney Allen ( 1896-1969)

24 x 34 1⁄4 in./60.8 x 87 cm Grinnell Litho., New York Cond B+/Slight tears at folds. Ref: Persuasive Images, 275

14 1⁄4 x 20 in./36.2 x 50.7 cm Cond A. Ref: Kauffer/Berman, p. 151

20 1⁄4 x 26 3⁄4 in./51.2 x 68 cm U.S. Government Printing Office, Washington, D.C. Cond A.

This is one of four posters commissioned by the Office of Inter-American Affairs depicting Roosevelt’s Four Freedoms for distribution in Latin America to promote the western alliance during World War II. Here, Kauffer illustrates Freedom of Religion; the other three Freedoms— Freedom from Fear, Freedom from Want, and Freedom of Speech—were illustrated by Alexy Brodovitch, John Atherton, and Herbert Bayer.

It’s not often that we see a woman engaging in manual labor alongside male colleagues in war posters—but Allen provides a convincing argument that every American’s contributions are needed, whether physically or in the form of purchasing war bonds.

This was the winning entry in a poster design competition sponsored by the Museum of Modern Art in New York with support from the Artists for Victory group and the Council for Democracy. It’s easy to see why this poster came out on top: the graphics are sharp and powerful, and the message is clear: buying war bonds and stamps will help the U.S. to defeat Hitler. Notably to poster lovers, this was one of MoMA’s stated motives underlying the competition: “To give artists an opportunity to raise the entire standard and effectiveness of poster design, particularly through the development of a direct and powerful technique for war posters.” Est: $1,400-$1,700.

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

86. Every Blow of the Hammer is a Blow to the Enemy! 1941. Artists: Viktor Deni ( 1893-1946) & Nikolaj Dolgorukov ( 1902-1980) 23 x 17 1⁄4 in./58.3 x 44 cm Cond A. Combining the ideals of Socialist labor and political might, this Soviet poster emphasizes the importance of proletarian action against the enemy to maintain stability at home. Est: $1,200-$1,500.

WAR & PROPAGANDA

87. Cataluña Venció al Fascismo. 1936. Artist: Anonymous

88. Exposicion Nacional de la Juventud. 1937. Artist: Jose Bardasano ( 1910-1979)

89. Tierra y Libertad. 1937. Artist: Camps

55 1⁄ 8 x 38 1⁄ 2 in./140 x 98 cm Cond A-/Unobtrusive folds. Ref: Carteles Republica, p. 9 (var); PAI-XI, 458

28 x 39 in./71.2 x 99 cm Unión Poligráfica Consejo Obrero Cond A-/Unobtrusive tears at folds. Ref: Palette/Flame, p. 137; Carteles Valencianos, 57; PAI-XI, 440

27 3⁄4 x 39 1⁄ 2 in./70.5 x 100 cm Cond B+/Slight tears at folds. Ref: Guerra Civil, p. 497

This two-sheet poster celebrates the initial victory of the Republicans in Barcelona, where the people spontaneously stormed military barracks and took the city in 24 hours. The unknown photographer took a picture of the rebels shooting from behind dead horses, and another one of the triumphant but premature victory march. Est: $2,500-$3,000.

A youth congress held in Valencia in the middle of the fighting was sponsored by the Communists, hence the red stars on the flags behind this muscular rebel. Est: $1,700-$2,000.

Tierra y Libertad (Land and Freedom) was a Spanish biweekly newspaper first published in 1888. Beginning in 1930, it was edited by the Iberian Anarchist Federation (FAI) and was often suspended by the government for its rebellious attitude—but the people ate it up, and Tierra y Libertad became one of the most read newspapers with the largest circulation in Spain during the 1930s. This powerful and graphic image shows a young man armed with his literature and rifles. Although some sources credit this image to Gaspar Camps, the style is radically different from anything we’ve seen him create. Est: $2,500-$3,000.

WAR & PROPAGANDA

90. Que Haces Tu Para Evitar Esto? 1937. Artist: Augusto

91. Staline Aussi. ca. 1951. Artist: Anonymous

22 1⁄4 x 31 3⁄ 8 in./56.6 x 79.7 cm Cond A-/Horizontal fold. Ref: Guerra Civil, 1263; Palette/Flame, p. 13 (var); Fotoplakate, 15; Carteles Republica, 400; Plakat Republikańskiej, 132; Plakatkunst, p. 138 (var); PAI-XI, 434

31 3⁄ 8 x 47 1⁄4 in./79.8 x 120 cm The Socialist Party, Paris Cond A. Ref: PAI-LXXXVII, 114

Posters such as this were printed to showcase the horrors facing the citizens of Madrid during the 1936 attacks in the Spanish Civil War. The photograph, shot by Robert Capa, forms the basis of this emotional collage of a mother and child fleeing a crumbling building while planes drop bombs overhead. This image was printed in Spanish, French, and English; the Spanish text here asks, “What are you doing to prevent this?” Est: $2,000-$2,500.

Published by the Socialist Federation of the Seine, this poster denounces the many despicable actions of fascist regimes while calling out Stalin specifically. The list of atrocities concludes with: “The French Communist Party is no longer a workers’ party, it is the Fifth Column of Stalinist totalitarian imperialism. Workers, beware! No collaboration, neither with fascist reaction nor with Stalino-fascism. With the Socialists, preserve your homes by fighting for Liberty.” Est: $1,400-$1,700.

WAR & PROPAGANDA

92. Mai ’68 : Collection of 16 Posters. 1968. Artist: Anonymous Various sizes. Cond A/P. Ref: Mai 68 : Les Affiches; Encyclopédie/Weill, p. 370; PAI-LXXXIV, 119 (var) Fifty years ago, a small student anti-capitalist movement in Paris quickly escalated into mass protests, a general strike across France, and street battles against police and university administrators. To this day, it’s considered a cultural, social, and moral turning point in the history of France. The best and most important documents that survive from that time, by far, are posters like these: simple silkscreens that speak volumes through bold graphics and brutal slogans. Most were created by the student-run Atelier Populaire in the École des Beaux-Arts. Several posters have the stamp of the Atelier Populaire. Est: $3,000-$4,000. (16)

WAR & PROPAGANDA

93 93. Anti-Vietnam : 11 Silkscreened Posters. 1969. Artist: Anonymous Most: 17 1⁄ 2 x 22 3⁄ 8 in./44.3 x 57 cm Cond A/P. Ref: Prop Art, 920; PAI-LVIII, 593 (var) That the American involvement in the Vietnam War spawned a myriad of protests is hardly a secret. It was the dawning of a new age of questioning, when it became apparent that perhaps one’s government might not be functioning to serve the interests of the majority, but rather to cater to a gluttonous, fearful few. And in the tried and true old friend of disseminating dissenting viewpoints—the poster—the opposition movement found a powerful graphic voice. This series of eleven silkscreened posters—created by students of the Rhode Island School of Design, but not distributed by the school itself— gets to the point of the matter with minimal use of color and an unwavering dedication to an antiwar point of view. No doubt these were influenced by the silkscreen posters of the May 1968 student protests in Paris. Est: $2,500-$3,000. (11)

CIRCUS & WILD WEST

94 94. Barnum & Bailey / 20 Éléphants. 1902. Artist: Anonymous 41 1⁄ 2 x 28 1⁄ 2 in./105.3 x 72.5 cm Imp. Courmont Frères, Paris Cond B/Slight creasing. Ref: PAI-XC, 99 This poster was originally created by the Courier company of Buffalo and its artwork was given to Courmont for the 1902 French tour. Printers there had complained that Barnum & Bailey (as well as Buffalo Bill) were bringing not only their clowns and horses, but also their paper. This was one way to get around the problem. This poster promotes Barnum & Bailey’s elephant spectacles, which include acrobatic exercises, tea time, bicycle riding, military exercises, and a waltz. Est: $1,700-$2,000.

CIRCUS & WILD WEST

95. The Lions / Nouveau Cirque. ca. 1894. Artist: Pal ( Jean de Paléologue, 1860-1942)

96. Buffalo Bill’s Wild West. 1906. Artist: Anonymous

57 x 77 1⁄ 2 in./145 x 197 cm Canning & Co., London Cond B+/Slight tears at folds and seams. Ref: PAI-XC, 100

20 1⁄ 2 x 29 7⁄ 8 in./52 x 76 cm Imp. Chaix, Paris Cond A. Ref: PAI-XXIII, 172

This poster for the lion act was prepared for the Nouveau Cirque in Paris, but the image was also used as a stock poster for the animal spectacular when the Kings of the Jungle took their act on the road (see PAI-XIV, 389). This four-sheet poster is a highly unusual design for Pal, not because of the circus subject matter, but because of the lack of a voluptuous young lady as its central figure. But even without the presence of a beautiful woman, Pal certainly knows how to catch our attention.

Although we have once before seen this image printed by Enquirer in Cincinnati (see PAI-XXIII, 172), this image was printed by Chaix in Paris for one of Buffalo Bill’s international spectacles. We see a noble, albeit unidentified, chief framed with tribal scenes of the plains at twilight.

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

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

CIRCUS & WILD WEST - ISRAEL

97. Buffalo Bill’s Wild West and Congress of Rough Riders. 1905. Artist: Anonymous 30 x 37 3⁄ 8 in./76.2 x 94.8 cm Cond A. Buffalo Bill trots out a motley crew of his Rough Riders to promote his Wild West shows. Est: $3,000-$4,000.

98. Buffalo Bill’s Wild West. 1895. Artist: Anonymous 19 3⁄ 8 x 29 1⁄4 in./50 x 74.4 cm Imp. Weiners, Paris Cond A-/Unobtrusive folds. Ref: PAI-XXXI 197 The Indians 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 in these portraits are depicted as warm, stoic, and dignified. Cody insisted that only authentic tribe members participate and that the material in which they appeared be historically accurate and respectful. In this image, an unknown chief is superimposed on top of a traditional prairie domicile—an image which would have been foreign to a majority of the world, and likely considered exotic. Est: $3,000-$4,000.

99. Sheriff of Angel Gulch. 1905. Artist: Anonymous 20 x 29 3⁄4 in./50.8 x 75.6 cm Strobridge Litho., Cincinnati Cond A.

Most successful stars inspire copycats, and Buffalo Bill was no exception. The great mythologizer of the Wild West provided fertile ground for a number of related personas, including one Vernon C. Seavers who dubbed himself “Young Buffalo.” Unfortunately, his acts didn’t achieve much of a lasting impact, as very little information exists on him or his shows. But he did have one brush with stardom thanks to Annie Oakley. At fifty years old, Oakley had all but retired from show business, though she received many offers to perform, including from Buffalo Bill. For whatever reason, she turned him down and went on tour with the Young Buffalo Wild West show. Many newspapers heralded her performances, such as this review from an unknown paper: “The elephants were great, and the clowns did their best to make Young Buffalo’s Wild West show, but it remained for the veteran Annie Oakley, best female shot in the world, to make the show a success.” This pre-Oakley design promotes Young Buffalo’s new play, Sheriff of Angel Gulch. Est: $1,400-$1,700.

ISRAEL

101

100 100. We Shall Pave Until the End. 1946. Artists: Shamir Brothers ( Gabriel, 1909-1992; Maxim, 1910-1990) 18 3⁄ 8 x 24 3⁄ 8 in./46.8 x 62 cm Litho. Aviva Montefiore, Tel Aviv Cond A-/Unobtrusive folds. Ref: PAI-LXXVIII, 141 In order to show their industrious determination, the Mapai party commissioned this rare poster by the Shamir Brothers. The Mapai party is a Zionist-Socialist party that was established in 1930 in Palestine; the group is identified with practical Zionism and labor settlements, and led the Yishuv in the process of establishing the State of Israel. Even after the establishment of the State, Mapai continued to be the ruling party for three more decades. Posters were, of course, vital in spreading awareness of party campaigns, and the Mapai were intent on featuring the proletariat, the ideals of pioneering work, and the achievements of the party in the new state. The Shamir Brothers were well-known and important graphic designers in Israel; they designed the official state emblems, medals, stamps, and currency notes. Est: $1,200-$1,500.

101. Independence Day. ca. 1950. Artist: Franz Kraus ( 1905-1998) 18 1⁄ 2 x 27 1⁄ 8 in./47 x 68.8 cm Litho. Aviva Cond B+/Slight tears at folds.

102. 19th Independence Day. 1968. Artist: Kopel Gurwin ( 1923-1990) 27 1⁄4 x 39 in./69.2 x 99 cm United Artists Printing Cond B+/Slight tears at edges. P. Ref: Made in Israel 60, 102 To commemorate Israel’s 19th anniversary, Gurwin depicts mythical beasts surrounding a botanical menorah.

102

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

103. Independence Day. 1971. Artist: Kopel Gurwin (1923-1990) 26 1⁄ 2 x 38 1⁄ 8 in./67.2 x 96.7 cm Yefet Printing Co. Cond B+/Slight tears at folds. Ref: PAI-LXXXIX, 85 This ornate design was Gurwin’s fourth winning entry in the Independence Day poster competition. He told journalist Adam Baruch of the Haaretz newspaper, “The Independence Day posters are the Grand Prix of Israeli graphics. The theme of the poster is beautiful Israel, that’s why I put a boy lying down in rich greenery, cultivated and not naturalistic, smiling and holding a flag in his hand. The translation of the happiness to the graphic medium is done through the use of strong colors.” Est: $1,200-$1,500.

This undated design celebrates an early Israeli Independence Day with a powerful torch. Est: $1,200-$1,500.

103

ISRAEL - INTERNATIONAL A-Z

104

105

106 104. Shalom. 1965. Artist: Dan Reisinger (1934-2019)

105. Fly TWA / Holy Land. ca. 1964. Artist: David Klein (1918-2005)

106. El Al : Seven Posters. 1968-1972. Artist: Dan Reisinger (1934-2019)

17 1⁄4 x 24 1⁄ 2 in./44 x 62.3 cm Cond A. Ref: Reisinger/Moscow, p. 47; Reisinger/Afula, p. 59; Reisinger/Beijin, p. 19

25 x 40 3⁄ 8 in./63.3 x 102.6 cm Cond A. Ref: PAI-LXXV, 106

Each: 19 1⁄4 x 27 in./48.8 x 68.6 cm Cond A/P. Ref (all var): El Al, p. 10-11; Reisinger/Beijing, p. 32-34; Plakate aus Israel 169.3, 169.4, 169.5, 169.7, 169.8, 169.9, 169.11; Reisinger/Afula, p. 28-29; PAI-LXX, 602

Seemingly without a client or a brand message to promote, Reisinger simply wishes us peace with a psychedelic hand held aloft. Est: $800-$1,000.

Klein uses the rough aesthetic of the mid-’60s and its “Puff, the Magic Dragon” sensibility to carve out a hopeful scene of Noah’s Ark, a dove, and an olive branch to inspire pilgrimages to the Holy Land. The hope for “peace after the storm” would have been a powerful message that year. In 1964, Pope Paul VI arrived in Israel, the National Water Carrier of Israel was inaugurated, and the PLO was founded—making the questions of God’s wrath, intelligent water management, peace, and reconciliation front of mind. Est: $1,000-$1,200.

Reisinger designed the logo for El Al, and produced numerous screen-printed posters for the Israeli national airline. Here, Reisinger deploys some of the most clever designs ever created for the air industry. For each destination—Paris, Canada, London, Istanbul, Zurich, Copenhagen, and Rome—an emblem of the country or region is transformed into a letter in the airline’s name, be it a mermaid or the profile of an ancient Roman bust. These are the smaller format versions of each image. Est: $2,500-$3,000. (7)

INTERNATIONAL POSTERS A-Z

107

108

Anonymous 107. Liberty Enlightening the World. 1883.

108. Grand Concert de la Villette / Le Tour du Monde. ca. 1885.

24 x 34 1⁄ 8 in./61 x 86.6 cm Root and Tinker, New York Cond A. Ref: PAI-LXXXIX, 51

34 5⁄ 8 x 48 3⁄4 in./88 x 124 cm Woodblock engraved text: Imp. Morris, Paris Color tip-on: F. Appel, Paris Cond B+/Slight tears at folds and edges.

This is the first officially sanctioned view of the Statue of Liberty, issued three years prior to her 1886 assembly and unveiling, and it was endorsed by the Statue Committee. Though Lady Liberty had already been on display throughout Manhattan and Philadelphia, funding the installation proved difficult. James G. Batterson was one of several advocates who took fundraising into his own hands; as both the founder of the Travelers Insurance Co. and the contractor responsible for the statue’s base, he killed two birds with one stone in this promotion. This also gave him the opportunity to liken his own company to the grandeur of “Liberty Enlightening the World,” as she was originally called. The text at bottom left proudly reads: “The Travelers of Hartford is the only large accident company on this continent, and the largest in the world, and best of life companies.” According to Jay Last, the Root and Tinker printing firm “produced high-quality lithographed book illustrations, posters, and trade cards using sophisticated color reproduction techniques” (Color Explosion, p. 46). Upon completion of installation, Currier and Ives would produce a remarkably similar lithograph that became quite popular—but this is the first incarnation, and incredibly rare!

This is the only known copy of this early poster for a series of events held at the ancient theatre in Villette. The otherwise unknown H. Novelus gets top billing for his “extraordinary presentation” of “Le Supplice de la Cangue” and “Tour du Monde.”

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

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

A-Z | ANONYMOUS

110

109

111

Anonymous (Continued) 109. Studebaker Bros. ca. 1885.

110. Transatlantique. 1886.

112. Exposition d’Affiches / Galerie Préaubert. 1889.

25 x 38 3⁄ 8 in./63.5 x 97.5 cm Orcutt-Killick, Chicago Cond A.

29 x 41 3⁄4 in./73.5 x 106 cm Th. Dupuy, Paris Cond A-/Unobtrusive folds. Ref: Image de Mer, 10

43 x 14 1⁄ 2 in./109.3 x 36.8 cm Jules Pequignot, Paris Cond A. Framed. Ref: Affichomanie, 18; Chaumont/Exposons, p. 9; Weill, 78; Reims, 161; PAI-LXXI, 167

Built on Chicago’s Michigan Avenue in 1885 by Solon Spencer Beman, the Studebaker building served as a showroom and manufacturing site for the carriage makers from South Bend, Indiana. Today, it continues to stand as the Fine Arts Building, and houses a theatre, artists’ lofts, galleries, dance and recording studios, and offices for the Chicago Youth Symphony Orchestras and the Jazz Institute of Chicago. Est: $2,000-$2,500.

The French Line proudly displays their Canada steamship in this text-heavy design promoting trips from the Hague to New York, South America, and the Mediterranean. The Canada was in service from 1875-1908. Est: $1,700-$2,000.

111. Parapluies Cannes. 1897. 24 1⁄ 2 x 35 1⁄4 in./62.3 x 89.4 cm Lith. J. E. Goosens, Bruxelles Cond A. Our lady of the sun is perfectly content out on the streets with her lacy new umbrella. And while the frills may not seem practical today, she surely made a fashion statement with this design during the Belle Époque. Est: $1,700-$2,000.

Townsfolk are racing through the street. Where are they running to? The lettering below them answers: to a poster exhibition. The show, at a local gallery in Nantes, was one of the earliest poster exhibitions ever held and was organized by poster collector Boucard. In addition to being of historical value—every serious poster collector should strive to have this image—this two-sheet poster offers the pleasures of superb design and acute social observation. The six figures, of every age and station, represent the human comedy with great affection. Est: $2,500-$3,000.

ANONYMOUS | A-Z

112

113

114

115

113. Cognac J. Dupont.

114. Ben-Hur. 1906.

115. Madam Butterfly. 1909.

24 x 35 1⁄ 2 in./61 x 90.2 cm Imp. F. Champenois, Paris Cond B+/Unobtrusive folds; mat stains at edges. Ref: PAI-XXIX, 171

20 x 30 in./50.8 x 76.2 cm Strobridge Litho., Cincinnati Cond A.

20 7⁄ 8 x 36 in./53 x 91.5 cm Enquirer Litho., Cincinnati Cond A. Ref: PAI-LXV, 84

Although the bottle on the table appears to be full, the expression on this frilly fashionista’s face tells us that she’s likely enjoyed more than a sip of this cognac already. Est: $1,700-$2,000.

This tender scene promotes Klaw and Erlanger’s “stupendous” production of Ben-Hur at the Broadway Theater in New York. The performance was notable for its use of spectacle, such as live horses on the stage during the chariot race. It was a huge success, and ran for just over 20 years with twenty million attendees. Est: $1,200-$1,500.

Throughout Puccini’s famous opera, the heroine is referred to as a “lovely flower.” Here, however, the artist is referencing a specific moment: Butterfly hears that Pinkerton’s ship has returned and she rallies her maid Suzuki to fill the house with flowers in celebration. Est: $1,700-$2,000.

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A-Z | ANONYMOUS

116

ANONYMOUS | A-Z

Anonymous (Continued) 116. Fantômas. 1913. 59 x 105 1⁄ 2 in./150 x 268 cm Imp. Gaumont, Paris Cond A. Ref: Memoire du Cinema, p. 65; PAI-XC, 113 This is the stunning poster for the first episode of Louis Feuillade’s revolutionary film, “Fantômas,” starring René Navarre. This role as a master criminal would become Navarre’s most famous character. “On the eve of the 1914 war, the appearance of ‘Fantômas’ by Feuillade marked the beginning of a new era. A new romanticism, that of logic pushed to the extreme, of unreal logic, was born. Fantômas, the man in the black hood, the genius of crime and the master of terror, fought by Inspector Juve and the journalist Fandor, extending his evil shadow over Paris... has inspired generations of readers and moviegoers. [Authors] Marcel Allain and Pierre Souvestre have imagined the most surprising adventures, the most unexpected twists, the most monstrous plots, the most surprising murders... all in a great breath of poetry and freedom which appealed to both the popular readers and the Surrealists” (Memoire du Cinema, p. 66-67). This two-sheet poster is especially rare!

117

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

117. The Golfing Girl / Caledonian Railway. 28 3⁄4 x 39 1⁄4 in./73 x 99.6 cm Dobson, Molle, Edinburgh Cond A. Framed. Ref: PAI-XXXVII, 21 (var) The railways emerged later in Scotland than in England. The first major line, the Edinburgh & Glasgow, was not in service until 1842; the Caledonian Railway was established in 1845. Beginning at Carlisle, it went to Glasgow via Edinburgh, and another line went from Carstairs to Edinburgh. In 1848, the Caledonian Railway provided the first through service from Scotland to London. All the locomotives used on the line were painted in what became known as Caledonian blue—the color, incidentally, favored in the wardrobe of “The Golfing Girl” seen here. With its impressive promotional catch phrase of “A braw ‘brassie’ on the True Line” applying to both the sport and the mode of transportation, as well as a list of virtually every destination served, the bottom text pretty much sums everything up very nicely: “The golfing girl and her golfing friends acquire their healthy glow and happy buoyancy on the sporting and picturesque golf courses.” Est: $3,000-$4,000.

118. Gaba. 1935. 36 x 50 1⁄ 8 in./91.4 x 127.5 cm Gebr. Fretz, Zürich (not shown) Cond A-/Unobtrusive folds. Ref: PAI-XXII, 169 (var) Like all the best posters, this design doesn’t need much explanation. At a glance, you can grasp the message: when your throat hurts, this medicine works. The black diamond at center radiates an aura of comfort. It is just as powerful and effective as the more famous image for this product designed by Niklaus Stoecklin (see No. 360)—albeit much rarer. Est: $3,000-$4,000.

118

A-Z | ANONYMOUS

119

Anonymous (Continued) 119. California / Travel by Train. ca. 1930.

120. Ginjinha Cegonha. ca. 1930.

26 3⁄4 x 41 in./68 x 104 cm Newman-Monroe, Chicago Cond B+/Slight tears. Ref: PAI-LVIII, 262

22 1⁄4 x 34 3⁄ 8 in./56.6 x 87.4 cm Ideal, Porto Cond A.

The West Coast equivalent of the iconic Atlantic City posters, this advertisement for train travel to the Golden State captures all the romance and breathtaking scenery available in endless quantities in California.

A popular Portuguese drink of infused sour cherries, sugar, and spices, Ginjinha is typically served as a shot with a piece of fruit at the bottom of the cup. This lovely crane has picked fresh cherries for us to enjoy the libation properly.

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

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

ANONYMOUS | A-Z

120

121

122

123 121. Grandes Caves. ca. 1950.

122. Sing, Israel, Sing. 1950.

123. NRA : Three Posters. 1946.

43 ⁄ 8 x 60 ⁄ 8 in./111.5 x 154 cm Création Cristèn, Lyon Cond A. Ref: PAI-LXXXIII, 201

28 x 45 ⁄ 8 in./71 x 114.7 cm Trio Press, New York Cond A-/Unobtrusive folds. Ref: PAI-LXXXVIII, 193

Each: 13 3⁄4 x 22 in./35.2 x 56 cm Cond A.

This bubbly Modern design reinforces the company’s motto: “from the vines... to your table!” Now, where’s the corkscrew? It’s quite possible that Cristèn in Lyon is the artist.

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

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

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

Though “safety” and “humor” are not terms commonly associated with the NRA today, the organization did produce some helpful and wry PSA posters in the 1940s. Each displaying a comedic caricature, these posters were meant to advise on proper gun handling. Est: $1,700-$2,000. (3)

A-Z | ABBADIE - BARSE

125

124

Robert Abbadie (1906-1961)

H. Amoro

124. 4Z’Arts / Les Bambaras. 1937.

126. Anjou Vins. 1932.

7 5⁄ 8 x 16 in./19.3 x 40.5 cm Cond A. Framed. Ref: PAI-LXXXIX, 136

15 x 23 1⁄ 2 in./38 x 59.6 cm Affiches Gaillard, Paris Cond A. Ref: PAI-XXXI, 280

While we have previously seen the men’s invitation to this event (see PAI-LXXXVIII, 196), this image addresses female revelers with a tear-off ticket included at the bottom. This annual ball hosted by the Quat’z’Arts group took its inspiration from the Bambara people of West Africa, an influence that is clearly expressed in this announcement for the event. The party certainly wouldn’t pass muster today: attendees were told to paint their skin and come dressed with a costume, mask, shield, and the ornaments to transform themselves into “a fierce Bambara warrior or a mindblowing black wizard.” At the end of the night, a sheep was roasted on the stage of the Salle Wagram and the blood was thrown on the crowd. These were certainly different times. Est: $2,000-$2,500.

F. Hugo d’Alesi (1849-1906)

Apparently, the makers of Anjou sparkling wine believed that Art Deco imagery would provide the perfect advertising bent to get the message out about their product. And Amoro succeeded in spectacular fashion by reinforcing the “v” in “vins” at every opportunity, keeping the tones muted, and offering a cheeky flirtation between the Jazz Age couple, all while allowing the effervescence to take center stage. Est: $1,200-$1,500.

Marcellin Auzolle (1862-1942) 127. Bullier-Nouveau / Bal. 22 7⁄ 8 x 30 7⁄ 8 in./58 x 78.5 cm Société Générale, Paris Cond A. Framed. Ref: PAI-LXXVIII, 179

D’Alesi paints a picture of utter elegance and sophistication for PLM’s trips to the spa town of Vichy. Its volcanic thermal springs have long attracted remedy-seeking royalty, but the town truly exploded as a celebrity hotspot after Napoleon’s mid-19th century revitalization projects, which included landscaped gardens, chalets, and pavilions, as seen here.

The original Bal Bullier (see Chéret’s version, PAI-LXXVII, 181)—also known as the Closerie des Lilas—was constructed by Bullier on the grounds of an old convent at the corner where the Blvd. Port-Royal crosses the Ave. de l’Observatoire. A new owner transformed the gardens and built a room inspired by the Moorish architecture of the Alhambra. Posters show it in operation at least through the winter of 1894-95. This enchanting image, however, is for the later Bullier-Nouveau. Whether “new” refers here to a simple renovation, yet another owner, or a change in address, the design is filled with movement and high spirits that make us want to join the fun. For another by Auzolle, see No. 24.

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

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

125. Vichy. 1897. 29 1⁄4 x 41 5⁄ 8 in./74 x 105 cm Imp. F. Hermet, Paris Cond A. Ref: L’Auvergne, p. 87

126

127

ABBADIE - BARSE | A-Z

128

Adrien Barrère (1877-1931) 128. La Revue des Folies-Bergère. 1902. 31 1⁄4 x 20 1⁄4 in./79.5 x 51.4 cm C. Wall, Paris Cond A. Framed. Ref (all var): Folies-Bergère, 57; Caradec-Weill, p. 179; PAI-XXVI, 159 “It was only from 1902 on, when the Brothers Isola took over the management of the Folies, that they regularly baptized their show ‘The Revue of the Folies-Bergère.’ The first of the series, by Victor Cottens, consisted only of six tableaux but its success was such that the formula was repeated year after year. The stars of this first revue, in addition to Otero and the crooner Fragson (the pride of the ‘cafe-concert’ who was tragically murdered by his father) were the solid pillars of the music hall: Marguerite Deval, Clémance de Pibrac and Anne Dancrey on the distaff side; Fugère and Maurel on the male side” (Weill, p. 10). This particular version of the poster appears before the addition of the performers’ names at the poster’s bottom. Est: $1,400-$1,700.

129. Bonnaud et Blès. 59 1⁄ 2 x 43 1⁄ 8 in./141 x 109.7 cm Cond B/Slight tears and stains in top area. Framed.

129

Barrère has a bit of fun with Cubism in this portrait of Montmartre singers Dominique Bonnaud and Numa Blès. Rare! Est: $1,700-$2,000.

George Randolph Barse (1861-1938) 130. Fairy Soap. 1904. Each: 7 5⁄ 8 x 19 1⁄4 in./19.3 x 49 cm Cond A. Framed. Ref: PAI-XL, 229 The N. K. Fairbanks Soap Company of Chicago, Illinois, produced numerous soaps and cleaning products. Started in 1897, the business eventually folded in the 1930s. During their time in the cleansing market, the company produced three soaps that they typically advertised as “Time Savers”: Gold Dust, Sunny Monday, and Fairy Soap. Though these monikers are somewhat fanciful, the soaps were promoted with Midwestern utilitarianism in mind, and most of their advertisements were overwhelmingly textual in nature (describing the far-ranging uses of the soap) accompanied by easily identified cartoonish logos. That’s why these three Barse panels are an unexpectedly whimsical departure from the firm’s typical advertising agenda. Though the borders are “borrowed” from Mucha, the images of these swirling, diaphanous sprites representing three times of the day—Morning, Noon, and Night—are quite evocative in their own right. Est: $1,400-$1,700. (3)

130

A-Z | BARTH - BOFA

Ruodi Barth (1921-1999) 131. Zoologischer Garten Basel. 1947. 35 3⁄ 8 x 49 1⁄ 2 in./90 x 126 cm Frobenius, Basel Cond A. Ref: Swiss Posters, p. 64; Margadant, 137 For the Basel Zoo, Barth gives us a bold and zippy design featuring zebras stampeding across a landscape of their black-and-white stripes. Born in Basel, Barth studied at the local graphic design school before spending time traveling across Europe and Morocco. In 1944, he returned to Basel and created posters for local cultural institutions and illustrated books. He also worked as a set designer, which brought him notable acclaim in Switzerland and Germany. Est: $1,400-$1,700.

Aubrey Beardsley (1872-1898) 132. The Yellow Book / Copeland and Day. 1894.

131

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-XCI, 10 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.

132

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

Cecil Beaton (1904-1980)

133

133. Centenaire de Monte-Carlo. 1966. 32 1⁄ 2 x 48 3⁄4 in./82.5 x 123.7 cm Imp. Monégasque, Monte Carlo Cond A. Ref: PAI-LXIX, 213 (var) Known for his elaborate and award-winning costume and stage designs, Beaton also was an accomplished illustrator, as can be seen in this exuberant image for Monte Carlo’s centenary celebrations. Est: $1,700-$2,000.

Berny & Peigno 134. Étoile du Sud. 1934. 31 x 41 in./79 x 104 cm Imp. Feltin, Paris Cond A-/Slight stains at edges. This delightful image showcases a variety of wild animals and local people who we may encounter on our trip to Africa via South Star Cruises. Berny et Peignot was a French type foundry founded in 1923. Following several mergers, the company still exists under the framework of Monotype Imaging.

134

135

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

BARTH - BOFA | A-Z

136

137

Montague Birrel Black (1884-1964)

Ida van Bladel (1931- )

Gus Bofa (Gustave Blanchot, 1883-1968)

135. White Star Line. ca. 1914.

136. Miss Levi’s. 1971.

137. Starella.

25 1⁄ 2 x 40 1⁄ 8 in./64.8 x 102 cm Liverpool Printing Cond A. Ref: PAI-LXXV, 230

28 x 40 1⁄ 8 in./71 x 102 cm Young & Rubicam, Belgium Cond A/P. Ref (all var but PAI): V & A, 215; Gallo, p. 276; Belgique/Paris, 150; Affiches Belges, 26; PAI-LXXXVIII, 211

37 3⁄4 x 75 3⁄4 in./96 x 192.4 cm Imp. Ch. Verneau, Paris Cond B+/Unobtrusive folds.

This poster is undated, but the smokestacks give it away. The only White Star liners to possess four smokestacks were the ships of the Olympic class: the RMS Titanic, the RMS Olympic, and the RMS Britannic. Posters similar to this one noted the Titanic and the Olympic by name; while the Britannic also sank, in 1915, the Olympic continued to sail until 1935, earning the name “Old Reliable.” Since Black has a consistent style, it’s difficult to date this particular piece, but White Star posters from the ’20s and ’30s tend to have a newer, crisper style to them, so it is likely this poster was printed between 1912, the sinking of the Titanic, and the beginning of World War I. Est: $2,000-$2,500.

Years before an underaged Brooke Shields scandalously confessed that nothing came between her and her Calvins, van Bladel showed the world that slipping into a pair of Levi’s was as good as slithering into a very tight second skin. It’s a directly clever and succinct visual statement. The Antwerp-born designer was the art director at Young & Rubicam International in Brussels, where this remarkable poster was created. And while it was a huge hit in Belgium, the image was not approved for American distribution. This uncut printer’s proof emphasizes Levi’s new wares specifically for women; it’s quite rare! Est: $1,400-$1,700.

A 1911 commentary in Le Rire had this to say about our dramatic starlet: “Lina Starella, Belgian, 24 years old, lightweight. Speaks flamingant like you and me and almost as well as Camille Lemonnier. She dances with quite extraordinary brilliance... For the moment she plays, dances and mimes at the Eldorado theater to eminently Florentine and in every way charming music by the master Edouard Mathé. Truly I tell you from my well-known experience in dance, she is a great star that is rising... and given her flourishing complexion, she does not seem to be fading any time soon!” This rare and magnificent design is a two-sheet poster. Est: $3,000-$4,000.

A-Z | BOHLIN - BRAÑEZ

138

Dagny Bohlin (1899-1988) & Brita Hörlin (1893-1982) 138. Noc-turno. 1935. 27 1⁄ 8 x 39 3⁄ 8 in./69 x 100 cm J. Olsens, Stockholm Cond A. “Nocturno” was an Austrian film directed by Gustav Machaty and starred Ria Byron, Maria Ray, and Donata Ray. Though no information on the plot exists, Bohlin and Hörlin created a riveting, Modernist promotion for the film’s release in Sweden. The bright pink, bold typography and experimental imagery prove that these artists were quite ahead of their time.

139

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

Pierre Bonnard (1867-1947) 139. 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-XCI, 136 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: $4,000-$5,000.

140. L’Estampe et l’Affiche : Proof. 1897. 24 x 31 5⁄ 8 in./61 x 80.2 cm Cond A-/Slight tears at edges. Ref (all var): Marx, 38; Bouvet, 44; DFP-II, 80; Gold, 89; Iskin, 24; PAI-XCI, 137 This is a rare proof of the famous poster; printed on the verso is a Louis Oury poster for “Cavalcade des Étudiants.” Although it appeared for only two years during the heyday of postermania (March 1897 to December 1899), this magazine exercised a major influence on poster designers and collectors alike. Bonnard’s poster was featured on the first page of the first issue, and it was seen as a declaration of intentions on the part of the posterists: we see the older woman—representing the Print—look with curiosity at the brash kid with her portfolio—representing the upand-coming Poster—obviously ready to take over as the collectible of choice. Est: $4,000-$5,000.

140

BOHLIN - BRAÑEZ | A-Z

141

144

Frédéric Bonnet

Henri Boutet

141. Visitez Rouen.

(Louis Maurice Henri Boutet de Monvel, 1851-1919)

31 ⁄ 2 x 47 ⁄4 in./80 x 120 cm Imp. Lucien Wolf, Rouen Cond B+/Slight stains at folds and edges. Ref: PAI-XXI, 75

143. Pate Dentifrice du Docteur Pierre. 1894.

142

If Monet could spend four years painting views of the Cathedral at Rouen, then this town in the Normandy valley of the Seine is certainly worth visiting for a day or two. You can tell by the chic cut of their clothes that these two women—the one standing up so stunning in green, her demure friend equally modish in pink— have been snatched away from the urban pleasures of Paris. Their sporty friend is determined that they should be fascinated by the distinguished spot—and, also, by him. And why not? The architecture is certainly impressive.

In this charming poster for a toothpaste, Monvel imbues the scene with warmth and positive home values (note the delectable wallpaper!) to covey a subtle but effective sales message. The additional German text at bottom reinforces that the product is available everywhere. Rare! Est: $1,400-$1,700.

E. Brañez

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

144. La Molina. 1929.

Firmin Bouisset (1859-1925)

19 1⁄4 x 27 5⁄ 8 in./48.8 x 70 cm Cond A-/Slight tears at edges.

142. Chocolat Menier : On Silk. 7 ⁄ 2 x 10 in./19.2 x 25.5 cm Cond A. Framed. Ref (all var): DFP-II, 85; Reims, 237; Maindron 1896, p. 42; Musée d’Affiche, 49; Weill, 75; Masters 1900, 75; Chocolate Posters, Cover & p. 20; Karcher, p. 75; PAI-LX, 113 1

“Originally seen from the back in an 1892 design writing the words ‘Chocolat Menier’ on a wall, she returned many times over the years, sometimes scrawling different words in other languages, but always cutting an irresistible tomboyish figure” (Gold, p. 43). This small variant, printed on silk, was created for the 1900 Paris World’s Fair.

143

20 3⁄4 x 31 3⁄4 in./52.8 x 80.7 cm Devarenne, Paris Cond B-/Stains at edges. Ref: DFP-II, 97; Reims, 249; Maitres, 26; PAI-V, 221

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

Located in the Pyrenees in northeastern Spain, Las Molinas is the country’s oldest ski resort, with its inaugural ski lift built in 1943. In this joyous design, Brañez gives us a taste of the wintry activities that await us via the (now defunct) Norte railway. Rare! Est: $1,400-$1,700.

A-Z | BRÜGGER - CAPPIELLO

146

145

147

Edgar Brügger (1900-1940)

Donald Brun (1909-1999)

145. Die Farbige Stadt. 1927.

146. Bata.

147. Zwicky. ca. 1958.

35 ⁄4 x 50 ⁄ 8 in./90.7 x 128 cm Wolfsberg, Zürich Cond A. Ref: Margadant, p. 98

34 ⁄ 8 x 50 in./88 x 127.6 cm Indicolordruck, Zürich Cond B/Slight tears, largely at edges. Ref: PAI-LXXX, 247

35 3⁄4 x 49 5⁄ 8 in./91 x 126 cm J. C. Müller, Zürich Cond B+/Slight tears at edges. Ref: Cat Cabinet, 20; PAI-LXXII, 149

For an exhibition titled “The Colored City” at Zurich’s Arts and Crafts Museum, Brügger takes inspiration from the Bauhaus movement to create a simplified urban scene in bold primary colors.

Though founded in the Czech Republic 130 years ago, the Bata shoe company is based in Lausanne, Switzerland, and remains one of the largest privately owned Swiss shoe manufactures. Here, Brun advertises their athletic footwear with bold graphics and playful athletes strutting their wares in different fields.

This swank kitty-cat is just the epitome of mid-century Modern design. Brun made two versions of this poster: one minimal design with an off-white background; and this one, which is even wittier, as a poster on the wall attracts a passing cat with an errant tail of yarn. With colors and an attitude straight out of a Merrie Melodies Saturday morning cartoon, this is one to treasure.

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

Est: $800-$1,000.

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

LEONETTO CAPPIELLO

148

Leonetto Cappiello (1875-1942) 148. Congrès International des Étudiants. 1907. 46 1⁄ 2 x 63 3⁄ 8 in./118 x 161 cm Imp. P. Vercasson, Paris Cond B+/Slight tears at folds and bottom text area. Ref: Cappiello/Rennert, 131; PAI-LXXIX, 271 “The symbolic female Bacchus supplies the wine, while her escort the song, even throwing in a jig for good measure. They represent the entertainment portion of the program planned for the Fêtes du Congrès International des Étudiants, the International Students’ Congress soirée, set for Bordeaux in September 1907. It’s surely one of the most joyous of Cappiello’s posters” (Cappiello/Rennert, p. 107). Est: $5,000-$6,000.

A-Z | CAPPIELLO

149

150

151

Cappiello (Continued) 149. Le Petit Coquin. 1901.

150. Le Théatre de Cappiello. 1903.

38 x 53 1⁄ 2 in./96.6 x 135.8 cm Imp. P. Vercasson, Paris Cond A-/Slight tears at edges. Ref: Cappiello/Rennert, 10; PAI-LXVIII, 283

11 x 13 7⁄ 8 in./27.9 x 35.2 cm Excellent condition, with usual light wear at edges. Ref: Cappiello/Rennert, p. 11; Bernhardt/Drama, p. 131; PAI-LIX, 210

Sometimes it was simple charm that Cappiello called into play to attract attention, as is the case with this little girl teasing a parrot with her delicious Petit Coquin biscuit. Est: $1,700-$2,000.

152

Cappiello’s portrait of Sarah Bernhardt is a masterwork of elegant brevity: dramatic, infectious, and overflowing with charm. It’s one of the many cover designs created by the caricaturist on the verge of becoming a master. “In April of 1903, there was another special issue, this time in the magazine Le Théatre, titled ‘Le Théatre de Cappiello,’ with thirty-eight designs, in color, of actors and actresses either in stage costumes for roles that they had made famous, or in studio poses. Two renowned drama critics supplied the text” (Cappiello/Rennert, p. 10). This is the complete issue. Est: $1,000-$1,200.

CAPPIELLO | A-Z

153

154

151. Mele. 1907.

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

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-XCI, 155

49 3⁄4 x 77 1⁄ 2 in./126.5 x 197 cm Imp. P. Vercasson, Paris Cond A-/Unobtrusive folds. Ref: Cappiello/Rennert, 99; Auto Show I, 30; PAI-LXXXIX, 170

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.

“Fernand Charron, who won the first Gordon Bennett cup in a car of his own design in 1900, eventually took over the Automobiles Charron firm and manufactured large, comfortable—and expensive—sedans. The closed cab shown in the poster was the natural automotive evolution from a carriage design—it was very popular with the aristocracy as it exuded elegance and luxury. All of this is reinforced in Cappiello’s design, showing an elegant lady giving directions to her driver before entering the cab. The frame around the image, including the title plate, suggests that the Charron automobile is a masterpiece” (Cappiello/Rennert, p. 90).

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

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

152. Poulain-Orange. 1911.

154. Excelsior. ca. 1910.

47 1⁄4 x 63 in./120 x 160 cm Imp. P. Vercasson, Paris Cond B/Slight tears at folds. Ref: Cappiello/Rennert, 176; Chocolate Posters, p. 31; PAI-LXXXI, 220

48 x 90 in./122 x 228.6 cm Imp. P. Vercasson, Paris Cond A-/Horizontal fold. Ref: Cappiello/Rennert, 157; PAI-LXI, 301

A chocolate company with a horse for a mascot is the perfect client for Cappiello, as evidenced by the charming scene he created for one of the oldest French chocolatiers. While they specialized in a large range of chocolate products, the Poulain Orange was a powdered mix blended with vanilla which could be turned into hot cocoa or chocolate milk. The product is still produced today under the Cadbury company.

Excelsior was a daily newspaper launched in 1910. The four celestial figures heralding the launch of this new daily represent the various art disciplines to be covered by the publication.

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

Est: $4,500-$5,500.

A-Z | CAPPIELLO

155

CAPPIELLO | A-Z

156

Cappiello (Continued) 155. Remington. 1910. 48 3⁄4 x 77 1⁄ 2 in./124 x 197 cm Imp. P. Vercasson, Paris Cond B+/Slight creases; unobtrusive folds. Ref: Cappiello/Rennert, 169; PAI-XCI, 156

157 157. L’Eau de Montmirail. 1912. 37 x 52 in./94 x 132.2 cm Imp. P. Vercasson, Paris Cond A. Ref: Cappiello/Rennert, 246

“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).

“This food fairy riding away atop a bizarre winged insect advertises L’Eau de Montmirail and the Montmirail Purgative, whose producers evidently feel confident enough with its reputation to refer to itself simply as ‘The Water’ without closer identification. Montmirail lies near Avignon in Southern France. However, it’s far more likely that we’re missing a text banner that might give us a complete title as well as a printer. No known copy of this poster carries any additional text; the index of Cappiello posters in the Grand Palais exhibition catalogue dates it to 1912 and credits Vercasson as the printer” (Cappiello/Rennert, p. 166). Rare!

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

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

156. Eau des Récollets. ca. 1912. 50 1⁄4 x 89 1⁄4 in./127.6 x 226.7 cm Cond B+/Slight tears at folds. Ref: Cappiello/Rennert, 226; PAI-XXXII, 224 The arthritis-relieving properties of Récollets mineral water are embodied by an emerald-winged sprite in a typical eye-grabbing Cappiello overstatement. Est: $5,000-$6,000.

A-Z | CAPPIELLO

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

158

Cappiello (Continued) 158. Figaro : Maquette. 1923. 74 x 50 3⁄4 in./188 x 128.7 cm Signed gouache, crayon, and ink maquette. Ref: PAI-XXXIV, 287 By utilizing the rascally hero of a pair of Beaumarchais’ popular comedies as his centerpiece scribe—who, as luck would have it, is also the namesake of this particular Parisian newspaper—Cappiello achieves distinct promotional goals quite facilely. As anyone familiar with The Marriage of Figaro would know, the play—not the depoliticized Mozart opera of the same name—served as not only a humorous romp, but also a mouthpiece for the playwright’s bitter criticism of the ruling class. Therefore, the artist makes it clear that not only is the paper an excellent diversion, but also an indispensable source for informative opinion. This preparatory work—which is, for some reason, much larger than the final poster—is in a quite complete state, with only minor changes made for the printed version (see PAI-LXXXIII, 263). Est: $25,000-$30,000.

CAPPIELLO | A-Z

159

161

160

159. Contratto. 1922.

160. Shaving Cream : Maquette.

161. Écrasez la Tuberculose. ca. 1922.

39 x 55 1⁄ 8 in./99 x 140 cm Les Nouvelles Affiches Cappiello, Paris Cond A. Ref: Cappiello/Rennert, 366; Cappiello/St. Vincent, 4.45; Menegazzi-I, 436; PAI-XCI, 166

6 x 8 1⁄ 2 in./15.2 x 21.5 cm Gouache and ink maquette. Ref: PAI-XX, 169

19 x 31 in./48.2 x 78.8 cm Imp. Devambez, Paris Cond B+/Slight tears at edges and horizontal fold. Ref: Cappiello/Rennert, 359; Karcher, 472; Santé, 620 (var); PAI-LVII, 215

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 medium format.

Created during Cappiello’s time at the Devambez printing firm, the artist visualizes the gesture of steadying one’s hand for a morning shave. With flangelike ends knotted behind the fellow’s head, the towel gets the same stylized design treatment here that the artist gives to a table napkin in “Savourez la Savora,” a poster he created for Devambez in 1929.

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

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

“An institutional effort far from Cappiello’s usual joyousness, but no less memorable. Holding an infant aloft, the spirit of France stamps out the menace of tuberculosis (Écrasez la Tuberculose), which in the 1920s was a serious health problem throughout most of Europe. With her white robes cinched with a giant red and blue bow, she resembles a triumphant patriotic angel in stark contrast to the ugly serpentine shape of the disease” (Cappiello/Rennert, p. 229). Est: $1,400-$1,700.

A-Z | CAPPIELLO

162

CAPPIELLO | A-Z

166

163

167

Cappiello (Continued) 162. Allez Chez Poccardi. 1924.

163. Nice. 1927.

167. Florio et Cinzano. 1930.

100 1⁄ 2 x 155 1⁄4 in./255.2 x 394.6 cm Imp. Devambez, Paris Cond B+/Slight tears at seams and folds. Ref: Cappiello/Rennert, 376

31 x 46 3⁄4 in./78.8 x 118.7 cm Imp. Devambez, Paris Cond B+/Unobtrusive folds. Ref: Cappiello/Rennert, 457; PAI-LXXXVII, 223

“As a son of Italy who made good in Paris, Cappiello was a natural choice for an Italian restauranteur in Paris to publicize his string of establishments—and he did so in three elegant designs over a two-year period... In this third and final poster for Poccardi restaurants, we are [bidding adieu] to two socialites and their companion, who order their chauffeur to whisk them off to any of the three locations indicated at the bottom of the poster” (Cappiello/Rennert, p. 239). The restaurant, famous for its Americano apéritif, was a hotspot for high-class and fashionable Parisians who wanted to see and be seen in their finest Deco wares. This foursheet poster is illustrated in the book “The Posters of Leonetto Cappiello,” by Jack Rennert, on page 239.

Cappiello, always a glutton for excess, shrouds this family in hefty doses of roses and coastal grass. These bountiful accessories provide another benefit to the design: they contrast wonderfully with the azure of the Riviera background.

10 x 13 3⁄4 in./25.2 x 35 cm Imp. Devambez, Paris Cond A. Framed. Ref (all var but PAI): Cappiello/Rennert, 480; Cappiello/ St. Vincent, 3.11; Boissons, 434; Art Deco, p. 87; PAI-LXXXIX, 184

Est: $40,000-$50,000.

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

164 & 165. No Lots. 166. Le Bas Revel : Drawing. ca. 1929. 8 1⁄ 2 x 13 1⁄ 8 in./21.8 x 33.2 cm Signed ink drawing. Framed. Ref (both var): Cappiello/Rennert, 269; PAI-XCI, 170 This is the original preparatory drawing for Cappiello’s charming Le Bas Revel poster. Est: $3,000-$4,000.

When Cinzano merged with Florio in 1930, Cappiello was called upon to create a mate for the red Cinzano zebra he’d invented twenty years prior. And so, the white and blue Florio zebra was born, shown here leaping side-by-side with his new brand-brother. This is the in-store display version of the poster. Est: $1,700-$2,000.

A-Z | CARDINAUX - CASSANDRE

168

Emil Cardinaux (1877-1936) 168. Palace Hotel / St. Moritz. 1920. 35 1⁄ 2 x 50 in./90 x 127 cm Wolfsberg, Zürich Cond A. Framed. Ref: Cardinaux, 68; Schweizer Hotel, 57; Wobmann, 43; Margadant, 250; Plakat Schweiz, p. 34; Timeless Images, 149; Voyage, p. 58; PAI-LXXXIII, 1 This is one of Cardinaux’s best and most evocative posters. It recalls childhood memories of snowy escapes and family photographs from vacations past. The main purpose of the poster— the promotion of St. Moritz as a winter sports hot spot—is left to the background. Instead, an elegantly bundled lady is the focus, her party deep in lazy chitchat while skaters glide by their chairs. Cardinaux doesn’t need to overstate the Alps’ ideal climate for wintry sports—instead, he allows us to luxuriate in a relaxing getaway. Est: $10,000-$12,000.

CARDINAUX - CASSANDRE | A-Z

169

Alois Carigiet (1902-1985) 169. St. Moritz. ca. 1934. 37 x 50 1⁄ 2 in./94 x 128.3 cm Wolfsberg, Zürich Cond A.

170

Carigiet proves that you don’t have to be a sports fanatic to enjoy the great outdoors in St. Moritz: a fashionable one-piece and a snowball fight are just as enjoyable as hitting the slopes. Est: $1,700-$2,000.

A. M. Cassandre (Adolphe Mouron, 1901-1968) 170. Réglisse Florent. 1925. 38 1⁄4 x 58 in./97 x 147.4 cm Cond A. Framed. Ref: Cassandre/Weill, p. 29; Cassandre/BN, 6; Mouron, pl. 5; Brown & Reinhold, 4; Cassandre/Suntory, 10; Moderno Francés, p. 154; PAI-LXXIV, 247 A revolt against the idealized rococo of Art Nouveau, the Object Poster was ascendant in the early years of the 20th century, and concentrated on the elegance of the object in itself: its form, its specificity, and the elegance of its packaging. Here, Cassandre embraces the style, delighting in the circularity of the Réglisse Florent licorice pastille tin, and swooping in with a red semicircle of a smile at the bottom. For another image by Cassandre, see No. 18. Est: $2,500-$3,000.

171. Italia. 1935. 24 1⁄4 x 39 1⁄ 2 in./61.5 x 100.3 cm Coen, Milano Cond A-/Slight tear at bottom edge. Ref (all var but PAI): Mouron, 192; Cassandre/Weill, 176; Cassandre/BN, 103; Brown & Reinhold, 58; Alpes, pl. 10; Cassandre/Suntory, 63A; PAI-XLII, 194 Cassandre designed this and two other Italian tourism posters during a working summer holiday on the shore of Lake Maggiore in northern Italy. The Mussolini regime had passed a law banning Italian companies from commissioning French artists; to get around it, Cassandre’s future publisher in Italy, Augusto Coen, invited him to work in Italy. Savignac, then Cassandre’s assistant, loyally accompanied him and collaborated on the three posters. Though the style was a dead giveaway, Cassandre had to play along with the charade and use the monogram “A.M.C.” to conceal his French name. This particular creation centers on a montage of sports and recreational objects against a panorama of Italian topography. From the cobalt-blue Adriatic to the azure of the sky over the Alps, the entire scene is expressed with extreme graphic economy. This particular version of the poster excludes the bottom two text lines that mention that Italy has the field for every sport in their beautiful country, allowing Cassandre’s masterful graphics to convey that message all by themselves. Est: $1,700-$2,000.

171

A-Z | CASSIERS - CHASSAING

Henri Cassiers (1858-1944) 172. Royale Belge.

172

34 1⁄ 2 x 28 in./87.7 x 71.2 cm O. de Rycker, Bruxelles Cond A/P. Ref: PAI-III, 62 (var) Although this colorful scene of soldiers in 19th century costume would appear to be part of a national celebration, the poster in fact advertises the Royal Belgian insurance company for life and accidental coverage. Rare! Est: $1,400-$1,700.

Frederic-Auguste Cazals (1865-1941) 173. Salon des 100 / 7me Exposition. 1894. 15 5⁄ 8 x 24 3⁄ 8 in./39.7 x 62 cm Imp. Bourgerie, Paris Cond A. Ref: Salon des Cent, p. 25; DFP-II, 139; Maitres, 15; Maindron 1896, p. 152; Reims, 264; Abdy, p. 163; Weill, 77; Color Revolution, 44; PAI-LXXXIII, 178 Shown examining pictures on the wall (one of which is Jossot’s design for another Salon des Cent poster for an exhibition earlier that same year) are symbolist poet Paul Verlaine in the black hat and coat, and Jean Moreas, founder of the École Romane. Cazals’ design “places part of its text on the wall of a realistic exhibition hall, with the letter ‘S’ in the word ‘Salon’ decoratively replaced by a swan. Words become a natural part of the interior setting and function as the sign entitling the exhibition... This kind of pictorial trick was a convenient system of integrating text and image... [This poster] also illustrates the tendency of some French artists at the end of the century to make personal puns within their works and to include depictions of friends and colleagues” (Lauder, p. 69). Est: $2,000-$2,500.

Marc Chagall (1887-1985) 174. Nice / Soleil, Fleurs. 1962. 24 1⁄4 x 39 1⁄4 in./61.6 x 99.8 cm Imp. Mourlot, Paris Cond A/P. Ref: Affiches Azur, 56; Sorlier, p. 38; PAI-XCI, 181 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.”

173

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

CASSIERS - CHASSAING | A-Z

174

175 175. Die Zauberflöte / Metropolitan Opera. 1966. 26 x 39 5⁄ 8 in./66 x 100.8 cm Mourlot, Paris Cond A. Ref: Sorlier, p. 107; PAI-LXXXVII, 237 Marc Chagall’s rapturous poster for the Met’s 1967 production of Mozart’s “The Magic Flute” is the final note on Chagall’s top-to-tail visual rendering, having created the sets and the costumes as well. The poster borrows a detail from “The Triumph of Music,” one of two large murals that flank the entrance to the Metropolitan Opera at Lincoln Center. The “welter of color” Chagall splashed onto the Met’s stages received mixed reviews, but his visual interpretation of Mozart’s final joyous opera influenced the Met’s stagings through the 1981-82 season. Est: $2,000-$2,500.

176

Jean Chassaing (1905-1938) 176. Josephine Baker. 1931. 41 1⁄ 2 x 60 3⁄4 in./105.5 x 154.3 cm Imp. H. Chachoin, Paris Cond A. Framed. Ref: Weill/Art Deco, p. 190; PAI-LXXI, 66 This poster is as enigmatic as it is captivating. Chassaing appears to have been influenced by Colin’s Bal Nègre and Tumulte Noir, which makes perfect sense, as he was an associate of the better known artist. What is rather surprising is the time of the poster’s production: 1931 was right in the middle of a thirteen-month run of “Paris qui Remue” at the Casino de Paris that made Baker the toast of Paris, and led to the December 1932 start of her next show, “Joie de Paris.” The question that begs to be asked is why Baker would commission a poster without a specific promotional goal. But for Chassaing, this was a big deal. The only known photograph of him depicts him at his easel posing with this poster. It could be that it’s a self-promotional image that he created without Baker’s request or permission—or perhaps it was a perk from a discreet liaison. Unfortunately, we’ll never know. Regardless of the exact motivation behind this poster’s creation, it stands as one of the rarest of all Josephine Baker images, and is an Art Deco masterwork that depicts her with an immediately recognizable stylization, against a background that cleverly incorporates a vast plane of dropout-white, and effectively includes brief textual identification. Est: $14,000-$17,000.

JULES CHÉRET

177

178

Jules Chéret (1836-1932) 177. Folies Bergère. 1875.

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

16 1⁄ 2 x 21 in./42 x 53.5 cm Imp. J. Chéret, Paris Cond A. Framed. Ref: Chéret, 93; Broido, 93

33 x 47 1⁄ 8 in./84 x 119.7 cm Imp. Chaix, Paris Cond B+/Restored tears in top text. Framed. Ref: Chéret, 154; Broido, 125; Maindron 1896, 113; DFP-II, 233; Maitres, 73; Reims, 411; Wine Spectator, 13; Loïe Fuller/Current, p. 129; PAI-XCI, 189

“In his catalog no. 25 of July 1890, the bookseller Edmond Sagot reported: ‘These small posters made to be put up in cafés, at wine merchants, were only printed in very small numbers, and are always much rarer than the pieces of large dimensions which were stuck on the walls’” (Broido, p. 146). This poster is rare indeed: it was printed by Chéret at his first studio on Rue Brunel. Est: $1,200-$1,500.

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: $4,500-$5,500.

CHÉRET | A-Z

179 179. Pastilles Géraudel. 1895. 32 5⁄ 8 x 47 1⁄ 2 in./82.8 x 120.6 cm Imp. Chaix, Paris Cond B+/Slight tears at edges. Framed. Ref: Chéret, 1181; Broido, 910; DFP-II, 259; Health Posters, 6; Gold, 32; PAI-XCI, 193 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: $2,500-$3,000.

180. Apéritif Mugnier. 1890. 33 1⁄4 x 96 3⁄ 8 in./84.6 x 244.6 cm Imp. Chaix, Paris Cond A. Ref: Chéret, 1110; Broido, 861; Maindron, 727; PAI-XLIII, 258 The pert, sweet-faced waitress alone is enough to convince us of the merits of this beverage. The client was a company started in 1863 by Frédéric Mugnier, who prepared a potion from a wine base flavored with blackberries and cherries. This is a rare, twosheet version of the design printed seven years prior to the more commonly seen version of the poster that advertises the beverage as Quinquina Mugnier. Est: $2,500-$3,000.

180

A-Z | CHÉRET

181

182

Chéret (Continued) 181. Palais de Glace. 1900.

183. Femme au Chapeau Jaune : Painting. 1903.

34 ⁄ 8 x 49 in./88 x 124.5 cm Imp. Chaix, Paris Cond B+/Slight tears and stains at edges. Ref: Chéret, 490; Broido, 373; PAI-XC, 218

17 5⁄ 8 x 24 3⁄4 in./44.7 x 63 cm Signed oil painting. Framed.

One of the rarest posters in the Palais de Glace series, we are presented with an auburn-haired temptress coyly glancing back at her mustachioed gentleman companion. It’s as charming as it is romantic! This is the medium format. Est: $2,700-$3,000.

Provenance: Galeries George Petit Gifted to Dr. Gabriel Dauloued, 1968 Grandson of Dr. Dauloued This lovely signed oil painting is quite the departure from Chéret’s usual floating nymphs; instead, he’s adopted a much more traditional approach to portraiture. Est: $17,000-$20,000.

182. Élégante au bouquet de fleurs : Drawing. 8 3⁄ 8 x 16 1⁄4 in./21.2 x 41.3 cm Signed pastel drawing. Framed. A lovely Chérette is walking on air in her favorite yellow dress. Chéret fills the pastel scene with verdant springtime joy. Est: $8,000-$10,000.

CHÉRET | A-Z

183

A-Z | DE CIDÓN NAVARRO - COLAS

184

Francisco de Cidón Navarro (1871-1943)

Johann Vincenz Cissarz (1873-1942)

Jean Cocteau (1889-1963)

184. Perfumeria Ladivfer. 1903.

185. Darmstadt. 1904.

186. Exposition Nice–Côte d’Azur. 1954.

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-XCI, 208

20 7⁄ 8 x 29 5⁄ 8 in./53 x 75.2 cm Schoembs, Offenbach Cond B+/Slight tears at edges. P. Ref: DFP-III, 488; PAI-XLVIII, 184

19 3⁄4 x 27 1⁄ 2 in./50 x 69.6 cm Mourlot, Paris Cond A. Ref: PAI-LXVIII, 342

In the beginning of the twentieth century, the Bundesland city of Darmstadt was an important center for the Jugendstil art movement—the German manifestation of Art Nouveau—which translates as “youth style.” For the second exhibition of the Darmstadt Artist’s Colony, Cissarz sets this centurion before the public—augmented with the additional luster of metallic gold ink—to clearly put forth the notion that the colony was not only in command of their craft, but protectors of an artistic tradition as well. Cissarz was a versatile German artist who painted landscapes and historic tableaux, but also designed glass, fabrics, furniture, ceramics, and metal works; he was active by turns in Dresden, Darmstadt, Stuttgart, and Frankfurt, and his poster output shows an excellent sense of color and composition. Rare!

Utilizing the image from Cocteau’s 1951 print entitled “Arlequin - Musicien,” this poster announces an exhibition of the art of Nice and the Côte d’Azur, sponsored by TWA.

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: $2,500-$3,000.

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

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

Louis Colas 187. Micheline / Eldorado. 25 3⁄4 x 70 3⁄4 in./65.4 x 179.7 cm G. Bataille, Paris Cond A. Ref: Reims, 583 “Born in Marseille in 1872, Mlle Micheline made her debut in Lyon at the age of seven. She performed in dramas and comedies in Marseille as a child and teen, then traveled around France and Belgium, performing in operettas. Her Paris debut took place at the EdenConcert, after which she performed at the Eldorado, Folies-Bergère, and Olympia. She was described as a singer, comedian, actress, seductive little devil, and artist with a remarkable career” (Parisian Music-hall Ballet 1871-1913, by Sarah Gutsche-Miller, p. 317). This is a two-sheet poster. Est: $1,200-$1,500.

DE CIDÓN NAVARRO - COLAS | A-Z

185

186

187

PAUL COLIN

188

COLIN | A-Z

189

Paul Colin (1892-1986) 188. Blackbirds : Maquette. 1926.

189. Le Tumulte Noir. 1929.

27 3⁄4 x 40 1⁄ 8 in./70.3 x 102 cm Signed gouache and ink maquette. Framed.

13 x 19 1⁄ 2 in./33 x 49.5 cm Wear on cover; plates are complete and in excellent condition. Includes additional original drawing dedicated to Marcel Gaveau. Ref: Colin Affichiste, p. 40-53; PAI-LXXXIX, 215

This is a preparatory work for Colin’s superlative trio of sinewy minstrels; for another iteration of this Jazz Age group, see PAI-LXXXVII, 262. And although Colin was quite loyal to Josephine Baker during this time, he couldn’t help but be drawn to the Blackbirds. “Two months after she opened at the Folies-Bergère, Josephine’s domination of the review scene was threatened by Florence Mills’ arrival as one of the stars of Lew Leslie’s Blackbirds of 1926... Blackbirds opened at the Théâtre-Restaurant des Ambassadeurs... The first night, a gala special was scheduled for 12am, so the working show people of Paris could come. Josephine drifted in half an hour late, accompanied by eight white men in tails... wearing this white ermine floor-length coat, and a black velvet evening gown with a hood around her face. By October, Blackbirds had moved to London, and with Florence Mills no longer on the scene, Josephine was once again the biggest black star in Paris” (Josephine, p. 138-139 & 143). Also known as the “Queen of Happiness,” Mills was one of the most successful entertainers of the 1920s. Many spoke about her enchanting qualities, but it was her singing that was most spellbinding. When Blackbirds moved to London’s Pavilion Theatre, it enjoyed 276 performances. The Prince of Wales was said to have seen the show more than twenty times and Mills became so popular that she became to London what Josephine Baker was to Paris. Sadly, she perished in 1927 after a delayed surgery for appendicitis. She was only thirty-two years old. Est: $40,000-$50,000.

This portfolio was published at the height of “the Black Craze” in Paris, a period of several years during which black dancers and jazz musicians enjoyed great popularity. It all started in 1925 when the troupe then playing at the Plantation Club in New York City’s Harlem neighborhood was brought to Paris, and lead dancer Josephine Baker introduced the French to that new sensation: the Charleston. Colin, who was in on the whole thing from the beginning, collected the sketches he made of her and of other black performers who followed; these forty-eight plates, published in a limited edition of 500, are the result. The images were drawn directly on the stone by Colin at the Chachoin plant in Paris and then stencil-colored (the term for this technique is pochoir). Pulsating with color and movement, the portfolio contains the very best of Colin’s lithographic work. Est: $25,000-$30,000.

A-Z | COLIN

190

191

192

Colin (Continued) 190. La nuit de Mai.

192. Leroy Opticien. 1938.

193. Bal Nègre Lithograph. 1927.

15 1⁄4 x 23 1⁄4 in./38.8 x 59 cm A. G., Paris Cond A.

87 x 127 3⁄ 8 in./221 x 324 cm Cond B+/Slight tears at folds. Ref: Colin Affichiste, 178; Colin, 92; Deco Affiches, p. 59; Timeless Images, 115; PAI-XX, 222

17 1⁄ 8 x 24 3⁄4 in./43.6 x 63 cm Cond A. Framed. Ref (all var but PAI): Colin, 19; Colin Affichiste, 113; PAI-XVIII, 243

“As Colin devoted himself mostly to show business, his commercial designs are rare. Among these, l’opticien Leroy, done for one of his friends, is one of the best. Featureless but for the eyes, a man’s face stands out on a dark background. Is he at the theater, as his dress suggests? With his gloved hands he puts on his glasses. A halo around his eyes, done with airbrush, helps further to magically draw our eyes to his. At the bottom, in big red Art Deco letters in relief, the optician’s name—and that’s all. In its succinctness, a perfect illustration of Colin’s theory that a poster must be ‘a telegram addressed to the awareness’” (Deco Affiches, p. 113). Leroy remained the premier optician in Paris for many decades; Colin likely deserves some of the credit. This is the rare four-sheet, large format version of this image.

This hand-signed lithograph is from an edition of 60 numbered copies (#18). The print is based on Colin’s famous 1927 poster for the Bal Nègre (see PAI-LXXXVI, 202). Although he dates this the same year, it was most likely executed at a later date. It bears a dedication to his friend, the actress Flaure. The one-night event at the Théâtre des Champs-Élysées was meant to crown the whole “black craze” which swept into Paris in 1925 with Josephine Baker and the Revue Nègre. It was organized entirely by Paul Colin and was a hugely successful event. This is in many ways his best poster design, full of the movement and vitality that his earlier poster for the Revue Nègre lacked. Josephine Baker was not the model but, according to Colin, she was quite definitely his inspiration.

Colin designed this lovely announcement for a gala supporting rheumatic patients. Est: $1,700-$2,000.

191. Ch. Gir. 1927. 45 x 60 1⁄ 2 in./114.4 x 153.5 cm H. Chachoin, Paris Cond B/Slight tears at folds. Ref: Colin Affichiste, 115; PAI-XC, 232 This poster was created for an exhibit of works by Charles Gir, a painter and occasional posterist. Colin depicts his friend in silhouette, framed against a large pink and white canvas of a ballerina, and signs it, “To my friend Gir.” This is the larger format. Est: $2,000-$2,500.

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

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

COLIN | A-Z

194

193 194. La Nuit au Temps des Ballets Russes. 1952. 15 3⁄4 x 23 1⁄ 2 in./40 x 59.6 cm P.S.P., Paris Cond B/Slight tears at edges. Ref: PAI-LXXVIII, 255 Paul Colin not only designed posters for the revolutionary Ballets Russes—he also made significant contributions to the troupe as a theatrical designer. In 1952, he again provided his creative services—this time, for a summer resort ball at the municipal casino, which was surely a festive occasion. Colin’s spectacular brevity once more comes to the fore: the vivacity and flare of the evening’s festivities are encapsulated in the sole dancer’s featureless form; she’s exuberantly lost in the purity of uninhibited movement. Est: $1,200-$1,500.

195. Damia. 1930. 15 1⁄4 x 23 3⁄ 8 in./39 x 59.4 cm Imp. H. Chachoin, Paris Cond A. Framed. Ref: Colin, p. 55; PAI-LXII, 365 Born in 1892, Maryse “Damia” Damien is often called “the grande dame” of French song. She began her career as a member of Loïe Fuller’s troupe, appearing in Folies-Bergère revues and various small plays and films before making it as a chanteuse. Her signature ensemble consisted of a long, black, sleeveless dress with a deep, plunging neckline, as shown here by Colin. He also claims to be the person who came up with the idea of placing her in front of a black velvet curtain, allowing only her pale face and arms to be seen by the audience—a trick she used her entire professional life. This is the smaller format version of the design. Est: $3,000-$4,000.

195

A-Z | COLIN - DEARMER

197

196

Colin (Continued) 196. Week End Cigarettes. 1933. 37 5⁄ 8 x 59 1⁄ 8 in./95.6 x 150 cm Imp. Bedos, Paris Cond A. Ref: Colin Affichiste, 173; Crouse/Deco, p. 220; PAI-LXXXIV, 292 “This is a great example of Paul Colin’s Art Deco skills, executed with complementary diagonals, inviting, soft pastels, and a sense of pure smoking pleasure” (Crouse/Deco, p. 220). Est: $2,500-$3,000.

197. Bal des Bijoux. 1942. 15 1⁄ 8 x 23 in./38.5 x 58.4 cm Imp. Art et Tourisme, Paris Cond A. Framed. Ref: Colin Affichiste, 127; PAI-III, 270 With minimal means, Colin get his message across by emphasizing the dancing girl’s bejeweled arm. Rare! Est: $2,000-$2,500.

198. La Tendre Ennemie. ca. 1930. 39 x 59 1⁄4 in./99 x 150.5 cm DOC Publicité, Paris Cond A-/Unobtrusive folds. Ref: PAI-LXXVII, 198 This comedy by Andre-Paul Antoine tells the tale of three ghosts who meet on a park bench, only to discover they’d all been in love with the same woman—who had, in some way, been responsible for each of their deaths. A novel written in 1928, it made its way to the avant-garde Studio des Champs-Élysées theatre in 1930, and then became an award-winning film in 1936. Est: $3,000-$4,000.

198

COLIN - DEARMER | A-Z

199

200

202

201

Eugène M. Cordier (1903-1974)

Tom Daly

Mabel Dearmer (1872-1915)

199. Gebrüder Guggenheimer. ca. 1920.

201. 46th Annual New York Art Director’s Club Exhibition. 1966.

202. Ibsen’s Brand. 1895.

23 ⁄ 8 x 34 ⁄ 8 in./60 x 86.7 cm Klein und Volbert, München Cond A-/Horizontal fold. 5

Cordier illustrates two incredibly stylish men flaunting their wares from Munich’s Guggenheimer Brothers. Est: $1,700-$2,000.

R. Du Coudrey 200. Le Parfum des Iles Borromées. 1898. 17 x 24 in./43 x 61.2 cm Imp. Chaix, Paris Cond A. Ref: DFP-II, 287; PAI-LI, 296 The June 1898 issue of The Poster perfectly describes this fanciful image: “A young girl profiled in light colours against dark scenery stands inhaling the perfume of flowers of the ‘Borroméan Islands.’ ... Nude to the waist the maiden stands; with her left hand she holds the folds of a drapery that hangs from her shoulder; flowers surround her, whilst big trees ‘en silhouette’ on an Italian sky and reflected in a lake, form the background” (p. 29). More specifically, this poster advertises the latest publication by French author René Bolesve which takes place on this enchanting island. Est: $1,700-$2,000.

62 3⁄4 x 12 1⁄ 8 in./159.2 x 30.8 cm Cond A/Usual vertical mailing folds. Ref: Images of an Era, 47; Suntory, p. 99; PAI-LXXXV, 270 “The club wanted something to represent the New York annual as the most desirable and enticing show to enter… Designer Tom Daly was picked to do the Call and came up with the idea of a skyline painted on a nude. His first idea for applying the design to human skin was tattooing but research led to experiments with various media. The best one turned out to be theatrical greasepaint and water soluble acrylics… Finding the right model was a major concern. Too sultry or voluptuous a model, it was felt, would cheapen the effect. She had to be enticing enough to symbolize a worthwhile prize that was not easily attainable…” (Art Direction Magazine, November 1966). Clearly, Daly’s dream was astutely executed, and the image has become an iconic representation of the cultural and advertising shift of the 1960s. Est: $1,200-$1,500.

19 7⁄ 8 x 30 1⁄ 2 in./50.5 x 77.4 cm Waterlow & Sons, London Cond A. Ref: DFP-I, 34; Affiche Anglais, unnumbered; Reims, 1363; PAI-LXII, 374 A one-woman show in a London concert hall is cleverly announced with a poster done by the performer herself. Using paper reserve for the nameless newspaper, she hides her face to pique our interest. In an interview in the January 1899 issue of The Poster, Dearmer speaks of the success of this, her first poster: “It brought me a great deal of work, and that, from my point of view, was eminently satisfactory. You see, it was exhibited at London, Chicago and Paris, as well as minor exhibitions” (p. 21). Although this activity led to many commissions for book illustrations, it regrettably produced only one other poster from the obviously versatile and talented artist. Est: $1,700-$2,000.

A-Z | DOMERGUE - DUPIN

203

205

Jean-Gabriel Domergue (1889-1962)

Marcello Dudovich (1878-1962)

203. Monte-Carlo. ca. 1937.

205. Compresse Gasal di Vichy. ca. 1905.

27 x 37 3⁄4 in./68.6 x 96 cm Cond A. Ref: Affiches Riviera, 441; Affiches Azur, 216; PAI-LXXXVII, 272

26 3⁄ 8 x 38 5⁄ 8 in./67 x 98 cm Chappuis, Bologna Cond A-/Slight tears at edges. Framed. Ref: Dudovich/Trieste, 30; Dudovich, 65 & fig. 13; PAI-LXII, 382

As if a willowy tan nude weren’t enough to lure us into the languidly beautiful world of Monte-Carlo, Domergue also presents us with a veritable cornucopia of flora to demonstrate the area’s lush bounty. Est: $1,400-$1,700.

204. No lot.

For little more than half a lira, you can get a box of fifty tablets from which you can make ten liters of carbonated mineral water—or “artificial Vichy.” This is one of three posters that Dudovich created for the client, with this being arguably the most elegant and beautiful. Est: $3,000-$4,000.

DOMERGUE - DUPIN | A-Z

207

206

208

Clémentine-Hélène Dufau (1869-1937)

François Dujardin

Leon Dupin (1898-1971)

206. Pelote Basque. ca. 1903.

207. Cigare Havane. ca. 1950.

208. Rita. 1933.

42 1⁄ 2 x 58 5⁄ 8 in./108 x 149 cm Imp. G. de Malherbe, Paris Cond B/Restored tears in bottom text area. Ref: Gold, 129; Livre d’Affiche, 124; Sportissimo, p. 69; PAI-LXXIV, 294

23 1⁄ 2 x 30 in./59.8 x 76.2 cm Gaillard, Paris Cond A.

39 1⁄ 8 x 54 3⁄4 in./99.2 x 139 cm Imp. Joseph-Charles, Paris Cond B+/Slight tears in background. Ref: PAI-LVI, 278

Dufau, a rare female artist of the period, was born in the Basque country: an ideal location for this illustration of Pelote Basque. The effect she creates here is stunning. As the player whips the ball back upon the playing field, he looks right at the female spectator. She returns his glance. Immediately, all of the energy and motion of the athlete’s torque is transferred to the woman’s clothing; frenetic brushstrokes capture the whizz of the ball and the sexual frisson of the moment.

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

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

A gentleman cigar comes to life donning a mile-high top hat in this playful promotion for Havana cigars.

Emphasizing that they are the new dessert of choice, this poster for Rita shows a red-faced fellow making off with waffle cookies, one of which is apparently chocolate-stuffed! Est: $1,200-$1,500.

A-Z | DURIEUX - FAVRE

209

210

211

Roger Durieux (1922-2015)

Ludwig Lutz Ehrenberger (1878-1950)

Hans Rudi Erdt (1883-1918)

209. Afrique Occidentale Francaise. ca. 1940.

210. L’été en Allemagne. ca. 1930.

211. Fritz Schulze. 1907.

31 1⁄ 2 x 46 5⁄ 8 in./80 x 118.5 cm Alsacienne, Strasbourg Cond A.

25 1⁄4 x 39 7⁄ 8 in./64 x 101.2 cm Reichsbahnzentrale, Berlin Cond A-/Unobtrusive folds.

Durieux takes us on a hypnotic and vibrant journey to French West Africa to admire the local flora and fauna. Born in Paris, Durieux worked as a painter, collage artist, and posterist, and was an avid collector of Modern art.

The Alpine snow has melted, the Rhein river roams freely across the verdant countryside, and cherry blossoms burst open with an exhale of heady aromas: this is Summer in Germany. Our lovely Fräulein has taken a pause from her harvesting to enjoy the breathtaking vistas of her country, which Ehrenberger has laid out beautifully.

33 3⁄4 x 47 5⁄ 8 in./85.8 x 121 cm Vereinigte Druckereien und Kunstanstalten, München Cond B/Slight tears at folds. Ref: DFP-III, 758; PAI-XLIV, 243

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

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Ostensibly, Erdt’s poster for the Munich sporting goods store places its focus on the apparel one might find there. Not to slight the sporty togs on display, but it’s the unsettled business playing itself out between this ruggedly natty trio on their getaway that lends spectacular dramatic impact to the design. Clothes, it seems, may make the man or woman—but it’s stoically unspoken narrative that makes the poster. Although he only lived to age 35, Erdt amassed an impressive record as a graphic artist and lithographer in the single decade of 1908 to 1918. He depicted upper-class people in their sports and luxuries, and had a keen eye for reducing a scene to a few essential forms and flat colors. Est: $3,000-$4,000.

DURIEUX - FAVRE | A-Z

212

213

214

Eric

Theodore Etbauer (1892-1975)

Georges Favre

212. Philips. ca. 1960.

213. Hamburg-Amerika Linie / 7 Hapag. 1928.

214. Margot Soda. 1932.

62 x 44 1⁄ 8 in./157.6 x 112 cm Elvinger, Paris Cond B+/Slight tears and creases at bottom edge.

23 1⁄ 2 x 34 1⁄ 8 in./59.7 x 86.7 cm Muhlmeister & Johler, Hamburg Cond A-/Slight stains at edges.

44 1⁄4 x 62 1⁄ 2 in./112.3 x 159 cm Affiches Gaillard, Paris Cond A-/Slight creases.

While we have previously seen Futuristic designs for Philips by Eric (see PAI-XCI, 251 and PAI-LVII, 314), this design sets aside the products to focus solely on the awe-inspiring power of engaging with music.

Etbauer provides us with a very tranquil visual of the Land of the Rising Sun, accessible via the HamburgAmerica line. The sense of the sublime is further enforced with the use of metallic silver.

Although we’ve never tasted the soda from this “modern lemonade” maker, its freshness is certainly conveyed to us by the glistening condensation beginning to form on the bottle.

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

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

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

A-Z | GALI - GLADKY

216 215

Francisco de A. Gali (1880-1965) 215. Internationale Sonderausstellung. 1923. 29 3⁄4 x 50 1⁄ 2 in./75.7 x 128.2 cm Cond A-/Unobtrusive folds. A special furniture exhibition in Barcelona is announced by Gali with a classical treatment recalling Roman sculpture and Medieval tiles. Apparently, the organizers thought the works on view would be of interest to German audiences. Est: $2,000-$2,500.

Louis Galice (1864-1935) 216. Les Misérables. 39 1⁄ 2 x 55 in./100.5 x 140 cm Affiches Louis Galice, Paris Cond A. Galice created this very dramatic rendering of a performance of Les Mis for an unnamed theatre. Est: $2,000-$2,500.

217. Empire. 23 5⁄ 8 x 31 1⁄4 in./60 x 79.8 cm Affiches Louis Galice, Paris Cond A-/Unobtrusive folds. The Parisian Empire music hall beckons our attention with a soldier who is laughing so hard, he can’t keep his uniform on. Surely, laughs were to be had by the entire family. Est: $1,400-$1,700.

217

GALI - GLADKY | A-Z

218

Gamy 218. La Skieuse. 1910. 30 1⁄4 x 15 1⁄ 2 in./77 x 39.4 cm Imp. Malibeau, Paris Cond A. Framed. Ref: PAI-LXVI, 270 A giddy female skier extenders her arms wide as she rushes down the slope, unfazed by the fact that she’s just knocked over someone. Est: $1,200-$1,500.

Serge Gladky (1880-1930) 219. Jean Borlin / Cercle Eternel. 1929. 22 x 30 7⁄ 8 in./56 x 78.6 cm Cond A. Ref: Spectacle, 201 (var); PAI-LIX, 361 Jean Borlin, the Swedish dancer and choreographer, founded and presented the instantly successful Swedish Ballet in Paris during the 1920 season of the Théâtre de Champs-Élysées. He was something of a multi-disciplinarian, determined “to enlarge the field of ballet, and reinvigorate it, by bending to its service the newest tendencies in art, music, and literature, yet never allowing any of these elements to dominate the dance... Experiment succeeded experiment, each bolder than the last... After years, it is sometimes difficult to understand the clamour excited by certain productions, so often is the sensation of to-day the commonplace of tomorrow. But the pioneers are sacrificed on the altar of progress, and Borlin suffered from being in advance of his time... [He] disbanded the ‘Ballets Suédois’ [in 1925]... but continued to give dance recitals both in France and abroad” (Complete Book of Ballets, by Cyril W. Beaumont, p. 669-670). How appropriate that Gladky’s Modernist construct should immortalize one of the dancer’s final appearances in an undocumented piece that facilely sums up Borlin’s unifying muse: “Eternal Circle.” This version omits the theatre, ballets, and other details, including the fact that decor for Borlin’s ballets was provided by Paul Colin, Gladky, F. Léger, and Picabia. This is the smaller format version of the poster. Est: $2,000-$2,500.

219

A-Z | GLASER - GONZALEZ

221

Milton Glaser (1929-2020) 220. Superman. 1987. 24 x 36 in./61 x 91.3 cm Cond A/P. Ref: Glaser Posters, p. 685 Superman busts out of the page, transforming from the beloved cartoon character into a real human form. This image was created for an exhibition at the National Museum of American History in Washington, D.C. At the time, Glaser worked for DC Comics designing letterheads, brochures, logos, and the like. Rare!

220

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

221. Dylan. 1966. 22 1⁄ 8 x 32 3⁄4 in./56 x 83.2 cm Cond A/Usual record sleeve folds. Ref: Glaser, p. 51; Glaser Posters, p. 83; Müller-Brockmann, 124; Hutchinson, 206; Johnson, 148; Modern Poster, 237; American Posters, 78; Images of an Era, 39; Encyclopédie/Weill, p. 254; Modern American Poster, 148; Glaser/Manifesti, p. 15; Push Pin, 20; PAI-LXXII, 274 Originally included in Bob Dylan’s Greatest Hits: Volume 1 album on vinyl, this image of the singer is possibly Glaser’s most iconic design. When speaking of it, the artist mentioned being influenced by Duchamp and Islamic paintings, resulting in “a style some now consider peculiarly American” (Glaser, p. 50). Est: $1,200-$1,500.

222. WOR-FM. 1966. 36 x 30 in./91.5 x 76.2 cm Cond A/P. Ref: Glaser Posters, 56 “My very first professional poster in the psychedelic style I became noted for. The radiating sunbeams in the background were already a cliché of the period, but the visual effect remains powerful. The thin black line filled with color is characteristic of the Pop Art style of the period, and is derived in part from the history of Art Nouveau and American comic strips. Even my signature doesn’t look this way now” (Glaser Posters, p. 56). This poster is hand-signed by the artist.

222

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

GLASER - GONZALEZ | A-Z

223

Stefanie Glax (1865-1936)

Amado Gonzalez (1913-2007)

223. Abbazia Sport Woche. 1911.

225. California Wine Land. ca. 1960.

16 ⁄4 x 24 ⁄ 8 in./41.2 x 61.2 cm A. Berger, Wien Cond A/P. Ref: PAI-XV, 282

28 1⁄ 2 x 40 in./72 x 101.6 cm Cond A/P. Ref: PAI-LXXX, 356

Speeding boats and high-flying pennants announce a Sports Week in the Croatian coastal town now known as Opatija. Designed in Paris and printed in Vienna, this in-store display poster is the picture of European multiculturalism. Est: $2,000-$2,500.

Mary Golay (1869-1944) 224. “Blancheurs” No. 4. 15 5⁄ 8 x 39 in./39.7 x 99 cm Cond B/Slight tears at edges. Framed. Ref: PAI-XLII, 301 According to the Merriam-Webster Dictionary, one possible meaning of “whiteness” is “freedom from stain.” And according to the title of this series, of which this example is Number Four, Golay has set her sights on an artistic manifestation of “Blancheurs,” or “Whitenesses,” if you will. Her graphic purity is, as always, beyond reproach, and her skill unassailable. In fact, she doesn’t even need to reveal the face of her virtuous maiden— her graceful port de bras, decorous accessorizing, and the avian trust that she inspires reveals all that we need to know. Est: $1,700-$2,000.

224

Born in Guadalajara, Mexico, Gonzalez moved to San Francisco in 1927 and pursued a career as a painter, illustrator, muralist, and art professor. In the 1960s, California’s Wine Advisory Board commissioned several designs from him to promote the state’s reinvigorated wine industry. Though wine is now a common dinner accompaniment and casual enjoyment, it was not always embraced by Americans; post-Prohibition, it was simply considered a means to get drunk. Here, Gonzalez demonstrates the many California vineyards with their differing terrains, influences, and sightseeing possibilities. Descriptive text at top right and bottom left provide statistical data (California vineyards cover some 700 miles) and inspirational comments (“In these rich winelands almost every known variety of wine grape finds its ideal habitat, blessed by a sunny climate that permits perfect ripening”). Est: $1,200-$1,500.

225

A-Z | GRANDVILLE - GRAY

226

227

228

J. J. Grandville

Eugène Grasset (1841-1917)

(Jean Ignace Isidore Gérard, 1803-1847) 226. Les Animaux Peints Par Eux-Mêmes. ca. 1880. 21 ⁄4 x 32 ⁄ 8 in./55 x 81.5 cm Imp. Chaix, Paris Cond A. Ref: Reims, 71 (var); Maindron 1886, p. 75 (var); PAI-XLVIII, 253 3

Critters from the air, swamp, and sea join to watch a pipepuffing Simian Picasso and his canine assistant put the final touches on this advertisement for a newly printed, economical, and posthumous edition of Grandville’s “Scenes of the Private and Public Lives of Animals,” a publication first released in 1841. This later edition of the poster, printed on a Gillot letterpress, was actually executed by an artist who signed his work “C. Em. Matthis” from Grandville’s original artwork; hence the “d’après” designation. Gérard was born into an artistic and theatrical family and adopted the pseudonym of

227. Salon des Cent / Exposition E. Grasset. 1894. “Grandville,” his grandparents’ professional stage name. At the age of twenty-one, he moved to Paris, and soon afterwards published a collection of lithographs entitled Les Tribulations de la petite proprieté. But the work that established his fame was Les Métamorphoses du jour (1828-29), a series of seventy scenes in which individuals with the bodies of men and faces of animals are made to play a human comedy. His drawings are remarkable for the extraordinary skill with which human characteristics are represented in animal facial features—a skill obviously called into play in the poster offered here. His political caricatures, characterized by an incredibly satirical sense of humor, soon became immensely popular. Though the designs of Grandville are occasionally unnatural and absurd, he is considered by some to be one of the precursors of Surrealism. Est: $1,400-$1,700.

16 3⁄ 8 x 25 1⁄ 2 in./41.6 x 64.7 cm G. de Malherbe, Paris (not shown) Cond A-/Tape stains at corners. P. Ref (all var but PAI): Salon des Cent, p. 19; Salon des Cent/Neumann, p. 38; DFP-II, 410; Reims, 684; Wagner, 54; Berthon & Grasset, p. 6; Weill, 39; Gold, 274; PAI-LXXIV, 313 Russet, lemon, cerulean: the vibrant colors ring out from Grasset’s poster for his own exhibition at the Salon des Cent. In this image, Grasset’s muse contemplates a flower: an insight into the moment of inspiration. This is the rare proof before letters. Est: $2,500-$3,000.

GRANDVILLE - GRAY | A-Z

229

231

230

H. Gray (Henri Boulanger, 1858-1924) 228. Belle Jardinière / 1896 Calendar. 1895.

229. Lampes Desaymar. ca. 1899.

231. Bal de la Grenouillère.

Each: 7 1⁄4 x 9 1⁄4 in./18.5 x 23.5 cm Cond A. With usual grommets. Ref: Berthon & Grasset, 54, p. 26-28; PAI-LXXXVI, 237

38 x 54 in./96.6 x 137.2 cm Imp. Courmont Frères, Paris Cond B+/Slight tears at folds. Ref: PAI-LXV, 272

23 7⁄ 8 x 31 7⁄ 8 in./60.6 x 81 cm Lith. V. Palyart & Fils, Paris Cond A. Ref: PAI-XXV, 328

Bathed in shadows, the crowd is instantly drawn to the incandescent glow of a Desaymar light bulb.

As is his custom, Gray uses feminine allure to get patrons to frequent this establishment; once they’re hooked, they also peruse the information at lower right, which tells them which train to take and what stop to get off at—as well as the last train they can catch back to town. Remember those days, before the accessibility of Google Maps in our pockets? Rare!

La Belle Jardiniére (The Beautiful Gardener) was a department store in Paris, and it asked Grasset for a promotional calendar for 1896. The result is one of the most charming artifacts of the entire Belle Époque: a portfolio of 12 romantic Art Nouveau images of beautiful gardeners, gardening beautifully, in whatever weather—from the frozen-over fountains of January to the Van Gogh irises of May, the sunflowers of August, and beyond. It’s undoubtedly Grasset’s most famous work, reproduced (under the title “The Months”) and fashioned into all manner of objects, from coasters and trivets to scarves. These are the original prints, and they are a true artistic treasure to blossom the romantic soul in your own home. Est: $2,000-$2,500. (12)

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

230. Théâtre de l’Opéra / 2eme Bal Masqué. 1899. 38 1⁄4 x 50 1⁄4 in./97.2 x 127.7 cm Affiches Camis, Paris Cond A. Ref: DFP-II 422 (var); PAI-XXXVI, 338 Masked balls had been held at the old Paris Opera House since the 1850s. By the end of the 19th century, up to four “grands bals masqués” per season (January to March) were held at the then new Théâtre de l’Opéra. Gray created several designs for the events; here he presents a different perspective of the grand foyer of the Opera Garnier; a delightful Joker waves the wand for the second Bal Masqué of 1899. Est: $3,000-$4,000.

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

JULES-ALEXANDRE GRÜN

232

233

Jules-Alexandre Grün (1868-1938) 232. Tréteau de Tabarin / La Boite à Fursy. 1901.

233. L’Auto-Touriste. ca. 1900.

33 5⁄ 8 x 49 3⁄4 in./85.4 x 126.3 cm Imp. Chaix, Paris Cond A. Ref: Grün, p. 38

16 3⁄ 8 x 23 1⁄ 2 in./41.6 x 59.8 cm Imp. Chaix, Paris Cond A. Ref: Grün, p. 99

“Although his cabaret was going tremendously well, Fursy was thirsty for revenge. His ex-partner, Ropiquet, had found no one of the same caliber as a replacement and was witnessing the collapse of his business. He finally went bankrupt in 1901. The owner of the premises, Lajunie, who had opened the first deluxe restaurant in Montmartre and who had made a fortune, contacted Fursy who wasted no time returning to Pigalle where he merged his two cabarets on June 17, 1901. Again the inevitable Grün is in charge of advertising. In the background he places his two previous posters and a radiant beauty, dressed in pale green with a hat bedecked with yellow flowers in the foreground. At this time his palette is growing richer and wider” (Grün, p. 38).

“Although the French automobile enjoys its golden age in 1900, only a few people have a driver’s license. You either have a chauffeur or if you are a tourist and wish to use a car from time to time, you hire a chauffeured car as shown here by Grün. The car (most likely a Renault) is carrying a man off in very good company under the benevolent gaze of a policeman—always the same scenario!” (Grün, p. 99). Rare!

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

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

GRÜN | A-Z

234

235

236

234. Hotel du Pacha Noir. 1899.

235. École Pigier. ca. 1910.

236. Byrrh. 1907.

34 ⁄ 2 x 48 ⁄ 8 in./87.7 x 124.3 cm Imp. Chaix, Paris Cond A-/Slight stains at edges. Ref: Grün, p. 34; Chat Pub, p. 29; PAI-XLV, 326

31 x 46 ⁄4 in./78.5 x 117.8 cm Publicité Gaisser, Paris Cond B/Slight tears and stains at folds and edges. Ref: Grün, p. 118 (var); PAI-LXX, 399

23 1⁄ 2 x 31 1⁄ 2 in./59.5 x 80 cm B. Sirven, Toulouse Cond B+/Unobtrusive folds. Ref: Grün, p. 116; Gold, 44; PAI-XXX, 36

“In 1897, Rodolphe Salis, founder of the Chat Noir, and consequently father of the Montmartre cabaret, dies. For a short time, the premises on the Rue Victor Massé are unsuccessfully operated under the name of the Pacha Noir Hotel. Grün barely has the time to design a passe-partout poster showing the limited scale of the project. The image is delightful and depicts a woman stroking a cat (no longer black) with a windmill in the background. The program, left blank, shows the uncertainties of the show and, at the very least, the lack of prestigious management. The fact that all of the posters recovered so far are without text confirms that the enterprise ended in fiasco” (Grün, p. 34).

Still in operation today, Pigier was the first business school to offer correspondence courses, mostly targeted at young women. Here, a mother received a telegram from her daughter, informing her that thanks to Pigier, she has found an excellent job.

A flamboyant figure in red drums up business for the apéritif Byrrh. An accepted custom of the time was for various alcoholic beverages to masquerade as stomach bitters or medicinal concoctions; this made it socially acceptable for women to order a drink in public, since they were doing it for their health!

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

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

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

A-Z | GRÜN - HARING

Grün (Continued) 237. Paris-Medoc. ca. 1900. 38 3⁄4 x 54 5⁄ 8 in./98.5 x 138.7 cm Imp. H. Laas E. Pecaud, Paris Cond A-/Slight tears at edges. Ref: PAI-XLIX, 295 Yowza! Paris-Medoc must be one exceptional table wine. Granted, the redheaded gent looks pretty worked up about the arrival of the beverage—to find out that he had taken both the red and the white varieties and mixed them together, glass by glass until they were gone, wouldn’t be that great a surprise—but there’s nothing particularly decadent about this very rare design. Rather, the pervasive atmosphere is one of excitement, not degeneracy. And after all, if one isn’t allowed to get a bit worked up over a quotidian indulgence every once in a while, then what’s the point of getting out of bed in the morning? This is one of only two known copies! Est: $5,000-$6,000.

238. Pneus Ferres Gallus. 1901. 16 x 22 1⁄ 8 in./40.5 x 61.3 cm Imp. Chaix, Paris Cond A. Ref: Grün, p. 100; Discount, p. 77; Auto Show III, 55; Pneu, 52; Continental, p. 36; PAI-XC, 260 Featuring the same tropes as his posters for various venues around Paris, this design advertises Gallus tires. Eyeing up a red-clad blonde, the gendarme asks “Doesn’t it skid?” Est: $2,000-$2,500.

L. Guy 239. Bal des Etudiants. 1901.

237

33 5⁄ 8 x 97 3⁄ 8 in./85.5 x 247.5 cm Imp. G. Gounouilhou, Bordeaux Cond A-/Slight tears at edges. Ref: PAI-LXXVIII, 307 (var) This two-sheet poster before the addition of text is a mind-blowing tribute to what a Bacchanalia the Students’ Ball of February 2, 1901, must have been. As an extravagantly attired female reveler positions herself beneath an ornate archway—unaware that the Devil is lurking beneath her skirt, or that one of his impish legions is carefully unlacing her outfit—a tag-team of rogues does their best to ply her with bubbly, as one of them distracts her, while the other keeps her glass constantly filled to the rim. It’s a magnificent nod to unbridled merriment, and open to any number of lascivious interpretations. Est: $1,700-$2,000.

E. Hamilton 240. Canadian Pacific / Short Sea Route. ca. 1925. 24 1⁄ 2 x 39 5⁄ 8 in./62.2 x 100.7 cm Cond B+/Slight tears at folds. Ref: Canadian Pacific II, p. 53; PAI-XC, 271 With the ship’s hull looming large, Canadian Pacific Railway advertises its sea route transportation options. Est: $1,200-$1,500.

Keith Haring (1958-1990) 241. Keith Haring at FUN Gallery. 1983. 22 3⁄4 x 29 3⁄ 8 in./58 x 74.5 cm Cond A. Ref: Haring checklist, p. 187; Haring Posters, 4; Kunstlerplakat, p. 199; PAI-LXXXV, 304 Keith Haring created an exciting, mazy motion to promote his own exhibition at FUN Gallery at 254 East 10th Street in the East Village in February, 1983. He personally financed the prints, and handed them out to fans who flocked the gallery. “FUN Gallery was a place where neighborhood kids, downtown artists, b-boys, rock, film, and rap stars mixed with museum directors art historians and uptown collectors at wild openings featuring artists like Futura, Fab 5 Freddy, Lee Quinones, Kenny Scharf, Keith Haring and Jean Michel Basquiat,” PAPER Magazine reminisced in 2012. Though the gallery only survived for four years, its heralding of boundarybusting experimentation helped pivot the art world as we know it.

238

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

GRÜN - HARING | A-Z

240

239

241

A-Z | HARING - HERKOMER

242

243

Haring (Continued) 242. The Great Peace March. 1986. 17 1⁄ 8 x 20 7⁄ 8 in./43.6 x 53 cm Cond A. Ref: Haring Posters, 50; PAI-LXXX, 369 On March 1, 1986, hundreds of people banded together for global nuclear disarmament. They demonstrated by walking through 15 states and hundreds of towns and cities, and arrived in New York on October 24 for the Great Peace March as part of the UN Day Parade. Haring depicts his dancing man motif climbing up a flight of stairs to join in on the action. Est: $1,000-$1,200.

243. Absolut Vodka. 1986. 33 x 45 1⁄ 8 in./84 x 114.5 cm Cond A. Ref: Haring Posters, 45; Encyclopédie/Weill, p. 188 (var); PAI-LXXXI, 316 As the legend goes, it was the mid-’80s in New York City, and Andy Warhol was at Studio 54. He gazed beyond the bar to the liquor on the wall, concentrated on the Absolut purity of the vodka bottle before him—and a game-changing ad campaign was born. Warhol selected Keith Haring as the second artist for the Absolut campaign, and he produced this shining, cheerful, “One Nation Under a Vodka Groove” design with the playfulness that only Haring can deliver. This is the version without the bottom text banner: “Absolut Haring.” Est: $1,700-$2,000.

244. Long Island Focus on Art. 1988. 16 7⁄ 8 x 23 in./43 x 58.5 cm Cond A. Art and philanthropy are combined in this simple but whimsical design for an art event sponsored by the Children’s Medical Fund of New York to benefit the Schneider Children’s Hospital at the Long Island Jewish Medical Center. Rare! Est: $1,000-$1,200.

244

HARING - HERKOMER | A-Z

245

Hubert Herkomer (1881-?) 245. Normandie. 1935. 24 7⁄ 8 x 40 1⁄ 8 in./63.2 x 101.8 cm Hill, Sifken & Co., London Cond A. Ref: Mer s’Affiche, p. 155; Fantastic Voyage, 16; PAI-LXXXIX, 31 This nighttime image of the Normandie offers a very different experience from Cassandre’s poster of the same title (see PAI-LXXXIX, 28). Here, she quietly glides away from the glimmer of New York City. With six decks of cabin lights reflecting in the water, there is an element of romance combined with the usual magnificence of the ship. After the Cunard Line’s Queen Mary beat the Normandie’s speed records in August of 1938, French Line began promoting her as “the world’s most perfect ship” rather than the fastest. Such a description could not be better expressed than in this image. Est: $17,000-$20,000.

A-Z | HEYMANN - HOHLWEIN

246

248

Léon Heymann 246. Peggy Angelo. 47 1⁄4 x 62 3⁄4 in./120 x 159.5 cm Cond A. Ref: PAI-XLIX, 306 You’d imagine that someone making this kind of lascivious impression—even a considerable time past the poster’s production—would have deserved at the very least a footnote in the annals of cabaret history. But sadly, such is not the case for the exhibitionistic Peggy Angelo, a performer composed of equal parts Mistinguett, Madonna, and Gypsy Rose Lee. It’s a tantalizing combination of flesh and fashion—most especially the jewel-dripping wrist, an accessorizing touch that can’t help but call Gesmar to mind. Est: $2,500-$3,000.

Léon Hingre (1860-ca. 1929) 247. Paris-Marseille. 1901. 12 x 18 1⁄ 8 in./30.2 x 46 cm Imp. Leopold Verger, Paris Cond B+/Slight tears and stains at edges. Ref: PAI-LXXXIX, 255 Rivaling the ornate Art Nouveau flourishes of Alphonse Mucha, this impeccably detailed design advertises a Paris store and includes a 1902 calendarium. Hingre has used bright metallic colors to highlight the many nuances of this woman’s headdress; the poster is on an indoor display board with the top grommet. The design was also used for the Charpentier-Deny stores in Marseille and Paris.

247

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

HEYMANN - HOHLWEIN | A-Z

Adolfo Hohenstein (1854-1928) 248. La Bohème. 1895. 25 x 38 5⁄ 8 in./63.5 x 98.2 cm Ricordi, Milano Cond B/Slight tears at folds and edges. Ref: Ricordi, 58; Menegazzi-I, 72; Menegazzi-IV, 24; PAI-XC, 276

249

This lithograph for the 1896 debut of Puccini’s “La Bohème” is one of the reasons Hohenstein is known among Italy’s great poster artists. The great spill of human figures reminds us of Chéret, but rather than fantastical sprites, we have the real-world crosssection of humanity, from the top hat gentry in the upper right to the bohemian lovers at lower left. Hohenstein’s typography, as well, has become synonymous with the character of 1890s Italy. It’s a treasure of the graphic arts by any standard. Est: $3,000-$4,000.

Ludwig Hohlwein (1874-1949) For Hohlwein’s Mercedes, see No. 27.

249. 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-XCI, 292 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, watercolor-like and masterful family portrait. Est: $4,000-$5,000.

250. 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-XCI, 290 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: $5,000-$6,000.

250

A-Z | HOHLWEIN - LABORDE

251

Hohlwein (Continued)

252

E. McKnight Kauffer (1890-1954)

251. Odeon Casino.

252. Café Odeon und Billard Akademie. 1908.

253. Subway Posters. ca. 1947.

35 1⁄4 x 49 1⁄ 8 in./89.6 x 124.6 cm Oscar Consée, München Cond A-/Unobtrusive folds. Ref: PAI-XCI, 287

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-XCI, 283

29 1⁄ 8 x 44 7⁄ 8 in./74 x 114 cm Cond B+/Slight tears at edges; grommets at top. Ref: PAI-LXXXVII, 337

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

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

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Kauffer did several posters for the New York subway from 1947-1948. This one ranks among his rarest! Est: $2,000-$2,500.

HOHLWEIN - LABORDE | A-Z

253

254

255

Gustav W. Krollmann (1888-1962)

Guillermo Laborde (1886-1940)

254. Northern Pacific / Mt. St. Helens. ca. 1931.

255. 1er Campeonato Mundial Football / Uruguay. 1930.

28 5⁄ 8 x 39 1⁄4 in./72.7 x 99.6 cm Cond A. Ref: PAI-LXXV, 351

17 3⁄4 x 35 1⁄ 2 in./45 x 90 cm Olivera Fernandez, Montevideo Cond A. Ref: Crouse/Deco, p. 114; Sportissimo, p. 94; Graphic Design/Taschen, p. 256; PAI-LXXXIX, 264

This image is a piece of history, showing Mount St. Helens in 1931 with its cone intact, 49 years before its catastrophic eruption in 1980, which collapsed the entire north face (our view in this poster, which appears to be across Spirit Lake). Krollmann, originally from Austria, is well known as the staff artist for the National Pacific Railroad and the standard-bearer for the early 20th century “tonalist” artistic style, which used an Impressionistic, painterly style and muted, subtle color combinations. Est: $1,200-$1,500.

This is the official poster for the first ever FIFA World Cup, held in Montevideo, Uruguay in 1930. FIFA selected the location in celebration of Uruguay’s centenary of its first constitution and their national football team’s continued winning streak at the 1928 Summer Olympics. Clearly, it was a spectacular year for the country—they went on to defeat Argentina 4-2 in the finals, making Uruguay both the first ever host and first ever winner of the World Cup. And Laborde created a fantastic Art Deco design for the event: using simple and elegant lines, he depicts a goalkeeper making a save above his playful and experimental text. This poster also features a stamp from the executive committee of the first World Cup. Est: $3,000-$4,000.

256

256. 1er Campeonato Mundial Football / Mexico vs. Chile. 1930. 15 3⁄ 8 x 34 7⁄ 8 in./39 x 88.5 cm Olivera Fernandez, Montevideo Cond A. Ref (all var): Crouse/Deco, p. 114; Sportissimo, p. 94; Graphic Design/Taschen, p. 256; PAI-XCI, 296 Using his design for the official poster for the first ever FIFA World Cup in Uruguay (see previous lot), Laborde also created posters like these to advertise individual matches—in this case, the Group 1 game between Mexico and Chile, which was won 3-0 by the latter team. Est: $2,000-$2,500.

A-Z | LEYENDECKER - LIVEMONT

257

Joseph C. Leyendecker (1874-1951) 257. Arrow Collars and Shirts. 28 x 19 3⁄4 in./71 x 50 cm Cond A. Ref: Leyendecker, p. 85; PAI-XL, 379 In a nautical vein, Leyendecker puts his fashionable young hero at the helm; as is the Leyendecker norm, an admiring (and admirable) young lady is close at hand. And as usual, with this particular designer at the artistic rudder, the execution is masterful. 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 brought to the United States at the age of eight with his family, who 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. His creations for men’s fashions represented a revolutionary achievement: his drawings became synonymous with elegance in America. All copies of this poster indicate that it is based on an original Leyendecker painting. Est: $2,000-$2,500.

Lig 258. Machines à Coudre / Gnôme et Rhône. 31 5⁄ 8 x 47 3⁄ 8 in./80.2 x 120.4 cm Avenir Publicité, Paris Cond A. Gnôme et Rhône was primarily a French aircraft engine manufacturer who rose to success during World War I. During the inter-war years, their production expanded to include car engines, refrigerators, a motorcycle, jackhammers, and, as seen here, sewing machines. In this charming image, a little girl and her cat are up to no good with the new sewing machine.

258

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

LEYENDECKER - LIVEMONT | A-Z

259

260

Privat Livemont (1861-1936) 259. Cabourg / à 5 heures de Paris. 1896.

260. Automobile Club de France. 1903.

42 1⁄ 2 x 29 1⁄ 2 in./108 x 74.8 cm Imp. P. Lemenil, Asnières Cond B+/Slight tears at edges. Ref: DFP-II, 1061; Belgique/Paris, 33; Maitres, 88; Affiches Belges, 3; Timeless Images, 39; Voyage, p. 14; Pour l’Art, 20; Livemont, p. 94; Zee, p. 22; Beaumont, p. 25; Schoonbroodt, 7; PAI-XC, 300

19 3⁄4 x 14 1⁄ 2 in./50 x 37 cm Imp. J. Barreau, Paris Cond A. Ref (all var): Livemont, 40; Schoonbroodt, 40; PAI-LXXXVIII, 363

Created to lure Parisians away from the city and travel a mere five hours by train to the seaside resort of Cabourg, this poster serves as one of Livemont’s most realistically evocative images. With the skyline of the town being kissed by sunset on the horizon, a brazen strawberry blond wades chest-deep in the ocean, while a gaggle of eager male suitors hover at close range. In the lower left, her hand is reaching beyond the border of the poster as if she could at any moment leap off the page toward us. Est: $2,500-$3,000.

By 1903, France was the world’s leading auto maker. In this exhibition poster, we see our lady of autos—with her insignia of gears and roses—motoring confidently toward the Grand Palais in what may be a 1903 Richard-Brasier. This is a rare variant of the image, printed before the addition of red. Est: $1,700-$2,000.

A-Z | LIVEMONT - LOUPOT

263

Livemont (Continued) 261. Absinthe Robette. 1896.

261

32 x 43 3⁄ 8 in./81.2 x 110 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-XCI, 303 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.

Lotti 262. Le Dauré. 1924. 40 1⁄4 x 61 in./102.5 x 155 cm Imp. P. Vercasson, Paris Cond A-/Slight creasing in bottom text. Ref: Publicité, p. 96; PAI-LXXXVII, 355 This fanciful design for a French wine producer shows a red-faced waiter walking across a sea of tables, filling each glass with an endless stream of Le Dauré’s latest vintage. At this time, Vercasson needed a designer to replace Cappiello, and with this image, Lotti succeeded brilliantly. Est: $5,000-$6,000.

Charles Loupot (1892-1962) 263. St. Raphaël / Quinquina. 1948. 23 3⁄4 x 31 1⁄ 2 in./60.2 x 80 cm Affiches Gaillard, Paris Cond A. Ref: Loupot/Zagrodzki, 109; Loupot/Forney, 55; PAI-LXXXIII, 369 Loupot created a number of posters for this brand of bitters; here we see the streamlined incarnation of the two waiters who would become the company trademark. Throughout their evolution, two elements of their first rendering remained constant: their comic contrast in physique and their red and white colors. This also cements St. Raphaël’s cursive logo; Loupot dismantled the old all-capital letter format and introduced this personalized product signature in 1938—which the company continues to use to this day. This is the head-on version of the waiters that the company settled on in 1945. This poster was used by St. Raphaël largely in Paris metro stations. This is the smaller format.

262

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

LIVEMONT - LOUPOT | A-Z

264 264. Cuir : Maquette. ca. 1936. 44 1⁄ 2 x 60 3⁄4 in./113 x 154.3 cm Gouache and ink maquette on paper. Framed. Ref: Loupot, 75 (var); Loupot/Zagrodzki, p. 104 (var); PAI-LXXXVIII, 366 Exhibited: Musée des Arts Décoratifs, Paris Provenance: The Loupot estate To promote leather goods, Loupot created this brilliantly large and imposing maquette. It’s the original project before the client’s final lettering, which would continue the thought “Rien ne remplace” (nothing replaces) with “le cuir” (leather) at the far bottom. Est: $12,000-$15,000.

A-Z | MASSIOT - MAUZAN

265

266

George Massiot

Giovanni Mataloni (1869-1944)

Luciano Achille Mauzan (1883-1952)

265. Sandeman / Porto & Sherry. 1928.

266. Brevetto-Auer. 1895.

267. Exposicion de Radio. 1932.

47 x 63 1⁄4 in./119.3 x 160.6 cm Imp. Draeger, Paris Cond A. Ref: Boissons, 584 (var); Publicité, p. 135; Weill/Art Deco, p. 193; PAI-XCI, 313

38 5⁄ 8 x 58 1⁄ 8 in./98 x 147.7 cm Instituto Cartografico Italiano, Roma Cond A-/Slight tears at edges. Framed. Ref: Menegazzi-I, p. 330; Menegazzi-II, p. 129; Hillier, p. 213; Timeless Images, p. 65; Weill, p. 135; Livre d’Affiche, p. 21; Reims, p. 1579; Italia Che Cambia, p. 28; Masters 1900, p. 126; PAI-LXXXIX, 373

41 x 60 7⁄ 8 in./104 x 155 cm Affiches Mauzan, Buenos Aires Cond A. Ref: Mauzan/Paris, 28; Mauzan, p. 151; PAI-XIX, 418

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.

Granted, the advertised product is a simple gas fixture, but the design makes this one of the most important— and most beautiful—early Italian Art Nouveau posters. The (admittedly, scantily clad) femme at center presents a sunflower in one hand while gesturing towards the magnificent levitating gas lamp with the other. Mataloni has imbued the image with intricate details, including the geometric tiled background, the organic elements wrapping around the border, and the mosaic-like texture of the upper register. This twosheet design is a masterpiece of Italian poster art. Est: $4,000-$5,000.

Mauzan presents us with a stylish crowd at a trade show for radio, phonograph, and film equipment. It’s a delightful example of Art Deco from one of the style’s more exotic outposts, Buenos Aires. The flags framing the chic clientele indicate this is an international show. One of Mauzan’s most charming designs, it also ranks among his rarest. Est: $6,000-$8,000.

MASSIOT - MAUZAN | A-Z

267

A-Z | MAUZAN - METLICOVITZ

268

Mauzan (Continued) 268. Bonomelli / Vermouth Bianco. 1922. 36 x 51 7⁄ 8 in./91.4 x 132.2 cm Maga, Milano Cond B+/Slight tears at edges. Ref: Mauzan, A036; PAI-LXXXV, 340 As is often the case, Mauzan chooses a whimsical way to publicize a product: here it’s a feisty old gent stomping his way through oversized bunches of pale green grapes. It’s a design that more than lives up to the qualities we have come to expect from Mauzan: vigor and full of gusto. This is the second printing of December, 1922. Est: $4,000-$5,000.

MAUZAN - METLICOVITZ | A-Z

269

270

271

Eileen Mayo (1906-1994)

Leopoldo Metlicovitz (1868-1944)

269. Australia / Great Barrier Reef. ca. 1950.

270. La Colonia Libera. 1899.

271. Fleurs de Mousse. 1898.

24 3⁄4 x 39 3⁄ 8 in./63 x 100 cm Lith. McLaren, Melbourne Cond A. Framed. Ref: PAI-LXXXVI, 292

21 3⁄ 8 x 27 1⁄ 2 in./54.3 x 69.8 cm Ricordi, Milano Cond A. Framed. Ref: La Dolcissima, 49; PAI-LXI, 474

Mayo created numerous posters for Australia throughout the 1950s, each focusing on a specific animal or slice of wildlife native to the country. Here, she focuses on a Longspined Butterfly-fish and a Heron Island Volute shell in the inimitable Great Barrier Reef.

To advertise the music of the opera by Floridia, Ricordi uses the talents of one of its best posterists. Metlicovitz gives us a delicate rendering: the heroine with red flowers in her hair, an ornamental frame of blossoms, and an encircled arboreal background that gives us a window into nature’s pleasures.

31 x 43 in./78.7 x 109.3 cm Moullot, Marseille-Paris Cond A-/Unobtrusive folds. Ref: Metlicovitz e Dudovich, 2; Ferrarotti, 71; Gold, 8; Masters 1900, p. 120; Ricordi, 154; PAI-LXXXIII, 38

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

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

In one of the finest works by the prolific Metlicovitz, a French perfume is advertised with a nude sylph in a reverent pose, enraptured with the fragrance from a small vial which “is so potent that the artist imagines it attracts even butterflies” (Gold, p. 7). Est: $3,500-$4,000.

A-Z | METLICOVITZ - MUCHA

272

Metlicovitz (Continued) 272. 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-XCI, 316 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: $2,000-$2,500.

Otto Morach (1887-1973) 273. Schweizer Werkbund Ausstellung. 1918. 35 1⁄ 8 x 47 in./90.2 x 119.4 cm Orell Fussli, Zürich Cond A. Framed. Ref: Modern Poster, 40; Margadant, p. 97 A painter and set designer, Morach had his first non-teaching job in 1918 when he designed the set for the Marionette Theater within the Swiss Werkbund exhibition, which this poster announces. The Swiss Werkbund was a coalition of artists, architects, and designers which launched in 1913. They hosted lectures and exhibitions throughout Zurich. This mainly typographic image makes the statement that simplicity, form, and function can prove quite effective. Rare!

273

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

ALPHONSE MUCHA

274

Alphonse Mucha (1860-1939) 274. Reverie. 21 x 27 3⁄ 8 in./53.2 x 69.5 cm Imp. F. Champenois, Paris (not shown) Cond A. Framed. Ref (all var but PAI): Rennert/Weill, 39; Lendl/Prague, p. 166; Gold, 36; PAI-LXXVII, 306 As one of Mucha’s most popular and beautiful designs, widely sold by La Plume, this rare version before text presents the sublime beauty as the sole subject of the poster. Est: $14,000-$17,000.

A-Z | MUCHA

Mucha (Continued) 275. Champagne Roederer. 8 5⁄ 8 x 23 3⁄4 in./22 x 60.5 cm Cond A. Framed. Ref (both var): Rennert/Weill, 42; PAI-XLI, 422 We have previously seen this lovely Mucha maiden in two designs: one for an unknown client (see Rennert/Weill, 42), and again for the C. van Cortenbergh fils Chromolithographie firm (see following lot). But this is the only known copy of the image created to promote Champagne Roederer. It features “another lovely Mucha maiden, complete with a long swirling wrap and luxuriant, flower-adorned tresses, sitting on a vine branch in an attitude of daydreaming reminiscence” (Rennert/Weill, p. 174). Where she previously held a little notebook, she now has a glass of champagne in hand. Est: $40,000-$50,000.

276. C. van Cortenbergh fils / Chromolithographie / Bruxelles. 1901. 8 x 22 3⁄ 8 in./20.3 x 56.8 cm Cond A. Framed. Ref: Rennert/Weill, 42 (var); Lendl/Prague, p. 168-169 (var); PAI-LXVII, 449 Previously believed to have been an inexplicably abandoned calendar project created somewhat earlier than 1901, this is a recently discovered version of the design promoting a Brussels chromolithographic firm. At the bottom is a complete 1902 calendarium. Est: $17,000-$20,000.

277. 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-XCI, 322 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.

275

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

MUCHA | A-Z

276

277

A-Z | MUCHA

278

279

Mucha (Continued) 278. Salon des Cent / A. Mucha. 1897.

279. Salon des Cent / XXme Exposition. 1896.

280. Plume et Primevère. 1899.

18 x 26 3⁄4 in./46 x 68 cm Imp. F. Champenois, Paris Cond A. Ref: Rennert/Weill, 36; Lendl/Prague, 101; Driehaus, p. 83; Mucha/Art Nouveau, 25; DFP-II, 638; Maitres, 114; Salon des Cent, p. 65; Salon des Cent/Neumann, p. 49; PAI-LXXXIX, 294

17 x 25 3⁄ 8 in./43.3 x 64.3 cm Imp. F. Champenois, Paris Cond A. Framed. Ref: Rennert/Weill, 12; Lendl/Prague, p. 133 (var); DFP-II, 634; Modern Poster, 9; Wine Spectator, 74; Salon des Cent/Neumann, cover & 19 (var); Mucha/Art Nouveau, 18; Gold, 192; Reims, 901; Posters of Paris, 69; PAI-XC, 349

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-XCI, 328

Mucha, for his own exhibition at the Salon des Cent, drew a “life-like girl with a twinge of homesickness; it is a decidedly Slavic face, with a bonnet featuring one of the embroidered regional patterns that distinguish the folk costumes in his part of the world, and her hair is adorned with daisies—[a] symbol of the Moravian fields where Mucha spent his youth” (Rennert/Weill, p. 150).

In 1896, Mucha was flush with success after his work for Sarah Bernhardt. But he was about to be exhibited alongside the stars of French fin-de-siècle lithography—Toulouse-Lautrec, Bonnard, Steinlen, and Grasset—in the Salon des Cent (the Salon of the One Hundred), a new series of exhibitions hosted by the literary magazine La Plume, which championed the art of lithography. “Mucha’s ambition was to become a member of this group,” wrote Victor Arwas. The artist succeeded by attracting the attention of the gallery’s owner, Deschamps. “Deschamps visited Mucha in his studio while he was designing the poster. Fascinated by what he saw, he persuaded Mucha to print it… Mucha agreed, and the publisher’s feeling, that this lightly outlined, impressive poster would make Mucha famous, proved to be correct” (Mucha/Art Nouveau, p. 156).

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

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

“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: $17,000-$20,000. (2)

MUCHA | A-Z

280

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A-Z | MUCHA

281

Mucha (Continued) 281. 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-XCI, 344 “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)

MUCHA | A-Z

282

283

282. Job. 1896.

283. Job. 1898.

18 x 26 in./45.8 x 66 cm Imp. F. Champenois, Paris Cond A. 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-XCI, 319

38 5⁄ 8 x 57 5⁄ 8 in./98 x 146.4 cm Imp. F. Champenois, Paris Cond A. Framed. Ref: Rennert/Weill, 51; Lendl/Prague, p. 121; DFP-II, 634; Modern Poster, 9; Wine Spectator, 74; Gold, 2; Posters of Paris, 71; Encyclopédie/Weill, p. 121; PAI-XCI, 330

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.

“In both of Mucha’s posters for Job cigarette papers... he gives us women sensually involved in the act of smoking. Here, the figure is full-length, her abandoned hair an echo of the pale fabric volumes of her gown. As she watches the lazy waft of smoke, even her toes curl deliciously in pleasure. The artist’s meticulous craftsmanship can be seen in such details as the gown’s clasp (of Mucha’s own design), and in the way he worked the product name into the background pattern” (Gold, p. 2).

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

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

A-Z | MUCHA

284

MUCHA | A-Z

285

Mucha (Continued) 284. Zodiac. 1896.

285. Zodiac / Bigot-Billard. 1895.

22 3⁄4 x 29 5⁄ 8 in./57.6 x 75.2 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-XCI, 337

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 but PAI): Rennert/Weill, 19, Var. 5; Lendl/Prague, p. 165; Mucha/Art Nouveau, 46; DFP-II, 629; Wagner, 72; Gold, 97; PAI-XCI, 338

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: $17,000-$20,000.

This is a rare variant of the design created for the linen store Bigot-Billard, in the smaller format with calendarium. Est: $12,000-$15,000.

A-Z | MUCHA

Mucha (Continued) 286. Precious Stones / La Topaze. 1902. 21 5⁄ 8 x 45 3⁄4 in./55 x 116 cm Imp. F. Champenois, Paris (not shown) Cond A. Ref: Rennert/Weill, 73, Var. 1; Lendl/Prague, p. 225; Wine Spectator, 75; PAI-LXXXV, 389 (var) This is the Topaz panel from Mucha’s revered Precious Stones series. “One of Mucha’s best sets, and one of the rarest... Each gem is represented by a lovely lady, and its characteristic color, in all its hues, is worked into the entire pattern, including the girl’s dress and the flowers at her feet...” (Rennert/Weill, p. 264). The color of topaz—milkywhite to reddish-orange, pale green, or the rare pink—is reflected in the maiden’s skin and in the circular background. This is the larger format.

286

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

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287. Precious Stones / La Topaze. 1902. 10 1⁄ 2 x 24 3⁄4 in./26.6 x 62.8 cm Imp. F. Champenois, Paris (not shown) Cond A-/Slightly light-stained. Ref: Rennert/Weill, 73; Lendl/Prague, p. 225; Wine Spectator, 75; PAI-LXXXV, 389 This is the smaller format version of the previous image. Est: $7,000-$9,000.

288. Precious Stones / L’Amethyste. 1902. 10 1⁄ 2 x 24 3⁄4 in./26.6 x 62.8 cm Imp. F. Champenois, Paris (not shown) Cond A-/Horizontal fold; slightly light-stained. Ref: Rennert/Weill, 73c; Lendl/Paris, 76 (var); Wine Spectator, 75 (var); PAI-XLIX, 399 (var) “One of Mucha’s best sets, and one of the rarest, with only three or four known to have survived among collectors. The lady of the Amethyst appears to have been originally bare from the waist up, because there is a letter in Mucha’s correspondence from Champenois about the subject—the printer is asking him to cover up the lady’s breast, as otherwise there might be objections on moral grounds” (Rennert/Weill, p. 264). With hands playing seductively with her hair, this feminine gem affixes us with a cool gaze that tempts us to come closer—if we dare. The irises—a favorite flower of Mucha, and indeed the entire Art Nouveau period—are particularly sumptuous here, with their curving petals echoing the voluptuous forms of the figure’s body and gown. This is the smaller format.

287

288

289

290

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

289. The Flowers / Carnation. 1900. 17 1⁄ 2 x 40 7⁄ 8 in./44.4 x 104.2 cm Imp. F. Champenois, Paris (not shown) Cond A-/Slight tears at edges. Framed. Ref: Rennert/Weill, 49b; Lendl/Paris, 69c; Mucha/Art Nouveau, 50c; PAI-LXXXVIII, 384 The Flowers set of decorative panels consisted of four stunning women intended to embody the Rose, the Iris, the Lily, and, shown here, the Carnation. The Carnation is the only brunette represented in a field of blondes, seen casting a coy glance over her shoulder. The pose was so enticing that she, alone amongst these four, was later used to advertise a commercial product (see Rennert/ Weill, 61) with only slight changes to detail. Est: $7,000-$9,000.

290. The Flowers / Lily. 1898. 17 3⁄ 8 x 40 3⁄4 in./44.2 x 103.5 cm Imp. F. Champenois, Paris (not shown) Cond A-/Slight tears at edges. Framed. Ref: Rennert/Weill, 49; Lendl/Paris, 69; Mucha/Art Nouveau, 50; PAI-XCI, 349 This delicate beauty in a clinging dress is surrounded by the fleshiest of lilies that have integrated themselves into her wardrobe. The openly sensual nature of the blooms are a good match for her own. Est: $7,000-$9,000.

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291

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Mucha (Continued) 291. The Arts. 1898. Each: 15 1⁄ 8 x 23 3⁄ 8 in./38.3 x 59.3 cm Imp. F. Champenois, Paris (not shown) Cond A. Framed. Ref: Rennert/Weill, 54; Lendl/Prague, p. 206-207; PAI-LXXXVII, 391 This is a rare appearance of Mucha’s full Arts quartet: Music, with her songbirds on a branch and the winds of emotion through her skirts; Dance, a blush of toe-point passion and sweeping precision; Painting, with concentric rainbows emanating from a flower, plucked; and Poetry, crowned with laurels, meditating on the poplars upon Mount Olympus. “Practicing an art, no matter how well or badly, is a way to make your soul grow,” wrote Kurt Vonnegut. Est: $50,000-$60,000. (4)

292. Lorenzaccio. 1896. 14 x 38 1⁄4 in./36 x 97 cm Imp. F. Champenois, Paris Cond A-/Slight tear at right edge. Framed. Ref: Rennert/Weill, 20, Var. 2; Lendl/Prague, p. 47 (var); DFP-II, 626; Maitres, 144; Mucha/Art Nouveau, 7 (var); PAI-LXXXVIII, 381 Sarah Bernhardt adopts the pose of a pensive Lorenzo the Magnificent (1449-1492), the most powerful of the Medicis, in this play by Alfred de Musset. In the drama, Lorenzaccio struggles to save Florence, which had grown rich during his reign, from the grip of a power-hungry conqueror. Mucha represents this tyranny by a dragon menacing the city coat of arms (top left); Lorenzo has closed the book he was reading to ponder his course of action. Bernhardt adapted this 1863 play for herself, and the new version, represented by this poster, opened December 3, 1896. “Never afraid to tackle a male role, Bernhardt made Lorenzaccio into one of the classic roles of her repertoire” (Lendl/Paris, p. 18). This is the smaller format. Est: $7,000-$9,000.

292

A-Z | MUCHA

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293

Mucha (Continued) 293. The Seasons. 1896. Each: 20 1⁄4 x 39 1⁄4 in./51.4 x 99.6 cm Imp. F. Champenois, Paris (not shown) Cond A. Framed. Ref: Rennert/Weill,18; Lendl/Prague, p. 182-183; Mucha/Art Nouveau, p. 186-187; PAI-LXXXVIII, 391 “One of Mucha’s most endearing and enduring sets... Spring is a blonde sylph who seems to be fashioning a makeshift lyre out of a bent green branch and her own hair, with some birds as interested spectators. Summer, a brunette, sits dreamily on the bank of a pond, cooling her feet in the water and resting her head against a bush. Autumn is an auburn lady, making ready to partake of the ripe grape. Winter, her brown hair barely visible as she huddles in a long green cloak, snuggles by the snow-covered tree trying to warm a shivering bird with her breath” (Rennert/Weill, p. 90). It’s not only the passage of time that makes this series rare—they were difficult to find even at the time of their publication. The editor of The Poster couldn’t help a reader locate this set back in 1899, concluding: “they are getting scarce” (January 1899, p. 42). This is the first state before the addition of the seasons’ names at bottom and in the larger format. Est: $40,000-$50,000. (4)

A-Z | MUCHA

294

Mucha (Continued) 294. The Seasons. 1897.

295. Triner’s Bitter Wine. 1907.

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-XCI, 326

12 3⁄ 8 x 14 in./31.5 x 35.6 cm American Lithographic Co., New York Cond A-/Slight tears at edges. Framed. Ref: PAI-LXXXI, 403

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: $10,000-$12,000. (4)

“During his whole American period... Mucha worked on only two projects to advertise commercial products: Warner’s Rust Proof Corsets and [Triner’s Bitter Wine]. Since he is known to have refused many lucrative offers to do commercial work in this period, each of these two exceptions stands out as a mystery... Joseph Triner was a Chicago chemist who concocted a stomach remedy... made from ‘pure California Red Grape-Vine and fresh herbs, classed among the Vegetable Bitters’... Perhaps the most intriguing, and in its own way most revealing statement is the last sentence of [a] little handbill: ‘Extensively advertised, especially among the Bohemians, Germans, Poles, Slovenians, Hungarians, Croatians, and Lithuanians.’ Why Mr. Triner went to extra trouble to publicize his elixir among these diverse minorities is very likely the same reason why he chose a Bohemian artist to do his poster: he was himself a Czech immigrant and was probably well known among them” (Rennert/Weill, p. 320). Est: $4,000-$5,000.

MUCHA | A-Z

295

296 296. Triner’s Bitter Wine. 1929.

297. Sarah Bernhardt : Drawing.

13 3⁄ 8 x 21 3⁄4 in./34 x 55.2 cm Brown & Bigelow, St. Paul, Minnesota Cond A. Framed. Ref: Rennert/Weill, 92 (var); Lendl/Prague, p. 263 (var); PAI-LXX, 506

4 3⁄4 x 11 in./12 x 28 cm Signed ink and pencil drawing. Framed.

This is the second poster Mucha created for Triner’s Bitter Wine, with a 1930 calendarium. “Stylistically, this is almost a throwback, with an ornamental border from Mucha’s earlier period, but rather more subdued, less flamboyant than the classic curves and convolutions he had favored then. But there are still the Mucha maidens, the one facing us having frankly Slavic blonde looks, both with flowers in their hair in the fashion of Moravian village girls Mucha used to know” (Rennert/Weill, p. 320).

297

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

Although Mucha unfortunately did not leave us with any notes about this drawing, the flowing hair and loosely wrapped garment seen here closely resemble the style of Sarah Bernhardt in La Samaritaine. In the final poster, Mucha showed Bernhardt facing us with her cloak draped behind her. It’s a lovely little look into the artist’s creative process. Est: $5,000-$6,000.

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299

298

Mucha (Continued) 298. Times of the Day / Éclat du Jour. 1899.

299. Flirt. 1899.

15 3⁄4 x 42 1⁄4 in./40.2 x 107.5 cm Imp. F. Champenois, Paris (not shown) Cond A-/Stains at bottom edge. Ref: Rennert/Weill, 62; Lendl/Paris, 71; Wine Spectator, 77; PAI-XCI, 334

10 3⁄ 8 x 23 5⁄ 8 in./26.3 x 60 cm Imp. F. Champenois, Paris Cond A. Framed. Ref: Rennert/Weill, 72; Lendl/Prague, p. 73; Art du Biscuit, p. 9; Gold, 63; PAI-LXXIII, 396

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.

“Flirt” was a brand of biscuit sold by Lefèvre-Utile, but that becomes almost irrelevant to admirers of this classic depiction of love blossoming. Indeed, it’s almost impossible to avoid falling in love with the Victorian elegance on display, with romantic effusiveness held at bay—with difficulty!—for the moment. You can just barely see the baker’s L-U logo patterned on the damsel’s dress, and doesn’t that just take the biscuit?

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

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

300

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301

302

303

300. Documents Décoratifs. 1902.

301. Lefèvre-Utile / Biscuits Champagne.

303. The Seasons / Autumn. 1900.

17 ⁄ 8 x 29 ⁄ 2 in./44.2 x 75 cm Cond A-/Slight tears and stains at bottom. Framed. Ref: Rennert/Weill, 79; Lendl/Paris, 104; Gold, 87; PAI-XC, 382

9 x 12 ⁄4 in./23 x 31.3 cm Cond A/P. Ref: PAI-XLI, 428 (var)

12 x 27 1⁄ 2 in./30.5 x 69.8 cm Cond A. Framed. Ref: Rennert/Weill, 74, Var. 4; Lendl/Prague, p. 193; PAI-LXXVIII, 373

“‘Documents Décoratifs,’ published in 1902... was Mucha’s artistic creed, and a book that authoritatively set down the precepts of Art Nouveau and its decorative elements... In this announcement, he uses the same picture that appeared eventually on the cover of the book itself. It is a monochrome cameo of a barebreasted girl holding a pendant in one hand and a flower in the other” (Rennert/Weill, p. 288). Est: $3,000-$4,000.

Mucha created a host of box designs for the LefèvreUtile biscuit company, each consisting of a central design and two back-to-back trademarks, all printed on one sheet. In the individual distinguishing pictures, Mucha depicted fashionable social occasions at which biscuits are being consumed, mostly with wine— otherwise, lush nymphs enjoying the outdoors also suit the purpose. All of the background patterns, ornamental borders, and decorative elements are executed with Mucha’s typical attention to detail. Est: $1,200-$1,500.

302. Lefèvre-Utile / Mélange Italien. 8 1⁄4 x 10 3⁄4 in./21 x 27.2 cm Cond A. Ref: Art du Biscuit, p. 94; Lendl/Prague, p. 72; PAI-LXIV, 402 Since this was a box top for Italian-style cookies, Mucha gives us a lady playing the mandolin in front of Venice’s Saint Mark’s square, as well as two dark-haired beauties sitting in front of landscapes of Rome and Naples. Est: $1,200-$1,500.

This standalone panel from Mucha’s 1900 “Seasons” set is consistently one of the most striking and mystical of any of his symbolic figures. The inscription at lower right, translated, reads: “Autumn, symbolizing maturity and bearing the thyrse of the harvest, presents the fruits that the Summer sun has gilded.” The figure of Autumn is adorned in a way that looks both Byzantine and Celtic. Metallic ink defines the borders and allows them to shine in the light. Est: $6,000-$8,000.

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304

Mucha (Continued) 304. Printemps : Pocket Watch. 1900. Diameter: 2 in./5.1 cm Ref: PAI-LXXXIX, 313 Although we don’t often see jewelry at our poster auctions, this piece is a wonderful exception. Mucha himself was a fan of designing wearable accessories. So when Georges Favre-Jacot, the founder of Zenith watches, asked Mucha to contribute a design, the answer was a resounding yes. Mucha adapted his 1896 Seasons imagery for the four designs; this one presents his Spring panel, which was engraved in niello silver by Huguenin Frères. The details of the watch are as follows: round silver case, oval bail, fluted crown, officer back, white enamel dial, Arabic and Roman numerals painted black, “English Pear” hands in blued steel, and signed dial and movement. The watches were so distinguished that they were awarded the Grand Prix (or Grand Prize) at the 1900 Paris World’s Fair. This lot includes an Art Nouveau bronze statuette that was used by brands like Zenith to display the watch. Rare! Est: $40,000-$50,000.

MUCHA | A-Z

305. Zdeňka Černý. 1913. 42 3⁄4 x 73 1⁄4 in./108.5 x 186 cm V. Neubert Smichov, Praha Cond A. Ref: Rennert/Weill, 102; Lendl/Prague, p. 280; Mucha/Art Nouveau, 39; Gold, 177; PAI-LXXV, 297 This poster was prepared for Ms. Černý’s European tour planned for the fall of 1914. When war broke out that spring, the tour was canceled, and the poster was never used. Černý was the daughter of a Czech-American music teacher who befriended Mucha during the artist’s stay in Chicago. “Mucha worked from a photograph of Zdeňka with a cello, but idealized her face by investing it with a spiritual quality, her love of music. He created a unique poster-portrait by adjusting the slant of her head, softening her expression, lightening the hair, lifting the hand turning the sheet music, and elongating the body. Two circles, one with lilies symbolizing Zdeňka’s youthful innocence, the other with laurels of her past triumphs, complete the design suffused with warm light” (Mucha/Art Nouveau, p. 180). This two-sheet poster is hand-signed by Černý at lower right.

305

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

306. Laurel : Metal Plate. Diameter: 12 in./30.5 cm Slight erosion at edges. Ref (all var): Rennert/Weill, 76; Lendl/Prague, p. 226-227; PAI-LXXIII, 402 This is one half of the Ivy and Laurel set of decorative panels, printed as a unique metal plate. Mucha produced this at the same time that he designed the interior of George Fouqet’s jewelry shop, utilizing a similar design of female heads placed within circular borders adorning the windowpanes. The use of his motifs as decorative metal plates attests to the popularity of Mucha’s work, and the desire to possess it across multiple media. The embodiment of laurel is framed by a decorative area of rich foliage and backed by a mosaic pattern with “the repetitive motif of a stylized letter M as we know it from Mucha’s alphabet” (Mucha/Art Nouveau, p. 203). Est: $2,000-$2,500.

306

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307

Mucha (Continued) 307. Eight Möet & Chandon Postcards. Each: 3 1⁄ 8 x 5 1⁄4 in./8 x 13.4 cm Imp. F. Champenois, Paris Cond A. Framed. Ref: Mucha/Postcards, 10-17; PAI-LXXIV, 383 (var) Similar in appearance to Mucha’s Menu Cards, these eight postcards with Möet & Chandon logos also possess metallic gold ink backgrounds, creating a dazzling Fin-de-Siècle effect when turned in the light. These images are presented in two frames. Est: $2,500-$3,000. (8)

308. Slavia. ca. 1935. 9 3⁄4 x 15 5⁄ 8 in./24.8 x 39.8 cm Cond A-/Horizontal fold. Framed. Ref (all var): Rennert/Weill, 93; Lendl/Prague, p. 265; PAI-LXXXIX, 330 Reissuing Mucha’s 1907 design in cool sepia tones, this is an official four-page life insurance document (here, in the name of Mr. Pan Otakar Petrecek). The woman in the image is Slavia, the personification of the Slavic people of Eastern Europe, much in the way Uncle Sam is to the United States. She “holds a ring in her hand which symbolizes unity... and there are two stylized peace doves on the arm rests of the hidden throne she is sitting on; but just in case, she also has a sword in her lap, the message being that the Slav is peaceful by nature but will fight when attacked” (Rennert/Weill, p. 322). Est: $1,700-$2,000.

308

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309

JuliAnne Jonker (1957- ) 309. Alphonse Mucha : Bronze Bust. 2022. 22 x 15 in./56 x 38.1 cm Bronze sculpture. JuliAnne Jonker is a sculptor living in Minnesota. She has long been fascinated by Alphonse Mucha and the act of artistically representing another artist. Referencing photographs of the artist in his studio, she has captured Mucha during the prime time of his Parisian years, donning the clothes that he often wore while working. The stance seen here is one which Mucha often used when taking self-portraits, although Edward Steichen’s portrait of the artist was Jonker’s primary influence. This is the artist’s proof of the sculpture: the first one cast from the mold using the lost wax method, and the only copy struck to date. The sculpture has garnered awards in various competitions, and was a finalist in the 2022 International Velasquez Painting and Sculpture Competition, the 2022 Arts and Artists Foundation from MEAM in Spain, and the Art Renewal Center’s 16th International Salon. Please inquire for a full list of awards and publications. Est: $17,000-$20,000.

A-Z | MUCHA - NEW YORK WORLD’S FAIR

310

Mucha (Continued) 310. Tri Projevy o Zivote a Dile. 1936. 6 3⁄ 8 x 9 5⁄ 8 in./16.2 x 24.5 cm Cond Complete and in excellent condition. Ref: PAI-LXXI, 447 This is a book of three lectures on Life and Art by Mucha, and hand-signed by the artist and author on the title page. It’s #144 of 150 numbered copies. Est: $1,200-$1,500.

311. Cloches de Noël et de Pâques. 1900.

311

8 3⁄4 x 12 in./22.3 x 30.3 cm Imp. F. Champenois, Paris Overall excellent condition; in original wrapping. Ref: Mucha/Bridges, L26; Jiri Mucha, p. 139; PAI-XCI, 364 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 deluxe edition (#9 of 35 copies) is printed on Japon and includes the complete portfolio of single color proofs. Est: $2,500-$3,000.

312. La Plume. 1897. 7 1⁄4 x 10 in./18.5 x 25.5 cm Imp. de Vaugirard, Paris Cond B+/Slight wear at edges. La Plume was the most influential publication dealing with posters, although it also covered many other aspects of Parisian cultural life, including literature, art, and theatre. The six issues included here are all dedicated to Mucha, with over 100 reproductions of his designs and a full price list; La Plume also sold all of the posters it featured. This is a must for the serious poster collector.

312

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

MUCHA - NEW YORK WORLD’S FAIR | A-Z

313

314

Jean Nathan 313. Jean Sarment and Marguerite Valmond. 1926. 30 7⁄ 8 x 45 7⁄ 8 in./78.5 x 117 cm Cond A. Framed. Ref: PAI-LXII, 497 While individual cabaret performers in their own right—Paul Colin created posters for each of their separate shows (see PAI-LXIII, 224 and PAI-XLII, 248)— Sarment and Valmond apparently teamed up for a joint spectacle as announced in this simple Art Deco design. Est: $1,200-$1,500.

1939 NEW YORK WORLD’S FAIR Robert Harmer Smith (1906-?) 314. New York World’s Fair. 1939. 20 1⁄4 x 29 3⁄4 in./51.5 x 75.6 cm Cond A. Ref: PAI-LXII, 228 This festive and appropriately patriotic design features a statuesque All-American beauty who encourages us to pass our summer vacations at the 1939-40 New York World’s Fair. This is the smaller format version of the image. Est: $1,200-$1,500.

Albert Staehle (1899-1974) 315. New York World’s Fair 1939. 13 1⁄ 8 x 19 7⁄ 8 in./33.6 x 50.4 cm Cond A. Ref: Trylon, p. 39; Affiche Art Deco, p. 117; PAI-LXXVII, 312 Fireworks, brilliant lighting, and a happy wave from an official hostess greet us at the Fair’s opening ceremonies. This image of awe and spectacle perfectly represents “the grandest illusion of the century” (Trylon, p. 39) that was The World of Tomorrow. This poster is on the original display board.

315

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

A-Z | ORAZI - PAL

Manuel Orazi (1860-1934) 316. Théâtre de Loïe Fuller. 1900. 25 1⁄ 8 x 79 3⁄ 8 in./63.9 x 201.6 cm Affiches Artistiques Orazi, Paris Cond A. Ref (all var but PAI): Posters of Paris, 75; Affiches 1000, 0051; Encyclopédie/Weill, p. 49; Le Coultre p. 222; Weill/Art Nouveau, p. 120; PAI-LXXXIX, 338 Orazi created this Art Nouveau masterpiece to coincide with the 1900 Exposition Universelle. His vision of Loïe Fuller is as original as the performer herself: emerging from a hazy color field anticipating Rothko, she floats upward into erotic form, then bubbles with Japanese family crests—her hair floats as if a Mucha goddess underwater—and then breathes a bouquet of white roses into being. It’s one of at least three color variants. Orazi’s posters are as seldom-seen as they are magnificent: famous for his exquisite La Maison Moderne poster (see PAI-LXXXV, 400), Orazi also created the Calendrier Magique, an occult themed calendar limited to an auspicious 777 copies. Rare! Est: $20,000-$25,000.

317. Palais de la Danse. 1900. 23 5⁄ 8 x 63 1⁄ 8 in./60 x 160.2 cm Imp. Bourgerie, Paris Cond B+/Slight stains at horizontal fold and bottom edge. Ref: DFP-II, 674; Weill/Art Nouveau, p. 120; PAI-LXXXV, 401 All of Orazi’s designs are a kaleidoscope of Art Nouveau expression, featuring swirling lines and an ethereal color palette. Here, he advertises the Palais de la Danse, a dance hall popular in Paris during the 1900 World’s Fair. Shown is Terpsichore, the Greek muse of dance, in an effortless arabesque as she pours a golden bubbly liquid into her chalice. Est: $5,000-$6,000.

Louis Oury (1846-?) 318. Brondert / Affiches Illustrées. 1895. 44 x 60 1⁄ 2 in./112 x 153.6 cm Brondert, Paris Cond B+/Slight tears, largely at fold. Ref: Reims, 924; PAI-LXXXVII, 420 Brondert was a full-service shop: not only a poster printer, but a billposter as well. Oury, the artist, splashes out a typically eyecatching woman in Fin-de-Siècle vestments, standing alongside a pencil illustration of herself. It’s a convincing image to advertise with posters. Est: $1,400-$1,700.

Pal (Jean de Paléologue, 1860-1942) 319. Olympia / Brighton. 1893. 30 1⁄ 2 x 48 1⁄4 in./77.6 x 122.7 cm Imp. Paul Dupont, Paris Cond A-/Slight tears at edges. Ref: Maitres, 35; Maindron 1896, 99; Dance Posters, 33; Reims, 929; Spectacle, 1279; Femme s’Affiche, 63; Gold, 162; PAI-LXXXVIII, 417 Just as Pal was arriving to Paris from London, the Olympia was opening its doors to the public. Here, he’s clearly enjoying introducing two Parisian cancan girls to the seashore along Brighton’s famous pier to promote Leopold Wenzel’s “grand ballet.”

316

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

ORAZI - PAL | A-Z

318

317

319

A-Z | PENFIELD

320

322

321

323

Edward Penfield (1866-1925) 320. Harper’s / January. 1895. 12 7⁄ 8 x 18 in./32.8 x 45.6 cm Cond A. Ref: DFP-I, 340; Reims, 1257; Lauder, 161; PAI-LXXVII, 329 Not only is Harper’s an excellent read, but it’s also a fine means of finding like-minded individuals with whom to spend the New Year. Est: $1,000-$1,200.

321. Harper’s / February. 1895. 12 7⁄ 8 x 18 1⁄4 in./32.7 x 46.5 cm Cond A. Ref: DFP-I, 387; Lauder, 162; Reims, 1258; PAI-LXXXVI, 86

324

With subtle elements of romantic intrigue, Penfield gives us his Valentine’s Day-themed design for Harper’s February issue. Est: $1,200-$1,500.

PENFIELD | A-Z

325 322. Harper’s / February. 1896.

323. Harper’s / June. 1896.

325. Poster Calendar 1897. 1896.

10 ⁄4 x 19 ⁄ 8 in./27.2 x 50 cm Cond A. Ref: DFP-I, 353; Lauder, 177; PAI-XC, 15

13 ⁄4 x 18 ⁄ 8 in./35 x 47.4 cm Cond B/Slight tears at edges. Ref: DFP-I, 350; Reims, 1274; Lauder, 181; Masters 1900, p. 108; PAI-LXXV, 420

10 1⁄ 8 x 14 in./25.7 x 35.5 cm Cond A/With grommets at top. Ref (all var but Gold and PAI): Gold, 100; Affichomanie, 140; DFP-I, 373; Lauder, 191; Penfield, p. 1, 31; PAI-LXXIV, 405

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.

Penfield’s art is characterized by a paradoxical yet wonderful invitation to solitude. This is a classic example: the woman in her summer rocking-chair keeps herself from us—by way of a hat, her chair turned away from us, and her eyes in her Harper’s. The page, though, is solicitously turned toward us. Would she mind if we read over her shoulder? Est: $1,400-$1,700.

324. Harper’s / May. 1898. 9 1⁄ 2 x 16 1⁄ 8 in./24.3 x 41 cm Cond A. Ref: Lauder, 210; DFP-I, 390; PAI-LXXIII, 425 It is impossible to imagine that these two roosters are not having a conversation. For all we know, it might be about getting to the other side. Est: $800-$1,000.

Edward Penfield’s self-portrait—paintbrush in hand, cap on head, pipe in mouth, and cat waiting to step upon the sheet—adorns the cover of this wonderful poster calendar for 1897. There’s a debutante, corsage in her hands, for the balls of the early year; an expectant girl, cradling a smiling cat, for the springtime; a gentleman and companion strolling in the summer countryside; and four ladies-in-waiting, waiting, waiting out the close of the year in a carriage with books in hand. It’s a truly lovely collection of Penfield’s quiet and concentrated studies. This lot consists of the cover plus four sheets: the complete set. Est: $2,700-$3,000. (5)

A-Z | PETIT - RHEAD

326

Philippe Petit 326. Clotilde et Alexandre Sakharoff. 1923. 23 1⁄ 2 x 31 1⁄ 2 in./59.7 x 80 cm Imp. Crete, Paris Cond B+/Unobtrusive folds. P. Ref: PAI-LXXIV, 406

327

The perfect geometries capture Clotilde and Alexander Sakharoff, one of the great dance pairs of the early 20th century. Alexander was born in the Russian Empire and trained at the Académie des Beaux-Arts in Paris, where he became one of the most innovative solo male dancers—and a favorite of artists, due to his androgynous appearance. He married the German dancer Clotilde; the two of them toured widely around the world, gaining the fascination of artists and fans wherever they went. “Clotilde Sakharoff and I did not dance with music or accompanied by music: we danced music,” Alexander wrote in his memoirs. Est: $1,400-$1,700.

George Petty (1894-1975) 327. Va-Jel Scientific Birth Control. ca. 1940. 27 3⁄4 x 38 3⁄ 8 in./70.5 x 97.5 cm Cond A-/Slight tears at edges. In today’s political climate of banning abortions and restricting access to birth control, it’s hard to believe that a birth control product would be so publicly advertised back in the 1940s. And yet, here we have a rare design for Va-Jel, a product that promises happiness to women by controlling their own reproductive health. George Petty was primarily a pin-up illustrator for magazines including Esquire and Fawcett; his images helped popularize the centerfold spread. Est: $2,000-$3,000.

Phi (Paul Nerfi) 328. Source Willems. ca. 1924. 41 3⁄ 8 x 59 1⁄ 8 in./104.7 x 150.2 cm Les Nouvelles Affiches “Phi,” Paris Cond B/Slight tears at folds. In a style quite reminiscent of Cappiello and d’Ylen, the otherwise unknown Phi gives us a striking bathing beauty enjoying her “exquisite table water” against a stark black background. Rare! Est: $2,500-$3,000.

328

PETIT - RHEAD | A-Z

329

332

Pablo Picasso (1881-1973)

Emil Pirchan (1884-1957)

329. Côte d’Azur. 1962.

331. N.V. “Het Tooneel.” 1911.

25 ⁄4 x 39 ⁄ 8 in./65.4 x 99.3 cm Imp. Mourlot, Paris Cond A. Ref: Czwiklitzer, 177; Affiches Azur, 31; PAI-LXXXIX, 352

36 1⁄4 x 49 1⁄ 2 in./92 x 125.5 cm Cond A. Ref: DFP-III, 2553 (var); PAI-XI, 354

330

Picasso opens a window on to the Riviera, permitting the viewer, at least graphically, to while away in the balmy breezes and lucid colors of the sun-sated paradise. One of the aspects of Picasso’s genius— whether in posters or paintings—that is altogether awesome is his ability to create permanence and vitality from a few relatively harried series of brushstrokes, evoking whatever he chooses with the facility of doodling. Two versions of this design exist, the other being a Cannes variant. Est: $1,700-$2,000.

R. S. Pike 330. United States Lines. 23 7⁄ 8 x 35 in./60.8 x 88.8 cm Cond B/Slight tears at folds and edges. Framed. Ref: PAI-LXXXIII, 72 While an elegant American makes her way up the gangplank—most likely as she boards the Manhattan en route to Paris, the capital of the Roaring ’20s—we can’t help but notice an entirely different US Lines ship in the background: the SS Leviathan. Est: $2,000-$2,500.

331

This Dutch theatrical repertory company advertises its 1911-1912 season with a design originally used in Munich in the summer of 1911 to announce a program of fairy tales in the park. Although the same Munich printer was used, the Dutch text indicates this poster was used in Holland. Est: $1,700-$2,000.

Louis J. Rhead (1858-1926) 332. The Sun / Merry X-Mas. 31 1⁄ 2 x 48 3⁄4 in./80 x 123.8 cm Liebler & Maas, New York Cond A-/Unobtrusive folds. Ref: PAI-XXXVII, 481 Christmas: a time of peace on Earth and goodwill to Men—and let’s not forget, it’s also an extremely important season in the mind of merchants. And though dolls would appear to be the gift of choice in Rhead’s Yuletide scenario, complete with a candlelit tree, The Sun wants to remind every purveyor of commercial goods that their publication reached the most desirable demographic for their advertising dollars. 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. He was heavily influenced by Grasset, whom he admired and met while in Paris. Rare! Est: $3,500-$4,000.

A-Z | RHEAD - ROUGEMONT

333

334

335

Rhead (Continued)

Cornelis Rol (1877-1963)

333. The Century / Midsummer Holiday Number. 1895.

335. ENTOS. 1913.

14 x 20 in./35.5 x 50.8 cm Cond A. Ref: DFP-I, 447; Reims, 1298; Lauder, 254; Margolin, p. 74; PAI-XXXIV, 136

25 x 40 3⁄4 in./63.5 x 103.5 cm Ellerman Harms & Co. Cond B/Slight tears at folds and edges. Ref: Modern Dutch Poster, 31; Dutch Poster, 116; PAI-LII, 282

Rhead gives us a delectable image of sunshine, sunflowers, and sailboats. The summer living is easy indeed. Est: $1,200-$1,500.

This first Dutch Exhibition of Shipping is announced in this highly decorative poster by Rol. This is the Dutchlanguage version. Est: $1,200-$1,500.

Alejandro de Riquer (1856-1920) 334. The Four Seasons / Spring. 1900. 20 5⁄ 8 x 43 7⁄ 8 in./52.3 x 111.4 cm Cond A. Framed. Ref: Riquer, p. 130; Weill/Art Nouveau, p. 54; Cataluña, 26; PAI-XC, 407 “In Spain, de Riquer has executed some charming decorative panels, which are worthy to rank with the best efforts of Mucha. The set representing the four seasons, of which ‘Spring’ is undoubtedly the best, are single-figure studies in the open air, and treat the subjects from an original and unconventional point of view” (Rogers, p. 127). And here is that “best” panel, a dreamy, thought-provoking composition done with such ease that not only is the redhead experiencing the rebirth of the world around her, she is irrefutably an essential part of it.

336

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

Richard N. Roland-Holst (1868-1938) 336. Bosboom / Pulchri-Studio. 1917. 26 3⁄4 x 37 3⁄ 8 in./68 x 95 cm Tresling, Amsterdam Cond A-/Slight fold in lower left corner. P. Ref: Holst, p. VI This delicate poster announces an exhibition at the Pulchri Studio in The Hague honoring what would have been painter Johannes Bosboom’s 100th birthday. Founded in 1847, Pulchri Studio continues to function as an art society, studio, and exhibition space today. Est: $1,700-$2,000.

RHEAD - ROUGEMONT | A-Z

337

Rougemont 337. Mistinguett. ca. 1930. 46 1⁄ 8 x 61 3⁄4 in./117.2 x 157 cm Imp. Richier-Laugier, Paris Cond A-/Slight tears in background. Ref: PAI-LXXVII, 351 One of Mistinguett’s go-to ensembles was The Tramp, whether as the sweet impoverished thing in her Rags-to-Riches performance or the rakish Artful Dodger-esque figure shown here. Regardless, we can always rely on Mistinguett to make any outfit look good. Est: $7,000-$9,000.

A-Z | SAINT PHALLE - SCHEURICH

338

Niki de Saint Phalle (1930-2002) 338. Merce Cunningham. 1970. 29 1⁄ 8 x 45 3⁄4 in./74 x 116.2 cm Imp. St. Martin, Paris Cond A-/Slight tears at edges. P. Ref: PAI-LXX, 621

339

Known for her whimsical, Modern sculptures, Saint Phalle created a vibrant, lively design for the June performances of dance legends Merce Cunningham and Paul Taylor at the Théatre de France. Est: $1,000-$1,200.

Raymond Savignac (1907-2002) 339. Monsavon au lait. 1949. 39 1⁄4 x 58 3⁄4 in./99.6 x 149.2 cm Imp. Bedos, Paris Cond A-/Slight tears at edges. Ref: Savignac, 314; Savignac A-Z, p. 21; Savignac/Forney, 314a; Weill, 515; Musée d’Affiche, 103; Publicité, p. 167; PAI-LXXXIX, 373 As his most celebrated poster, the importance of this image to Savignac’s career cannot be overstated. It is emblematic of his iconic style: disarmingly simple, almost childlike in its brushwork, and relying on basic colors and uncluttered compositional space to impart a cheerful, amusing message to the viewer. The design lets us know in no uncertain terms that this soap is made with milk. Est: $2,500-$3,000.

340

SAINT PHALLE - SCHEURICH | A-Z

341 340. Tintin Orange. 1962. 62 1⁄ 2 x 45 3⁄4 in./158.8 x 116 cm Imp. Henon, Paris Cond A. Ref: Savignac, 77; Savignac/Japan, 22; PAI-XXXVI, 523 An established celebrity is always a good way to place the public’s attention on your product. Not only is international cartoon sensation Tintin used by Savignac in this advertisement, but he’s promoting his own soft drink, Tintin Orange, produced by the Tintin Drink Society of Paris. This pasteurized and carbonated orange beverage is made with “pure sugar” for “kids from 7 to 77.” Savignac borrows the intrepid Belgian teenage reporter directly from his creator, Georges Remi Hergé, whom he credits on the poster with “d’après Hergé.” Tintin’s come a long way since his debut in the pages of Le Vingtième Siècle in 1929. Beginning in 1930, the comic strips were put into book form and gained near global popularity in 1958 when they were translated into other languages. Savignac presents the amateur sleuth taking a break from one of his adventures to split a bottle of his namesake pop with his constant companion, Snowy (or Milou in the original French), who so enjoys it that he holds his beloved bone with his ear as to not interfere with his quality refreshment time. Est: $3,000-$4,000.

Paul Scheurich (1883-1945) 341. Buttericks Moden-Revue. 1912. 18 5⁄ 8 x 27 1⁄ 2 in./47.2 x 70 cm Hollerbaum & Schmidt, Berlin Cond A-/Unobtrusive folds. Ref: DFP-III, 2880; PAI-XIII, 401 Based in Manhattan, the Butterick Publishing Company reached international audiences with its magazines containing sewing patterns and fashion news. As far away as Berlin, stylish ladies could be inspired by the “journal for elegant women,” a statement which is clearly expressed in Scheurich’s depiction of a lovely fashionista and her equally chic little dog. The repeating vertical lines—a technique often used by Hohlwein—lend a sharp Modernity to the image, while the typography is typical of early 20th century German script. As for the outfit—which perhaps our muse sewed herself, thanks to Butterick’s patterns—it’s nothing short of fabulous. Rare! Est: $2,500-$3,000.

A-Z | SCHOFT - SIEGRIEST

342

J. Schoft 342. Prater-Keller. 24 7⁄ 8 x 37 3⁄ 8 in./63 x 95 cm Druck v. Schreier, Wien Cond B/Slight loss at bottom edge; unobtrusive folds. This jolly man seems like he may have imbibed in a couple of the first-class wines offered at the Prater Cellar in Vienna—or perhaps the miniature band on his shoulders is the reason for his rosy glee. At any rate, we’re sure to have a great time at this restaurant, which promises “Viennese coziness,” warm and cold dishes, solid service, and reasonable prices. Est: $800-$1,000.

J. Sentrein

343

343. England über Ostende-Dover. 23 1⁄ 2 x 38 1⁄ 2 in./59.7 x 97.8 cm Imp. J. E. Goosens, Bruxelles Cond A-/Slight tears and stains at edges. Mounted on board. Ref: PAI-XXVII, 585 This spiffy family, decked out in their seagoing finery, is used by the Belgian channel ferry service in an attempt to attract German-speaking clients. The ferry line was run by the Belgian State Railroad and Mail Boat Service and offered two daily crossings in a leisurely three hours. Est: $2,000-$2,500.

Dwight Clark Shepler (1905-1974) 344. New Hampshire. 1936. 24 1⁄ 2 x 23 3⁄4 in./62.3 x 60.2 cm Rumford Press, Concord Cond B+/Slight tears and creases. Ref: Art/Skiing, p. 104-5; PAI-LXXXV, 14 “The best known of the posters promoting the state, Dwight Shepler’s ‘Land of glorious winter’ captures precisely the fresh outdoors freedom, the spectacular backdrop, along with the joys of social skiing to be found in New Hampshire in 1936” (New Hampshire on Skis, p. 15). Below this Impressionistic scene, the text at the margin is of particular interest: “This poster reproduction of a painting made specially for the New Hampshire State Planning and Development Commission by Dwight Shepler, Boston, Massachusetts, may be purchased at a price of $1.00 from the Commission at Concord.” Est: $1,200-$1,500.

344

SCHOFT - SIEGRIEST | A-Z

346

345 345. Sun Valley. ca. 1940.

347. Indian Court / Indian Basket. 1939.

24 7⁄ 8 x 40 1⁄ 8 in./63.3 x 102 cm Midwest, Chicago Cond A. Ref: Art/Skiing, p. 124; PAI-LXXXIII, 22

25 x 36 in./63.6 x 91.3 cm Federal Arts Project, WPA Cond A-/Slight tears at bottom. P. Ref: WPA, 92

Skiers take a breather at the Round House atop Baldy Mountain in Idaho’s world famous Sun Valley. With little wind and an elevation of 5,750 feet, it quickly became a haven for skiers of all difficulty levels. The lifts were opened in its 1939-1940 season.

In another silkscreen image for the Indian Court at the Golden Gate International Exposition, Siegriest keeps it simple by showcasing a Pomo Indian basket on a bright yellow background.

347

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

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

Louis B. Siegriest (1899-1989) 346. Indian Court / Pueblo Turtle Dancers. 1939. 25 x 36 in./63.7 x 91.4 cm Federal Arts Project, WPA Cond A/P. Ref: WPA, 80; PAI-XXXIX, 467 This WPA poster was created for the 1939 Golden Gate International Exposition. This was a kind of “World’s Fair” on San Francisco’s Treasure Island to inaugurate both the Golden Gate and Oakland Bay bridges, which had opened in recent years. Siegriest produced a portfolio of posters for the event; this one, of pueblo turtle dancers, was based on an Indian painting in New Mexico. This is a silkscreen print. Est: $1,200-$1,500.

348. Indian Court / Seneca Mask. 1939. 25 1⁄ 8 x 36 in./63.8 x 91.3 cm Federal Arts Project, WPA Cond A/P. Ref: WPA, 92 In this third silkscreen print created for the Indian Court, Siegrist replicates Chippewa picture writing and a Seneca mask, which hail from the Eastern woodlands. Est: $1,200-$1,500.

348

A-Z | SORIANO - STEINLEN

349

Soriano 349. Estadio Santiago Bernabéu / Real Madrid. 1961. 19 1⁄ 8 x 16 1⁄4 in./48.5 x 41.3 cm Cond A-/Slight tears at horizontal fold. Soccer fans will likely appreciate this midair action shot of Real Madrid duking it out against Granada. The home team won this match handsomely, with a 5-0 result. Est: $800-$1,000.

Serge Soudeikine (1882-1946) 350. Chauve Souris. 1920. 30 3⁄4 x 43 3⁄4 in./78.2 x 111 cm Loubok, Paris Cond A-/Slight tears at edges. This quirky image of a bat fleeing the coop is actually an acute representation of Soudeikine’s (and his colleagues’) life stories: born in Russia, the artist went to Paris in 1913 to create stage designs for Diaghilev’s Ballets Russes. In 1920, he returned with Nikita Balieff’s “Chauve Souris” (The Bat) group, which performed vaudeville theatre. In 1918, the company fled the revolution in Russia, went to Paris for two years, and then settled in New York. In this image, we can see the bat bidding adieu to the Kremlin and the Eiffel Tower in search of new creative ground.

350

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

T. A. STEINLEN

351

Théophile-Alexandre Steinlen (1859-1923) 351. Affiches Charles Verneau. “La Rue.” 1896. 114 3⁄4 x 91 1⁄ 2 in./291.3 x 232.5 cm Imp. Charles Verneau, Paris Cond B+/Slight tears at folds and seams. Ref: Bargiel et Zagrodzki, 20; Weill, 64; Driehaus, p. 14; Crauzat, 495; Timeless Images, 50; DFP-II, 786; Wine Spectator, 110; PAI-LXXIX, 478 Exhibited: L a Belle Epoque, Metropolitan Museum of Art, New York, NY, 1982 Timeless Images, Isetan Museum of Art, Tokyo, 1984 “One of Steinlen’s finest lithographic achievements was a huge, six-sheet poster for Affiches Charles Verneau. The bustling street scene is alive with an assortment of colorful Montmartre types, prominent among them the artist’s daughter, Colette, with a hoop, being carefully led by her mother, Emilie. Note how Steinlen shows the working class side by side with the smartly dressed bourgeois, giving them equal dignity—one of his most endearing traits” (Wine Spectator, p. 110). Ruth Iskin indicates that while “this was surely an idealized rendition of the poster’s mixed audience... Steinlen was celebrating the street as a democratic space” (Iskin, p. 200). L’Estampe et l’Affiche concluded its ecstatic review of this poster by declaring “One can’t applaud it enough” (1897, p. 20). Seldom available for sale, this poster is best viewed in person to be truly appreciated. Est: $60,000-$80,000.

A-Z | STEINLEN

352

353

Steinlen (Continued) 352. Ambassadeurs / Yvette Guilbert. 1894.

353. Lait pur Stérilisé. 1894.

354. Motocycles Comiot. 1899.

30 5⁄ 8 x 71 7⁄ 8 in./77.8 x 183.2 cm Imp. Charles Verneau, Paris Cond B/Slight tears and stains at folds. Framed. Ref: Bargiel & Zagrodzki, 15 A2; Crauzat, 493; DFP-II, 781; Folies-Bergère, 26; Word & Image, p. 31; Weill, 12; Takashimaya, 12 (var); PAI-LXXIX, 480

37 7⁄ 8 x 55 1⁄ 8 in./96.3 x 140 cm Cond A. Ref: Bargiel et Zagrodzki, 16. A1; Crauzat, 491; Wine Spectator, 112; Maitres, 95; DFP-II, 783; Abdy, p. 97; Weill, 63; Gold, 56; Encyclopédie/Weill, p. 54; Posters of Paris, 80; PAI-XC, 426

52 5⁄ 8 x 77 3⁄ 8 in./133.6 x 196.6 cm Imp. Charles Verneau, Paris Cond B+/Slight tears at folds. Ref: Bargiel et Zagrodzki, 36A1; Crauzat, 506; DFP-II, 792; Petite Reine, 35; Ailes, p. 23 (var); Posters of Paris, 86; PAI-LXXXVII, 457

“Les Ambassadeurs, where the greatest names of café-concert appeared, welcomes in 1894 Yvette Guilbert, the greatest singer of the period... Steinlen’s very classical poster shows the stage and a section of the house... as seen from the stage. Yvette Guilbert is shown with her customary chignon and her traditional stage attire, including her famous long black gloves” (Folies-Bergère, p. 7). Her biographers tell us that “in spite of a rainy month every seat in the garden (of the Ambassadeurs) continued to be filled” (Knapp and Chipman, p. 141). No doubt Steinlen’s poster had something to do with that success. Est: $5,000-$6,000.

All the warmth, humanity, and affection for which Steinlen is so loved comes through gloriously in this poster for the newly marketed “lait stérilisé” that was touted over the “lait ordinaire” at that time. Charles Knowles Bolton, writing a year after its publication, proclaimed that this “is perhaps the most attractive poster ever made. No man with half a heart could fail to fall in love with the child.” Louis Rhead himself commented: “When I saw it in Paris last year... it seemed to me the best and brightest form of advertising that had appeared.” This is the medium format version. Est: $14,000-$17,000.

Based off of models by Dion-Bouton, Comiot Cycles was a short-lived brand produced around the turn of the century. “For Comiot, Steinlen signs one of his most famous works. The machine, a motorized bicycle, is barely visible in the composition, but the sensation of speed is very present: the movement of the scarf and the long dress; the noisy flight of the frightened geese. Thanks to this engine, the young woman, though haughty, crosses the countryside with elegance and ease. In the background, Steinlen evokes... with a vigorous line a couple of peasants in the fields, bent over their hoes: one immediately thinks of the compositions of Millet or the sketches of van Gogh. The political commitment, the sensitivity of the artist, and his animal talent are reflected in the realism of this poster” (Ailes, p. 22). This is the larger, two-sheet version. Est: $20,000-$25,000.

STEINLEN | A-Z

354

A-Z | STEINLEN - STENBERG BROTHERS

357

Steinlen (Continued) 355. Chat Noir / Prochainement. 1896. 38 x 54 5⁄ 8 in./96.5 x 138.7 cm Imp. Charles Verneau, Paris Cond B/Slight tears and stains at folds. Framed. Ref: Bargiel & Zagrodzki, 22; Crauzat, 496; DFP-II, 787; Wagner, 63; Timeless Images, 51; Lautrec/Montmartre, 104; Posters of Paris, 82; Affiches 1000, 0027; PAI-LXXXIV, 442

355

One of the world’s most famous posters, and an icon of Art Nouveau, Steinlen’s “Chat Noir” plays on some of Mucha’s signature flairs—the cat’s halo, the curve of the tail redolent of Mucha-maidens’ tousled hair—to create an indelible symbol at once wicked, subversive, seductive, and silly. Steinlen morphed his favorite subject into a new siren for the Parisian nightclub scene. It was so popular that it was used in a variety of forms over the years. Later, after Rodolphe Salis fell ill and was unable to perform with the company, the “avec” preceding his name was replaced with “de,” both as a tip-on and in a new edition of the poster. This is the large format version of the design. Est: $17,000-$20,000.

356. Le Journal / La Traite des Blanches. 1899. 48 3⁄ 8 x 62 3⁄4 in./123 x 159.4 cm Imp. Charle Verneau, Paris Cond A. Framed. Ref: Bargiel & Zagrodzki, 35; Crauzat, 503; DFP-II, 792; PAI-XCI, 421 “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.

357. Französische Kunstausstellung zu Krefeld. 1907. 23 1⁄ 2 x 36 1⁄ 2 in./59.8 x 92.8 cm Imp. Eugène Verneau, Paris Cond A. Ref: Bargiel et Zagrodzki, 49; Crauzat, 541; Livre d’Affiche, 115; DFP-II, 800; PAI-LXXV, 456

356

A charcoal-style drawing of a woman holding a red flower leads a poster inviting us, in German, to an exhibition of French art in Krefeld. Even with Steinlen’s artistic diversity taken into consideration, this poster remains something of a departure from his usual warm aesthetic, and is instead reverent, enigmatic, and haunting. Est: $2,500-$3,000.

STEINLEN - STENBERG BROTHERS | A-Z

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358

359

Stenberg Brothers (Vladimir, 1899-1982; Georgi, 1900-1933) 358. Theatre Kamerny. 1923.

359. The Love Triangle. 1927.

18 1⁄ 2 x 28 3⁄ 8 in./47 x 72 cm Cond A. Ref: Avant Garde, p. 121; Theaterplakate, 185; PAI-LXXVII, 371

27 1⁄ 8 x 39 1⁄ 8 in./69 x 99.4 cm Cond B+/Unobtrusive vertical fold; slight tears at edges. Framed. Ref: Russian Films, p. 189; PAI-LV, 466

Founded in 1914, the Kamerny Theatre was one of the most important propagators of the avant-garde in Russia, and put on some of the most influential Constructivist pieces of the era. This poster is from its tour in France, when the theatre’s founder, Alexandre Tairoff, directed and presented some of the standard pieces in their repertoire. Stalin would eventually close the theater in 1928 after a controversial production of Bulgakov’s Purple Island which satirically criticized the Russian government.

One of the biggest box-office successes of its time in Russia, “The Love Triangle” (also known as “Bed & Sofa”) was an American-style comedy loved by the Soviet people but absolutely hated by the government. The plot is simple: “When a man (Fogel) comes into town to look for work and can find no room, his friend (Batalov) invites him to use the sofa in his apartment. Fogel has an affair with Batalov’s wife (Semyonova), but when Batalov finds out, he cannot leave the apartment for the same reason that Fogel began staying there: the housing shortage. Now it is Batalov who sleeps on the sofa. Batalov’s wife becomes pregnant, but neither man admits responsibility; they both encourage her to have an abortion. Ultimately, she leaves both of them to have the baby and take care of it herself” (Russian Films, p. 188).

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

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

A-Z | STOECKLIN - THOMAS

360

363

361

Niklaus Stoecklin (1896-1982)

Francisco Tamagno (1851-1933)

360. Gaba. 1927.

362. L’Opéra-Bijou. ca. 1897.

35 7⁄ 8 x 50 in./91 x 127 cm Wassermann, Basel Cond A. Ref: Plakat Schweiz, p. 40 (var); Margadant, 435; Affiches Suisse, 51; Crouse/Deco, p. 78; Stoecklin, p. 25 (var); PAI-LXXII, 365

37 1⁄ 2 x 50 5⁄ 8 in./95.3 x 129.2 cm Imp. Camis, Paris Cond B/Slight tears and stains at folds and edges.

One of the greatest works of 1920s graphic minimalism, Stoecklin’s GABA poster was a crowd favorite, winning a Zurich people’s choice award in the 1930s. The pliant, plaintive head, blue and under the weather, stretches to receive a GABA lozenge. Some sources claim it alleviated the common cold; others claim it was an antidepressant. The simple tag line “beugt vor!” (“prevents!”) succinctly covers both, while claiming neither explicitly. Thirty years after this poster was created, GABA (gamma-Aminobutyric acid) emerged as one of the most important neurotransmitters in the human brain. Today, GABA is sold as a supplement, while medications targeting GABA receptors have been effective in countering anxiety, insomnia, epilepsy, and more. Est: $1,400-$1,700.

361. Quodlibet Maskenball. 1929. 34 5⁄ 8 x 49 7⁄ 8 in./88 x 126.8 cm Wassermann, Basel Cond B+/Slight tears at edges. Ref: Stoecklin, p. 65; Femme s’affiche, 156; PAI-LXVII, 516 This fanciful image promotes a Swiss masked ball in a local casino in Basel. It’s interesting to note that the women get in for five Swiss Francs less than the gentlemen.

362

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

Back in the 19th century—long before the advent of Amazon Prime—Parisians could have their clothes delivered by L’Opéra-Bijou, a luxury clothing store on the Avenue de l’Opéra. Here we see two sophisticated ladies trying on their newest wares as they’re surrounded by beautiful objects. Est: $1,400-$1,700.

363. Imprimerie Camis. ca. 1898. 39 1⁄ 2 x 27 in./100.4 x 68.5 cm Imp. Camis, Paris Cond A. Ref: Imprimerie, p. 66-67; PAI-LXXXVII, 463 To advertise its printing prowess, Camis commissioned Tamagno to create a composition featuring many of its best loved and most famous advertising characters designed by the likes of Guillaume, Bouisset, Jossot, and a variety of other house artists. It is a rare and clever design, and a visual treasure-trove for the true poster collector. Est: $2,000-$2,500.

STOECKLIN - THOMAS | A-Z

365

364

366

Aleardo Terzi (1870-1943)

Armando Testa (1917-1992)

Henry Atwell Thomas (1834-1904)

364. Rome-1911 / Exposition Internationale.

365. American Club. ca. 1977.

366. L’Eclair / Journal Politique Indépendant. 1897.

23 ⁄ 8 x 35 ⁄4 in./60 x 89.5 cm Cond B+/Slight tears at folds. Ref (both var): Menegazzi-II, 49; PAI-XXVI, 546

38 ⁄ 2 x 55 in./98 x 139.7 cm Grafis, Milano Cond A-/Slight tears at edges. P.

Considered one of the masters of early poster design in Italy, Terzi takes a symbolist approach to publicizing an exposition in Rome. He was born in Palermo on the island of Sicily, but by 1900 we find him doing drawings for the Rome daily La Tribuna Illustrata. From then on, he starts working in posters, first for the printer Instituto d’Arte Graphiche in Bergamo, then for Ricordi in Milan and others. His draftsmanship and his feeling for colors are impeccable, and his designs are always pictorially fascinating. Here, he lends his talents to the International Exposition, featuring displays of art, archaeology, music, Italian ethnography, and sports. It was produced in several languages; here we are presented with the French version.

We wish we knew more about the American Club, which promises its patrons that they’ll be “slender but full” with their “computer-based slimming center.” We have some questions: how did it work? Why was it named the “American Club”? What we do know is that Testa embraced the messaging with two contentedly slim folks baring their American flagcolored bodies.

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-XCI, 426

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

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: $1,700-$2,000.

A-Z | THORN-PRIKKER - TOULOUSE-LAUTREC

367

368

369

Johan Thorn-Prikker (1868-1932)

Charles Tichon

367. Hollandische Kunstausstellung in Krefeld. 1905.

368. A la Place Clichy. ca. 1900.

47 3⁄ 8 x 33 7⁄ 8 in./120.2 x 86 cm Lith. S. Lankhout, Haag Cond A. Ref: Le Coultre, p. 182 & 183 (var); Wember, 751; PAI-LXXIV, 448

46 1⁄ 8 x 62 1⁄4 in./117.2 x 158.2 cm Imp. F. Daubenbis, Paris Cond A-/Unobtrusive folds.

Thorn-Prikker was best known for his religious stained-glass work, and that influence is fully on display in this poster, which combines the organic embellishments of Art Nouveau with the fragmented lines of soon-to-come German Expressionism. Announced is a Dutch art exhibition at Krefeld’s Kaiser Wilhelm Museum. This is the second-printing edition of the design. Est: $2,000-$2,500.

This young sophisticate is in the market for a wedding dress, and La Place Clichy has just the ticket. She’s eyeing up a perfectly white gown rife with bows, ruffles, and all the Belle Époque whistles. Est: $1,700-$2,000.

Trégi 369. Bor Quinquina. ca. 1924. 38 1⁄4 x 54 3⁄ 8 in./97.2 x 138.2 cm Imp. Joseph-Charles, Paris Cond A. An apéritif angel is rushing over an oversized bottle of Bor Quinquina for our sipping enjoyment. We do not have any more information on this specific brand of aromatised wine—or on the artist, either. But it’s a lovely image nonetheless. Est: $3,000-$4,000.

HENRI DE TOULOUSE-LAUTREC

370

Henri de Toulouse-Lautrec (1864-1901) 370. P. Sescau / Photographe. 1894. 31 1⁄ 2 x 24 in./80 x 61 cm Cond A. Framed. Ref: Wittrock, P22; Adriani, 60-I; Wagner, 15; PAI-LXXXIX, 394 This poster is hand-signed by Lautrec. “The only poster by Lautrec that relates to photography, the medium that so significantly influenced French artists beginning with the Realists and Impressionists, is Sescau, Photographe... The lively Paul Sescau, who was given to the same pleasures as Lautrec and other friends, was the first in his field to photograph the artist’s work and from him Lautrec learned the art of photography. As did Degas, Lautrec often used photographs for figures and compositional motifs in his painting and posters. It is not known who printed the Sescau poster, but Lautrec defrayed the costs... In this poster a woman (possibly Jane Avril) in a red print gown holds a lorgnette in her black-gloved hand and acts as a large repoussoir element, vivid against the overall moss green of the background. The woman’s contracted and shrinking attitude, suggesting that she is fleeing from the camera, is an ironic comment probably intended for Sescau, who ‘used his studio mainly for seduction.’ Head and body largely hidden by a dark cloth, the photographer in Lautrec’s drawing is converted into an almost extraterrestrial creature whose head is composed of a square box with a bulging eyelens, intent on pursuing or exposing his object. The woman’s dress, designed with a repeating pattern of question marks, could be said to add irony to the message” (Wagner, p. 26). Julia Frey’s interpretation is even more explicit and interesting: “Sescau... who was reputed to use his studio primarily for sexual liaisons, is completely hidden under the black cloth of his camera, but the cloth itself dangles between his legs in a long phallus-shape, and the elegant woman of his focus seems to be trying to flee” (Frey, p. 422). Est: $40,000-$50,000.

A-Z | TOULOUSE-LAUTREC

371

TOULOUSE-LAUTREC | A-Z

Toulouse-Lautrec (Continued) 371. Jane Avril. 1893. 35 3⁄ 8 x 49 3⁄4 in./89.8 x 126.4 cm Imp. Chaix, Paris Cond B+/Slight tears at folds and edges. Ref: Wittrock, P6A; Adriani, 11-I; Wagner, 7; DFP-II, 828; Maitres, 110 (var); Wine Spectator, 41; Lautrec/Montmartre, 175; Reims, 784; PAI-XC, 435 “Universally considered his most brilliant and successful design” (Wagner, p. 22), Toulouse-Lautrec shows “Jane Avril on stage doing her specialty, which, according to contemporaries, was essentially a cancan that she made exotic by making a pretense of prudery—the ‘depraved virgin’ image aimed at arousing the prurience in the predominantly male audience. The sexual innuendo was captured by the artist by contrasting the dancer’s slender legs with the robust, phallic neck of the bass viol in the foreground—a masterly stroke that not only heightens our perception but also creates an unusual perspective: we see the performer as an orchestra member would, and this allows Toulouse-Lautrec to show, as if inadvertently, how tired and somewhat downcast she looks close-up, not at all in keeping with the gaiety of the dance that is perceived by the audience. It is clear, as Maindron has pointed out, that she is dancing entirely for the viewer’s pleasure, not hers, which makes it a highly poignant image. Seemingly without trying, Toulouse-Lautrec not only creates a great poster but makes a personal statement: Only a person who really cares about his subject as a human being would portray her with such startling candor” (Wine Spectator, 41). Est: $40,000-$50,000.

372

372. En Quarante. 1893. 10 7⁄ 8 x 14 7⁄ 8 in./27.5 x 37.8 cm Cond A. Framed. Ref: Wittrock, 32; Adriani, 47; PAI-LXXXIX, 413 This is one of the one-hundred numbered impressions (#63) with Lautrec’s red monogram stamp. Lautrec provided twelve lithographs, printed by Ancourt, which were also reproduced in ten issues of the weekly L’Escarmouche from 1893 to 1894; this one appeared in the November 26, 1893 number. And judging by appearances, the situation he portrays here looks to be headed from bad to worse with every ensuing sip. It’s a rather spectacularly terse blend of disapproval, inebriation, boredom, and lechery, reinforced with a bristling hint of barely concealed malice. It’s a wonderfully droll and decadent slice of life. Est: $6,000-$8,000.

373. Divan Japonais. 1893. 24 1⁄ 2 x 32 in./62.2 x 81.4 cm Imp. Edw. Ancourt, Paris Cond A. 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-XCI, 440 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). This is the finest specimen we have ever seen! Est: $20,000-$25,000.

373

A-Z | TOULOUSE-LAUTREC

374

Toulouse-Lautrec (Continued) 374. Troupe de Mlle Églantine. 1896. 31 x 24 1⁄4 in./79 x 61.6 cm Cond A. Framed. Ref: Wittrock, P21C; Adriani, 162-III; Wine Spectator, 43; DFP-II, 850; Wagner, 23; Posters of Paris, 100; Reims, 791; PAI-XCI, 443 “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.

TOULOUSE-LAUTREC | A-Z

377 375. 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-XCI, 432

375

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: $20,000-$25,000.

376. Elles. 1896. 18 x 22 7⁄ 8 in./45.8 x 58 cm Cond A. Framed. Ref: Wittrock, 155-III; Adriani, 171-III; DFP-II, 842; Reims, 782; PAI-XCI, 439 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.

377. The Ault & Wiborg Co. 1946. 10 1⁄4 x 13 1⁄4 in./26 x 33.4 cm Cond A. Framed. Ref: Wittrock, P28/Note; Adriani, 196/New edition; Wagner, 27 (var); PAI-LXIX, 679 Lautrec’s smallest poster 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 & 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. In 1946, the Chicago Art Institute used the original plate to produce 100 limited edition prints before defacing the plate. This is #43⁄100.

376

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

A-Z | TOULOUSE-LAUTREC

378

TOULOUSE-LAUTREC | A-Z

Toulouse-Lautrec (Continued) 378. May Belfort / Petit Casino. 1895. 24 1⁄ 8 x 31 3⁄4 in./61.5 x 80.8 cm Cond A-/Unobtrusive horizontal fold. Framed. Ref: Wittrock, P14C; Adriani, 126, 2nd State; HTL/MoMA, 269; PAI-XC, 437 This is most probably the rarest of all Lautrec posters. In this poster made for her appearance at the Petit Casino, the singer is “framed by long black curls under an enormous cap, her hands hiding most of a yellow-eyed kitten. Lautrec presents her on a diagonal plane, her brilliant orange-red dress slanting to the left, her shoulder brought forward in the picture plane to place her in a frontal position. The flat sweep of her gown below the frilled, green-splattered sleeves is, taken by itself, merely a red sail or banner” (Wagner, p. 27). In this version, the most obvious difference other than the addition of the “Petit Casino” type is the substitution of red streaks for the usually seen solid dress.

379

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

379. May Belfort. 1895. 23 5⁄ 8 x 31 1⁄ 8 in./60 x 79 cm Kleinmann, Paris Cond A-/Unobtrusive folds. Ref: Wittrock, p. 14B; Adriani, 126; PAI-XCI, 438 “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 Frenchspeaking 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: $17,000-$20,000.

380. Aristide Bruant. 15 x 19 1⁄ 8 in./37.8 x 48.5 cm Cond A. Framed. Ref: PAI-LXXXIV, 461 This is a rare variant of Lautrec’s famous Aristide Bruant, without text, numbered 36⁄100, with the signature of Bruant. Bruant’s strong, forceful, and in many ways vulgar style was ideally suited to the intimate cabarets where fashionable society went “slumming” for thrills. Lautrec captures this brutal quality of the entertainer and the disdain with which he treated his audiences by having him show us the broad of his back. The red scarf forms an exclamation point that punctuates the black expanse while the pose itself makes a complete, self-contained statement—Toulouse-Lautrec at his very best. Est: $7,000-$9,000.

380

A-Z | TRUCHET - UNGERER

381

382

Abel Truchet (1857-1918) 381. Les Danseuses. 1900.

382. Le Quadrille. 1900.

33 1⁄ 8 x 25 1⁄ 2 in./84 x 64.8 cm Imp. Eugène Verneau, Paris Cond A. Ref: Gold, 204; PAI-LXXVIII, 473

36 x 25 1⁄ 2 in./91.4 x 64.6 cm Imp. Eugène Verneau, Paris Cond A. Ref: Gold, 203; PAI-LXXVIII, 474

In this delightful decorative panel, we see some of the crowded café’s female clientele twirl each other around the dance floor. This was a common practice at the turn of the century, and much more modest an activity than dancing with a strange man. Like his fellow painters, Truchet found inspiration within the gas-lit halls of Montmartre’s café society. Some of his illustrations, like this one, were then turned into prints.

“This is a decorative panel... with an interesting view of the cancan from the rear. From this vantage all we get is a hint of the swirl of white petticoats, yet it is enough to communicate the zest and energy of this French specialty. The title given to the artwork goes back to the name of the original dance for four couples from which the cancan evolved... Truchet was primarily a painter, but he also mastered the techniques of illustration, etching, and lithography and produced a few posters of undoubted merit” (Gold, p. 139).

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

TRUCHET - UNGERER | A-Z

383

384

Tomi Ungerer (1931-2019) 383. Ice Capades. ca. 1965.

384. Monterey Pop. 1968.

42 1⁄4 x 60 in./107.4 x 152.6 cm Cond A. Ref (all var): Images of an Era, 35; Ungerer Posters, p. 117; PAI-LVIII, 392

27 x 41 in./68.6 x 104.2 cm Cond A/P. Ref: Ungerer Posters, 181

“Surely one of the most striking and effective campaigns created by Tomi—or any artist, anywhere—was the one for the Ice Capades in 1965” (Ungerer Posters, p. 116). It compares nicely to Chéret’s Palais de Glace series of seventy years earlier. This uncut proof is in the rare, larger format.

“In 1968, D.A. Pennebaker filmed the annual Monterey International Pop Festival, where such stars as The Mamas and the Papas, Hugh Masekela, Jefferson Airplane, Janis Joplin, Otis Redding, Jimi Hendrix, Ravi Shankar, and others, entertained. A year later the film appeared throughout the United States and in many countries overseas as a feature motion picture. This Leacock-Pennebaker Release was well received everywhere. Pennebaker had asked his friend, Tomi, to make a poster for the film [seen here]” (Ungerer Posters, p. 98). And Ungerer had a bit of fun with his design, making the word for the musical genre literally pop out of a flower.

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

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

A-Z | VEENSTRA - VILLON

385

386

H. M. Veenstra 385. Colorado Rockies / Pennsylvania R.R. 27 1⁄ 8 x 40 5⁄ 8 in./69 x 103.2 cm Cond B+/Slight tears in bottom text. Ref: PAI-XVIII, 486 (var)

387

By keeping all animate objects relatively small—whether horseback travelers cooking over a campfire, nearby deer, a pair of canoes, or an open bus—the artist keeps our focus on the majesty and sweep of the Rockies, reinforcing the Pennsylvania railroad’s boast that it’s the “Land of Scenic Marvels.” Est: $1,400-$1,700.

Henry van de Velde (1863-1957) 386. Tropon. 1899. 21 3⁄ 8 x 32 1⁄4 in./54.2 x 82 cm Hollerbaum & Schmidt, Berlin Cond A. Ref (all var): DFP-II, 1134 & pl. XXIII; Avant-Garde, p. 17; Word & Image, p. 39; V & A, 169; Modern Poster, p. 19; Müller-Brockmann, p. 67; Encyclopédie/Weill, p. 13; Kunst Kommerz Visionen, p. 488; PAI-LXXXV, 473 “At first glance, ‘Tropon’ appears to be a totally abstract design in an aggressive Art Nouveau style. Yet this poster has a realistic subject... a nutrient made from egg whites. In the poster, the artist has represented the whites of the eggs being separated from the yolks. This startling, pioneering use of highly abstract imagery to make an indirect allusion to something concrete makes the poster a conceptual forerunner of the avant-garde posters of the ’20s” (AvantGarde, p. 21). Many slight variations in size and coloration exist in the original large format of the lithograph; this is the larger variant with French text. Belgian-born van de Velde was a multitalented artist whom scholars identify as a seminal influence in twentieth century graphics. In Fern’s words, he is one of the leaders through whose thought and work “graphic design came to be automatically included in the sphere of total design that was to be the basis of a productive art and society” (Word & Image, p. 98). Rare!

388

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

VEENSTRA - VILLON | A-Z

Verdy 387. Bal Arts Decoratifs. 17 5⁄ 8 x 23 5⁄ 8 in./44.7 x 60 cm Imp. Rolland Pere & Fils, Paris Cond A/P. A snazzy Deco-ish design invites us to a ball at the National School of Decorative Arts. Est: $1,400-$1,700.

Pierre Verjez (1881-?) 388. Delinay. ca. 1910. 37 1⁄ 2 x 52 1⁄4 in./95.2 x 132.8 cm Atelier Verjez, Paris Cond A. What’s that you’re smokin’, Delinay? Of the strange pipe and the character depicted here, we sadly know nothing. But based on the get-up and the quirky depiction of this mystery artist, we’re assuming he was a comedic performer in Paris. Rare! Est: $1,400-$1,700.

Bernard Villemot (1911-1989) 389. Orangina / A la Pulpe d’Orange : Maquette. ca. 1965. 46 3⁄4 x 61 3⁄4 in./119 x 157 cm Signed gouache and watercolor maquette. Ref (all var but PAI): Bon Salle, 350; Publicité, cover & p. 203; PAI-LXXXVI, 417 Bright and zesty, this effervescent beverage is so refreshing that even the sun wants a sip of cold Orangina. Villemot began working for this company in 1953 and created their brilliant advertisements for decades to come. This large maquette uses only a few shapes, but powerfully conveys the brand’s message. “Villemot came up with the idea of the famous zest; that is to say the motif of the peel cut with a knife, which winds gracefully around itself. It is quite physically beautiful and remains central to the brand’s look to this day... Rapidly, we came to comprehend the exceptional value of the zest design. With its creation, Villemot had established the Orangina color code: the blue background, the orange drawings and the yellow product. We hadn’t set out to design an emblem, much less a logo, but we realized that we had happened upon something powerful” (Bon Salle, p. 188).

389

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

Jacques Villon (1875-1963) 390. L’Anti-Bélier / A Cruchon. 1899. 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-XCI, 450 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: $7,000-$9,000.

390

A-Z | VILLON - VINCENT

391

VILLON - VINCENT | A-Z

DOWNLOAD OUR MOBILE BIDDING APP AT POSTERAUCTIONS.COM

392

Villon (Continued)

René Vincent (1879-1936)

391. Guinguette Fleurie. 1901.

392. Au Bon Marché. 1925.

35 3⁄4 x 51 5⁄ 8 in./90.8 x 131 cm Cond A. Framed. Ref: Villon, E33; Musée d’Affiche, 30; Masters 1900, 52; Le Coultre, p. 114; PAI-LXXXVI, 418

51 1⁄ 2 x 36 1⁄ 2 in./130.7 x 92.7 cm Publicité Wallace, Paris Cond A-/Slight crease in bottom text. Ref: PAI-LXXVII, 400 (var)

Villon’s celebrated design promotes Guinguette Fleurie—noted below as “The Flower of the Singer-Poets”—at the Manège Central, a Montmartre music hall that was formerly a riding school. Villon was an important figure in the history of Modern art and a quintessential figure in the bohemian scene of Fin-de-Siècle Paris. A Cubist painter, illustrator, and filmmaker, he created only six posters—all graced by his superb drawing skills and observation of character. We fancy that the small bearded figure in the distant background of this poster is a self-caricature.

Three women in mint green, ruby red, and black and white couture strut their stuff in the season’s winter fashions—the cat’s meow of Flapper designs. This is the smaller format version.

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

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

A-Z | VLYMEN - D’YLEN

393

395

394

B. V. Vlymen

William P. Welsh (1889-?)

Adolph L. Willette (1857-1926)

393. Dameskroniek. 1925.

394. Pullman / Summer Resort. 1935.

395. Aux Ambassadeurs / La Revue en Fêtes. 1898.

37 1⁄ 8 x 49 1⁄ 8 in./94.4 x 125 cm Cond B/Slight tears and stains at edges. Ref: PAI-XXX, 682

20 1⁄ 2 x 26 5⁄ 8 in./52 x 68 cm Charles Daniel Frey, Chicago Cond B+/Slight tears and stains at edges. Framed. Ref: Travel by Train, p. 110; PAI-LXXXIII, 486

15 3⁄ 8 x 23 1⁄ 8 in./39 x 58.7 cm Imp. Delanchy, Paris Cond A. Ref: DFP-II, 891; Negripub/Forney, 15; Negripub, 267; PAI-LXXX, 5

The Dutch women’s magazine, The Ladies’ Chronicle, announces its seventh annual concourse at The Hague’s zoological gardens. Vlymen fills the page with vibrant splashes of color to express the latest trends in femininity. And though it’s not expressly stated in the text, we can only imagine that this nine-day event was a fashionable must for The Hague’s style-conscious female population. Est: $1,400-$1,700.

The hills are alive with the sound of Pullman! You have to think that this summery vagabond is yodeling with joy for having cast off the shackles of city life rather than calling to some fellow traveler across Welsh’s well plotted groves, undulant hillocks, and gleaming rays of light. But who wouldn’t shout the praises of Pullman’s ability to get one to their favorite summer resort, and at reduced rates no less? Est: $1,700-$2,000.

“The rise of cabarets and the music-hall in Belle Époque Montmartre made it possible to popularize mixed couple dancers: the 1900 woman, whimsical and free of her body, happily slums with the Negro in the style of minstrel’s shows. Adolphe Willette, caricaturist of Courrier Français and L’Assiette au Beurre, designed the costumes for the music hall show. There was the character of Mr. Brown who was simultaneously a Negro deputy, brother chauffeur, secretary of the theater, and soldier of the regiment. The revue allowed comments on political events: the anti-Semitic refrain ‘down with the Jews, down with the Jews’ punctuated the numbers” (Negripub, p. 182). Est: $1,700-$2,000.

VLYMEN - D’YLEN | A-Z

396

397

398

William (1898-1984) & Kenneth (?-1975) Willmarth

Jean d’Ylen (1866-1938) 398. Cusenier. ca. 1900.

396. Pacific Northwest. ca. 1930.

397. New Mexico and Arizona Rockies. ca. 1925.

26 ⁄ 8 x 41 ⁄ 8 in./68.2 x 104.4 cm Newman-Monroe, Chicago Cond B+/Slight tear at bottom edge. Ref: PAI-XX, 512

26 ⁄4 x 41 in./66.7 x 104 cm Newman-Monroe, Chicago Cond B/Restored tears, largely in bottom text.

Framed by the trunks of two giant trees, the design tempts the rail traveler with an American vista as majestic as any Alpine panorama. This snapshot moment catches a couple struck by the scene glowing with an approaching sunset. Born in Chicago, William and his brother Kenneth would later move to Omaha, where they found work designing posters and other materials for the Union Pacific Railroad and various national parks. Est: $1,700-$2,000.

The Willmarths bring us to the American West, where contrasts collide: valleys meet mountainous regions and suburban women come face-to-face with indigenous peoples. Est: $1,400-$1,700.

49 1⁄ 2 x 78 1⁄ 2 in./126 x 199.3 cm Imp. P. Vercasson, Paris Cond B+/Slight tears at folds. Ref: d’Ylen, catalogue; Boissons, 515; PAI-XXIV, 574 Cappiello’s vivacity—as well as his fondness for twinned figures and oversized props—is visible here in d’Ylen’s poster for Cusenier liqueurs, but it boasts d’Ylen’s own undeniable charm. Sparrow describes this image, one in a series, with high praise: “girls in white flowing draperies... are carried up in the air by their thoughts of liqueurs and wines. There are two of them in each of several posters, and they carry laughingly gay bottles and ripe fruit as an explanation of their exalted airiness.” His advice: “Every one of [England’s] distillers and brewers should study what [d’Ylen] has done for the Vercasson management” (Sparrow, p. 151152). This is the larger format. Est: $3,000-$4,000.

TADANORI YOKOO

399

YOKOO | A-Z

Tadanori Yokoo (1936- ) 399. Having Reached a Climax at the Age of 29. 1965. 28 1⁄ 2 x 39 5⁄ 8 in./72.3 x 100.7 cm Cond A/P. Framed. Ref: Yokoo, p. 17; Yokoo/Graphic Works, p. 65; Yokoo’s Posters, 1; Yokoo/Paris, p. 1; Encyclopédie/Weill, p. 273; Avant Garde, p. 184; Modern Poster, 275; PAI-LXXXIX, 420 “A great deal of public interest was aroused by the ‘Persona Exhibition,’ a group exhibition by 16 designers, which opened at the Matsuya Department Store in the Ginza section of Tokyo in November of 1965. Yokoo, who had held his first one-man exhibition at the Yoshida Gallery in Nihonbashi that February, had excited the interest of both his fellow designers and art critics... It was Yokoo’s collection of posters which became the major talking point of the ‘Persona Exhibition.’ This poster was created especially for the [exhibition]. The caption to the poster is of a derisive nature and aimed at the artist himself: it is in English, perhaps because the message was meant to reach a world audience. It might be that the corpse hanging by its neck, centered against a background of the bright rays of a rising sun gleaming in a blue sky, a single full-blown rose clasped tightly in one hand, represents the artist’s departure from his previous style... The photograph of the baby in the bottom corner is the artist himself at the age of one and a half... What creates the powerful impression made by this poster is the strong contrast of red and blue in the pattern of the rising sun. We often come across this pattern in Oriental references by Western artists; one reason why it may be considered inherently Japanese may possibly be its association in the mind with the flag used by the former Japanese Empire” (Yokoo, p. 6). Est: $8,000-$10,000.

400. The Hunchback of Aomori Prefecture. 1967. 28 3⁄4 x 40 1⁄ 2 in./78 x 102.8 cm Cond A. Framed.

400

Yokoo created this quite haunting image for the performance of The Hunchback in Aomori Prefecture at the Sogetsu Art Center in Tokyo; he also created the stage designs. “In Terayama’s [play], a former servant who was raped by her master and forced to abandon her hunchbacked baby has survived to become the last of the master’s family. Now a grotesque dowager in old-fashioned Western finery, she seeks vengeance by obsessively seducing and tormenting all the young men she meets. Her latest willing, masochistic victim is a hunchback thief, who may or may not be her lost son. A virginal young female narratorsinger also claims the love of the murdered boy—perhaps killed by his own mother in orgiastic, incestuous frenzy or in hatred. Because the town’s family records were stolen to cover up the birth, his identity is unverifiable. The play ends ambiguously, and the truth remains unknown” (Modern Japanese Theatre and Performance, edited by David Jortner, Keiko McDonald, and Kevin J. Wetmore Jr., p. 70). This is a silkscreen print. Est: $3,000-$4,000.

401. Yuhi Shosestu. 1968. 28 1⁄ 2 x 40 3⁄ 8 in./72.5 x 102.5 cm Cond A. Framed. Ref: Yokoo, 27; Yokoo/Paris, 20 “By this time Yokoo had made himself the undisputed master of pattern composition using traditional forms; his fans had increased; and his designs and illustrations were beginning to acquire an objective civil rights overtone. Expressions like ‘Oooah-ha-ha’ and ‘Yaah-Yaah,’ which appear among the captions for this poster, could have been picked straight out of a cartoon strip, but as always with Yokoo’s work, they serve to accentuate the effect of the poster’s visual affront to the senses. Moreover, this poster was the third that Yokoo completed after his return to Japan from his first visit to America, and the influence of the psychedelic hippy posters that were the rage in New York at the time is noticeable in his use of fluorescent inks. The poster advertises a tent show to be given Saturdays in an underground shopping plaza adjacent to Tokyo’s Shinjuku Station, a major rail terminal. Seibu (at bottom) is one of the sponsoring advertisers” (Yokoo, p. 8). This is a silkscreen print. Est: $5,000-$6,000.

401

A-Z | YOUNG - BOOKS AND PERIODICALS

402

403

Hayward Young (1868-1920) 402. Great Eastern Railway / The Charm of Poppyland. ca. 1910. 49 3⁄ 8 x 39 3⁄ 8 in./125.5 x 100 cm Photochrom, London Cond B/Slight tears and stains at folds and edges. Framed. Young’s luscious depiction of poppy fields spreading along the Norfolk cliffs serves as a wonderful inducement to travel via the Great Eastern Railway. Est: $2,500-$3,000.

Zig (Louis Gaudin, 1882-1936) 403. Mistinguett. 1928. 46 1⁄4 x 62 1⁄4 in./117.6 x 158 cm Imp. H. Chachoin, Paris Cond B+/Unobtrusive folds. Ref: PAI-LXXIX, 522 After her favorite designer, Gesmar, died in 1928, Mistinguett turned to Zig to create lively posters and costumes for her many performances. A showman at heart, he knew how to give an image eye-catching pizzaz and style, which showcased Mistinguett’s flamboyant public persona perfectly. Possibly referencing the fact that Mistinguett began her career as a flower seller singing ballads and folk songs in cafés and restaurants, this sweet image presents the performer as a naive darling of the stage. Est: $2,500-$3,000.

404. Casino de Paris / Mistinguett / Paris Qui Brille. 1931. 30 x 84 7⁄ 8 in./76.2 x 215.4 cm Cond B/Slight tears in background. Ref: Folies-Bergère, 67 (var); Delhaye, p. 35 (var); PAI-XXXVIII, 584

404

Mistinguett, queen of the French music-hall, had a way of outliving her designers. After her favorite, Gesmar, died in 1928, she switched to Zig. The artist had been a habitué of Montmartre cabarets where he sang and recited at the drop of a beret. Both of them affected a flamboyantly showy style, which exactly suited the Miss persona, and after he proved himself with set and costume designs, she ultimately trusted him with the design of her posters. In this poster for the revue “Paris Adazzle” at the Casino de Paris, Zig depicts Mistinguett perched on a stool with the city at her feet, displaying most of her visible assets. Setting off all that skin are long red gloves, oodles of dripping jewelry, and an insouciant little hat. This is the rare, larger format. Est: $2,500-$3,000.

BOOKS AND PERIODICALS

405

Books And Periodicals 405. L’Estampe Moderne. 1897-1899. 16 x 22 in./40.7 x 56 cm 100 prints plus four bonus plates, in excellent condition, except for wear on the cover for Mai 1897. Ref: PAI-LXVII, 568 The publication distributed by Imprimerie Champenois, Paris, contains twentyfour monthly portfolios plus four bonus plates, with twenty-four original covers by Mucha, with four original lithographs in each. Almost all of these lithographs were commissioned especially for this series, featuring works by Mucha (2), Donnay, Evenepoele, Rassenfosse, Louis Rhead, H. Meunier, Léandre, Lepère, Grasset, Berchmans, Ibels, de Feure, Robbe, Helleu, Roedel, Steinlen, Bouisset, Gottlob, Détouche, Boutet, Bellery-Desfontaines, Lenoir, and Willette. Please note: the Louis Rhead print for Femme au Paon is missing. Est: $20,000-$25,000.

A-Z |

BOOKS AND PERIODICALS

406

407

Books And Periodicals (Continued) 406. The Poster. 1898-1900.

407. Das Plakat : 10 Volumes. 1912-1921.

7 ⁄4 x 9 ⁄ 8 in./18.4 x 25 cm Complete run of issues 1-29 of The Poster plus all four issues of The Poster and Art Collector, enclosed in two display cases. Some wear on covers. Ref: PAI-LXXXIII, 494 (var)

Each: 8 5⁄ 8 x 11 1⁄4 in./22 x 28.6 cm Overall excellent pages; slight wear on various covers and bindings. Ref: PAI-LXVI, 549

Poster lovers will delight not only in the hundreds of illustrations, but in the delightful and informative articles on posterists as well—Chéret, Toulouse-Lautrec, the Beggarstaffs, et al—plus interviews with such luminaries as Berthon, Grün, Mucha, Morrow, Beardsley, and Hardy, which make for delightful reading. The joy and innocence in collecting contemporary posters, so tellingly presented here, will hopefully be contagious.

Das Plakat was the most influential of all German publications dealing with graphic art, and was published in Berlin by Dr. Hans Sachs and his Society of the Friends of the Poster from 1910 to 1921. Its irregular publication makes it difficult to gauge completeness, but this is one of the most complete sets that we have ever offered. It is replete with illustrations of the finest posters of the times, and is one of the most important reference works for any serious poster collector. Completeness of issues or inclusion of all tip-ons cannot be guaranteed. We are pleased to send a detailed list of all the issues to anyone requesting so.

Est: $4,000-$5,000. (33)

Provenance: The George Theofiles Collection

Est: $12,000-$15,000. (10)

183

SELECTED INDEX

ALCOHOL

FILM

POSTERS ON POSTERS

Absinthe . . ...................... 2 61

116, 138, 359

14, 112, 140, 173, 253, 318, 351, 363

FOOD / DRINK

SCIENCE & TECHNOLOGY

78, 142, 149, 152, 156, 157, 162, 170, 205, 208, 214, 250, 252, 299, 301, 302, 328, 340, 353, 386, 389

155, 212, 229, 258, 266, 267

JEWISH INTEREST

Olympics....................... 1 -5

77, 100-106, 122

Winter Sports................. 1 44, 168, 169, 181, 211, 218, 344, 345, 383

LITERARY

Other............................ 1 17, 146, 171, 206, 223, 255, 256, 349

Apéritifs / Digestifs......... 1 80, 236, 369 Champagne / Wine. . ........ 1 21, 126, 159, 225, 237, 262, 275, 307, 342 Liqueurs / Spirits............ 1 13, 120, 167, 243, 263, 265, 268, 277, 295, 296, 398

ANIMALS Birds.. ........................... 1 20, 149, 224, 324, 354 Cats............................. 2 1, 95, 147, 234, 258, 325, 353, 355 Dogs. . ........................... 1 7, 28B, 139, 226, 340, 341 Horses.......................... 6 0, 64, 97, 131, 152, 167 Other............................ 6 5, 94, 99, 134, 161, 209, 226, 249, 269, 339, 350

ART EXHIBITIONS

SPORTS

132, 140, 154, 158, 200, 226, 300, 320-325, 332, 333, 341, 356, 366, 393

THEATRE MUSIC / DANCE

99, 108, 114, 150, 198, 202, 216, 217, 292, 331, 350, 358, 400

Balls............................. 1 24, 127, 148, 190, 197, 230, 231, 239, 361, 387 Cabarets / Music Halls.. ... 1 27, 128, 176-178, 187, 193, 232, 234, 246, 319, 337, 355, 371, 373, 374, 378-380, 395, 403, 404

TOBACCO 196, 207, 282, 283

TRAVEL

112, 139, 145, 173, 185, 191, 201, 215, 220, 228, 241, 273, 278, 279, 336, 357, 367, 399

Dance........................... 128, 137, 176, 178, 188, 189, 193, 194, 219, 316, 317, 319, 326, 338, 374, 378, 379, 381, 382

By rail. . ......................... 1 17, 119, 125, 144, 254, 259, 385, 394, 396, 397, 402

BEAUTY / HEALTH / PERFUME

Folies-Bergère.. .............. 1 28, 177, 178

By ship.. ........................ 1 10, 134, 135, 213, 240, 245, 330, 335, 343

118, 130, 143, 156, 160, 161, 179, 184, 192, 200, 271, 295, 296, 327, 339, 360, 365, 390

Opera........................... 1 15, 175, 248, 270, 272

FASHION 111, 136, 146, 151, 166, 199, 211, 257, 264, 341, 362, 368, 392

Singers......................... 1 22, 129, 187, 195, 221, 352, 380, 391

New York....................... 6 1, 67-71, 107, 175, 201, 241, 242, 244, 245, 253, 314, 315

Other............................ 1 08, 212, 222, 251, 267, 305, 313, 384, 388, 395

World’s Fairs / Expos.. ..... 3 1A, 142, 186, 267, 314317, 335, 346-348, 364 Other............................ 4 , 50-71, 105, 106, 133, 141, 163, 168, 171, 174, 203, 209, 210, 269, 329, 344, 345, 385

184

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 91 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

Air France

Bargiel et Zagrodzki

Cardinaux

The French poster, by Jane Abdy. New York : Clarkson N. Potter, 1969.

Air France : affiches/posters, 1933-1983, by Jérôme Peignot. Paris : Fernand Hazan, 1988.

Absinthe

Air France/Dream

Absinthe : history in a bottle, by Barnaby Conrad, III. San Fransisco : Chronicle Books, 1988.

Air France posters : making the world dream, by Louis-Jean Calvet and Philippe-Michel Thibault. Paris : Le Cherche-Midi, 2006.

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).

Emil Cardinaux : 1877-1936, by Thomas Bolt. Zürich : Kunstgewerbemuseum, 1985. Catalogue of the exhibition at the Museum für Gestaltung, Zürich, August 21-October 20, 1985.

Beaumont

Carteles Valencianos

L’affiche Belge, by A. Demeure de Beaumont. Clairac, France : Chateau de Daussinanges, 1897.

Los Carteles Valencianos en la Guerra Civil Española, by Facundo Tomas Ferré. Ayuntamiento de Valencia, 1986.

Adriani Toulouse-Lautrec : the complete graphic works, by Götz Adriani. London : Thames & Hudson, 1988. The catalogue raisonné, featuring the Gerstenberg collection.

Air France/Fraile

Affiche Anglais

Poster art of the airlines, by Don Thomas. Dunedin, Florida : D. Thomas, 1989.

L’affiche Anglaise: les année 90, by Roland Barthes. Paris : Musée des Arts Decoratifs, 1972. Catalogue of the exhibition at the Musée des Arts Decoratifs, Paris, June 15-September 25, 1972.

Affiche Art Deco L’affiche Art Deco, by Alain Weill. Paris : Editions Hazan, 2013.

Affiches 1000

Air France : objets du ciel, by Michel Fraile. Rennes : Ouest-France, 2003.

Airlines

Alpes Les Alpes à l’affiche, by Yves Ballu. Grenoble : Editions Glenat, 1987.

American Posters Posters American style, by Therese Thau Heyman. New York : Harry N. Abrams, 1998.

1000 affiches de 1890 à nos jours, by Cees W. de Jong, Alston W. Purvis & Martijn F. Le Coultre. [Paris] : Hazan, 2010.

Art Deco

Affiches Azur

Art du Biscuit

Affiches d’Azur : 100 ans d’affiches de la Côte d’Azur et de Monaco, by Charles Martini de Chateauneuf. Nice : Editions Gilletta, 1992.

L’art du biscuit, by Patrick Lefèvre-Utile. Verona : Éditions Hazan, 1995.

Affiches Belges

The art of skiing, by Jenny de Gex. New York : Universe Publishing, 2006.

Affiches Belges/Belgische affiches, by Ph. Minguet. Liège, Belgium : IBM, 1981.

Affiches d’Aviation Affiches de l’histoire d’aviation, by Gerard Hartmann & Francoise Leloup-Perier (with English-language insert: The history of aviation in posters). Paris : Citadelles & Mazenod, 2009.

Affiches Riviera Affiches de la Riviera, by Annie de Montry, Françoise Lepeuve & Charles Martini de Chateauneuf. NiceMatin : Editions Gilletta, 2001.

Affiches Suisses Objets-realisme, affiches Suisses: 1905-1950, by Eric Kellenberger. Paris : Bibliothèque Forney, 1982. Catalogue of the exhibition held at the Bibliothèque Forney, Paris, January 22-March 20, 1982.

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 18801900, held at the Musée de l’Affiche, Paris, January 30-April 30, 1980.

Ailes Voici des ailes : affiches de cycles, by Nadine Besse & Paul Fournel. Saint-Etienne : Musée d’art et d’industrie, 2002. Catalogue of the exhibition at the Musée d’Art et d’Industrie, Saint-Étienne, May 3-September 22, 2002.

Art deco graphics, by Patricia Frantz Kery. New York : Harry N. Abrams, 1986.

Art/Skiing

Auto Posters 100 Years of Auto Posters, by Dominique Dubarry. Paris : Maeght Editeur, 1991.

Belgique/Paris L’affiche en Belgique : 1880-1980, by Raymond Morini, et al. Paris : Musée de l’Affiche, 1980. Catalogue of the exhibition at the Musée de l’Affiche, Paris, 1980.

Bernhardt/Drama Sarah Bernhardt : the art of high drama, by Carol Ockman and Kenneth Silver. New Haven, Conn. : Yale University Press, 2005. Catalogue of the exhibition at the Jewish Museum, New York, December 2, 2005-April 2, 2006.

Berthon & Grasset Berthon & Grasset, by Victor Arwas. London : Academy Editions; New York : Rizzoli, 1978.

Carteles Republica Carteles de la Republica y de la Guerra Civil, by Jaume Miravitlles, Josep Termes & Carlos Fontsere. Barcelona : Centre d’Estudis d’Historia Contemporania; La Gaya Ciencia, 1978.

Cassandre/BN A. M. Cassandre : oeuvres graphiques modernes, 1923-1939, by Anne-Marie Sauvage. Paris : Bibliothèque Nationale de France, 2005. Catalogue of the exhibition at Chaumont, May 21-July 23, 2005, and the Bibliothèque Nationale de France, Paris, September 20-Dcember 4, 2005.

Cassandre/Suntory

100 years of bicycle posters, by Jack Rennert. New York : Harper & Row, 1973.

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.

Boissons

Cassandre/Weill

Les boissons : un siècle de réclames, by F. Ghozland. Toulouse : Editions Milan, 1986.

Cassandre, by Alain Weill. Paris : Editions Hazan, 2018.

Bon Salle

Cat Cabinet

Embracing an Icon: The Posters of Bernard Villemot, by George & Jeanne Bon Salle. New York: The Poster Art Library, Posters Please, 2015.

A Supreme Being: 25 Years of the Cat Cabinet Amsterdam. Amsterdam: Uitgever, 2015.

Bicycle Posters

Bouvet

Cataluña

Bonnard : the complete graphic work, by Francis Bouvet. New York : Rizzoli, 1981.

Cataluña en 1000 carteles : desde los origenes hasta la Guerra Civil, by Jordi Carulla, et al. Barcelona : Postermil, S.L., 1994.

Broido

Chat Pub

The posters of Jules Chéret : 46 full color plates and an illustrated catalogue raisonné, 2nd ed., by Lucy Broido. New York : Dover, 1992.

Chat pub : 100 ans d’images de chat dans la publicité, by Annie de Montry & Françoise Lepeuve. Paris : Aubier, 1988.

2eme salon de l’affiche automobile, by Jacques Perier. Paris : Fédération Internationale de l’Automobile, 1979. Catalogue of the exhibition at the Musée de l’Affiche, Paris, September 29-October 14, 1979.

Brown & Reinhold

Chaumont/Exposons

The poster art of A. M. Cassandre, by Robert K. Brown & Susan Reinhold. New York : E. P. Dutton, 1979.

Auto Show III

Cappiello/Rennert

L’automobile et la publicité. Catalogue of the exhibition at the Musée de la Publicité, Paris, 1984.

Cappiello : the posters of Leonetto Cappiello, by Jack Rennert. New York : Poster Art Library, Posters Please, Inc., 2004.

Exposons affichons : 300 affiches d’expositions. Paris : Somogy, 1994. Catalogue for the 5th Poster Festival in Chaumont, France; includes a section on “L’Affiche pour l’Affiche” (Posters on Posters) from the Rennert collection.

Auto Show I 1er salon de l’affiche automobile, by Jacques Perier. Paris : Automobile Club of France, 1978. Catalogue of the exhibition, compiled by Jacques Perier, and sponsored by the Automobile Club de France, Paris, October 1978.

Auto Show II

Auto s’Affiche L’auto s’affiche, by Thierry Favre. Paris : Massin, 2007.

Automobile/Lopez Affiches de l’automobile, by Emmanuel Lopez. Paris : Citadelles & Mazenod, 2011.

Avant Garde The 20th century poster-design of the avant garde, by Dawn Ades. New York : Abbeville Press, 1984. The catalogue of the exhibition of the Walker Art Center, Minneapolis, 1984.

Cappiello/St. Vincent Leonetto Cappiello : dalla pittura alla grafica, by Raffaele Monti & Elisabeth Matucci. Firenze : Artificio, 1985. Catalogue of the exhibition at the Hotel Billia in Saint-Vincent, Italy, March 30-May 30, 1985.

Caradec‑Weill Le café‑concert, by François Caradec & Alain Weill. Paris : Hachette/Marsin, 1980.

Chéret La Belle Epoque de Jules Chéret : de l’affiche au décor, ed, by Réjane Bargiel and Segolène Le Men. Paris : Les Arts Décoratifs, 2010. (Distributed in the U.S.A. by Posters Please, Inc.) Catalogue of the exhibition at the Musée des Arts Décoratifs, Paris, June 23-November 7, 2010.

Chocolate Posters Chocolate posters, by Israel Perry & Alain Weill. New York : Queen Art Publishers Inc., 2002.

Colin 100 posters of Paul Colin, by Jack Rennert. New York : Images Graphiques, 1977.

185

BIBLIOGRAPHY Colin Affichiste

Dudovich

Glaser Posters

Images of an Era

Paul Colin : affichiste, by Alain Weill & Jack Rennert. Paris : Editions Denoel, 1989.

Marcello Dudovich : cartellonista, 1878-1962, by Roberto Curci. Treiste : Lint Edizioni, 1976.

Milton Glaser Posters / 427 Examples from 19652017. New York : Abrams, 2017.

Color Explosion

Dudovich/Trieste

Gold

The Color Explosion / 19th Century American Lithography, by Jay T. Last. Santa Ana, CA : Hillcrest Press, 2005.

Dudovich & ci. : i triestini nel cartellonismo Italiano, by Roberto Curci & Vanja Strukelj. Trieste : Stazione Marittima, 1977. Catalogue of the exhibition held at the Stazione Marittima, Trieste, Italy, by the Azienda Automona di Soggiorn e Turismo, August 1-September 8, 1977.

First ladies of the poster : the Gold collection, by Laura Gold. New York : Poster Art Library, 1998.

Images of an era : the American poster, 1945-1975, by John Garrigan. Washington, D.C. : National Collection of Fine Arts, 1975. Catalogue of the exhibition at the Corcoran Gallery of Art, Washington, D.C., November 21, 1975-January 4, 1976.

Color Revolution The color revolution : color lithography in France 1890-1900, by Philip Dennis Cate & Sinclair Hamilton Hitchings. New Brunswick, N.J. : Rutgers, 1978. Catalogue of the exhibition at Rutgers University Art Gallery, September 10-October 29, 1978; the Baltimore Museum of Art, November 10-December 31, 1978; and the Boston Public Library, May 2-July 1, 1979.

Continental

Dutch Poster A history of the Dutch Poster 1890-1960, by Dick Dooijes & Pieter Brattinga. Amsterdam : Scheltema & Holkema, 1968.

El Al El Al posters. Tel Aviv : El Al Israel Airlines, ca. 1990.

Pneu Continental : les temps des pionniers, 1890‑1920, by Daniel Bordet, Frédérique Decoudun, Jacques Dreux & Christophe Zagrodzki. Paris : Somogy, 1996.

Encyclopédie/Weill

Crauzat

Das exotische plakat, ed. by Michael Scholz-Hänsel. Stuttgart : Cantz, 1987. Catalogue of the exhibition held at the Staatsgalerie Stuttgart, September 2-November 29, 1987.

L’oeuvre gravé et lithographié de Steinlen, by E. de Crauzat. Paris : Société de Propogation des Livres d’Art, 1913. Reprinted, San Fransisco : Alan Wofsy Fine Arts, 1983.

Crouse/Deco The art deco poster, by William Crouse & Alastair Duncan. New York : Vendome Press, 2013.

Czwiklitzer Les affiches de Pablo Picasso, by Christopher Czwiklitzer. Bâle-Paris : Art-C.C., 1970.

Encyclopédie de l’affiche, by Alain Weill. Paris : Hazan, 2011.

Exotische

Fantastic Voyage

The First World War in posters, by Joseph Darracott. New York : Dover Publications, 1974.

Piloti, che gente, by Enzo Ferrari. Bologne : Conti Editore, 1985.

Deco Affiches

Ferrarotti

Affiches art deco, by Alain Weill. Paris : Inter-Livres, 1990.

I cartelli murali in Italia, 1891-1930 : arte minore o semplicemente arte?, by Virgilio Ferraroti, Dino Villani, Lucilla Ferraroti & Maria Giovanna Vianson. [Italy : s.n., 1981.] Catalogue of the 1981 exhibition.

Das frühe plakat in Europa und den USA. Volume II, French and Belgian Posters. Edited by Ruth Malhotra, Marjan Rinkleff and Bernd Schalicke. Berlin : Mann Verlag, 1977.

DFP-III

Fit to Print Fit to print : the newspaper and the poster, by Marc Davidson. Daytona Beach, Fla. : The News-Journal Corporation, 2004.

Folies-Bergère 100 years of posters of the Folies Bergère and music halls of Paris, by Alain Weill. New York : Images Graphiques, 1977.

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.

Fotoplakate

Discount

Gagel

Posters from the collection of Discount Tires, by Susan Driver. Scottsdale, Ariz. : Reinalt-Thomas Corp., 2007.

Studien zur motivgeschichte des Deutschen plakats 1900-1914, by Hanna Gagel. Berlin : Omnia-Organisations, 1971. Doctoral thesis at Freien Universität Berlin.

Dodge The bicycle, by Pryor Dodge. Paris, New York : Flammarion, 1996.

La Dolcissima La dolcissima effigie : manifesti Italiani dell’opera lirica, by Robert Curci & Gianni Cori. Trieste : Ediozioni LINT, 1983.

Grün Jules-Alexandre Grün : the posters/les affiches, by Alain Weill & Israel Perry. New York : Queen Art Publishers, 2005.

Guerra Civil La Guerra Civil en 2000 carteles, by Jordi Carulla & Arnau Carulla. Barcelona : Postermil, 1997.

Haring Keith Haring: Editions on Paper 1892-1990. Stuttgart : Edition Cantz, 1993.

Posters of health, by Marine Robert-Sterkendries. Brussels : Therabel Pharma, 1996.

Ferrari

DFP-II

The History of Graphic Design, by Jens Müller and Julius Weidermann. Koln : Taschen, 2017.

Femme s’Affiche

Darracott

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.

Graphic Design/Taschen

Haring Posters

100 years of dance posters, by Walter Terry & Jack Rennert. New York : Avon Books, 1973.

DFP-I

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.

Fantastic voyage : luxury and sophistication on the ocean liners, by Yoko Masutani. Tokyo : Suntory Museum, 1996. Catalogue of the 1996 exhibition at the Suntory Museum, Osaka.

La femme s’affiche : exposition d’affiches publicitaires, 1843-1990, by P.A. Luginbuuhl. Montreux : Office du Tourisme, 1990. Catalogue of the exhibition of the Kellenberger Collection held in Montreux, June 6-July 8, 1990.

Dance Posters

Gourmand

Fotoplakate : von den anfängen bis zur gegenwart, by Josef Müller-Brockmann & Karl Wobmann. Aarau : AT Verlag, 1989.

Gallo The poster in history, by Max Gallo. New York : American Heritage Publishing, 1974.

Glaser Milton Glaser : graphic design, by Jean-Michel Folon. New York : Overlook Press, 1973.

Keith Haring – Posters, by Jürgen Döring and Claus von der Osten. Munich/New York: Prestel, 2019.

Health Posters

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.

Hohlwein/Stuttgart Ludwig Hohlwein : plakate der jahre 1906-1940, by Christian Schneegass. Stuttgart : Staatsgalerie, 1985. Catalogue of the Hohlwein exhibition at the Staatsgalerie Stuttgart, March 2-April 21, 1985.

Holst R. N. Roland Holst, by Mieke Rijnders. Amsterdam : Stadsuitgeverij, 1992.

HTL/MOMA Henri de Toulouse-Lautrec : images of the 1890s, ed. by Riva Castleman & Wolfgang Wittrock. Boston : Little Brown, 1985.

Hutchison The poster : an illustrated history from 1860, by Harold F. Hutchison. New York : Studio Book/Viking Press, 1968.

Image de Mer L’image de la mer, by Alain Weill. Paris : U.C.A.D., 1984. Catalogue of the exhibition held at the Musée de la Publicité, February 15-April 30, 1984.

Iskin The Poster, by Ruth E. Iskin. Hannover, New Hampshire: Dartmouth College Press, 2014.

Italia che Cambia L’Italia che cambia : attraverso i manifesti della raccolta salce, ed. by Pepa Sparti. Firenze : 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.

Jiri Mucha Alphonse Maria Mucha : his life and art, by Jiri Mucha. New York : Rizzoli, 1989.

Johnson The modern American poster : from the graphic collection of the Museum of Modern Art, by J. Stewart Johnson. Kyoto : National Museum of Modern Art, 1983. Catalogue of the MoMA sponsored exhibition at the National Museum of Art, Kyoto, Japan, October 21-December 4, 1983.

Judd Posters of World War II, by Denis Judd. New York : St. Martin’s Press, 1973.

Karcher 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).

Kauffer E. McKnight Kauffer : a designer and his public, by Mark Haworth-Booth. London : Gordon Fraser, 1979.

Kauffer/Berman E. McKnight Kauffer : Works from the Merrill C. Berman Collection, ed. by Adrian Sudhalter. New York : Merrill C. Berman Collection, 2021.

Khachadourian Motoring : the golden years, a pictorial anthology : the Khachadourian Gallery, by Rupert Prior. London : Morgan Samuel Editions, 1991.

Knapp and Chipman That was Yvette : the biography of the great diseuse, by Bettina Knapp & Myra Chipman. New York : Holt, Rinehart and Winston, 1964.

Kunstlerplakat Kunsterplakat, by Jurgen Doring. Hamburg : Museum fur Kunst und Gewerbe, Edition Braus, 1998.

Lauder American art posters of the 1890s in the Metropolitan Museum of Art : including the Leonard A. Lauder Collection, by David W. Kiehl, Phillip Dennis Cate & Nancy Finlay. New York : Metropolitan Museum of Art, 1987. Catalogue of the exhibition of the Metropolitan Museum of Art, New York, October 22, 1987–January 10, 1988.

186

BIBLIOGRAPHY (CONTINUED) Lautrec/Montmartre

Manifesti/WWII

Mucha/Art Nouveau

PAI-X

Toulouse-Lautrec and Montmartre, by Richard Thomson, Phillip Dennis & Mary Weaver Chapin. Princeton, N.J. : Princeton Unversity Press, 2005. Catalogue of the exhibition at the National Gallery of Art, Washington, D.C., March 20-June 12, 3005, and the Art Institute of Chicago, July 16-October 10, 2005.

Manifesti della Second Guerra Mondiale, by Mario de Micheli. Milano : Fratelli Fabbri, 1972.

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.

Elegant Posters. Auction held in New York City, May 20, 1990.

L’Auvergne L’Auvergne en affiches, by Alan Weill. Thiers : Page Centrale, 2016.

Le Coultre A century of posters, by Martin F. Le Coultre & Alston W. Purvis. Burlington, VT : Lund Humphries, 2002.

Lendl/Prague Ivan Lendl : Alfons Mucha, by Jack Rennert & Karel Srp. Bratislava : Nakladatelství, 2013.

Leyendecker J. C. Leyendecker, by Michael Schau. New York : Watson-Guptill Publications, 1974.

Livemont Privat Livemont : entre tradition et modernité au Coeur de l’Art nouveau, 1861-1936, by Benoit Schoonbroodt. Bruxelles : Editions Racine, 2007.

Livre de l’Affiche Le livre de l’affiche/The book of the poster, by Réjane Bargiel-Harry & Christophe Zagrodzki. Paris : Editions Alternatives, 1985.

Loïe Fuller/Current

Margadant Das Schweizer plakat/The Swiss poster : 19001983, by Bruno Margadant. Basel : Birkhaus Verlag, 1983.

Marx Bonnard : lithographie, ed. by Claude Roger-Marx. Monte Carlo : Éditions du Livre, 1952.

Masters 1900 Masters of the poster 1900, by Alan Weill. Paris : Bibliothèque de l’Image, 2001.

Mauzan The posters of Mauzan : a catalogue raisonné, by Mirande Carnévalé-Mauzan. Gières : Mirande Carnévalé-Mauzan, 2001.

Memoire du Cinema Le plus belles affiches de la memoire du cinema Français, by René Chateau. Paris : Les Éditions de l’Amateur, 1992.

Menegazzi-I Il manifesto Italiano : 1882-1925, by Luigi Menegazzi. Milan : Electa Editrice, 1975.

Menegazzi-II Il manifesto Italiano, by Luigi Menegazzi. Milan : Arnoldo Mondadori Arte, 1989 (revised edition).

Loïe Fuller: Goddess of Light, by Richard Nelson Current & Marcia Ewing Current. Boston: Northeastern University Press, 1997.

Menegazzi-IV

Loupot

Mer s’Affiche

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.

La mer s’affiche, by Daniel Hillion. Rennes : Editions Ouest-France, 1990.

Loupot/Forney Loupot: Peintre en Affiche. Catalogue of the 2018 exhibition at Bibliothèque Forney, Paris. Edited by Thierry Devynck.

Il manifesto Italiano, by Luigi Menegazzi. Milano : Electa, 1995.

Mercedes

Made in Israel 60 : 60th anniversary of Israel : an exhibition of rare, historical Israeli posters & photographs. New York : JCC in Manhattan, 2008. Catalogue of the exhibition to celebrate 60th anniversary of Israel, co-sponsored by the Farkash Gallery and the JCC in Manhattan, 2008.

The modern Dutch poster : the first fifty years, 18901940, by Marcel Franciscono. Cambridge, Mass. : MlT Press, 1987.

Modern Poster

Mai 68: Les Affiches. Paris: S.P.M. Edition.

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.

Maindron 1886

Moderno Francés

Les affiches illustrées: ouvrage orné de 20 chromolithographies, by Ernest Maindron. Paris, France : H. Launette, 1886.

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.

Les Affiches Illustrees (1886-1895), by Ernest Maindron. Paris : G. Boutdet, 1896.

Maitres Les maitres de l’affiche : 1896-1900, by Roger Marx. Paris : Imprimerie Chaix, 1896-1900. Reprinted as Masters of the poster l896-1900, New York : Images Graphiques, 1977, and The complete ‘Masters of the poster,’ New York : Dover Publications, 1990.

PAI-XII

Müller-Brockmann

Poster Panache. Auction held in New York City, May 5, 1991.

History of the poster, by Josef & Shizuko MüllerBrockmann. Zurich : ABC Edition, 1971.

PAI XIII

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.

Negripub Negripub : l’image des noirs dans la publicité, by Raymond Bachollet, Jean-Barthelemi Debost, AnneClaude Lelieur & Marie-Christine Peyrière. Paris : Somogy, 1992. The catalogue of the exhibition at the Bibliothèque Forney, Paris.

Negripub/Forney Négripub : l’image des noirs dans la publicité depuis un siècle. Paris : Bibliothèque Forney, 1987. Catalogue of the Bibliothèque Forney exhibition held January 14-March 28, 1987.

Olympic Posters A century of Olympic posters, by Margaret Timmers. London : V&A Publishing, 2008. Catalogue of the exhibition at the Victoria & Albert Museum, London.

Olympics L’olympisme par l’affiche/Olympism through posters : 1896-1984, by Monique Berlioux. Lausanne : International Olympic Committee, 1983.

Premier Posters. Auction held in New York City, March 9, 1985.

Modern Dutch Poster

Maindron, 1896

Alphonse Mucha : the complete graphic works, by Ann Bridges. London : Academy Editions, 1980.

Metlicovitz e Dudovich

Made in Israel 60

Mai 68: Les Affiches

Poster Passion. Auction held in New York City, November 11, 1990.

PAI – Books of the auctions organized by Poster Auctions International, Inc. PAI-I

Charles Loupot : l’art de l’affiche, by Christophe Zagrodzki. Paris : Le Cherche-Midi, 1998. (American distributor: Posters Please Inc., New York)

Loupot/Zagrodzki

Mucha/Bridges

Der stern ihrer sehnsucht : plakate und anzeigen von Mercedes-Benz, by Paul Sims, Hans Jürgen Spross & Horst I. Wendt. Ostfilden-Ruit : Cantz Verlag, 1995.

Metlicovitz e Dudovich : due cartellonisti del ‘900 dalla Raccolta Bertarellil di Milano, by Giovanna Ginex. Milano : Skira, 2002. Catalogue of the exhibition held at Paicenza, ex Centrale Elettrica Emilia, April 24-June 23, 2002.

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.

Monaco

PAI-VIII

Gand Prix Automobile de Monaco posters : the complete collection: the art, the artists and the competition, by William W. Crouse. New York : Crouse, 2009.

Poster Treasures. Auction held in New York City, May 7, 1989.

Mouron

Poster Palette. Auction held in New York City, November 12, 1989.

A. M. Cassandre, by Henri Mouron. New York : Rizzoli, 1985.

PAI-XI

PAI-IX

Poster Jubilee. Auction held in New York City, November 10, 1991.

PAI-XIV Poster Extravaganza. Auction held in New York City, May 3, 1992.

PAI XV Rarest Posters. Auction held in New York City, November 8, 1992.

PAI-XVI Poster Parade. Auction held in New York City, May 2. 1993.

PAI-XVII Poster Classics. Auction held in New York City, November 14, 1993.

PAI-XVIII Winning Posters. Auction held in New York City, May 1, 1994.

PAI-XIX Prima Posters. Auction held in New York City, November 13, 1994.

PAI-XX Poster Panorama. Auction held in New York City, May 7, 1995.

PAI-XXI Timeless Posters. Auction held in New York City, November 12, 1995.

PAI‑XXII Positively Posters. Auction held in New York City, May 5, 1996.

PAI‑XXIII Poster Delights. Auction held in New York City, November 10, 1996.

PAI-XXIV Poster Pleasures. Auction held in New York City, May 4, 1997.

PAI-XXV Sterling Posters. Auction held in New York City, November 9, 1997.

PAI-XXVI Postermania. Auction held in New York City, May 3, 1998.

PAI-XXVII Poster Ecstasy. Auction held in New York City, November 8, 1998.

PAI-XXVIII Poster Vogue. Auction held in New York City, May 2, 1999.

PAI-XXIX Posters for the Millennium. Auction held in New York City, November 4, 1999.

PAI-XXX Poster Allure. Auction held in New York City, May 7, 2000.

187

BIBLIOGRAPHY (CONTINUED) PAI-XXXI

PAI-LII

PAI-LXXIII

Penfield

Poster Power. Auction held in New York City, November 12, 2000.

The Winter Sale. Auction held in New York City, February 13, 2011.

Rare Posters. Auction held in New York City, October 22, 2017.

PAI-XXXII

PAI-LIII

PAI-LXXIV

Dream Posters. Auction held in New York City, May 6, 2001.

Rare Posters. Auction held in New York City, May 1, 2011.

Rare Posters. Auction held in New York City, February 25, 2018.

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.

PAI-XXXIII

PAI-LIV

PAI-LXXV

Swank Posters. Auction held in New York City, November 11, 2001.

Rare Posters. Auction held in New York City, September 8. 2011.

Rare Posters. Auction held in New York City, June 26, 2018.

PAI-XXXIV

PAI-LV

PAI-LXXVI

Poster Pride. Auction held in New York City, May 5, 2002.

Rare Posters. Auction held in New York City, November 13, 2011.

Rare Posters. Auction held in New York City, October 28, 2018.

PAI-XXXV

PAI-LVI

PAI-LXXVII

Posters Perform. Auction held in New York City, November 10, 2002.

Food & Wine. Auction held in New York City, February 12, 2012.

Rare Posters. Auction held in New York City, February 24, 2019.

PAI-XXXVI

PAI-LVII

PAI-LXXVIII

Posters Persuasion. Auction held in New York City, May 4, 2003.

Rare Posters. Auction held in New York City, May 6, 2012.

Rare Posters. Auction held in New York City, June 23, 2019.

PAI-XXXVII

PAI-LVIII

PAI-LXXIX

Poster Holiday/The Wright Stuff. Dual auction held in New York City, November 9, 2003.

American Posters. Auction held in New York City, September 6, 2012.

Rare Posters. Auction held in New York City, October 27, 2019.

PAI-XXXVIII

PAI-LIX

PAI-LXXX

Poster Style. Auction held in New York City, May 2, 2004.

Rare Posters. Auction held in New York City, November 18, 2012.

Rare Posters. Auction held in New York City, February 23, 2020.

PAI-XXXIX

PAI-LX

PAI-LXXXI

Poster Intoxication. Auction held in New York City, November 14, 2004.

Rare Posters. Auction held in New York City, March 10, 2013.

Rare Posters. Auction held in New York City, July 21, 2020.

PAI-XL

PAI-LXI

PAI-LXXXII

Posters Excel. Auction held in New York City, May 1, 2005.

Rare Posters. Auction held in New York City, September 12, 2013.

Rare Posters. Auction held in New York City, November 15, 2020.

PAI-XLI

PAI-LXII

PAI-LXXXIII

Matchless Posters. Auction held in New York City, November 13, 2005.

Rare Posters. Auction held in New York City, January 12, 2014.

Rare Posters. Auction held in New York City, March 14, 2021.

PAI-XLII

PAI-LXIII

PAI-LXXXIV

Posters Charm. Auction held in New York City, May 7, 2006.

Rare Posters. Auction held in New York City, May 4, 2014.

Rare Posters. Auction held in New York City, July 20, 2021.

PAI-XLIII

PAI-LXIV

PAI-LXXXV

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.

Posters Va-Va-Voom. Auction held in New York City, November 12, 2006.

Rare Posters. Auction held in New York City, September 21, 2014.

Rare Posters. Auction held in New York City, November 14, 2021.

Plakatkunst

PAI-XLIV

PAI-LXV

PAI-LXXXVI

Winning Posters. Auction held in New York City, May 6, 2007.

Rare Posters. Auction held in New York City, January 25, 2015.

Rare Posters. Auction held in New York City, March 20, 2022.

PAI-XLV

PAI-LXVI

PAI-LXXXVII

Top Posters. Auction held in New York City, November 11, 2007.

Rare Posters. Auction held in New York City, May 3, 2015.

Rare Posters. Auction held in New York City, July 12, 2022.

PAI-XLVI

PAI-LXVII

PAI-LXXXVIII

Picture-Perfect Posters. Auction held in New York City, May 4, 2008.

Rare Posters. Auction held in New York City, October 11, 2015.

Rare Posters. Auction held in New York City, November 13, 2022.

PAI-XLVII

PAI-LXVIII

PAI-LXXXIX

Posh Posters. Auction held in New York City, November 9, 2008.

Rare Posters. Auction held in New York City, January 31, 2016.

Rare Posters. Auction held in New York City, March 19, 2023.

Pour l’art : 41 affiches Belle Epoque sauvées de la dégradation, ed. by D. Allard. Brussels : Foundation Roi Baudouin, 1998. Catalogue of the exhibition held at the the Bibliothèque Royale de Belgique, February 20-April 4, 1998.

PAI-XLVIII

PAI-LXIX

PAI-XC

Prop Art

Poster High. Auction held in New York City, May 3, 2009.

Rare Posters. Auction held in New York City, May 15, 2016.

Rare Posters. Auction held in New York City, July 18, 2023.

Prop art : over 1000 contemporary political posters, by Gary Yanker. New York : Darien House, 1972.

PAI-XLIX

PAI-LXX

PAI-XCI

Soaring Posters. Auction held in New York City, November 8, 2009.

Rare Posters. Auction held in New York City, October 30, 2016.

Rare Posters. Auction held in New York City, November 12, 2023.

Affiches de la Publicité, by Emmanuel Lopez. Paris : Citadelles & Mazenod, 2013.

PAI-L

PAI-LXXI

Palette / Flame

Rassenfosse

Poster Celebration. Auction held in New York City, May 3, 2010.

Rare Posters. Auction held in New York City, March 12, 2017.

Palette and the Flame, ed. By John Tisa. New York : International Publishers, 1979.

PAI-LI

PAI-LXXII

Parfum

Armand Rassenfosse : affiches et illustrations, by Marie‑ Laurence Bernard. Bruxelles : Claude Van Loock, 1989.

Rare Posters. Auction held in New York City, November 14, 2010.

Rare Posters. Auction held in New York City, June 22, 2017.

Femmes de parfum : visages d’hiers & d’aujourd’hui, by Marie-Christine Grasse. Milan, Italy : Musée International de la Parfumerie, 1996.

Perier Ils s’envolèrent, by Jacques Perier & Françoise Leloup-Perier. Catalogue of the exhibition held at LeBourget from the collection of Jacques Perier on the 100th Anniversary of the Fédération Aéronautique Internationale, October 2005.

Persuasive Images Persuasive Images: Posters of War & Revolution, by Peter Paret, Beth Irwin Lewis, and Paul Poret. Princeton University Press, 2010.

Petite Reine La petite reine : le vélo en affiches à la fin du XIXeme, by Réjane Bergiel. Paris : Musée de l’Affiche, 1979. Catalogue exhibition held at Musée de l’Affiche, Paris, May 31-September 23, 1979.

Plakat Republikańskiej Plakat Republikańskiej Hiszpani 1936-1939, ed. by Jiri Rapek. Warsaw : Muzeum Plakatu w Wilanowie, 1978.

Plakat Schweiz Das plakat in der Schweiz, by Willy Rotzler, Fritz Schärer & Karl Wobmann. Zurich : Edition Stemmle, 1990.

Plakate aus Israel Plakate aus Israel, by Klaus Popitz & Margret Schütte. Berlin : Reimer, 1985. Catalogue of the Kunstbibliothek Berlin exhibition held in Bonn, Mainz, Aachen, Selm, and Berlin, 1985.

Plakate München

Plakatkunst von Toulouse-Lautrec bis Benetton, by Jürgen Döring. Hamburg : Edition Braus und Museum für Kunst und Gewerbe, 1994.

Posters of Paris Posters of Paris : Toulouse-Lautrec & his contemporaries, by Mary Weaver Chapin. New York : Delmonico, 2012. Catalogue of the exhibition at the Milwaukee Art Museum, June 1-September 9, 2012.

Pour l’Art

188

BIBLIOGRAPHY (CONTINUED) Rawls

Savignac

Theaterplakate

Weill/Art Nouveau

Wake up, America : World War I and the American poster, by Walton Rawls. New York : Abbeville Press, 1988.

Savignac, by Alain Weill. Paris : Hoëbeke, 2001. The catalogue raisonné published to coincide with the retrospective at the Bibliothèque Forney, Paris, September 11, 2001-January 12, 2002.

Theaterplakate : ein internationaler historischer uberblick, by Hellmut Rademacher. Leipzig : Edition Leipzig, 1990.

The Art Nouveau Poster, by Alain Weill. Francis Lincoln Limited, 2015.

Theofiles

Savignac A-Z

American posters of World War I, by George Theofiles. Dafran House, New York.

L’Affiche Art Deco, by Alain Weill. Paris: Editions Hogan, 2013.

Reims Exposition d’affiches artistiques Françaises et étrangères, modernes et retrospectives, by Alexandre Henriot. Reims : Impr. Coopérative de Reims, 1896. Catalogue of the exhibition at the Cirque De Reims, November 7-17, 1896. Reissued in a numbered edition of l,000 copies by the Musée de l’Affiche in 1980.

Reisinger/Afula Dan Reisinger poster : 1958-2010, ed. by Inbal Gil & Karin Heska. Catalogue of the exhibition at the Municipal Art Gallery, Afula, Israel, May-July, 2010.

Savignac de A à Z, by Alain Weill. Paris : Editions Hoëbeke, 1987.

Savignac/Forney Savignac Affichiste, by Anne-Claude Lelieur and Raymond Bachollet: Hoëbeke, 2011. Catalogue raisonné published to coinbcide with the retrospective at the Bibliothéque Forney, Paris, Sept 11, 2001 – Jan. 12, 2002

Savignac/Japan

Reisinger/Beijing

Savignac. Catalogue of the exhibition held at the Seibu Museum, Tokyo, 1989.

Dan Reisinger : ping mian she ji da shi, by Bingnan Yu. Beijing : Qing hua da xue chu ban she, 2002.

Schardt

Timeless Images Timeless images, by Jack Rennert. Tokyo : Isetan Museum of Art, 1984. Catalogue of the exhibition at the Isetan Museum of Art, Tokyo, October 10-23, 1984.

Toujours Plus Haut Toujours plus haut : affiches aviation, by FrançoisRégis Gastou & Laurence Berasategui-Couranjou. Paris : Chorus, 2004. Catalogue of the aviation poster exhibitions at the Centre de l’Affiche, Toulouse, France, Spetember 2004-August 2005.

Paris 1900, by Hermann Schardt. New York : Putnam’s Sons, 1970; reprinted New York : Portland House, 1987. (Originally published as Paris l900: Französiche plakatkunst, Stuttgart : Belser Verlag, 1968).

Travel by Train

Alphonse Mucha : the complete posters and panels, by Jack Rennert & Alain Weill. Boston : G. K. Hall, 1984.

Schoonbroodt Privat Livemont : entre classicisme et art nouveau, by Benoit Schoonbroadt. Bruxelles : C.I.D.E.P., 2003.

Trylon and perisphere : the 1939 New York World’s Fair, by Barbara Cohen, Steven Heller & Seymour Chwast. New York : Harry N. Abrams, 1989.

Rickards

Schweizer Hotel

Ungerer Posters

Posters of the First World War, by Maurice Rickards. New York : Walker & Company, 1968.

Schweizer Hotelplakate : 1875-1982, by Karl Wobmann. Luzern : Biregg Verlag, 1982.

Ricordi

Sorlier

The poster art of Tomi Ungerer, by Jack Rennert. Greenwich, Conn. : Darien House/New York Graphic Society, 1971.

Grafica Ricordi : dal manifesto storico all produzione d’avanguardia, by Giovanni Sangiorgi, Giorgia Mascherpa & Giulia Veronesi. Roma : Ente Premi, 1967.

Chagall’s posters : a catalogue raissonné, ed. by Charles Sorlier. New York : Crown Publishers, Inc., 1975.

Riquer Alexandre de Riquer : obra gràfica, by Eliseo Trenc Ballester. Terrassa : Caixa Terrassa; Barcelona : Marc Marti, 2006.

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).

Roberts

Sportissimo

Any color so long as it’s black : the first fifty years of automobile advertising, by Peter Roberts. Devon, England : David & Charles, 1976.

Sportissimo : cent ans de grandes et petites histoires du sport, by Françoise Laget & Serge Laget. Paris : Editions du Chêne, 1996.

Rogers

Stoecklin

A book of the poster, by W. S. Rogers. London : Greening & Co., 1901.

Niklaus Stoecklin : 1896-1982, by Bruno Halder. Basel : Gewerbemuseum, 1986. Catalogue of the retrospective exhibition at the Gewerbemuseum, Museum für Gestaltung, Basel, April 15-June 1, 1986; Kunstgewerbemuseum, Museum für Gestaltung, Zürich, June 18-August 3, 1986; and the Deutsches Plakat Museum, Essen, December 12, 1986-February 1, 1987.

Reisinger/Moscow Dan Reisinger, by Sergie Serov. Moscow : Alma Mater, 2008.

Rennert/Weill

Russian Films Film posters of the Russian avant-garde, by Susan Pack. Koln, Germany : Benedikt Taschen Verlag, 1995.

Salon des Cent Le Salon des Cent, 1894-1900 : affiches d’artistes, by Jocelyne Van Deputte. Paris : Paris-Musées, 1994. Catalogue of the exhibition held at the Musée Carnavalet, Paris, 1995.

Salon des Cent/Neumann

Spectacle

Suntory Women of the century. Osaka : The Museum, 1994. Catalogue of the inaugural exhibition at the Suntory Museum, Osaka, November 3, 1994-January 22, 1995.

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.

Sur les Murs

Santé

Takashimaya

La santé s’affiche, by Marine Robert-Sterkedries. Bruxelles : Thérabel, 2003.

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.

Sur les murs de France, by Alain Gesgon. Paris : Editions du Sorbier, Paris, 1979.

Swiss Posters 50 ans : affiches suisses preimées par le Départment Fédéral de l’Intérieur. Bern : KummerIy & Frey, 1991.

Travel by train : the American railroad poster, 18701950, by Michael E. Zega & John E. Gruber. Bloomington : Indiana University Press, 2002.

Trylon

V&A The power of the poster, by Margaret Timmer. London : V & A, 1998. Catalogue of the exhibition at the Victoria & Albert Museum, London, April 2-July 26, 1998.

Villemot/Forney Villemot : peintre en affiches, by Thierry Devynck & Marie-Catherine Grichois. Paris : Paris Bibliothèques, 2012. Catalogue of the exhibition held at the Bibliothèque Forney/Ville de Paris, Paris, France, September 18, 2012-January 5, 2013.

Villon Jacques Villon : les estampes et les illustrations, by Colette de Ginestet & Catherine Pouillon. Paris : Arts et Métiers Graphiques, 1979.

Voyage L’invitation au voyage, by Alain Weill. Paris : Somogy, 1994.

Wagner Toulouse-Lautrec and his contemporaries : 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.

Wallonie 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.

War Posters War Posters : Weapons of Mass Communication, by James Aulich. New York : Thames & Hudson, 2007.

Weill The poster : a worldwide survey and history, by Alain Weill. Boston : G.K. Hall, 1985.

Weill/Art Deco

Wember Die jugend der plakate : 1887-1917, by Paul Wember. Krefeld : Scherpe Verlag, 1961.

Wine Spectator Posters of the Belle Epoque : the Wine Spectator collection, by Jack Rennert. New York : The Wine Spectator Press, 1990.

Wittrock Toulouse-Lautrec : the complete prints, by Wolfgang Wittrock. London : Sotheby’s, 1985.

Wobmann Touristikplakate der Schweiz/Tourist posters of Switzerland, by Karl Wobmann & Willy Rotzler. Aarau : AT Verlag, 1980.

Word & Image Word and image : posters from the collection of the Museum of Modern Art, by Mildred 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.

WPA Posters of the WPA : 1935-1943, by Christopher DeNoon. Los Angeles : The Wheatley Press, 1987.

d’Ylen Jean d’Ylen, by Anne-Claude Lelieur. Paris : Bibliothèque Forney, 1980. Catalogue of the exhibition at the Bibliothèque Forney, Paris, April 18-June 28, 1980.

Yokoo 100 posters of Tadanori Yokoo, by Koichi Tanikaw. New York : Images Graphiques, 1978.

Yokoo/Graphic Works Tadanori Yokoo : all about Tadanori Yokoo and his graphic work. Tokyo : Kodansha, 1989.

Yokoo/Paris Tadanori Yokoo. Paris : UCAD, 1983. Catalogue of the exhibition at the Musée de la Publicité, Paris, October 26, 1983-January 16, 1984.

Yokoo’s Posters Tadanori Yokoo’s posters : IDEA special issue. September 1994 special issue of IDEA Magazine, Tokyo.

Zee Affichekunst aan zee : 1887-1970, by Karl Scheerlinck. Brugge : Uitgeverij van de Wiele, 2003. Cataloge of the exhibition at the Venetiaanse Gaanderijen, Oostende, Belgium, June 1-November 8, 2003.

CONDITIONS OF SALE

189

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.

190 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.

191

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-XCII: 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, March 3

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 191 or download at posterauctions.com. For absentee bidding, indicate your maximum bid for each desired lot. You may indicate an “either-or” bid if you want to purchase only a portion of the items on your wish list. You can also indicate an overall maximum dollar amount. We’ll execute your bid on your behalf at the lowest price possible. For telephone bidding, complete the absentee bidding form with the best phone number to reach you on March 3. 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, March 1. 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 189. Beginning at 11am EST on auction day, you’ll be able to access a live video feed at posterauctions.com.