PAI-LXXXV: Rare Posters

PRESENTS

SUNDAY, NOVEMBER 14, 2021 AT 11 AM VIEWING: OCT 2 9 -NOV 13 (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 427, Odeon Casino, by Walter Schnackenberg.

Page 2 is a detail of lot 402, Bruxelles / Théâtre Royale de la Monnaie, by Alfred Ost. Page 4 is a detail of lot 74, Première Exposition Locomotion Aérienne, by Ernest Montaut.

Page 5 is a detail of lot 436, Clinique Chéron, by Théophile-Alexandre Steinlen.

Page 220 is a detail of lot 31, Cycles Sirius, by H. Gray.

ACKNOWLEDGMENTS

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

First and foremost, our thanks to the 103 consignors in 19 states

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and 7 foreign countries who entrusted their finest works to us for this very special occasion.

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

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of the Poster Photo Archive.

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

I thank our staff, who successfully arranged for this 85th catalogue to be published on my 85th birthday.

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

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

OUR NEXT SALE We are pleased to announce that the PAI-LXXXVI sale will be held on Sunday, March 6, 2022. Consignments are accepted until December 17, 2021.

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

TABLE OF CONTENTS Winter Images . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1-22 Bicycles

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23-55

Automobiles . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 56-72 Aviation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 73-99 Circus . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 100-108 War & Propaganda . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 109-131 Film . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 132-143 Australia & New Zealand . . . . . . . . . . . . . . . . . . . . . . . 144-154 International Posters . . . . . . . . . . . . . . . . . . . . . . . . . . . 155-485 Leonetto Cappiello . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 208-234 A.M. Cassandre.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 235-240 Continued on next page.

TABLE OF CONTENTS Continued

Jules Chéret.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 247-265 Keith Haring . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 301-313 Ludwig Hohlwein . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 317-321 Luciano Achille Mauzan . . . . . . . . . . . . . . . . . . . . . . . . . 336-353 Alphonse Mucha.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 364-393 Henri de Toulouse-Lautrec . . . . . . . . . . . . . . . . . . . . . 447-467 Books & Periodicals . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 486 Selected Index . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Page 210 Bibliography . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Page 211 Conditions of Sale.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Page 217 Absentee Bid Form.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Page 219 Bidding Tips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Page 220

WINTER IMAGES

1 1. Winter in Davos. 1914.

Artist: Burkhard Mangold (1873-1950) 34 7⁄8 x 49 1⁄2 in./88.7 x 125.6 cm J. E. Wolfensberger, Zürich Cond A. Ref: Swiss Winter Posters, 44; Margadant, 27; Plakat Schweiz, p. 27; Weill, 204; Mangold, 119; Wobmann, 31; Müller-Brockmann, p. 77; PAI-XLV, 68 A lively skating party, with several couples tracing intricate patterns on the ice, became a classic of Swiss poster art. It “is one of the finest Swiss posters. The light-hearted and colourful elegance of the skaters is unparalleled. The bold way in which the edge of the picture cuts the figures of the swiftly moving couples on the ice does in fact impart a turning movement to them” (Margadant, p. 54). And Weill calls it an “audacious and dynamic composition” (p. 122). Rare!

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

WINTER IMAGES

2 2. Palace Hotel / St. Moritz. 1920.

Artist: Emil Cardinaux (1877-1936)

3. Gstaad / Berner Oberland. 1937.

Artist: Alex W. Diggelmann (1902-1987)

35 5⁄8 x 49 3⁄4 in./90.5 x 126.4 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

35 x 49 1⁄2 in./89 x 125.7 cm J. C. Müller, Zürich Cond B+/Slight folds; slight tear in upper right corner. Framed.

Ref: Swiss Winter Posters, 27; Affiches Sports d’Hiver, p. 180; PAI-XXIX, 334

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.

A sunny ski bunny greets us with a smile and a wave as brilliant as the sun-infused slopes that she climbs on a toboggan-like tow in this stupendous light-and-shadow masterpiece for the Swiss ski resort. Lying at the junction of four gently sloping valleys on the boundary between the Bernese and Vaud Alps, Gstaad provides a restful setting as well as a bustling social climate. Diggelmann started out as an elementary school teacher, then studied art in Leipzig and Paris. He established himself in Zurich as a posterist specializing in travel and sports, and won awards for poster designs for the 1936 Berlin and 1948 London Olympics.

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

WINTER IMAGES

4

3 4. PLM / Les Alpes et Le Jura.

Artist: Greif (Maurice Greiffenhagen, 1862-1931)

5. Stowe.

Artist: Sascha Maurer (1897-1961)

24 1⁄4 x 39 5⁄8 in./61.6 x 100.7 cm Editions Fortin, Paris Cond B+/Slight tears at edges.

Ref: PAI-LXXVIII, 302

23 1⁄2 x 40 in./59.8 x 101.5 cm Cond A-/Slight creases at edges.

Greiffenhagen was a British painter and member of the Royal Academy—and his claim to fame is an 1891 painting titled “An Idyll,” which inspired D. H. Lawrence to write the novel “The White Peacock.” Nevertheless, he made fantastic posters, mostly for British activities and audiences—which makes this French ad for PLM quite unusual—though no less palpably joyful.

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

5

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

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

6. Velké Karlovice. 1946.

Artist: Ladislav Horak (1904-?)

23 3⁄8 x 33 1⁄4 in./59.5 x 84.4. cm Unie, Praha Cond A. Ref: PAI-LXXIV, 328 Hardy, rustic, and rogue, this determined skier brings color, strength, and fortitude to the placid hamlet of Velké Karlovice, a town in the middle of the Czech Republic’s prime winter sports areas.

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

6

WINTER IMAGES

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7 7. Le Ski Aux Pyrénées. 1939.

Artist: Gaston Gorde (1908-1995)

9. Stanserhorn / Luzern. ca. 1930.

Artist: Ernst Hodel (1881-1955)

24 3⁄4 x 39 3⁄4 in./63 x 101 cm Editions Mayeux, Paris Cond A-/Slight tears at edges.

Ref: Sport à l’Affiche, 197; Pyrénées, p. 149

27 1⁄8 x 39 in./68.8 x 99.2 cm A. Trüb, Aarau Cond A-/Slight tears at paper edges. Framed.

Ref: PAI-XXXIX, 322

“[The] rise of French skiing is reflected in the posters of Gaston Gorde, based in Grenoble, who builds a very distinctive body of work of real quality... [Champion skier] Émile Allais’ triumph had immediate repercussions: by the end of 1937, he was technical director of the French National Ski School, ‘from which the good skiers of France come,’ as Gorde asserts; the same Gorde who, with the photographer Alix, cosigned the original poster of Skiing in the Pyrénées, sunny ‘snows of the South,’ where the last prewar French championships were held in February-March 1939” (Sport à l’Affiche, p. 157).

Situated in Central Switzerland, Mount Stanserhorn— at 1,900 meters above sea-level (or 6,253 feet for the metrically challenged)—is perfectly situated to offer one of the most beautiful views of the Alps and its surrounding areas, encompassing 100 kilometers of alpine panorama including the Eiger, Moench, and Jungfrau peaks. In fact, on a clear day, you can see all the way to France’s Vosges Mountains, as well as Germany, where you will see the Feldberg and the Black Forest. The official observation platform, with its decorative pylon and information plaques, looks very much the same today as it did at the time of this poster’s production, though fences have been added around the perimeter for added safety. Hodel renders the scene with alpine placidity and panoramic sophistication, creating an impeccable invitation to bask in the splendor of mountainous grandeur.

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

8. Splitkein / National Ski Jumping. ca. 1940.

Artist: Anonymous 24 x 37 7⁄8 in./61 x 96 cm Cond A-/Slight tears at edges. P.

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

Demonstrating some serious flight, this casually dressed skier advertises the National Ski Jumping Championship just outside of Berlin, New Hampshire. First held in 1940, the event took place at the Nansen Ski Jump, which was the East Coast’s largest ski jump for almost fifty years, and has been heralded as the foremost jump in the country. Though closed in 1988, renewed interest has secured a historical marker for the jump, and efforts are underway to restore the site to its former glory.

10. Sports d’Hiver en Suisse. 1938.

Artist: Herbert Leupin (1916-1999)

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

9

25 1⁄4 x 39 7⁄ 8 in./64.2 x 101.2 cm Ringier, Zofingue Cond B-/Slight stains and creases.

Ref: Leupin, p. 65 (var) For the winter sports lover, there’s no better way to tell time than by the activities that make up a day of Alpine fun: mountaintop beer drinking, ice skating, sledding, ice hockey, skiing, string music (why not?), hiking, trolley riding, lounging, and more skiing demarcate each hour of the day. Leupin illustrates the scene with so much sun-infused joy that it’s difficult to not become smitten.

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

10

WINTER IMAGES

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14

12

11. Grindelwald.

Artist: Anonymous

13. Northland Skis.

Artist: Krämer

25 x 39 7⁄ 8 in./63.5 x 101.2 cm Imp. Gebruder Fretz, Zürich Cond A-/Slight stains at edges. P.

24 3⁄4 x 37 7⁄8 in./63 x 96.2 cm Cond B/Slight stains at top edge. P.

Situated in the Bern canton of south-central Switzerland, Grindelwald was one of the first Alpine resorts. Set at the foot of the Eiger, Schreckhorn, and Wetterhorn peaks, Grindelwald became an immediate ideal mountain retreat regardless of the season. Here, a casually dressed skier flaunts her wares with exuberance.

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

Northland Skis got their start in St. Paul, Minnesota in 1912, and they’re credited with helping to launch America’s love of skiing. Eventually, they became the largest manufacturer of skis in the world. Despite some factory difficulties over the years, they continue their practice in Steamboat Springs, Colorado. Krämer gives us an upward vantage point to take in the skis in all their awe-inspiring glory.

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

12. Monte Generoso. ca. 1939.

Artist: Anonymous 27 ⁄4 x 38 ⁄2 in./69.4 x 97.8 cm Brugger SA, Meiringen-Lugano Cond A/P. 1

1

This sharp geometric design promotes travel to Monte Generoso, located on the border between Switzerland and Italy. To take in the impressive views at the summit, travelers can take the Monte Generoso Railway from Capolago, Switzerland. At the top, the panoramic view of the Alps and various lakes can be taken in from a terrace, a restaurant, and a hotel.

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

13

14. New Hampshire. 1936.

Artist: Dwight Clark Shepler (1905-1974) 24 3⁄4 x 24 1⁄8 in./62.8 x 61.2 cm The Rumford Press, Concord Cond B+/Unobtrusive folds.

Ref: Art/Skiing, p. 104-5; PAI-LXXXII, 432 “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: $1,400-$1,700.

WINTER IMAGES

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17

16

15. New Hampshire. 1941.

Artist: Lou Hechenberger

17. St. Moritz. 1955.

Artist: Alex W. Diggelmann (1902-1987)

24 1⁄4 x 36 1⁄4 in./61.6 x 92 cm Cond B+/Unobtrusive folds.

Ref: Art/Skiing, p. 118; PAI-LXIII, 306

25 1⁄ 2 x 40 in./64.2 x 101.5 cm J. C. Müller, Zürich Cond A. Ref: Swiss Winter Posters, 71; PAI-LXXIII, 264

“New Hampshire was the setting for many ‘firsts’ in American skiing history—first modern downhill in 1927, first American slalom in 1928, first resort-based ski school in 1929” (Art/Skiing, p. 118). Meanwhile, Hechenberger’s beaming beauty is simply content to take advantage of the state’s mountainous joys.

The slang phrase “snow bunny” or “ski bunny” first came into usage around 1952, so Diggelmann’s 1955 racing rabbit is pretty quick to take advantage of the jet-set’s new hip lingo.

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

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

16. Wengen-Männlichen. 1945.

Artist: Martin Peikert (1901-1975) 25 1⁄4 x 39 7⁄8 in./64.2 x 101.3 cm Gebr. Fretz, Zürich Cond A. Ref: Peikert, p. 160; Swiss Winter Posters, 105 If the winter sun doesn’t make you overheat, then this coquettish skier will definitely make you melt. Peikert’s flirtatious design invites us to holiday in the mountain village of Wengen, located in Bern. The Männlichen mountain, accessible by aerial cableway, is a popular destination for fantastic views and terrific slopes.

18

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

18. Squaw Valley 1960 Winter Olympics. 1959.

Artist: Anonymous 23 3⁄4 x 35 7⁄8 in./60.5 x 91 cm Kaiser Graphic Arts, Oakland, CA Cond A. Ref: Olympics, 77; PAI-XLI, 456 (var) This is the second of the two official posters for the 1960 Winter Olympics. Using the motif of pennants on a slalom run, the lithograph has a twin purpose: it shows the site of the games on an outline map of the United States, and it provides the exact dates of the games, which were unknown at the time of the first official announcement.

This poster was issued in five languages, and we see it here in English.

Est: $800-$1,000.

WINTER IMAGES

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19. Schaffhauser Wolle. 1941.

Artist: Willy Trapp (1905-1984)

20. Schaffhauser Wolle. 1948.

Artist: Donald Brun (1909-1999)

21. Schaffhauser Wolle. 1935.

Artist: Otto Ernst (1884-1967)

22. Krachnuss / Herrlich! 1940.

Artist: Anonymous

35 1⁄2 x 50 3⁄8 in./90.2 x 128 cm Wolfsberg, Zürich Cond B/Three-inch tear in lower left.

Ref: Swiss Posters, p. 33

35 x 49 3⁄8 in./88.8 x 125.3 cm Frobanius, Basel Cond A-/Slight tears at edges.

35 5⁄8 x 50 1⁄8 in./90.5 x 127.4 cm A. Trüb & Cie., Aarau Cond A-/Slight tears in margins. P.

35 1⁄ 2 x 50 1⁄4 in./90 x 127.5 cm Eidenbenz-Seitz, St. Gallen Cond A/P.

A snowman made of wool? Why, of course! In the whimsical hands of Donald Brun, a skein of Schaffhauser wool can melt anybody’s cold, wintry heart.

In another warm and fuzzy design for this Swiss wool brand, a snowman happily trots away with an armful of soon-to-be winter attire. Ernst, a posterist and painter, studied in Florence and under Grasset in Paris, where he became acquainted with Steinlen and the Fauvists and Cubists. In 1918, he returned to Switzerland, where for decades he worked steadily for Trüb in Aarau while continuing to paint.

Swiss chocolate is infamous, but the Maestrani brand helped start the craze back in 1852 in St. Gallen. Here, the hazelnut chocolate bar is vouched for by a very content snowman; the text below reinforces that the treat is “splendid!”

Schaffhauser Wolle began producing wool in northern Switzerland in 1877—it was the first worsted spinning mill in the country. Until their dissolution in 1991, the company employed many top poster artists—including Herbert Leupin, Donald Brun, and Martin Peikert—to create showstopping advertising materials. Here, Willy Trapp gives us a charming young skier toting an oversized skein of their luscious angora blend wool, perhaps so that his mother can knit him a new winter sweater.

Est: $800-$1,000.

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

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

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

BICYCLES For Mucha’s Cycles Perfecta, see No. 368.

23 23. Cycles Gladiator. ca. 1895.

Artist: Anonymous 53 1⁄4 x 38 1⁄2 in./135.3 x 97.8 cm Imp. G. Massias, Paris Cond B+/Unobtrusive folds; slight stains in margins. Framed.

Ref: Bicycle Posters, 42; Petite Reine, 47; Posters of Paris, 104; Ailes, p. 11; Musée d’Affiche, 22; Reims, 154; PAI-LXXXIII, 118 A lithographic masterpiece. Acclaimed as one of the world’s greatest posters, this image of a flame-tressed sylph, propelled among the stars by the Gladiator and its winged pedals, has been appropriated throughout culture ever since its debut in 1895. Shockingly, it remains anonymous, despite the presence of the faint initials LW in the lower right corner. Even in the famed 1896 Reims exhibition, it was attributed to “Anonyme.”

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

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

BICYCLES

24 24. Marque Georges Richard / Cycles & Automobiles. 1899.

Artist: Eugène Grasset (1841-1917) 23 3⁄4 x 17 3⁄ 8 in./60.3 x 44.2 cm Imp. de Vaugirard, G. de Malherbe, Paris Cond A. Ref: DFP-II, 415; Bicycle Posters, 21; Berthon & Grasset, p. 34; Weill, 41; Timeless Images, 28; Dodge, p. 132; Ailes, p. 119; Gold, 78; Encyclopédie/Weill p. 41; Posters of Paris, 54; PAI-LXXIX, 33 Here, in one of the most appealing of Grasset’s posters, atmosphere is paramount. “Of the product, we see barely a handlebar: it is the moody and enigmatic rider who carries the weight of the sale. The twilight effect adds warmth to the image in which type and design are beautifully integrated.

Georges Richard was one of quite a number of bicycle manufacturers who were hurriedly adding automobiles as a sideline around the turn of the century; within a few years, the sideline would become the main, or as here, the only product of the company” (Gold, p. 56). This is the rare, smaller format.

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

BICYCLES

26

25 25. Clément. ca. 1900.

Artist: Arthur Foache (1871-1967)

27. Cycles Gladiator. ca. 1890.

Artist: Anonymous

36 3⁄4 x 53 1⁄8 in./93.4 x 135 cm Cond A. Framed.

Ref: Bicycle Posters, 65; DFP-II, 610; Schardt, p. 158; Dodge, p. 121; Weill/Art Nouveau, p. 61; PAI-LXXX, 135

36 1⁄4 x 50 3⁄4 in./92 x 129 cm Affiches V. Palyart, Paris Cond A. Ref: Petite Reine, 30; PAI-LXXXIII, 119

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.

Though this cyclist is definitely out of place on the field of a polo match, the meaning is clear: no matter the speed of the horses behind him, he’ll be able to escape just fine on his Gladiator bicycle. In fact, this man appears to almost welcome the challenge!

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

26. Humber.

Artist: S. Marchetin 39 3⁄4 x 51 in./100.8 x 129.5 cm Affiches Camis, Paris Cond B+/Unobtrusive folds; printer’s ink stain at lower right.

Ref: Ailes, p. 38 Early bicycle manufacturers catered their goods primarily to men—and especially well-to-do men. With this in mind, Marchetin conjures an image of masculine luxury: a bellboy arrives with a shiny Humber bicycle and patiently waits for its new owner to take it for a spin—just as soon as the sophisticate gets his leather driving gloves properly situated.

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

27

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

28. La Fucosine.

Artist: Gil Baer (1859-1931) 40 3⁄8 x 59 5⁄8 in./102.6 x 151.6 cm Imp. F. Champenois, Paris Cond B+/Slight tears at edges.

Ref: PAI-XXIX, 65 This perky cyclist returning from picking wild flowers demonstrates surprisingly little compassion for her unfortunate brethren in the throes of a struggle with a flat tire. Maybe that’s because she feels that anyone with an iota of common sense would have picked up a bottle of Fucosine—an adhesive which claims to instantly plug punctures without damaging the rubber— before hitting the road. And seriously, which is a more attractive option: struggling with a patch kit and a hand pump or applying a dab of epoxy? Clearly, Fucosine is the only educated option. Gil Baer, a native of Strasbourg best known as a painter and humor illustrator, was a frequent contributor to the Gil Blas illustré.

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

28

BICYCLES

29

31 29. Cycles A. Mercier. ca. 1900.

Artist: G. Berni 37 1⁄8 x 49 5⁄8 in./94.3 x 126 cm Imp. L. Gaillard, Paris Cond B+/Slight tears, largely at folds.

Ref: PAI-XXXII, 192 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, broadly tiger-striped skirt, 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.

30. Swift Cycles. 1898.

Artist: Tom Browne (1872-1910) 59 x 117 ⁄ 8 in./150 x 299 cm J. T. Grover, Nottingham Cond B+/Slight tears and stains at seams and edges.

Ref: PAI-LIX, 54 5

30

Although repeatedly mentioned in texts on the subject, this three-sheet design by Browne for Swift Cycles was never reproduced, making it—until now—a bit of a mystery. As noted in the October, 1899, issue of The Poster: “Cycling designs have attracted Mr. Browne, and some

of his finest work in this line has already appeared in this magazine, namely, the Swift Cycle poster.” Here, he plays up “his power in depicting rollicking fun, and he is master of a long series of humorous types of faces that serve him excellently in this direction” (Rogers, p. 42) within this very design: the prissy prior, lecherous codger, and wide-eyed young beauty.

This is the rare larger, three-sheet format.

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

31. Cycles Sirius. 1899.

Artist: H. Gray (Henri Boulanger, 18581924) 39 1⁄4 x 54 5⁄8 in./99.7 x 138.7 cm Imp. Courmont Frères, Paris Cond B/Slight tears at folds.

Ref: Bicycle Posters, 26; Petite Reine, 61; Weill/Art Nouveau, p. 64; Timeless Images, 12; Gold, 69; Dodge, p. 117; PAI-LXXXII, 62 “If any artist could rival Pal when it came to exploring female anatomy in posters, it was multi-talented Gray. A graphic journeyman, he could readily adapt his style to the requirements of different clients with startlingly impressive results. Here, probably (if not unconsciously) somewhat under Pal’s influence, he creates an unabashed rider soaring on her cycle to its namesake—the brightest star in the heavens” (Gold, p. 50).

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

BICYCLES

32 32. Rouxel & Dubois. ca. 1894.

Artist: Ferdinand Lunel (1857-1933)

34. Cycles Cottereau. 1905.

Artist: René Vincent (1879-1936)

37. Cleveland Cycles. ca. 1898.

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

54 5⁄8 x 38 in./138.7 x 96.5 cm Imp. Charles Verneau, Paris Cond B+/Slight tears at folds. Framed.

Ref: Bicycle Posters, 29 (var); Petite Reine, 48 (var); Reims, 829; Maindron 1896, p. 87; Sport à l’Affiche, 111; Ailes, p. 19; PAI-LXXXI, 63

63 3⁄8 x 47 1⁄8 in./161 x 119.7 cm Affiches Belleville, Paris Cond B/Slight tears at folds and edges.

Ref: PAI-LXXXI, 89

43 3⁄4 x 58 1⁄4 in./111.2 x 148 cm Imp. Paul Dupont, Paris Cond B/Slight tears at folds and edges.

Ref: Petite Reine, 69; Herlihy, p. 281; Veloscopie, 135; PAI-LXXVIII, 18

Known mostly for his humorous drawings, Lunel, a native of Paris, worked for numerous magazines, starting with Tout Paris. After La Vie Moderne (1879), La Vie Militaire (1883), Paris-Illustré (1884), and La Revue Illustré (1885), he worked for ten years with Le Courrier Français. His designs show up even in exotic publications such as Le Moustique in Africa and Pick Me Up in London. This excellent poster, featuring an interplanetary tandem ride, is way ahead of its time, as Maindron saw straight off: “This poster is well done; peddling with verve, on a bicycle which must be perfection itself, two riders carried away by an uncommon intensity have left the earth and find themselves in the middle of the starry sky” (p. 87).

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

33. 5e Salon du Cycle. 1897.

Artist: Victor Mignot (1872-1944) 33 x 47 1⁄8 in./84 x 119.6 cm Imp. J. E. Goossens, Bruxelles Cond B/Slight tears at folds and edges. Framed.

Ref: Belgique/Paris, 28; Brussels, pl. XXVI; Galerie CGER, 19; Encyclopedie/Weill, p. 50; Belgique Sportives, p. 53; PAI-LXXIX, 44 Mignot gives us a truly spectacular design for the 5th annual Salon du Cycle, hosted by the Bicycle Union Club in Brussels. Two colorful revelers, balancing on their bikes, unfurl the event’s banner as those unfortunate souls consigned to two-legged transport appear indistinct, dull, and monochrome in the background.

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

This early design by Vincent offers a glimpse at what will later become his signature whimsy. For Cottereau, he depicts two nearly identical women on a tandem bicycle flirting demurely with a middle-aged fellow who tries to keep up.

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

A triumphant Native American flees his adversaries on his speedy Cleveland bicycle. The company appreciated this design so much that it appears not only in this single-sheet format, but also as a two-sheet poster and as a four-sheet billboard.

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

35. Rouxel & Dubois. ca. 1894.

Artist: Misti (Ferdinand Mifliez, 1865-1923) 36 5⁄8 x 51 5⁄8 in./93 x 131 cm G. Bataille, Paris Cond A. Ref: Reims, 884; Ailes, p. 86; PAI-LXXXIII, 124 All sorts of women flock to see the sensational Rouxel & Dubois bicycle in this charming design by Misti. After his hectic two decades of poster designing in the early part of the century, Misti went on to open his own printing plant.

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

36. Brown Brothers. ca. 1900.

Artist: J. Montanya 41 x 29 7⁄8 in./104.2 x 76 cm J. G. Seix & Barral, Barcelona Cond B+/Slight tears at folds.

London-based Brown Brothers Ltd. were wholesale and export manufacturers of cycle components, fittings, lamps, and accessories. Launched in 1888, the three brothers would go on to manufacture parts for motorcycles and aircraft as well; in 1997, their company was acquired by Partco. Here, Montanya positions the Brown Brothersbased bicycle as an equal to a fighting bull, drawing crowds of locals to watch on in anticipation.

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

38. Humber. ca. 1900.

Artist: Louis Oury (1846-?)

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

Ref: Petite Reine, 45; Ailes, p. 118; PAI-LXXXIV, 3 A combination of sinewy curves, sharp angles, and contrasting red and green makes for a seductive design for Humber cycles. The company was founded in the 1870s and had high standards with an emphasis on quality; they became known as “the aristocrat among bicycles,” a sentiment which is reflected in the stately gold-haired woman seen here.

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

BICYCLES

33

34

36 35

37

38

BICYCLES

39

40

41

39. Cycles Clément. 1898.

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

41. Patin-Bicyclette / Richard-Choubersky. ca. 1899.

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

45 3⁄4 x 62 3⁄4 in./116 x 159.4 cm Caby & Chardin, Paris Cond B/Stains at edges.

Ref: DFP-II, 701; Petite Reine, 36; PAI-LXXXIV, 5

35 5⁄8 x 50 in./91 x 127 cm Imp. Paul Dupont, Paris Cond B/Slight tears at folds and edges.

Ref: Gold, 124; Sportissimo, p. 198; PAI-LXXXII, 52

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

Ladies, take note: in the case of unwanted male attention, simply don a pair of newfangled getaway shoes. At least, Pal’s imaginative scene would suggest as much—a hapless passerby has been knocked right off his feet at the shocking sight of this early prototype for roller blades.

Over eighty years later, roller blades would become choice accessories for exercise, but in the 19th century, Pal was not concerned with workout trends; the product was merely an excuse to create another graphic vixen, which he does here with sophisticated understatement.

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

42. Liberator Cycles & Automobiles. 1899.

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

40. Fernand Clément & Cie. 1895.

Artist: Pal (Jean de Paléologue, 1860-1942) 42 1⁄8 x 58 1⁄2 in./107 x 148.6 cm Imp. Paul Dupont, Paris Cond B+/Unobtrusive folds; slight tears in margins.

Framed.

Ref: DFP-II, 685; Petite Reine, 49; Reims, 941; Gold, 68; Ailes, p. 60; Veloscopie, p. 87; PAI-LXXXI, 77

42

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

38 1⁄2 x 53 3⁄4 in./97.7 x 136.6 cm Caby & Chardin, Paris Cond B+/Slight tears at folds.

Ref: DFP-II, 696 (var); Bicycle Posters, 48 (var); Petite Reine, 33; PAI-LVII, 469

“The voluptuous beauty in ecstasy expresses the feeling of unrestrained freedom which the bicycle could bring into a 19th-century woman’s life. Now able to cover distances under their own power, women felt there was a whole new frontier opening to them, as indeed there was. Pal gives the euphoria palpable substance” (Gold, p. 48).

While the company’s symbol may be a male warrior, Pal was not one to give up a chance to design a curvaceous beauty. However, with a name like Liberator, his usual array of showgirls and upper-class ladies simply would not do. And so, we have a Valkyrie, ready to ride out in battle on her newly acquired bicycle. One of the more interesting aspects of this poster is that, due to popularity, it was redone dozens of times by various artists who merely added some foliage or altered the text slightly.

This is the original smaller format version of the poster.

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

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

BICYCLES

43

44

45

46

43. Cycles Terrot / Dijon. 1898.

Artist: Francisco Tamagno (1851-1933)

44. Terrot & Cie. / Dijon. 1905.

Artist: Francisco Tamagno (1851-1933)

45. Cycles Grillon.

Artist: Walter Thor (1870-1929)

46. Griffon. ca. 1905.

Artist: Walter Thor (1870-1929)

43 1⁄4 x 61 3⁄8 in./109.8 x 156 cm Imp. P. Vercasson, Paris Cond B+/Slight tears at folds.

Ref: DFP-II, 808 (var); PAI-LXXVIII, 24

39 1⁄8 x 54 1⁄2 in./99.2 x 138.3 cm La Lithographie Parisienne, Paris Cond B/Slight tears at folds.

Ref: Masters 1900, p. 215; PAI-XLVIII, 116

54 1⁄2 x 39 1⁄2 in./138.3 x 100.3 cm Kossuth, Paris Cond B+/Slight tears, largely at folds.

Tamagno made many inspired images for Terrot cycles, where chutzpah trumps decorum—this brightly colored design is based on the original 1898 promotion (see PAI-LXXXIV, 10). But wouldn’t you show some gestural bravado if you owned a bike that allowed you to outpace a train? We thought as much.

This treacherous mountain pass (“très dangeroux,” announces the sign) has nothing on our flippant cyclist—nor is she encumbered by her burdensome long frock.

After all, her Terrot cycle allows her to defeat geographic and social challenges, as evidenced by her hilltop triumph over the less capable cyclists below. Tamagno balances out her (rightfully earned) sass with a decorative Art Nouveau border that includes raspberries on the vine.

31 1⁄2 x 47 5⁄8 in./80 x 121 cm Imp. G. Elleaume, Paris Cond A-/Unobtrusive folds.

Ref: Handlebars/Joystick, p. 117; PAI-LXXXIII, 141

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

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

Burglars, beware! Your robbery attempts are no match for the Grillon bicycle rider, as the man in the blue jacket points out: “Don’t worry, my friend, I will catch up with him thanks to my Grillon!” Unfortunately, the “Cricket” bicycle sped off without a trace, as hardly any historical information exists. Rare!

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

“Just as it had for cycling, Griffon, once it had started manufacturing motorcycles, took an interest in competitions, because success on the race track... was one of the strongest sales pitches. Apparently in the thick of a contest, driving up one of the twisting roads of Mont Ventoux, in pursuit of the best possible time, this soberly dressed motorcyclist is making the most of his bravery, his aerodynamics, and the humorous style of Walter Thor, which is always perfectly in tune with his sporting subject” (Handlebars/Joystick, p. 116).

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

BICYCLES

47

48

49

47. Société La Française. ca. 1895.

Artist: Géo Weiss (Emile Georges, 1861-1929)

49. Cycles Humber. ca. 1906.

Artist: Henriette Bresster

42 1⁄2 x 59 in./108 x 150 cm Imp. P. Dupont, Paris Cond B/Slight tears, largely at edges.

Ref: PAI-LXXIX, 67

43 1⁄8 x 59 1⁄ 2 in./109.6 x 151 cm Caby & Chardin, Paris Cond B/Slight tears at folds and edges.

Ref: Ailes, p. 120; Weill/Art Nouveau, p. 61; PAI-LXXVIII, 29

Founded in 1890 by Pierre-Victor Besse and Francis Trepier, Société La Française was both a brand of bicycle and the name of a championship cycling team sponsored by the company. Here, a young woman goes out for a night ride with the Tricoleur alighting the road ahead.

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

48. Cottereau. ca. 1895.

Artist: Misti (Ferdinand Mifliez, 1865-1923) 47 1⁄4 x 62 7⁄ 8 in./120 x 159.8 cm Imp. P. Vercasson, Paris Cond B/Slight tears at folds and edges.

Ref: Dodge, p. 117 Cottereau’s bicycles are apparently so easy to ride that even a nursing mother can speed away with ease. But the men behind her seem to have trouble catching up, thereby delivering a women’s empowerment message that we wholly appreciate. It’s another humorous vision from Misti, who created over 100 posters between 1894 and 1914.

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

50

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

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

50. Peugeot Cycles. ca. 1910.

Artist: Alméry Lobel-Riche (1880-1950) 46 1⁄4 x 62 3⁄4 in./117.4 x 159.5 cm Affiches Camis, Paris Cond A. Ref: Ailes, p. 95; PAI-LXIII, 369 While showing automobiles race against trains was a common trope in car advertising, rarely do we see it in a bicycle poster—most probably because in no situation could a bicycle actually beat a train. Here, however, a couple speeds down a road at sunset, a locomotive hot on their heels.

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

BICYCLES

51 51. Cycles Lapize. 1911.

Artist: Mich (Michel Liebeaux, 1881-1923)

52

29 1⁄2 x 44 1⁄2 in./74.8 x 113 cm René Rousseau, Paris Cond B/Slight tears, largely at edges.

Ref: Sportissimo, p. 186 Octave Lapize is one of France’s greatest cyclists; he won the 1910 Tour de France and a bronze medal at the 1908 Summer Olympics in the men’s 100 kilometer race. He was also a three-time winner of the one-day classics, Paris-Roubaix and Paris-Brussels. Unfortunately, his cycling career ended early due to the onset of World War I; he was killed in combat at the tender age of 29. Of this namesake bicycle brand, though, hardly any information exists.

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

52. Cycles Tigra. ca. 1925.

Artist: Martin Dupin 15 3⁄8 x 23 1⁄2 in./39 x 59.5 cm Publicité Martin-Dupin, St. Etienne Cond A-/Slight creases.

Ref: Le Tennis, unnumbered; PAI-LXXXIII, 144 Established in 1923, this Aubervilliers bicycle brand seems to not have gained a lot of traction, as very little information on the company exists. But this design is a fierce testament to Cycles Tigra: a dapper tennis player puffs on his cigar while effortlessly gliding to the courts. Meanwhile, the brand’s mascot appears in exaggerated proportion, but based on the cyclist’s bemused reaction, we need not be afraid of this gentle beast.

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

53. Dürkopp.

Artist: Anonymous 24 1⁄8 x 37 1⁄2 in./61.2 x 95.2 cm Leykam, Graz Cond A-/Slight tears at edges. P. Although our rider is dressed in traditional attire, the Dürkopp Diana bicycle was introduced in the 1910s and saw continued production through the early 1950s. Dürkopp & Co. was born out of a German sewing machine company called Dürkopp & Schmidt, which was established in 1867. After Schmidt’s departure in the 1880s, Dürkopp entered into bicycle manufacturing and eventually added cars, trucks, and other motorized transport to his production line. The blank area at bottom is left for the insertion of a local distributor.

Est: $800-$1,000.

53

BICYCLES - AUTOMOBILES

54

55

54. Automoto. ca. 1928.

Artist: Maurice Lauro (1878-?)

55. La Moto Peugeot.

Artist: Georges Favre

31 5⁄8 x 47 in./80.4 x 119.4 cm Imp. Hachard & Cie., Paris Cond B+/Slight tears at folds.

Ref: Le Tennis, unnumbered; PAI-LVII, 105

31 1⁄8 x 46 3⁄4 in./79.2 x 118.8 cm Affiches Gaillard, Paris Cond A. Ref: PAI-XXXVI, 304

Founded in 1902, Automoto was a bit late in entering the bicycle business. Created right before its purchase by Peugot in 1930, this poster is an Art Deco dream, showcasing a merry couple riding their pristine cycles to the tennis court.

As he rounds a bend on his seaside tour, the speeding motorcyclist takes his gaze off the road in order to look the viewer straight in the eye, almost daring anyone to challenge him on the quality of his alabaster ride or his matching sense of fashion. The design makes excellent use of the shape of the rocks, echoing them in the offshore outcropping and even in the clouds puffing about the horizon, all made even more sumptuous with the artist’s magnificent choice of colors. Favre produced a large body of posters between 1927 and 1935, but he didn’t have the consideration to leave us a little bio of some sort.

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

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

REGISTER FOR ONLINE BIDDING AT POSTERAUCTIONS.COM

AUTOMOBILES For Codognato’s Fiat, see No. 267.

56

57

56. Cycles & Automobiles Cottereau. ca. 1900.

Artist: Misti (Ferdinand Mifliez, 1865-1923)

57. Cottereau / Dijon. 1902.

Artist: Jack Abeille (1873-1949)

43 1⁄2 x 60 5⁄8 in./110.3 x 154 cm Imp. P. Vercasson, Paris Cond B+/Unobtrusive folds.

Ref: PAI-XLIII, 23 (var)

45 1⁄4 x 61 1⁄ 2 in./115 x 156.3 cm G. Gerin Fils, Paris Cond A. Ref: Auto Show III, 10; PAI-XXXIV, 160

With the horrors of horse-and-buggy transportation haunting the background of this Misti design like the shadowy specters of an age that firmly belongs in the past, a threesome of prescient travelers hit the happy open road aboard their Cottereau machines. Louis Cottereau, born in Angers, was a speed-demon cyclist possessed of an extraordinary will that enabled him to prevail in spite of his short stature. Like Griffon and the Belgian firm Delin, Cottereau used his factory to turn out motorized vehicles as well as bicycles. Misti was a busy poster artist who, between 1894 and 1914, designed more than 100 images—many for bicycles, as well as department stores, railroads, publishing clients, and the Neuilly fair.

This is the larger format version.

Here, both of Cottereau’s vehicular options are given a promotional share: the bike acts as the preferred ride of a solo excursionist, while the open-air sedan allows for a family affair. Abeille was an illustrator known primarily for his numerous contributions to French humor magazines.

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

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

AUTOMOBILES

60 58. Benzo-Moteur. 1900.

Artist: Jules Chéret (1836-1932)

58

33 x 46 7⁄8 in./84 x 119 cm Imp. Chaix, Paris Cond A. Framed.

Ref: Chéret, 1369; Broido, 1031; DFP-II, 201; Affiches Automobiles, p. 14; Abdy, p. 52; Gold, 22; PAI-LXXXIV, 74 “In 1900 cars were still pretty much a hobby for the venturesome. That meant mostly men, but Chéret shows one daring young woman at the wheel in the foreground and another in the smaller background image. The poster is for one of the first European brands of gasoline, sold at the time in canisters at general and hardware stores” (Gold, 17).

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

59. Automobiles Motobloc.

Artist: Anonymous 31 x 47 1⁄ 2 in./71.8 x 120.7 cm Imp. Moullot, Marseille Cond B+/Restored tears in margins.

Ref: PAI-XXIX, 4 The Motobloc company wants to convince you that their cars are “The Best Uphill Climbers” on the road. So to that end, they enlist the services of an unidentified designer who promptly launches a roadster off the rise of a country byway.

The voracity of the promotion hardly matters; what is slightly shocking is the complacency displayed by driver and passenger alike as they prepare to lift off from terra firma. But with the power of Motobloc serving as your ride of choice, even the most thrilling airborne excursions must become commonplace over time.

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

60. “Bayard.” 1908.

Artist: Weiluc (Lucien-Henri Weil, 1873-1947) 62 x 47 1⁄4 in./157.5 x 120.2 cm Société Nouvelle d’Art et Décoration, Paris Cond B+/Slight tears at edges.

Ref: Auto Show II, 22; PAI-XLIII, 32 Clément was a hugely successful bicycle brand in France in the late 1800s, but in 1903, one of the family scions, Adolphe Clément, set up an auto workshop in the town of Mezieres. There is a statue in the town of Bayard of a legendary knight who supposedly saved the city from an invasion in the 16th century, and Clément chose to name his car after him. He operated the factory until 1922. Weiluc quite frequently took a humorous approach to posters for clients who appreciated it; here, he makes the Bayard fly through the air with the greatest of ease, narrowly escaping an oncoming train.

59

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

AUTOMOBILES

61

63

62

61. American Automobile.

Artist: Anonymous

62. Grand Prix de Nice. 1933.

Artist: Roger Perot (1908-1976)

63. Bugatti. ca. 1935.

Artist: R. Géri

23 7⁄8 x 31 3⁄8 in./60.6 x 79.8 cm Affiches H. Gaillard, Amiens Cond B/Slight tears at folds and edges.

Ref: PAI-XX, 52

10 5⁄8 x 16 1⁄4 in./27 x 41.3 cm Cond A-/Horizontal fold. Framed.

24 1⁄4 x 39 1⁄4 in./61.5 x 99.6 cm Litho. A. Michel, Strasbourg Cond A-/Slight tears at edges.

Ref: Die Bugattis, p. 413; PAI-XXIV, 292

This American automobile showroom, located on Paris’ Boulevard Haussmann, opted to employ one of the most recognizable American icons as their mascot: Uncle Sam. Unlike James Montgomery Flagg’s stern interpretation, this artist opts for a cool-as-a-cucumber approach: Uncle Sam grins at us, his hair blowing jauntily in the breeze beneath his star-banded stovepipe hat. Rare!

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

The 1933 Nice Grand Prix played host to the best competing drivers of the time, who raced 3.2 kilometers along the famous streets of this holiday resort town. Tazio Nuvolari of Italy won his third consecutive Grand Prix win here in a Maserati 8CM. Perot gives us a sense of the whooshing action against the splendid Mediterranean backdrop.

This is the only known copy of this design!

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

In this poster for Bugatti’s Alsatian distributor, Géri shows a T-57 and a Bugatti-made train whizzing past each other in opposite directions. Everything, including the Bugatti name, is rendered to communicate streaky speed.

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

AUTOMOBILES

64. Int. Eifelrennen. ca. 1936.

Artist: Alfred Hierl 23 x 33 3⁄4 in./58.5 x 86 cm Cond A. Ref: PAI-LXXV, 67

64

The Eifelrennen, an annual motor race, was first organized in 1922, before the Nürburgring was even built. This oversight was madness. At that time, the race—incredibly enough—allowed all types of vehicles on the track at the same time: cars, motorbikes, and even bikes with supporting engines.

The unpaved track was muddy in the rain, fatal accidents occurred, and spectator stands collapsed. As a result, the Nürburgring was constructed in 1927, and has since become hallowed ground for racing enthusiasts.

Since then, racing has been separated by vehicle type, but Hierl’s brilliant composition blurs the distinction as a sedan, a racer, and a motorbike lean into one of the Nürburgring’s 174 curves.

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

65. These Men Use Shell / Lifeboatmen. 1938.

Artist: Edward Ardizzone (1900-1979) 45 x 30 1⁄ 8 in./114.3 x 76.5 cm J. Weiner, Ltd., London Cond B+/Slight tears at edges.

Ref: Shell, 76; PAI-XVIII, 4

65

Ardizzone was born in Haiphong, Indochina—now Vietnam—of Italian and Scottish parentage. The family moved to England when he was five.

Though a watercolor painter of humorous genres and an illustrator of over 150 books, he is among those Shell artists “you don’t instinctively associate with posters” (Shell, introduction). The painter’s hand is evident in the treatment of these maritime men, whose very lives—unlike the more whimsical of the “These People Use Shell” series—might indeed depend on a fuel they can be sure of. Rare!

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

66. You Can Be Sure of Shell / Kimmeridge Folly. 1937.

Artist: Paul Nash (1889-1946) 45 x 30 1⁄ 8 in./114.3 x 76.5 cm J. Weiner, Ltd., London Cond B/Restored tear in top text area.

Ref: Shell, 74 Nash offers up a moody and tempestuous coastal scene with the flourish only a landscape artist such as himself could summon. Born in London, Nash helped develop British Modernism and became one of the most important landscape artists of his time. In 1934, the poet John Betjeman asked Nash to contribute a volume on Dorset to his “Shell Guides” series.

Published in 1935, the book includes Nash’s photographs, paintings, and essays detailing the natural landscape and architecture of the area, which he described in an essay as “[something of] a dream image where things are so often incongruous and slightly frightening in their relation to time or place.” Indeed, that surreal quality is evidenced in this very work.

66

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

AUTOMOBILES

67 67. Shell Oil & Petrol / For Quick Starting. 1930.

Artist: Vic 45 x 30 in./114.2 x 76.2 cm Cond A. Ref: Shell, 3; PAI-XLV, 507 Vic’s good-natured artistry and Art Deco sensibilities deliver a promotional coup for “Quick-Starting” Shell. It’s rare to find a design that’s as stylish as it is humorous, but Vic definitely delivers on both accounts. And while the frieze-like line of chauffeurs and limousines is wonderfully snazzy, it’s their shared look of surprise—coupled with the now-vacant parking place and the tread marks of the rapidly departing vehicle—that’s absolutely priceless.

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

68. Chevrolet. 1940.

Artist: Anonymous 59 7⁄8 x 38 7⁄8 in./152 x 98.8 cm Cond A-/Unobtrusive folds.

Today’s drivers value compact and efficient cars, but back in the 1940s, it was all about length. Chevrolet proudly advertises their 181-inch model with the text: “Among the lower-priced cars, here’s the longest of the lot!” A 1940 newspaper ad bearing this design provides further marketing ploys: “It’s a whopping 181 inches long from the front of its fashionable grille to the rear of its beautifully curved body... which means it has length where length counts... which means it’s the longest automobile in the lowest price field!”

This model started at $659.

68

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

69. Frazer. 1947.

Artist: Anonymous 58 7⁄8 x 38 3⁄8 in./149.6 x 97.4 cm Cond B/Restored tears, largely at edges.

Breaking free of its cellophane wrap, the “sensational new Frazer” model of 1947 bursts onto the scene. This was the flagship model of the Kaiser-Frazer Corporation, who were only in operation from 1946-1952. Despite their short existence, they received acclaim: the Fashion Academy of New York awarded them the Gold Medal for design achievement. This model is likely from the Manhattan Series F47C. Est: $1,700-$2,000.

69

AUTOMOBILES - AVIATION

70

71

72

70. Grosser Preis von Europa. 1968.

Artist: Michael Turner (1934- )

71. Grosser Preis von Deutschland. 1969.

Artist: Michael Turner (1934- )

72. BMW Museum / Zeitsignale. 1979.

Artist: Günther Kieser (1930- )

23 3⁄4 x 33 in./60.2 x 83.7 cm Druckerie Will und Rothe, Mainz Cond A. Ref: PAI-LXXXIII, 160

23 1⁄4 x 33 1⁄ 2 in./59 x 85 cm Druckerie Will und Rothe, Mainz Cond A. Ref: PAI-LXXXIII, 161

34 7⁄8 x 48 3⁄8 in./88.6 x 123 cm Wurm & Eimannsberger, München Cond A. Ref: PAI-LXXVIII, 74

Turner directs his speed-tweaked talents from the sunny Mediterranean climes of Monaco to Germany’s legendary Nürburgring race track for the 1968 German Grand Prix.

Without missing a beat, he places the viewer directly in the path of oncoming competitors while perfectly capturing the tough, demanding character of the course.

None of the drivers portrayed in the poster, however, would claim victory that day—that distinction belonged to Denny Hulme. Hulme won that year’s Monaco Grand Prix as well, a race for which Turner also created the publicity. Coincidence? It’s interesting to note that this race was the first in Formula One history to be broadcast in color television in Germany.

Turner employs an Impressionist bent to promote the 1969 edition of this German Formula One race on the Nürburgring. Zooming towards us in the red Ferrari is the winner of the 1968 race, John Surtees; behind him, we can see the famous Dunlop scoring tower keeping an eye on the race. The 1969 race was ultimately won by Jacky Ickx of Belgium.

In this poster for the BMW Museum’s exhibition, a Dietrich mannequin poses on a car, and everything is outlined in vibrant neon highlights in assorted colors.

Kieser, Germany’s top postwar posterist and one of the world’s best, could always be relied upon to come up with startling ideas. He has had one-man exhibitions of his posters in many countries, from Lincoln Center in New York to the poster museum in Essen, Germany.

He continues to produce fine posters after retiring as a professor of visual communications at the Wuppertal College. Photography credit: Hartmann.

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

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

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

AVIATION

73 73. Ligue Nationale Aérienne. 1908.

Artist: M. De Linière 19 3⁄4 x 30 in./50.2 x 76.2 cm Publicité Wall, Paris Cond A. Ref: Affiches d’Aviation, p. 46; PAI-LIII, 1 The French National Air League was founded in Paris on September 2, 1908. Its sole purpose was to make France the global center of aviation—a direct response to the recent birth of the German Air League, formed by Count Zeppelin. A variety of early aircraft, including a Blériot, are seen hovering above France, illuminating the country on a globe with their spotlights. But off in the distance we see one of Zeppelin’s creations, doing likewise for Germany amidst approaching dark clouds. If that were not warning enough, the text below warns of the thousand members already in Germany’s Air League, an enrollment which the French must beat. It’s quite possibly the first French airplane poster ever printed!

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

AVIATION

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

Artist: Ernest Montaut (1879-1909) 45 5⁄8 x 62 7⁄8 in./116 x 159.6 cm Affiches Montaut & Mabileau, Paris Cond A. Ref: Looping the Loop, 26; Affiches d’Aviation, p. 51; PAI-LXXXII, 86 “On the heels of the Rheims meeting... a memorable exhibition was opened to the public at the Grand Palais in Paris.

Apart from a small collection previously shown at the 1908 Automobile Salon, this was the first time that aeroplanes representing the principal French manufacturers were assembled under one roof. Machines that had actually taken part in the Rheims meeting were included so that interested persons who had not been able to attend could obtain a close-up view of the Antoinette, Wright, Henry Farman biplanes, Louis Bréguet, and the diminutive Demoiselle constructed by Alberto Santos-Dumont. In the place of honor was Blériot’s Model XI with which he had conquered the English Channel. The huge public response left no doubt that the show would become a well-attended annual feature.

The arresting poster by Montaut, the same artist who had memorialized the meeting at Reims (see Grand Semaine d’Aviation, PAI-LXXVIII, 75), portrays in the foreground a primeval figure—seeming to be a blacksmith whose trade is hopelessly outmoded—gesturing toward those marvels in the sky. The Aviation Salon introduced by France was soon imitated in other countries, giving rise to a series of posters on the same subject” (Looping the Loop, p. 43-44).

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

AVIATION

75 75. Deutsche Luft Hansa. 1930.

Artist: Werner Beucke (1903-1940)

76

18 1⁄8 x 25 3⁄4 in./46.2 x 65.5 cm Cond A. Ref: PAI-LXXXIII, 88 Against a subdued sunset, a Junkers G 24 glides across the tarmac. Flown by Luft Hansa, the three-engine, all-metal low-wing monoplane was the first aircraft to fly passengers at night. The text below advertises heated cabins and heavily discounted winter prices.

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

76. Flugtage Altenrhein. 1929.

Artist: Willy Müller 35 1⁄4 x 50 1⁄ 8 in./89.5 x 127.3 cm Eidenbenz-Seitz, St. Gallen Cond B/Horizontal fold; slight tears and stains at edges.

Ref: PAI-XXIII, 403 This design for an air show provides an interesting juxtaposition of the natural and the mechanical. The big attraction is this odd-looking aircraft—a Dornier flying boat with six engines, and one of the biggest ever built—seen here from a very low angle, as we look up through cattails along the water’s edge.

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

77. Deutsche Zeppelin / 2 Days Across the Atlantic. ca. 1936.

Artist: Ottomar Anton (1895-1976) 23 1⁄2 x 32 7⁄8 in./59.5 x 83.5 cm Muhlmeister & Johler, Hamburg Cond B/Slight tears.

Ref (both var): Airlines, p. 37; PAI-LXXXIII, 90 One of Anton’s sleekest designs, this is a paean to the great zeppelin: its aluminum hull gleams in the golden early morning sunlight while the ocean, still swathed in a blue mist, obliterates the horizon. Anton took his apprenticeship at the Arno Kypke poster agency in Hamburg, went independent in 1921, and eventually taught at the Bremen High School of Art. This is a rare variant with the American Airlines imprint at upper left.

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

77

AVIATION

78

79 78. Aéro Club de France / Vincennes. 1931.

Artist: Don

80. South African Airways.

Artist: Anonymous

11 3⁄4 x 16 in./30 x 40.5 cm Imp. de L’Ae.C.F. Cond A.

23 x 35 in./58.5 x 89 cm Cond A/P.

Various aircraft zoom around the French tricolor to announce the French Aero Club’s air meet in Vincennes.

Co-hosted by the Parisian press union, the event aimed to benefit the aeronautics relief fund.

Est: $800-$1,000.

80

79. Veedol. 1936.

Artist: Anonymous 32 1⁄2 x 44 in./83.3 x 112 cm Cond B-/Slight tears and creases at top and bottom.

Let us not forget one of the most important elements of flying a massive zeppelin: the oil. Veedol was launched in America in 1913, and set its roots in Germany in 1925.

They hold several claims to fame: in 1914, Henry Ford selected Veedol for the world’s first mass-produced car, the Ford Model T. In 1928, Veedol was the chosen engine lubricant of the first airship to fly around the world—the Graf Zeppelin. It also powered the first nonstop flight across the Pacific Ocean. Here, both the Graf Zeppelin and Hindenburg are showcased.

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

81

This anonymous artist hedged a bet that viewers of this poster would have their hearts melted by a solo monkey hanging on to a tree branch—and we think he was correct. South African Airways was founded in Johannesburg in 1934; the airline joined Star Alliance in 2006, but suffered large losses of revenue. The global pandemic hasn’t helped matters, as South African was shut down in May 2020. The country is making attempts to revive the airway, so stay tuned for their comeback.

Est: $600-$800.

81. Cubana.

Artist: Anonymous 21 7⁄8 x 34 1⁄2 in./55.5 x 87.7 cm Harry W. Graff Cond A. Ref: PAI-XL, 94 The pre-Castro cartoonish message couldn’t possibly be any clearer—wherever you want to go, Cubana Airlines can get you there. Cubana began in October of 1929 as the Compania Nacional Cubana de Aviación Curtiss.

Formed by the Curtiss Aviation Group, Cubana began flights the following year. They lost the “Curtiss” in their name in 1932 when they were acquired by Pan American.

In the years following World War II, the Cubana fleet consisted of western aircraft including Bristol Britannias, Viscounts, and Constellations. Russian airliners replaced these after the revolution and were retained until the collapse of the Soviet Union in the late 1980s, at which point Cubana began to primarily employ DC10s and Fokker F-27s. Though service to the United States doesn’t exist, the airline services many international destinations, including Basel, Berlin, Brussels, Frankfurt, Cologne, London, Moscow, Munich, Paris, and Prague.

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

AVIATION

83

82 82. United Airlines / Colorado. ca. 1950.

Artist: Joseph Binder (1898-1972)

84. Fly TWA / Ireland. ca. 1964.

Artist: David Klein (1918-2005)

25 x 40 1⁄4 in./63.4 x 102.2 cm Cond A. Ref: PAI-LXXIV, 91

25 x 40 in./63.4 x 101.7 cm Cond A/P. Ref: PAI-LVII, 83

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

Klein collects Ireland’s historic castles, cathedrals, and towers and douses them in a wash of shamrock green to evoke the country’s verdant landscape. During the late ’60s and early ’70s, TWA was the world’s third-largest airline, and in 1969, it beat Pan Am’s record for most transatlantic passengers of any airline.

Est: $800-$1,000.

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

85. TWA / Spain. 1955.

Artist: David Klein (1918-2005)

83. BOAC / Tanganyika. ca. 1955.

Artist: Anonymous

25 x 40 in./63.4 x 101.7 cm Cond A/P. Ref: PAI-LX, 313

20 1⁄4 x 30 in./51.4 x 76.2 cm Storey Evans, Yorkshire Cond A.

Two smiling señoritas beckon us with their lively ethnic dress to visit Spain.

Now part of Tanzania, Tanganyika was administered by the United Kingdom until 1961. Here, the British Overseas Airway Corporation advertises flights to the British territory by emphasizing the abundant opportunities for viewing and photographing wild animals in their natural habitat.

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

84

Est: $600-$800.

85

AVIATION

87

86 86. TWA / Africa. ca. 1955.

Artist: David Klein (1918-2005)

89. Swissair / Israel. 1972.

Artist: Georg Gerster (1928-2019)

25 x 40 in./63.5 x 101.6 cm Cond A/P. Ref: Publicité, p. 195; PAI-LXXXIX, 125

25 1⁄4 x 40 1⁄8 in./64 x 102 cm Cond A/P.

With a tableaux of the tale of Hercules and the Centaur etched into his helmet, this ancient warrior touts all aspects of mythology in this promotion of Greece.

“In 1971 Swissair commissioned Georg Gerster to do twenty posters of different sites viewed from the air. This specialist of aerial photography had already raised his art to the highest level by seeking out unexpected subjects, astonishing views and carefully selected lighting for his very structured shots. This series of posters bears the acronym of Swissair designed in 1952 by Rudolf Bircher.

Its aim, to advertise the company’s destinations, was the same as that of previous campaigns, but it broke entirely new ground in the area of airline advertising. Georg Gerster’s posters might depict well-known locations... [but] by also selecting fairly unfrequented sites or situations that have nothing to do with tourism, he tried to make the public see the world—and mankind in general—differently.

These posters represent a complete break with the past.

They were extremely successful and won three prizes in the Swiss National Poster Competition in 1972” (Swiss Skies, p. 40). Design credit is given to Emil Schulthess and Hans Frei.

Est: $800-$1,000.

Est: $600-$800.

88. TWA / New York. ca. 1957.

Artist: Anonymous

90. Swissair / Philippines. 1972.

Artist: Georg Gerster (1928-2019)

25 x 39 3⁄4 in./63.5 x 101 cm Cond A-/Horizontal folds. P. Ref: PAI-LVIII, 292 (var)

25 1⁄4 x 40 in./64 x 101.6 cm Cond A/P.

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

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

87. TWA / Greece. 1955.

Artist: David Klein (1918-2005) 25 x 40 in./63.5 x 101.6 cm Cond A/P. Ref: PAI-LXXXIII, 102

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

Est: $800-$1,000.

88

For the Philippines, Gerster shows us a constellation of water lily groves floating off the coastline. In all, he contributed to Swissair’s advertising for two decades with his striking aerial photography. Design credit is given to Emil Schulthess and Hans Frei.

Est: $600-$800.

89

AVIATION

90

91

92

93

91. Piedmont Airlines / Dayton. ca. 1982.

Artist: Anonymous

92. Piedmont Airlines / San Francisco. ca. 1984.

Artist: Anonymous

24 x 35 7⁄8 in./61 x 91 cm Cond A/P.

24 x 35 7⁄8 in./61 x 91 cm Cond A/P.

Piedmont’s arrival in Dayton, Ohio in 1982 was wholly unconventional. In the midst of a recession, the city paid $15 million on facilities to welcome the new airline on a trial basis—Piedmont could end their 10-year lease if they weren’t successful. But they were, in fact, successful. Having a hub in Dayton let them extend service to other Midwestern cities with limited air service; according to an article in the New York Times, Piedmont grew faster than any other carrier in the nation except Southwest. Of course, Dayton’s other claim to fame is being the birthplace of the Wright brothers, who first soared the skies in 1903. About 80 years later, this artist celebrates the advancements of flight with a modern air show. Photography credit is given to Chris Sorensen.

Headquartered in Maryland, Piedmont began operations on the East Coast in 1962. The 1980s welcomed national and international route expansions; Los Angeles and San Francisco were added to the roster in 1984. Here, the up-and-coming airline takes advantage of San Francisco’s iconic Golden Gate Bridge to demonstrate their literal and metaphorical rise in the aviation industry.

Est: $600-$800.

Piedmont’s first jet flights took off in 1967 with East Coast destinations, including New York’s LaGuardia

Est: $600-$800.

93. Piedmont Airlines / New York. ca. 1984.

Artist: Anonymous 24 x 35 7⁄8 in./61 x 91 cm Cond A/P.

94 Airport. And what better way to advertise trips to the Big Apple than with a detailed shot of the Chrysler Building, ablaze in a Manhattan sunset?

Est: $600-$800.

94. VARIG / Exotic Amazon.

Artist: Anonymous 23 7⁄8 x 39 3⁄8 in./60.6 x 100 cm Ypiranga, S. Paulo-Rio Cond A/P. Wild pink flamingos basking among the lily pads provide a convincing argument to hop aboard VARIG and visit the Amazon. VARIG, or the Rio Grandean Airways, was Brazil’s first airline, founded in 1927; from 1965 to 1990, it was the country’s leading airline, and essentially the only international one. Behind our bathing birds, we can glimpse a Lockheed L-1049 Constellation.

Est: $800-$1,000.

AVIATION - CIRCUS

95

96 95. Lufthansa / New York. ca. 1970.

Artist: Anonymous 23 1⁄2 x 33 1⁄8 in./59.5 x 84 cm Cond A-/Slight creases at edges. P. Ref: PAI-LXXXIII, 105 For international travelers in the late 20th century, these glimmering city lights sufficed to immediately evoke New York City. The iconic Twin Towers at the center draw us straight into lower Manhattan, where the lights of the Financial District capture and reflect the brilliant sunset.

This poster by an anonymous designer is a dazzling testament to a New York that was.

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

96. American Airlines / New England.

Artist: Bern Hill (1911-1977) 29 7⁄8 x 40 in./75.8 x 101.4 cm Cond A. Ref: PAI-XLIV, 300 Hill was a freelance illustrator and painter. His clean, precise designs are marked by unusual perspectives, panoramic vantage points, and striking chiaroscuro.

Though he could count General Motors, American Airlines, Reader’s Digest, and the Saturday Evening

98

97

99

Post among his clients, Hill is perhaps best known for his depictions of trains that appeared on model railroad packaging and on the covers of railroad magazines. A native of Toronto, he also had a particular fondness for New England (Hill lived in Connecticut for most of his career), an attitude that comes across loud and clear in his advertisement for American Airlines’ service to the region. Most interestingly, Hill manages to underscore the area with one of the craft in American’s fleet without intruding into the scene—or even making the airplane a noticeable feature of the design, for that matter.

98. American Airlines / Japan.

Artist: Anonymous

Est: $800-$1,000.

99. American Airlines / Chicago. ca. 1959.

Artist: Henry K. Bencsathy (1909-1996)

97. American Airlines / Virginia. ca. 1957.

Artist: Bern Hill (1911-1977)

30 3⁄8 x 39 7⁄8 in./77.2 x 101.3 cm Cond A. Ref (both var): Affiches d’Aviation, p. 157; PAI-LVIII, 280

29 7⁄8 x 39 7⁄8 in./75.8 x 101.3 cm Cond A. Hill gives us a quaint provincial setting to promote travel to Virginia and to commemorate the 350th anniversary of the founding of the colony of Jamestown. The 1957 Jamestown Festival lasted eight months and drew over a million visitors, including then-Vice President Richard Nixon and Queen Elizabeth II. Est: $800-$1,000.

30 x 40 in./76.2 x 101.5 cm Cond A-/Slight creases. P. There’s no question that the allure of the exotic Far East has been a trope of advertising for eons. This anonymous artist adds a good dose of heartwarming charm by depicting a group of children in traditional dress.

Est: $600-$800.

This weighty, geometric depiction of Chicago renders the skyline along Lake Michigan with a Lego-like quality, while the name of the city announces itself proudly along the lake’s shore. Another version of this poster includes text at bottom for Pacific Air Lines.

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

CIRCUS

100

101

100. Miss Baldwin. ca. 1870.

Artist: Anonymous

101. The Lions / Nouveau Cirque. ca. 1894.

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

41 3⁄4 x 82 1⁄8 in./106 x 208.5 cm Calhoun Print, Hartford Cond A-/Unobtrusive folds.

Ref: PAI-XXXVIII, 39

57 1⁄ 8 x 78 in./145.2 x 198 cm Canning & Co., London Cond B+/Slight tears at folds.

Ref: PAI-XXIX, 568

Biblically speaking, the “Witch of Endor” is a creature that arrives on the scene in the First Book of Samuel and, at the command of King Saul, is reputed to have called up the ghost of the prophet Samuel, much to her own surprise. The original story was written about 1000 BC, and it is considered to be one of the strangest episodes of recorded Judeo-Christian history, since King Saul had ostensibly cleansed the land of Israel from all occult practices. Fast forward nearly three-thousand years and get a load of this “Modern Witch of Endor,” AKA Kitty Baldwin, AKA “The Rosicrucian Somnambulist.” Now, that last one might defy easy categorization, but this spectacular 3-sheet woodblock engraved poster magnificently incorporates all things profane and entertaining into one amazing package. Poised amidst this legion “From Beyond,” Miss Baldwin is the very picture of spooky panache. Kittie Baldwin (1852-?) was the stage name of Julia Clara Mansfield, born in Carthage, Missouri. Together with her husband, Samri S. Baldwin (1848-1924), they developed the “Second Sight Act,” the question and answer act used to this day by alleged mediums and spiritualists, even on national television on shows such as “Crossing Over.” They played throughout the world with much success until 1906, when the show folded after poor investments made by her husband. Rare!

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 mainly for 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.

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

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

CIRCUS

102

103 102. Kolzowa’s Dog-Pantomimes.

Artist: Anonymous 25 1⁄8 x 32 3⁄4 in./63.8 x 83 cm William Rohde, Hamburg Cond B+/Slight tears at edges.

Apparently, Kolzowa’s adorable troupe of dogs were not only well trained, but were highly capable of putting out fires as well. We’d love to know more about this performer and her acts, but sadly, no information seems to exist on this curious entertainer. Rare!

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

103. Neil O’Brien’s Super-Minstrels. 1904.

Artist: Anonymous 13 3⁄8 x 21 3⁄8 in./34 x 54.2 cm Cond A-/Slight stains at bottom edge. Framed.

Ref: PAI-LXXXIII, 167

104

This altogether stupefying display of attention-seizing promotional moxie is far less than politically correct, and far more memorable because of the brash, unapologetic approach taken. And though words fail to truly describe this spectacular window card that takes the O’Brien claim of being “The Mouth-Piece of Mirth and Melody” to a super-literal extreme, its visceral impact is astonishing.

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

104. Barnum & Bailey / Miss Duray Leonora. ca. 1899.

Artist: Anonymous 38 x 30 3⁄8 in./96.6 x 77.2 cm Strobridge Litho., Cincinnati Cond B-/Tears and stains at vertical fold.

Ref: PAI-LIV, 19 Miss Duray Leonora is described in the text here as a presenter of “fascinating exhibitions of nimbleness and agility, allied with the acme of graceful, modest and wonderful posing. Without doubt the greatest female contortionist ever seen, whose astonishing and chaste displays of suppleness have won her the title of the Cartilaginous Wonder.” Even more impressively, she appears to spell out her name in her various contortions, making this the height of circus script.

105

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

CIRCUS

105. Forepaugh & Sells Shows. 1911.

Artist: Anonymous 28 1⁄2 x 19 in./72.4 x 48 cm Strobridge Litho., Cincinnati Cond A-/Vertical fold.

Ref: PAI-LXXIV, 25 The great Adam Forepaugh and Sells Brothers Circus operated between 1896 and 1911, after which it folded itself into the Ringling Brothers and Barnum & Bailey Circus. This poster, from 1911, is Forepaugh’s last hurrah, and what a delirious extravaganza it is! On either side of the great clown head, sheer lunacy is erupting: daredevil drivers, giraffe-neck climbers, pig-carriage racers, head-popper-offers, firemen, thieves, sheriffs, ink-spillers, brass-band thumpers, and a cavalcade of incorrigible clowns abound. This is a half-sheet poster.

106

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

106. Barnum & Bailey / Race Between Runner and Thorough-Bred.

Artist: Anonymous 37 5⁄8 x 29 1⁄ 2 in./95.8 x 75 cm Strobridge Litho., Cincinnati Cond B/Stains at vertical fold.

Ref: PAI-LXXXIII, 163 With cameos of Barnum & Bailey’s founders, this design advertises an “earnestly contested race between the swiftest runner and the fleetest thorouhgh-bred (sic), ridden by an expert jockey.” Typos aside, it’s a strangely alluring promotion for an unconventional event.

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

107. Barnum & Bailey / Madame Olympia Desvall. 1914.

Artist: Anonymous 40 x 30 in./101.5 x 76.3 cm Strobridge Litho., Cincinnati Cond A-/Unobtrusive folds.

Ref: Fox-Parkinson, p. 213; PAI-LVIII, 47 Written up in several newspapers in the early 1910s, Madame Olympia Desvall was noted as a “graceful rider with a troupe of well-trained dogs.” By the time she joined Barnum & Bailey, her act had evolved to include horses, ponies, and birds, all of which would follow her around the ring, performing various adorable tricks.

107

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

108. Ringing Bros and Barnum & Bailey / Gargantua the Great. 1938.

Artist: Anonymous 40 5⁄ 8 x 27 5⁄ 8 in./103.3 x 70 cm Strobridge Litho., Cincinnati Cond B+/Unobtrusive folds.

Ref: Strobridge, 36 (var); Fox-Parkinson, p. 263; PAI-LVIII, 105 “Gargantua the Great... was the lead attraction of the Ringling Bros and Barnum & Bailey Combined Shows menagerie from 1938 to 1949. The circus was experiencing financial hardship entering the 1938 season and [the] show managers... were eager to revitalize the circus with the next big star. When animal caretaker Mrs. Gertrude Lintz approached [them] with the opportunity to purchase her gorilla for $10,000, the men quickly moved on the offer. The movie King Kong had been released not long before, in 1933, and circus management wanted to capitalize on the popularity of the classic tale of Man vs. Beast” (Strobridge, p. 164).

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

108

WAR & PROPAGANDA

109 109. Join the Marines! ca. 1918.

Artist: James Montgomery Flagg (1870-1960) 28 3⁄4 x 40 in./73 x 101.7 cm Cond A-/Tears in upper right margin.

Ref: Flagg, p. 66; Rawls, p. 250; Theofiles, p. 56 This poster is not only a rarity of Flagg’s work—it’s also a rare example of a war poster focused not on urgency and patriotic duty, but rather on a sense of excitement.

Travel? Adventure? Join the Marines! This fellow certainly seems to enjoy his exotic adventure of leopard-wrangling. And in a sea of recruitment posters touting duty and sacrifice, perhaps this image is exactly what young recruits needed to see to feel persuaded to enlist. It’s possible this poster resulted from rush printing; it appears to be printed directly from the maquette.

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

WAR & PROPAGANDA

110

111

110. Wake Up, America! 1917.

Artist: James Montgomery Flagg (1870-1960)

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

Artist: James Montgomery Flagg (1870-1960)

28 1⁄4 x 41 1⁄8 in./72 x 104.5 cm The Hegeman Print, New York Cond B+/Slight tears, largely at edges.

Ref: Rawls, cover & frontispiece; Theofiles, 7; Flagg, p. 68; PAI-LXXXII, 29

30 x 40 3⁄4 in./76.2 x 103.6 cm Leslie Judge Co., New York Cond A-/Unobtrusive folds.

Ref: Rawls, p. 13; Theofiles, 11; Darracott, p. 13; Le Coultre, p. 208; Flagg, p. 80; Imperial War Museum I, p. 27; PAI-LXXXIII, 46A

Columbia sleeps, clothed within the Stars and Stripes on a front-porch rocker in this alarm clock to the nation. One of the best and rarest of World War I posters, its slogan has been used as a title for innumerable books, including Rawls’ famous “World War I and the American Poster”—and its message is seemingly inexhaustible and just as potent today as 104 years ago.

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

Although Flagg was already a successful and prolific illustrator by the time World War I started, this poster was to become “his greatest public triumph.” He used himself as a model, and the work was “originally used on a Leslie’s Magazine cover in late 1916, and was quickly adopted by the Army when the war broke out. All told nearly 5 million were printed in both world wars” (Theofiles, p. 9). This poster includes the stamp of the U.S. Army recruiting station in Manchester, NH. Est: $8,000-$10,000.

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WAR & PROPAGANDA

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112 112. Fly With the U.S. Marines. 1920.

Artist: Howard Chandler Christy (1873-1952) 29 1⁄4 x 40 1⁄4 in./74.2 x 102 cm Cond B-/Restored tears and losses in corners.

Ref (both var): Rawls, p. 181; PAI-LXXIV, 49 Soar with the eagles in this exuberant post-World War I promotion for the U.S. Marine Corps. By 1920, Marine air bases had been established at Quantico, Parris Island, and San Diego; dive-bombing and midair refueling were already standard parts of their repertoire.

Howard Chandler Christy became famous for the “Christy Girl,” a successor to the “Gibson Girl,” and was the most popular portrait painter of the Jazz Age; he painted all the presidents from Harding to Truman.

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

113. Patriotic Turkey : Painting. 1918.

Artist: Orson Lowell (1871-1956) 25 1⁄4 x 30 3⁄8 in./64.5 x 77.2 cm Signed oil, gouache, and ink painting. Framed.

This is the original painting for what would become the cover of Leslie’s Magazine, published on November 23, 1918. Released just 12 days after World War I ended, the issue was subtitled “The War in Pictures.” Lowell appropriately combined the theme of the issue and the upcoming Thanksgiving holiday by giving us a pert turkey dressed in a combat helmet and the stars and stripes on his feathers. We just hope this turkey was spared from becoming dinner. Lowell was the son of a landscape painter; he studied at the Art Institute of Chicago before moving to New York, where he found immediate success creating illustrations for the top magazines of the time, including Scribner’s, Collier’s, and Life.

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

114

WAR & PROPAGANDA

114. Swat the Pest / Thrift Stamp. ca. 1917.

Artist: Harry Ballard 27 5⁄8 x 34 7⁄8 in./70.3 x 88.5 cm Signed oil, gouache, and ink painting. Framed.

With the Statue of Liberty looming on the horizon and Uncle Sam taking charge with his fly swatter, this very patriotic image takes the war initiative to a new humorous level. The 25-cent Thrift stamps bore no interest, and were meant to allow individuals to buy a War Savings Certificate stamp outright by accumulating a total of 16 Thrift stamps.

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

115

115. Colored Man is No Slacker. 1918.

Artist: Anonymous 15 3⁄4 x 20 in./40 x 50.7 cm E. G. Renesch, Chicago Cond B/Restored tears.

Ref: PAI-LXXXIII, 53 “Colored Man is No Slacker”—or rather, he’s no draft-dodger. For this World War I enlistment ad, an African American infantry unit marches with the American flag held aloft as a couple tenderly says goodbye. Patriotism is both literally illustrated and subtly implied with notes of red and white punctuating the flowers around the woman’s blue dress; “these are good people who serve their country,” the poster intones. In fact, more than 350,000 black men, trained and deployed in segregated units, served in the U.S. military during World War I, and 42,000 of them saw action in Europe. There’s no denying the conflation of American ideals at this time: Americans were encouraged to enlist, to form a strong united front, to fight the evils of Europe together—and yet the troops were segregated, and black men were usually given burdensome non-combat shifts. The Peters Sisters astutely highlighted this oxymoronic ideology in their 1919 poem, “The Slacker:” So when the Victory is won / And the world is at peace / When the shedding of blood is done / And mankind again is free / Uncle Sam, if giving up life / For the deliverance of men / Does not give all, equal rights / Who will be, the slacker then?

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

116. Jewish Relief Campaign / Share. 1915.

Artist: Alfred F. Burke (1893-1936) 29 3⁄4 x 40 in./75.3 x 101.5 cm Sackett & Wilhelms, Brooklyn, New York Cond B+/Slight tears at edges.

Ref: PAI-LVIII, 539 The Jewish Relief Campaign began in 1914 to help aid those affected

by World War I in both Europe and Palestine. Here, an allegorical figure of America benevolently offers necessities to a refugee family with the distant Statue of Liberty’s silhouette standing out against the dawn.

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

116

WAR & PROPAGANDA

117

119

118

117. I Want You For the Navy. 1917.

Artist: Howard Chandler Christy (1873-1952)

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

Artist: Howard Chandler Christy (1873-1952)

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

Artist: Howard Chandler Christy (1873-1952)

27 1⁄8 x 41 1⁄2 in./69 x 105.4 cm Forbes, Boston Cond A. Ref: Rawls, p. 78; PAI-LXXVI, 85

27 x 41 1⁄4 in./68.5 x 105 cm Cond A-/Slight creases.

Ref (all var but PAI): Rawls, p. 80; Theofiles, 46; Weill, 216; Darracott, 5; Rickards, 32; PAI-LXVII, 261

30 1⁄4 x 40 1⁄2 in./76.7 x 103 cm Cond A. Ref: Rawls, p. 249; PAI-LXVII, 262

This sultry Christy girl was created at precisely the same time as Flagg’s Uncle Sam, and both are saying “I Want You”—but with ever-so-slightly different inflections.

Not only is this an interesting comparison to Christy’s “Gee!! I Wish I Were a Man” (see next lot), but the sheer sexiness with which she dons the sailor’s dress uniform anticipates the Van Heusen shirt campaigns of many years later.

MoMA featured this world-famous Christy poster in its exhibition “Designing Modern Women 1890-1990,” which ran from October 2013-October 2014. They wrote of it, “In World War I, the front-line was not viewed as a place fit for a woman. While kept away from direct combat, however, women were a valuable asset in recruiting men to the navy. The winsome pin-up in ‘Gee!! I Wish I Were a Man’ (modeled by Mrs. E. LeRoy Finch) sports a fluttering naval uniform; the whole look and chatty tone was extremely effective in underscoring the masculine appeal of serving soldiers. Here was a woman worth fighting for. The poster was admired for its American ‘punch’ and ‘air of glad youth which came like a Spring wind over our war-weary spirits.’”

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

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

Similar to the previous image, Christy gives us an all-American lass in uniform to tempt us to join the Marines.

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

WAR & PROPAGANDA

120

121

122

120. Join the Black Toms. 1918.

Artist: W. F. Hoffman

121. Victory is a Question of Stamina. 1917.

Artist: Harvey Dunn (1884-1952)

122. Szociáldemokrata.

Artist: Bedö

19 x 25 1⁄4 in./48.2 x 64.2 cm Cond A. Ref: Rawls, p. 261; PAI-LXXXIII, 52

21 x 29 1⁄8 in./53.5 x 74 cm Latham Litho., Brooklyn Cond A-/Unobtrusive folds.

Ref: Theofiles, 84; Rawls, p. 168; PAI-LXXXIII, 49

22 5⁄8 x 32 7⁄8 in./57.4 x 83.5 cm Posner, Budapest Cond A.

Long before the organization of the Black Panthers, America had another panther mascot for the Tank Corps of the American Expeditionary Forces (AEF). In 1918, the Corps was established to assist the Allies fighting in Europe, and the National Army was authorized to recruit troops stateside. Though they achieved some success overseas, the branch was disbanded in 1920.

Here, Hoffman provides an intimidating leaping panther to prove that the tanks “treat ‘em rough.” The poster served to promote various recruitment offices around the country; this one calls recruits to Old City Hall in Pittsburgh.

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

“The War Department asked the Division [of Pictorial Publicity] to recommend eight artists to accompany the Army to Europe to document the fighting and the sacrifices of America’s doughboys. Among those chosen were Wallace Morgan and Harvey Dunn, whose work from the front was often used in the posters... This was the first time in any American war that colorful, patriotic posters were used to help win it, or that the fine arts were officially recognized for a role in achieving victory” (Rawls, p. 167-168). Here, Dunn’s experience on the front lines adds a palpable intensity to the message of providing “fuel” for fighters.

“The ‘Red Man with the Hammer’ is probably the image that is both most precise and telling and also the one most strongly associated with the name [Mihály] Biró.

The artist concentrated many physical and mental characteristics in it, such as power, insuperability, courage, but also determination, and political will; the political orientation was unambiguously defined by the red color... The Red Man became the symbol of Hungarian social democracy. As of 1913⁄1914, any HSDP activity was unthinkable without him” (Biró, p. 23-24). Here, an artist named Bedö has enlisted the Red Man to destroy the Nazi Party with his ever-present sledgehammer. Rare!

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

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

WAR & PROPAGANDA

123

125

124

123. U.S. Army / Wings Over America. 1939.

Artist: Thomas B. Woodburn (1893-1980)

125. “Fool the Axis–Use Prophylaxis.” 1942.

Artist: Arthur Szyk (1894-1951)

23 3⁄4 x 32 3⁄ 8 in./60.3 x 82.3 cm Cond A. Ref: Judd, C.35; Imperial War Museum II, p. 58

16 x 11 3⁄8 in./40.8 x 28.8 cm John Wyeth, Philadelphia Cond B+/Slight tears at folds.

Ref: Arthur Szyk, p. 219; PAI-LXIII, 568 (var)

In order to instill patriotic involvement in World War II, Woodburn enlisted the American Eagle to soar alongside a group of the U.S. Army Air Corp’s Seversky P-35 aircraft. Major Woodburn was head of the Army’s Recruiting Publicity Service, and according to a New Yorker article from August 24, 1940, he was “the only big scale advertising man in the country to paint his own pictures. As early as 1922 he did a recruiting poster. From 1929 to 1933 he was art director of the Recruiting Publicity Service, and in 1936 he was put in charge of it.”

One of the more humorous takes on warning US soldiers against sleeping with the enemy, this poster personifies gonorrhea, chancroid, and syphilis as Mussolini, Tojo, and Hitler respectively, the theory being that more troops were likely to fall sick from venereal disease than would actually die in the war. This is the smaller format.

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

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

124. Keep Calm and Carry On. 1939.

Artist: Anonymous

126. Free a Man to Fight. 1943.

Artist: Leslie Ragan (1897-1972)

15 x 20 in./38.2 x 50.7 cm Cond A/P. Ref: Graphic Design/Taschen, p. 319

20 x 28 in./50.8 x 71.2 cm Brett Lithographing Co., USA Cond A/P. Ref: PAI-LXX, 590

Although this poster is now iconic, it was never seen during its intended time. In 1939, the threat of invasion in the United Kingdom was imminent. The British Ministry of Information commissioned three posters to boost public morale, each with a motivational message and the royal crown at top. Two of the posters were widely disseminated (though not well received), but this one was held back, and meant to be displayed only once the German forces invaded and the country was weakened. The invasion never came, and the nearly 2.5 million copies of “Keep Calm and Carry On” were packed into storage; later, most copies were scrapped for pulp. This particular rare artifact was stowed away in a wardrobe in an old RAF airfield in Cambridgeshire.

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

While Ragan’s best work was created in promotion of travel aboard the New York Central System (see Nos. 416-419), 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: $1,700-$2,000.

WAR & PROPAGANDA

126

127

128

127. Car-Sharing Club. 1943.

Artist: Weimer Pursell (1906-1974)

128. Four Freedoms. 1943.

Artist: Norman Rockwell (1894-1978)

22 3⁄8 x 27 7⁄8 in./56.8 x 70.8 cm U.S. Government Printing Office, Washington, D.C. Cond B/Slight tears at folds.

Each: 40 1⁄2 x 56 in./102.7 x 142.2 cm U.S. Government Printing Office, Washington, D.C. Cond B+/Slight tears at folds.

Ref: Rockwell’s America, p. 204-207; Rockwell Illustrator, p. 134-149; American Posters, p. 24; PAI-LXVII, 491

Never has a solo car ride been so horrifying. But when it comes to propaganda posters, it’s all about harnessing fear to drive results. In this case, Pursell uses the threat of Hitler riding shotgun to incite Americans to save gasoline by joining a car-sharing club. Car ownership was a fairly new enjoyment for Americans, so convincing the public to change their habits was an issue perfectly suited to posters like this one. Plus, as Pursell intones, not rationing was akin to betraying your country.

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

The Four Freedoms are probably the most ambitious and serious work by Rockwell. New Yorkborn and trained, he became the artist of small-town America, best known for the 322 covers he painted for the Saturday Evening Post between 1916 and 1963, some of which were also produced as posters. A supreme draftsman, his unique ability to give visual expression to the American Dream was also employed in major advertising campaigns, including that of the U.S. Government for support of the War Effort. It was FDR who distilled the causes for which we were fighting into Four Freedoms. Only Rockwell could have represented such big ideas in his homey, folksy way without over-sentimentalizing or trivializing them. He undertook the paintings on his own initiative. It was only after he had failed to interest the government in them and they had been published in the Saturday Evening Post that the government saw their potential and used them in poster campaigns for both the war effort in general, and specifically War Bonds. Not only were they a popular success, but FDR himself expressed his happiness with them. The original paintings are in the Rockwell Museum in Stockbridge, Massachusetts.

This is the larger format version of the series.

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

WAR & PROPAGANDA - FILM

130 129. Together We Win. 1943.

Artist: Courtney Allen (1896-1969)

129

28 1⁄4 x 40 in./71.8 x 101.6 cm U.S. Government Printing Office, Washington, D.C. Cond B+/Slight tears at folds.

Uncle Sam, a factory worker, and a businessman unite in this morale-boosting image from the Second World War. Rare!

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

130. The Spirit of ’46. 1946.

Artist: Newell Convers Wyeth (1882-1945) 27 3⁄8 x 44 1⁄4 in./69.5 x 112.4 cm Cond A/With original mailer folds.

Ref: PAI-LXXVII, 98 With a nod to Archibald M. Willard’s well-known American Revolution painting, “The Spirit of ’76” (included as a small drawing in the bottom panel), Wyeth portrays patriotism WWII-style with a factory scene at shift’s end. Everybody is seen working together— soldiers, sailors, airmen—and all are rendered with the superb technique and composition that made Wyeth one of the favored children’s illustrators and muralists of his day. This offset-printed piece—created using a Wyeth painting after the artist’s death—was sponsored by the Hercules Powder Co. of Wilmington, Delaware. They describe themselves at the bottom of the poster as “manufacturers of chemical materials for industry.”

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

131. Day of the Jewish Soldier. 1941.

Artist: Franz Kraus (1905-1998) 23 3⁄4 x 36 in./60.5 x 91.5 cm Cond A. Based on a photograph by Alfons Himmelreich, Kraus depicts a Jewish soldier wearing a British Army helmet to announce the Jewish Soldier’s Day, held in April 1941. The event honored the volunteers of the Jewish Yishuv to the British Army and took place three times in Palestine from 1941-1943. The events included parades, public meetings, and sports competitions, which helped raise funds for the soldiers’ families. Kraus grew up in Graz, Austria, and then worked as a graphic designer in Berlin. In 1934, he and his wife immigrated to Palestine before settling in Tel Aviv, where Kraus continued his career in advertising and poster design. This silkscreen poster is hand-signed by the artist.

131

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

FILM

134 132. Charlie Chaplin / Garçon de Café. ca. 1918.

Artist: Anonymous

132

45 5⁄8 x 61 3⁄4 in./116 x 157 cm Cond B/Slight tears at folds; stain at upper right.

Ref: Chaplin, p. 23; PAI-LXXIII, 184 This is a superb interpretation of Chaplin’s physical comedy, produced for the French release of 1914’s “Caught in a Cabaret.” This film was made when Charlie had only about three months’ experience in the movies, but already he shared director’s credit with his more experienced co-star, Mabel Normand. He plays a waiter who tries to impress a society girl by pretending to be a visiting diplomat, only to have it backfire on him when she and her friends go slumming the next day and visit the dive in which he works. This results in the first of many pies to Chaplin’s face.

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

133. Der Frieden mit der Ukraine. 1918.

Artist: Hans Rudi Erdt (1883-1918) 37 1⁄ 8 x 55 7⁄ 8 in./94.4 x 142 cm Hollerbaum & Schmidt, Berlin Cond B+/Slight tears, largely at seam and folds.

Erdt studied lithography in Munich before joining Hollerbaum and Schmidt around 1908, where he joined the Berlin School of artists and designers and contributed generously to the Sachplakat movement. Here, he applies his bold typography, minimalist shapes, and a clean geometric composition to an announcement for a new film translated as “Peace with Ukraine.” On February 8, 1918, the first World War I peace treaty was signed to grant independence to the Ukrainian People’s Republic from Soviet Russia. It is considered to be the first diplomatic treaty ever to be filmed. This is a two-sheet poster—and rare!

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

134. Våghalsiga Jack. ca. 1922.

Artist: Anonymous 22 1⁄ 2 x 35 1⁄4 in./57.3 x 89.5 cm J. Olsens, Stockholm Cond A-/Slight tears and creases at edges. P. This dramatic scene advertises the Swedish release of “Daredevil Jack,” an American silent film serial directed by W. S. Van Dyke and starring heavyweight champion Jack Dempsey across from Lon Chaney as the film’s villain. This is the second chapter of the 15-part series, titled “Racing with the California Express.” The series was very popular at the time, but only incomplete portions of the serial exist today. Rare!

133

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

FILM

135. Carpentier-Cook. 1922.

Artist: Anonymous 42 x 58 in./106.7 x 147.3 cm Imp. Gaumont, Paris Cond B+/Slight tears at folds and edges.

Ref: Sport à l’Affiche, 142 World champion Georges Carpentier took on Australian George Cook in the European Championship on January 12, 1922. This was Carpentier’s return to the ring after a painful defeat by Jack Dempsey in July, 1921.

The arena, London’s Albert Hall, was packed with men in tuxedos and large numbers of women—a controversial audience at the time.

Carpentier knocked out Cook in the fourth round, securing his stature in the world of boxing. “The great sensational match” was recorded and released as a film by Gaumont. This anonymous artist created a stirring scene of the two men positioning themselves before the first blow falls; the aforementioned tuxedoed men gaze on in anticipation from the shadows. This is the only known copy of this poster—rare indeed!

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

136. John Barrymore : Painting. ca. 1927.

Artist: James Montgomery Flagg (1870-1960) 19 5⁄8 x 24 in./49.7 x 61 cm Signed oil painting on board. Framed.

135

Alongside his notorious poster career, Flagg was a finessed illustrator and painter. He often created portraits of his closest friends, such as the actor John Barrymore. This dramatic image depicts Barrymore in the role of the 15th century French poet François Villon, as featured in the 1927 silent film, “The Beloved Rogue.” “Barrymore’s friendship with Flagg was notorious... As an actor, Barrymore was a genius (’In whatever role Jack played he was great’), but Flagg also loved the man: ‘A great scholar, a great actor, a great occultist, a great drinker, a great swordsman, a great conversationist, a great companion, a great wit and great gent... I want to underline the fact that in spite of Jack’s drinking, he had something that transcended this obvious weakness, that shone through the unhappy fumes like a sunrise through mist. People who loved him know that’” (Flagg, p. 29).

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

137. Die Schlacht. ca. 1934.

Artist: Emmerich Weninger (1909-1971) 48 7⁄8 x 110 in./124.2 x 279.5 cm Waldheim-Eberle, Wien Cond B+/Slight tears at folds.

Adapted from the 1909 novel by Claude Farrère (“La bataille”), Nicolas Farkas directed this film about the 1904 Russo-Japanese war. Here, for its Austrian release, Weninger focused on the romantic aspect of the plot: an English officer on board a Japanese ship falls in love with the commander’s wife. The star of the film, Anabella, was one of the most popular French actresses of the 1930s.

This is a three-sheet poster. Rare!

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

138. Zou-Zou. 1934.

Artist: Anonymous 13 1⁄2 x 18 1⁄8 in./34.3 x 46 cm Edicolor, Belgium Cond A. Framed.

Ref: Josephine Baker/Images & Icon, pl. 28; PAI-LXXXIII, 181 This French film chronicles the lives of orphans Zou-Zou and Jean, paired up as twins in a traveling circus despite the fact that she is dark and he is light. As they grow older, her feelings for him take on a romantic connotation while he falls in love with her friend Claire.

Despite this lovelorn drama, Zou-Zou eventually becomes a star performer in her own right.

136

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

FILM

138

137 139. Vingar i Mörkret. ca. 1935.

Artist: Mauritz (Moje) Åslund (1904-1968)

140. Skarby Sultana / The Story of Little Muck. 1954.

Artist: Adam Bowbelski (1903-1968)

27 x 39 1⁄2 in./68.5 x 100 cm Krokotryck, Stockholm Cond B/Slight tears at folds; stains at bottom edge.

23 3⁄4 x 33 1⁄ 2 in./60.2 x 85.2 cm Cond A-/Slight tears at right edge.

Ref: Polnische Filmplakat, p. 8; Polish Film, 312

“Wings in the Dark” was an American film starring Cary Grant and Myrna Loy. Loy plays a stunt pilot named Sheila Mason; Grant plays an ace pilot named Ken Gordon, who is trying to perfect his autopilot design system. After a stove accident, Ken loses his sight while Myrna falls in love with him. Then, on a flight through stormy weather, Ken helps navigate Myrna to safety using his autopilot invention. Although the plot was largely criticized, Grant and Loy were praised for their performances, and went on to produce two more films together.

“The Story of Little Muck” was an East German film directed by Wolfgang Staudte, adapted from the 19th century fairy tale, “Little Muck.” The rags-to-riches tale traces the life of Muck, a Middle Eastern artisan with a hunchback who faces discrimination—until a pair of magic boots and staff help him find happiness and respect. Bowbelski shows us Muck at the height of his game with his enchanted accessories atop an elephant. Bowbelski himself had a tumultuous life: born in Vladivostok, he studied architecture and fine art in Warsaw before becoming partner at a graphic design firm that produced advertising posters. In 1940, he was arrested in Warsaw and deported to Auschwitz. He worked for the SS as a blacksmith, furniture maker, landscape painter, and glass artist. In 1942, he was released from the camp; his works are now included in the collections of the Wilanow Poster Museum, the History Museum of the Polish Revolutionary Movement, and the AuschwitzBirkenau State Museum.

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

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

139

140

FILM - AUSTRALIA & NEW ZEALAND

142

141

143

141. Tosca. 1917.

Artist: Tito Corbella (1885-1966)

142. Maciwody z VIIb. 1954.

Artist: Konstanty Maria Sopocko (1903-1992)

143. Premiers Jeux Africains. ca. 1965.

Artist: Anonymous

37 1⁄2 x 107 in./95.3 x 272 cm E. Guazzoni, Roma Cond B+/Slight stains at folds and edges.

Ref: Schermi di Carta, p. 81 (var); PAI-XLVII, 223

23 5⁄8 x 33 5⁄8 in./60 x 85.3 cm Dom S. Iowa Polskiego Cond A-/Slight stains at edges. P.

30 3⁄4 x 47 3⁄4 in./78 x 121 cm Serma, France Cond B+/Unobtrusive folds.

Directed by Wolfgang Schleif, “Die Störenfriede” (The Troublemakers) was a family-friendly film produced in East Germany. For the Polish release, Sopocko created this dramatic scene that reflects his specialty in woodcutting.

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

For the thirteen years before Giacomo Puccini’s 1900 introduction of Tosca as an opera, the work was known to the public as a romantic tragedy written for Sarah Bernhardt

by Victorien Sardou. Here, for the silent-film version of the play, we have a heroine who looks very Bo-Peepish in comparison to the opera’s knife-wielding prima donna.

Framed by weeping willows and holding a beribboned dagger-staff, she wears delicate high heels and a costume that hardly dates from 1800 when the action supposedly takes place. With brown ringlets and heavy-lidded eyes, her face is rendered in much more detail than the rest of the design—in all likelihood because it is meant to be a portrait of the unnamed star. This is a two-sheet poster.

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

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

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

AUSTRALIA & NEW ZEALAND

145

144 144. Australia.

Artist: Percy Trompf (1902-1964)

145. Western Australia’s Centenary. ca. 1929.

Artist: Percy Trompf (1902-1964)

24 7⁄8 x 39 1⁄2 in./63.2 x 100.3 cm Moore-Young Litho., Melbourne Cond B/Slight tears in bottom text area. Framed.

Ref: PAI-XXXVII, 534

24 x 39 1⁄8 in./61 x 99.5 cm Cond B/Slight tears at edges.

Many geographic aspects pop to mind when one hears mention of Australia, such as the Great Barrier Reef, but rain forests aren’t necessarily one of them, most likely due to the equatorial nature of this region. And yet, some of the most breathtaking rain forests in the world are located in tropical North Queensland, stretching from Townsville to Cooktown. Trompf puts a very civilized veneer on all of this spectacular scenery and rugged topography, making the entire affair out to be a rather pleasant walk in a very exotic park. Trompf studied at the Ballarat Technical Art School before relocating to Melbourne in 1923, where he established his reputation as a freelance artist specializing in posters before opening his own design studio. The Australian landscape and wildlife directly influenced his output. By the 1930s, Trompf’s brightly colored posters were well known in Australia and his work had attracted attention in both Britain and North America.

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

A local sheep herder invites us to celebrate Western Australia’s centenary of the founding of Perth and the establishment of the Swan River Colony, the first permanent European settlement in that part of the country. It’s a quaint pictorial scene that could almost be mistaken for the American West.

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

AUSTRALIA & NEW ZEALAND

147

146

148

146. Australia / Surf Club. 1936.

Artist: Gert Sellheim (1901-1970)

147. Western Australia.

Artist: Anonymous

25 1⁄8 x 40 1⁄4 in./64 x 102.2 cm Sands & McDougall, Melbourne Cond A. Ref: Encyclopédie/Weill, p. 208; Weill/Art Deco, p. 108; Crouse/Deco, p. 276

25 1⁄2 x 39 1⁄8 in./64.7 x 99.4 cm Cond B+/Slight tear at horizontal fold and at bottom text.

“Sellheim’s rarest and most famous poster is Surf Club. It depicts a team of five female lifeguards performing a reel-and-line rescue exercise, a subtle way to assure seaside visitors that they will be safe while they enjoy all the thrills the sea has to offer. The blue surf, accentuated by stylized waves, the sandy yellow beach, and the bronzed lifeguards all combine with Sellheim’s expert use of diagonals and geometric patterns to result in a true art deco masterpiece” (Crouse/Deco, p. 279). Gert Sellheim was born in Estonia and studied architecture in Berlin, Munich, and Graz before migrating to Australia in 1926, where he spent two years working as a farm laborer before his architectural qualifications were recognized. Moving to Melbourne in 1930 must have supplied him with lithographic inspiration, as he began designing posters the following year. Sellheim designed the famous flying kangaroo symbol for Qantas airlines, as well as the 1948 two-shilling “Aboriginal Art” stamp.

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

This anonymous artist gives us a dramatic vista of Castle Rock in the Porongurup Range in the Great Southern region of Western Australia. At the top of the summit, travelers can take in the 360 degree panoramic view, as well as the unusual “Balancing Rock,” a 20-foot high boulder weighing about 410 thousand pounds that rests on a base of just 13 square feet.

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

AUSTRALIA & NEW ZEALAND

148. P & O to Australia. 1928.

Artist: Charles Dixon (1872-1934) 24 3⁄4 x 39 in./63 x 99 cm Cond B/Slight tears.

Ref: PAI-LXXXIII, 73 By the mid-1910s, the Peninsular & Oriental Steam Navigation Company was one of the largest passenger lines in the world with around 500 ships in its fleet. Christened on the same day, the RMS Mooltan (shown in this poster) and her sister ship the RMS Maloja were not only the largest two boats owned by P&O, but also the largest ships that could pass through the Suez Canal. Both of their routes took them from England to Australia via Colombo, though as this poster points out, other destinations as exotic as Egypt and Japan were also possible.

149

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

149. Australia / Great Barrier Coral Reef. ca. 1932.

Artist: James Northfield (1887-1973) 24 3⁄4 x 39 3⁄4 in./63 x 101 cm J. E. Hackett, Melbourne Cond A-/Unobtrusive folds. Framed.

Ref: PAI-XXXVII, 446 The Great Barrier Reef, off Australia’s east coast, is widely acclaimed as one of the world’s great natural treasures. Currently, more than two million people visit the reef each year. That number was obviously not as elevated when Northfield angled to draw a few more outdoor sportsmen to the area with this action poster, featuring both above and underwater lures.

With the multitude of fish in the Barrier Reef region, it’s easy to see why it would be promotionally touted as a fisherman’s paradise. And though sport fishing is still a major attraction, the contemporary realities of conservation have required that various parts of reef are protected with restricted fishing. Even with its various environmental challenges, the Great Barrier Reef retains its environment of extraordinary beauty and richness, with a diversity of plant, animal, and sea life that makes it an essential part of Australia’s natural heritage.

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

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

Artist: Eileen Mayo (1906-1994) 25 x 39 1⁄4 in./63.5 x 99.6 cm Lith. McLaren, Melbourne Cond A-/Slight stains at edges. Framed.

Ref: PAI-LXXXIII, 376 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.

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

150

AUSTRALIA & NEW ZEALAND - INTERNATIONAL POSTERS A-Z

151

154 151. BOAC / Qantas / Australia. 1954.

Artist: Maurice Laban (1912-1970)

Australia’s Qantas Airline joins forces with the British Overseas Airways Corporation to bring travelers to the land down under. Laban uses his playful mid-century Modern aesthetic to give us a nighttime view of the Sydney Harbor Bridge and the surrounding neighborhood.

This is a silk-screened poster, numbered 54 of 628.

Commissioned to produce a poster for Australia, I flew around the island continent. Ansett Airlines, Swissair’s partner in Australia, offered me as many free flights as I wanted on their domestic network, in return for the right to later present all the poster candidates I’d suggest to Swissair in their in-flight magazine. When I had spotted potential sights from airliners on standard routes, after landing I chartered a small plane to make them out more clearly from a lower height.” This poster, showing the Great Barrier Reef, gives design credit to Emil Schulthess and Hans Frei.

Est: $800-$1,000.

Est: $600-$800.

152. American Airlines / Australia. ca. 1969.

Artist: Anonymous

154. New Zealand. ca. 1935.

Artist: Leonard Cornwall Mitchell (1901-1971)

30 x 40 3⁄8 in./76.2 x 102.5 cm Cond A.

26 x 39 1⁄2 in./66 x 100.3 cm G. H. Loney, Wellington Cond A-/Slight tears at edges.

Ref: PAI-XXXVIII, 445

20 x 30 in./50.7 x 76.2 cm Cond A/P.

152

The Sydney Opera House is undoubtedly Australia’s most beloved landmark, so this designer draws on its winglike shapes to find a vibrant echo in the sails below. It’s simple, straightforward, and certainly eye-catching.

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

153. Swissair / Australia. 1979.

Artist: Georg Gerster (1928-2019) 25 1⁄4 x 40 1⁄4 in./64 x 102 cm Cond A/P. Ref: Swiss Skies, 41

153

“In 1979 Georg Gerster was commissioned to do another series, as part of Swissair’s forthcoming commemoration of its fiftieth anniversary in 1981” (Swiss Skies, p. 42).

On his website, Gerster wrote, “It goes without saying that producing the images in all the continents was a dream job. I had free reign in terms of scouting motifs...

So convinced is New Zealand’s Tourist Department of the untouched splendor of Mount Egmont that all they ask of designer Mitchell is to show the rest of the world precisely what they’re missing. And what they’re missing is an active volcano also known as Taranaki that last erupted in 1755. Easily one of the most beautiful volcanic cones anywhere in the world, Mount Egmont is New Zealand’s largest and most spectacular volcano. A national park since 1900, Taranaki is home to a number of beautiful walks through verdant forest to waterfalls, wetlands, and excellent elevated viewpoints.

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

A-Z | ANONYMOUS

155

156

157

Anonymous 155. Cincinnati Locomotive Works. ca. 1863.

156. Grand Condé. 1875.

157. Le Parricide. ca. 1875.

39 x 23 3⁄4 in./99 x 60.2 cm Middleton, Strobridge & Co., Cincinnati Cond B-/Slight tears and stains, largely near edges.

Framed.

37 x 51 1⁄8 in./93.8 x 130 cm Lith. Van Geleyn, Paris Cond A-/Unobtrusive folds.

32 3⁄4 x 47 1⁄ 8 in./83 x 119.7 cm Typographie Morris Cond B/Slight tears and stains at folds.

In an 1865 handbook for travelers, Grand Condé is listed under the category of silk mercers (or traders), and is mentioned as being “well-known for the rich and attractive display of the windows.” In this woodblock engraving, an anonymous artist promotes the store with an image of its namesake, Louis de Bourbon, Prince of Condé. The text tells us that we’ll find a “Considerable choice of novelties & confections of all kinds. House known to always sell with confidence & very inexpensively.” The Bibliothèque nationale de France has this work in its collection, and dates it to 1875. Rare!

Released in 1875 by Le Journal du Dimanche, “Le Parricide” was a short story written by Adolphe Belot and Jules Dautin; they later adapted it as a play as well. The story traces two returned convicts who murder an elderly lady and frame her son. With the help of the police chief, the convicts are eventually caught and justice is served. This poster has a black and white tip-on printed by Lemercier in Paris; the woodblock engraving was done by Morris. Rare!

The Moore and Richardson Locomotive Works were in operation from approximately 1845-1868. During this time, they built and rebuilt hundreds of locomotives; their innovative adaptations and efficient means of production put them in high demand. They were also the only midwestern builder in production at the time.

In this highly detailed lithograph, we can take in all the ornamental and engineering details of a freshly built Moore & Richardson train. As for the printing: from 1859 to 1865, the Strobridge company was named Middleton, Strobridge, & Company for founder Elijah C. Middleton, who left the firm in 1861.

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

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

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

ANONYMOUS | A-Z

158

158. Sutro Baths. 1896.

79 x 72 3⁄8 in./200.7 x 184 cm Program: Louis Roech, San Francisco Cond B/Slight tears, largely at bottom edge. Framed.

Ref: PAI-LXXXIII, 188 “Is this real?” That’s the first question we receive on this magnificent work. The answer is yes—it was. The Sutro Baths, founded in 1896, were situated on Point Lobos, San Francisco, not far from the Cliff House. The brainchild of the German immigrant and self-made millionaire Adolphe Sutro, the rococo palace housed seven swimming pools (one freshwater, six saltwater) plus 517 changing rooms, and could accommodate an unfathomable 7,400 bathers. This rare six-sheet billboard provides a panoramic view of the interior with exquisite detail. The Sutro Baths survived until 1966, when a demolition crew began work dismantling the structure for a new multi-use compound, and one of their crew members set the building on fire. Ironically, the blaze started with a pile of old posters. The project was then abandoned, but its ruins can still be seen, and it has a historical marker on Google Maps, identified by this very poster.

This work has aroused an extraordinary amount of interest, so do not hesitate on the diving board. This lot includes a framed sign with program information.

Est: $8,000-$10,000. (2)

A-Z | ANONYMOUS

159

Anonymous

160

(Continued)

159. Villaret. ca. 1880.

160. Harrison’s Electric Fire Resisting Paint. ca. 1896.

36 1⁄2 x 49 3⁄4 in./92.6 x 126.4 cm Lith. Van Geleyn, Paris Cond A-/Slight stains at edges.

39 7⁄8 x 83 1⁄2 in./101.2 x 212.2 cm H. A. Thomas & Wylie, New York Cond B+/Slight tears at folds.

Ref: L’Estampe et l’Affiche, May 1897, p. 97

This fantastical image advertises the Villaret paper merchants who specialize in cigarette papers. The text below tells us that “Our papers are very fine and strong... our superior manufacturing is carefully refined. In the 19th century, it is no longer believable that papers can be made with imaginary plants or fantastic vats.” Nevertheless, this anonymous artist presents us with a very dreamlike vision. This is a woodblock engraving with hand coloring. Rare!

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

“In the middle of a shower of flames at the height of violence, a worker, his arms bare, painting, with a very simple gesture; near him, a huge colored truck bearing the mark of the manufacturer whose product it is about to brag. The subject is quite clear and easily interpretable by all, a broad and masterful execution; the artist has treated the lithograph with a magnitude that does not recall any known replica. The lithography thus understood takes on an unexpected vigor, and one glimpses the almost limitless resources which one will find on the day when true artists will work side by side with the practitioners of yesteryear. The lettering at the top is readable, well proportioned by someone who understood and solved all the difficulties. A slight reproach: the head a little small and touching too closely the upper limit of the piece, but the text seemed long and we did not want to compromise the beautiful balance” (L’Estampe et l’Affiche, May, 1897). This is a rare four-sheet poster.

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

ANONYMOUS | A-Z

162 161

161. H. L. Ettman / Sponges and Chamois. 1897.

27 7⁄ 8 x 22 in./71 x 56 cm Cond A. Framed.

This delightfully fanciful image details the ins and outs of sponge fishing for the H. L. Ettman company of St. Louis. Each diver is numbered with a key at bottom which explains their various methods and obstacles: 14 lost his senses and fell back and was drowned, 24 tries to pull a sponge out by the roots, 31 catches 32 by the hair as he comes up from diving, 35 is trying to get away from a shark, while 36 has been destroyed by said shark.

And though the throngs of potbellied nude bodies seem comical, this is in fact how sponges were traditionally retrieved. In Greece, men—usually naked—would freedive underwater, carrying a 33 pound stone tied to a rope to reach the bottom quickly. They then cut the sponge loose and put a special net around it. Of course, the diver had to hold his breath, often for up to 5 minutes. Rare!

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

162. The Johnston Harvester Co. 25 x 35 in./63.7 x 89 cm Strobridge Litho., Cincinnati Cond A-/Slight tears and stains at edges.

The Johnston Harvester Co. dates back to 1868, when it was founded in Brockport, New York. Two years later, the company set up a branch in Paris to sell their farming machinery and equipment. This idyllic American scene advertises their many innovations—corn binders, rakes, mowers, and more—to Parisians, as indicated by the French tax stamp at the lower left. Rare!

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

163. United Kingdom Teas. ca. 1900.

59 x 77 5⁄8 in./158 x 197.2 cm Cond A-/Unobtrusive vertical fold.

This London-based tea company had a direct-toconsumer model by purchasing tea directly from importers at the London Market in Mincing Lane, and then selling the packaged product to the consumer from their offices a few doors down. In their promotional materials, they tout the unmatched quality of the teas and the unbeatable prices. Here, three Victorian ladies representing Scotland, England, and Ireland drink their United Kingdom Teas with prim and proper composure. This is a two-sheet poster.

163

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

A-Z | ANONYMOUS

164

Anonymous

(Continued)

164. Kabuki. ca. 1900.

37 x 47 3⁄4 in./94 x 121.2 cm Overall excellent condition. Framed.

This absolutely incredible hand-colored poster promotes the kabuki theatre presentation being mounted at the Japanese Pavilion during the Paris 1900 World’s Fair. Not only are the vivid colors and diptych composition fascinating, but it’s also an intriguing design when placed into its appropriate historical context. At the dawn of the twentieth century, Japan was just starting to sow its colonial oats, as well as opening itself to trade with the rest of the world after centuries of isolation. Japanese prints had already become popular in Europe in the 1860s, and the term Japonisme was coined in 1872. But the Japanese Pavilion in 1900 allowed the country to display its art, theatre, and dance on a larger scale—and to a larger audience—than ever before. And prints were just the tipping point for European enthusiasts; performances by Japanese actress and dancer Sada Yacco would in turn influence the works of Loïe Fuller and Isadora Duncan. If Europeans weren’t already enthralled with Japonisme, they would be after attending this fair. Rare!

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

ANONYMOUS | A-Z

165 165. Ambassadeurs / Les Minstrels Parisiens.

35 1⁄8 x 48 in./89.2 x 122.5 cm Ch. Levy, Paris Cond B+/Slight tears at folds.

Ref: PAI-LXXXIII, 166 Though minstrelsy in France dates back to 1672, the Belle Époque saw a resurgence of street singers performing at cabarets like the Ambassadeurs. Here, in humorous caricature, Les Minstrels Parisiens tout their upcoming burlesque performances. The British Pick-Me-Up magazine gave them a favorable review for their show at the Palace, writing, “They describe themselves as street-singers, but they have certainly elevated street-singing into a fine art. Their voices are delightfully melodious, and they never, as in this kind of work they so easily might do, indulge in undue exaggeration... It is to be hoped that the stay of these delightful artists in this country will be prolonged as long as possible.”

166

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

166. Bi Bo Bi. ca. 1900.

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

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

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

167. Le Train de Plaisir. 1903.

49 1⁄4 x 70 5⁄8 in./125 x 179.5 cm Affiches Louis Galice, Paris Cond B+/Slight tears and stains at edges.

Ref: Collectionneur, p. 117 This vaudeville play in four acts takes its name from the first French train line, built in 1837. The “train of pleasure” inspired a wealth of songs, operettas, vaudevilles, and films. This one, written by Alfred Hennequin, Mortier, and Saint-Albin, promises that the story is “frank, healthy, honest, hilarious.” In the play, a newlywed couple take the train to Monaco, which breaks down in a snowstorm, and the passengers have to dig the train out. Arriving in Monte-Carlo, the travelers have lost their luggage, as well as all of their money at the casino. They are then hired as servants, but are accused of being criminals and are imprisoned. In the bottom vignette, they are being questioned by the commissioner. Somehow, the story manages to find a happy ending. Rare!

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

167

A-Z | ANONYMOUS

168

171

Anonymous

(Continued)

168. San Francisco’s Christmas Festival.

170. Zolforatrice. ca. 1910.

16 x 23 1⁄4 in./40.6 x 59 cm Cond A.

28 3⁄4 x 39 3⁄8 in./73 x 100 cm A. Cantarella, Milan Cond A-/Slight tears at edges.

The Southern Pacific railway advertises trips to San Francisco’s Christmas Festival with a jolly Santa and streamers flying high over the city lights.

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

169 169. Grand Palais / 3me Foire de Paris. 1906.

38 1⁄4 x 54 1⁄2 in./97.3 x 138.3 cm La Lithographie Parisienne, Paris Cond A-/Slight tear in top margin.

Ref: PAI-XXIX, 167 The annual Paris Fair was a large international industrial exhibition which attracted not only manufacturers from around the world, but also posterists who vied for the honor of having their design selected as the official poster of the event. The unknown illustrator who took the honors for the graphic promotion of the third fair not only does a marvelous job of incorporating the various envoys of French commerce into his design, but he does it with the inclusion of a lovely wing-tressed caduceustoting goddess of industry whose checklist includes the cities which help to create the Gallic industrial machine.

The bottom text makes it perfectly clear, however, that retail sales at the fair are strictly prohibited.

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

170

With all the panache of Italian Art Nouveau, this elegant image advertises a sulfuric fertilizer for the hobby viticulturist. Here, our gardener demonstrates the benefits of the product on vineyard grapes. Rare!

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

171. Concert Damia. 1917.

30 1⁄ 2 x 46 1⁄ 8 in./78.3 x 117 cm Affiches F. Garric, Paris Cond B/Slight tears at edges.

French chanteuse Damia (Marie-Louise Damien, 18891978) debuted with a performance at the Alhambra in 1911 followed by performances at the Alcazar d’Été with Maurice Chevalier. She performed on Broadway from 1913 to 1916 before returning to Paris, where Félix Mayol hired her to perform at his concerts. She opened her namesake Montmartre cabaret in 1917, becoming the first star to have a spotlight trained on her face, bare arms, and hands. A gambling den where the gangsters and bourgeoisie rubbed elbows, it was a rough-andtumble bohemian paradise—until the bombings of April, 1918 forced her to shutter the cabaret’s doors.

Thankfully, her friend Loïe Fuller helped her forge ahead in her career; she became the most important exponent of the chanson réaliste genre until Édith Piaf came along in 1936. She was known as “la tragédienne de la chanson.” This poster is signed by an artist named Maurice, whose last name we cannot make out. Rare!

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

ANONYMOUS | A-Z

172

173

174

175

172. Frederiksberg Svømmehal. ca. 1930.

173. United States Lines / Amerika.

175. Geisha / Kitagawa. ca. 1920.

24 ⁄8 x 33 ⁄8 in./62 x 85 cm Danske Erhvervs Annoncebureau Cond B+/Slight tears at edges.

14 ⁄ 8 x 23 ⁄4 in./37.8 x 59 cm Cond A/P.

25 x 36 3⁄8 in./63.6 x 92.4 cm Cond A-/Unobtrusive slight tears.

Ever the signifier of American tourism, the Statue of Liberty advertises the speed, safety, and comfort of cruising aboard American government steamers of the United States Lines.

There’s nary a cup of sake in sight, but this traditional beauty is indeed promoting the Kitagawa Honke Sake Brewery. Many Japanese posters of the era employed beautiful young women as their subjects, and the actual product shown was often omitted from the image.

Founded in 1657 in Kyoto, Kitagawa Honke continues to produce their gold medal sakes to this very day. Rare!

3

3

In the 1930s, this Danish swimming hall and spa launched a brilliant poster campaign, enlisting top artists of the era to create Art Deco imagery highlighting wellness and joy. Here, an anonymous artist demonstrates the opportunities available for young children, who have several age-appropriate pools and slides to choose from—even to the current day. The artist’s signature, at lower left, is illegible. For another design by Bøgelund for the hall, see No. 200.

Est: $800-$1,000.

7

1

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

174. Loma Tinte. ca. 1915.

23 3⁄4 x 35 1⁄4 in./60.5 x 89.6 cm Cond A. Even goblins need good ink for their pens, as it turns out.

This Swiss ink brand “recommends itself,” per the text at bottom.

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

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

A-Z | ANONYMOUS

176

177

Anonymous

(Continued)

176. Thé Manuel.

22 7⁄8 x 17 3⁄8 in./58 x 44 cm J. Aberle, Berlin Cond A-/Light stains at edges. Framed.

A Swiss tea is advertised by a German printer using a Chinese waiter as the central subject. Culturally confusing? Absolutely. The artist’s monogram appears to be O.K. Est: $2,000-$2,500.

177. Cigarettes Leo. ca. 1920.

30 1⁄2 x 46 1⁄4 in./77.5 x 117.5 cm Cond A. Employing a Cappiello-esque black background and bold typography, this anonymous design plays up Cigarettes Leo with a theatrical cast including a Pierrot and two twinning masked women. This is a two-sheet poster.

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

178. The Armour Building. 1934.

20 1⁄4 x 35 1⁄4 in./51.5 x 89.6 cm Cond A-/Slight tear at lower left edge.

The 1934 Chicago World’s Fair featured an exhibit from meat packing company Armour and Company. Founded in 1867 in Chicago, it was one of the world’s largest producers of animal-based products by the 1930s.

This poster offers dual advertising to the Pennsylvania Railroad to help you visit the pavilion.

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

179. A. Herzmansky. ca. 1930.

9 7⁄8 x 17 3⁄4 in./25 x 45 cm Atelier Hofmann, Wien Cond B+/Slight tears at edges.

This small poster adopts a very Art Nouveau aesthetic to communicate the legacy of the A. Herzmansky department store, opened in 1863. Founded

by August Herzmansky, the store was passed down through several family members without great success; World War II forced the owners to emigrate, and two of their stores were destroyed by battle fires. In the postwar period, the business was revived and modernized, but was eventually sold to several consortiums before dissolving in 1998. However, the original location still stands with “A. Herzmansky” inscribed in the cornice and on the street level panels below. This poster was most likely an early printing from the atelier of Walter Hofmann, who became an important figure in the field of poster art from 1950 to 1970. Rare!

178

Est: $800-$1,000.

ANONYMOUS | A-Z

179

180

181

182 180. Bières Saint-Nicolas.

181. India. 1957.

182. JVC Jazz Festival : 3 Posters. 1990-1992.

24 1⁄2 x 38 1⁄8 in./62.2 x 97 cm Imp. Humbolt, Nancy Cond A.

25 x 39 3⁄8 in./63.3 x 100 cm Bolton Fine Arts Litho., Bombay Cond A.

Each: 19 1⁄2 x 29 5⁄8 in./49.5 x 75.2 cm Cond A. Framed.

Based in the Lorraine region of France, St. Nicolas de Port was operational until 1985, when the old brewery became what is known today as the Musée Francais de la Brasserie. Still using the original red rooster emblem shown in this poster, the museum chronicles the history of brewing in that region—and they also have a copy of this poster on display.

Banaras, also known as Varanasi, is a city on the river Ganges in Uttar Pradesh, India. It’s one of the holiest of the seven sacred cities in Hinduism and Jainism, and played an important role in the development of Buddhism. This Modernist design synthesizes the many religious and cultural landmarks of the city, including the Ghats that lead to the riverbank and examples of the 23,000 temples that populate the city.

Est: $800-$1,000.

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

From 1984 to 2009, the JVC Jazz Festival, produced by George Wein, hosted worldwide events with over 50,000 musicians, many of which are leaders in jazz music. These three posters present the lineups and are hand-signed by participating musicians, including: Regina Belle, Ray Charles, Doc Cheatham, George Coleman, Paquito D’Rivera, Harry “Sweets” Edison, Jon Faddis, Benny Golson, Al Grey, Slide Hampton, Donald Harrison, Giovanni Hidalgo, Elvin Jones, Hank Jones, B. B. King, Lee Konitz, Wynton Marsalis, James Moody, Jimmy Owens, Nicholas Payton, Red Rodney, Renee Rosnes, Arvell Shaw, Lew Soloff, Steve Turre, McCoy Tyner, Bobby Watson, Phil Woods, and many more whose signatures have not been identified. Rare!

Est: $1,700-$2,000. (3)

A-Z | D’ALESI - BAILLE

183

F. Hugo d’Alesi

(1849-1906)

Alpha

183. Centenaire de la Lithographie / Galerie Rapp : Maquette. 1894.

184. Anchor Line / Glasgow & New York. ca. 1925.

43 1⁄4 x 59 in./110 x 150 cm Signed oil painting on canvas. Framed.

Ref (all var): DFP-II, 16; Maitres, 66; Reims, 115; Abdy, 2; Sponsel, p. 49; Chéret, p. 20; Iskin, p. 104

24 5⁄ 8 x 39 3⁄4 in./62.6 x 101 cm Cond B+/Slight stains at top. P. Ref: PAI-LXIV, 107

D’Alesi, who was one of the organizers of the exhibition “Centenary of Lithography,” offers an elegant timeline of the medium’s history, from the early black-and-white works of Nicholas-Toussaint Charlet to the contemporary, colorful designs of Jules Chéret. This is the original maquette for the poster, which “represents the ambiguities that were inherent in the evolving status of the contemporary middle-class woman, who may visit galleries and even collect prints yet also knows that she herself is looked at and therefore orchestrates her appearance and gestures. Like other fashionable parisiennes, she is a spectacle in the city, but she is also an active agent insofar as she performs her own presentation as spectacle. Her active pose, dramatically silhouetted against the background of a sunset over the Seine, suggests she is aware of her own performance. D’Alesi’s choice to depict an upward gaze, conveyed by the tilt of the woman’s hatted head and the position of her gloved hands, adds an implied reverence to the print.

In order to fulfill its advertising function, the poster had to attract as many people as possible of both genders to the exhibition of lithography. Thus, the fashionable woman looking at the print is calculated to function in several different ways: for most women she could be a model to emulate, while male viewers might regard her as an added attraction enticing them to visit the exhibit; both genders were likely to be enticed by the modernity of the choice to depict a potential collector and print connoisseur as a woman rather than a man” (Iskin, p. 104-105).

A remarkably enduring passenger service, Anchor Line’s records indicate voyages between Glasgow and New York as far back as 1856. The company was acquired by Cunard in 1911, retaining its name but adding Cunard’s signature white line to each ship’s colors. Here, a calm and knowledgeable captain looks out over choppy waters toward the distant shore. This poster includes the stamp of the Thomas Cook Agent in Lucern.

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

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

D’ALESI - BAILLE | A-Z

184

186

Marcellin Auzolle

(1862-1942)

185. Banyuls-Trilles. ca. 1912.

60 1⁄4 x 45 3⁄4 in./153 x 116.2 cm Imp. G. Dupuy, Paris Cond A-/Unobtrusive folds.

Ref: PAI-LXXXIII, 205 This flirtatious couple exhibits the warmth and joy of Banyuls-Trilles, an aromatized and fortified wine apéritif similar to Dubonnet. Based on the dizzying grins on their faces, we can guess that it’s going to be a delightful evening. This is the horizontal format.

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

185

Bac

(Ferdinand Bach, 1859-1952)

186. La Loïe Fuller / Aux Folies Bergère. 1892.

43 1⁄8 x 59 1⁄2 in./109.5 x 151 cm Imp. Lemercier, Paris Cond B+/Slight tears at folds.

Ref: Loie Fuller, 5; Takashimaya, 29; Pessis & Crepineau, p. 29; PAI-LXX, 205 This is the poster for Loïe Fuller’s inaugural Paris performance, opening November 5, 1892, at the Folies-Bergère. “Paris had never experienced anything quite like the Loïe craze that followed. Throughout the 1892-93 season she attracted unheard-of-crowds to the FoliesBergère. She enthralled not only its usual patrons but many others who seldom if ever had been inside such a lowbrow music hall. In doing so, she helped to transform the FoliesBergère, giving it a new respectability, and she made herself one of the city’s top celebrities” (Loïe Fuller/Current, p. 50).

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

Hervé Baille

(1896-1977)

187. Côte d’Azur. 1949.

24 1⁄2 x 39 1⁄8 in./62.2 x 99.5 cm Editions Hubert Baille, Paris Cond A. Ref: PAI-XXXVI, 28

187

A bronze bikini belle femme, a beach playground, a glistening Mediterranean Sea, and a sun that’s simply happy to be there: it’s possibly the most evocative illustration of the French Riviera’s pleasures we’ve seen. Others clearly thought so too: this delightful vision was produced in 1949, just a few years before the Cannes Film Festival would introduce its Palme d’Or, and Grace Kelly and Cary Grant romanced the Riviera in “To Catch a Thief.”

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

A-Z | BAUMBERGER - BERTHON

188

189

Otto Baumberger

190. Baumann. 1928.

35 ⁄4 x 50 ⁄8 in./91 x 129 cm Mentor Verlag, Zürich Cond B/3-inch tear at right paper edge.

Ref: Baumberger 70; Timeless Images, 150; Müller-Brockmann, 67; Plakat Schweiz, p. 183; PAI-LXIV, 116

35 5⁄8 x 50 in./90.5 x 127 cm Mentor Verlag, Zürich Cond B/Stains at edges.

Ref: Baumberger, 142; Margadant, 339; Affiches Suisse (cover); Modern Poster, 189; Müller-Brockmann, 138; Plakat Schweiz, p. 35; PAI-XX, 137

3

190

(1889-1961)

188. Jecklin. 1919.

7

This is the before-letters version of this delightfully simple design for Jecklin pianos. Normally, the sheet music in front of the child restates the brand’s name and specialties, but it is just as effective without that text.

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

189. PKZ. 1923.

35 3⁄4 x 50 1⁄4 in./90.8 x 127.7 cm Wolfsberg, Zürich Cond A. Ref: Baumberger, 96; Margadant, 312; Weill, 430; Modern Poster, 188; Avant-Garde, p. 114; Affiches Suisse, 19; Plakat Schweiz, p. 162; Graphic Design/Taschen, p. 245; Müller-Brockmann, p. 128; PAI-LXXI, 218 This isn’t your typical PKZ poster. The men’s clothing brand usually portrays a ramrod gentleman in coat or suit, standing or striding into the world with his trusty dog at his side. Otto Baumberger decided to have none of that. This outstanding illustration is hyper-realistic— decades before that term was coined—and created with loving care to make the textures of these fabrics tactile and even multi-sensory: you can almost smell this coat as your eyes substitute for fingers, tracing every fold and woven loop.

191

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

This is the rare second printing of this famed poster.

The first (see Baumberger, 78) was printed in 1919, also by Mentor and with the B in the top left, but with the firm’s original Bahnhofstrasse address rather than the Fraumünster one. Almost all copies on the market in recent years have been the 1952 edition printed

by Bollman without the B (see Baumberger, 233).

What never changes is the boldness of the design: one superb signifier that becomes a synecdoche for gentlemanly elegance.

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

Karl Bergmüller

(1864-1928)

191. Riquet Tee. ca. 1913.

30 1⁄2 x 41 in./77.3 x 104.2 cm Emil Gerasch, Leipzig Cond A. Founded in 1745 in Leipzig, Riquet was a manufacturer of various chocolate products, as well as an importer of tea and dry goods from China. As with most designs for the company, Bergmüller embraces a touch of Orientalism with a kneeling woman in a kimono.

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

BAUMBERGER - BERTHON | A-Z

194

Paul Berthon

(1872-1909)

192. Salon des Arts Libéraux. 1902.

16 3⁄4 x 21 7⁄8 in./42.6 x 55.6 cm Cond A. Framed.

Ref: Berthon & Grasset, frontispiece; PAI-XLIX, 128 “In 1900 Berthon produced a poster for the Salon des Arts Libéraux, a striking design of two women by a lithographic printing press. Like all Berthon’s posters, it was designed as a decorative lithograph in which the text played no real part, but was confined to reserves outside the subject.

Each poster was, in addition, printed in editions without letters for collectors. Few of the posters have survived with the letters” (Berthon & Grasset, p. 103). Here is the 1900 design printed in 1902 with 1903 calendarium flanking the lovely image. Rare!

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

192

193. Les Eglantines. 1900.

23 x 16 7⁄8 in./58.4 x 42.7 cm Cond A. Framed.

Ref: Berthon & Grasset, p. 106; Gold, 200; PAI-LXXXII, 164 “The subject is the wild rose, but it hardly matters, as it is the flower gatherer who engages our attention; we derive our enjoyment from the way she enjoys the beauty and fragrance around her. Berthon always interprets women with an exquisite finesse—in terms of their spirituality rather than their physical substance” (Gold, p. 136).

This copy is hand-signed by the artist and numbered 41 of 100.

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

194. Le Livre de Magda. 1898.

19 3⁄8 x 25 3⁄8 in./42.3 x 64.6 cm Imp. Chaix, Paris Cond A-/Slight mat stains.

Ref: DFP-II, 66; Berthon & Grasset, p. 97; Timeless Images, 29; PAI-LXXXIII, 218 “Le Livre de Magda” is a romance novel-in-verse by the French poet Paul Armand Silvestre; it was part of “Les Fleurs d’Hiver,” the last compilation of poems he published before his death. Berthon summarizes the tale with an ethereal nude feeding doves in a sun-dappled field.

193

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

A-Z | BERTHON - BOGELUND

196

195

Berthon

(Continued)

195. Le Sureau II. ca. 1900.

12 3⁄4 x 39 1⁄2 in./32.5 x 100.3 cm Cond A. Ref: Berthon & Grasset, p. 109; PAI-LIX, 126 In dusty shades of cinnamon and olive, a Grecian beauty idles among the brambles beneath the elder tree, after which the set of decorative panels is named.

It’s one of the artist’s most pensive designs, calling for a time of serene reflection. For the other half of this set, see PAI-LVII, 170.

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

197

P. Albert Besnard (1849-1934) & Robert Besnard (1884-1917)

Georges Pierre Beuville

196. Talloires. ca. 1910.

38 1⁄ 2 x 58 1⁄2 in./97.8 x 148.5 cm Imp. Jules Simon, Paris Cond B/Slight tears at folds.

30 x 42 1⁄2 in./76.2 x 108 cm Ateliers E. Hugo d’Alesi Cond A-/Slight stains at edges.

Ref: Karcher, 402; Train à l’Affiche, 131; PAI-XV, 135 Albert Besnard was an Impressionist painter and engraver of some stature by the time he started producing a few posters in the 1900s—possibly to encourage his son Robert, who inherited the family talent, to enter the business; he gets co-credit on this design. Unfortunately, Robert died young in World War I. The poster is a wellconceived travel composition with a contemplative couple taking in their breathtaking surroundings.

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

(1902-1982)

197. G.R.A.P. ca. 1939.

There exist a few posters for G.R.A.P., a wine high in character and low in price, available at your local grocery store. Beuville offers up a duo of smiling grapes, assuring us that the final product will certainly bring us joy.

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

BERTHON - BOGELUND | A-Z

200

Carlo Biscaretti di Ruffia

(1879-1959)

198. Anisetta Evangelisti. 1925.

39 1⁄2 x 55 1⁄8 in./100.4 x 140.2 cm Lit. Doyen, Torino Cond A. Ref: Manifesti Posters/Advertising, p. 194; PAI-LXXVI, 160

198

This is one of the most famous and whimsical posters. In a dizzying arena of alcohol advertisements, and a saturated market for apéritifs, digestifs, and anise-based liquors, Evangelisti needed something immediately eye-catching that would burn into the memory. This funky monkey did the trick. Biscaretti, who was a founder of the Museo dell’Automobile in Turin, was an industrial designer who only produced a handful of posters—most of them for the auto industry, between 1920 and 1930.

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

Don Bloodgood

(1897-1898)

199. California Pacific International Exposition. 1935.

31 1⁄ 2 x 21 3⁄4 in./80 x 55 cm Cond A-/Vertical folds. Framed.

The Shell Oil Company produced this design by noted map illustrator Don Bloodgood for the 1935 International Exposition. Printed on both sides, Bloodgood charmingly depicts various scenes of San Diego and the Bay Area. The front side includes historical vignettes about the city’s founding as well as natural and urban landmarks. On the reverse side, the exposition grounds are detailed in comic book style, with plenty of exposition sites and amusing human interactions. It’s worth sharing the text accompanying the latest historical vignette: “Now, with the opening of the California Pacific International Exposition, it seems the ultimate in travel has been reached.

Airplanes bring visitors across the continent on a dawn-to-dark schedule.

But it takes a brave imagination to vision now, in 1935, what historians of 2035 will write when they begin: ‘It is five hundred years since Cabrillo dropped anchor in San Diego Bay...’”

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

Thor Bøgelund

(1890-1959)

200. Frederiksberg Svømmehal. 1938.

24 1⁄4 x 33 1⁄2 in./61.7 x 85.2 cm Andreasen & Lachmann, København Cond A. Ref: PAI-LXIX, 227 Considered by historians to be “the pioneer of the Danish poster” (Weill, p. 272), Bøgelund presents us with a graphically strong maternal scene advertising Copenhagen’s oldest public swimming pool in the Frederiksberg neighborhood.

199

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

A-Z | BONNARD - BRODERS

201

Pierre Bonnard

(1867-1947)

202

William H. Bradley

(1868-1962)

201. Salon des Cent. 1896.

202. Narcoticure. 1895.

17 3⁄8 x 25 in./44.2 x 63.5 cm Imp. Chaix, Paris Cond B+/Slight tears at folds. Framed.

Ref: DFP-II, 79; Salon des Cent, p. 53; Salon des Cent/Neumann, p. 35; Marx, 45; Bouvet, 39; Ives, illus. 19; Posters of Paris, 11; Word & Image, p. 27; PAI-LXXXIV, 207

13 5⁄ 8 x 20 in./34.6 x 51 cm Cond A. Framed.

Ref: DFP-I, 162; Reims, 1146; Bambace, p. 159; PAI-XXXIX, 153

The drawing of a woman admonishing her dog appears only half-finished, with the right side remaining blank, but all the pertinent elements are there: the fashionable veiled hat, the gesture of the gloved hand, and the attentive pose of the pooch. Colta Ives, in the catalogue of the Bonnard exhibition at the Metropolitan Museum, speaks of “the softly delineated forms [in the Salon des Cent], enhanced with touches of modeling and color” and feels that although he was part of the Nabis group, “his adoption of a more relaxed and lyrically sensuous approach” set him apart from that fraternity (Ives, p. 6). This charming invitation is surely one of the finest and most sensitive lithographs of Bonnard and of the entire Salon des Cent series.

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

One tends to think of kicking the nicotine habit as more or less a contemporary obsession. After all, it wasn’t that long ago that athletes and celebrities endorsed various tobacco products. But this aggressive Bradley design—featuring the valiant knight of clean living lancing the tobacco demon—for the Narcoti Chemical Company of Springfield, Massachusetts, proves that freeing oneself from the clutches of smoking is a long-standing desire. Narcoticure claims to “Cures the Tobacco Habit in/from 4 to 10 Days.” And can one put a price tag on a new start to a healthy, non-addicted lifestyle? Obviously, the answer is yes, because at an 1895 cost of five dollars, it’s clear that this cure wasn’t cheap. Will Bradley was an innovative and influential typographer, designer, and publisher. The international Art Nouveau movement found its American expression in the delicate and ornate work of this genius. In 1895, Bradley moved from Chicago to Springfield, Massachusetts where he established The Wayside Press, a publishing and graphic arts venture whose main product was Bradley: His Book, an art magazine appearing monthly. Rare!

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

BONNARD - BRODERS | A-Z

203

Roger Broders

(1883-1953)

203. Antibes. 1930.

30 3⁄4 x 42 1⁄ 2 in./78.2 x 108 cm Imp. Lucien Serre, Paris Cond A. Framed.

Ref: Broders, p. 91; Broders/Travel, p. 27; Affiches Riviera, 60; Mer s’Affiche, p 116; PAI-LXXXIV, 216 While creating a posh, inviting atmosphere of luxurious Antibes, Broders’ figures also manage to echo the shape of the surrounding landscape in this masterful composition.

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

A-Z | BRODERS - CAMPS

204

Broders

(Continued)

204. Monte-Carlo. ca. 1930.

24 7⁄8 x 39 1⁄2 in./63.2 x 100.5 cm Imp. Monegasque, Monte-Carlo Cond A-/Slight stains at edges.

Ref: Broders, p. 97; Broders/Travel, p. 39; Affiches Azur, 311; Deco Affiches, p. 91; PAI-LXXXIV, 210 In one of Broders’ best posters for the Riviera, a swank Art Deco couple gazes down at the full tennis courts below. Meanwhile, the packed stadium seating provides ample views of the sporting activities and the Mediterranean beyond.

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

BRODERS - CAMPS | A-Z

205

206

Donald Brun

(1909-1999)

(1874-1942)

205. Nescafé. 1953.

207. Pharmacie Bentalou / Printemps. 1920.

35 ⁄2 x 50 ⁄8 in./90.2 x 128 cm Sauberlin & Pfeiffer, Vevey Cond A-/Slight tears at edges. P. Ref: Swiss/Basel, 280

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

Ref: PAI-LXXXIV, 222

Brun takes a break from Switzerland’s Alpine climate to bring us to the tropics of Brazil, where this powdered coffee extract got its start in 1930.

W. S. Bylitylis

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

206. Cunard. ca. 1910.

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

1

3

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

24 5⁄8 x 36 3⁄4 in./62.5 x 93.2 cm Hazell, Watson & Viney, London Cond A. Framed.

In an image ripe for conjecture, we’re left wondering: are these boys stranded? Or are they young pirates with a plan to loot the incoming ship? Where are their clothes? And where are their parents? The beguiling nature of this image is also the reason why it’s an unforgettable design.

207

Gaspar Camps

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

LEONETTO CAPPIELLO

208

Leonetto Cappiello

209

(1875-1942)

208. Mele. 1902.

209. Folies-Bergère / Spectacle Varié. 1900.

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

Ref: Cappiello/Rennert, 26; Mele, Fig. 247; Ricordi, 23; Cappiello, 249; Wine Spectator, 306; PAI-LXXXIV, 223

37 x 51 3⁄4 in./93.8 x 131.4 cm Imp. Chaix, Paris Cond A-/Unobtrusive folds.

Ref: Cappiello/Rennert, 2A; Cappiello, 208; Cappiello/St. Vincent, 4.4; Menegazzi-I, 75; PAI-LXXXII, 185

One of the main selling points of the Mele department store was that the average woman could obtain high-fashion style for a relatively low dollar figure. Coined “bourgeois realism,” posters like this design by Cappiello showcase attainable glamour and elegance without making it seem pedestrian or cheap. Here in particular, Cappiello captures that moment of pure self-satisfaction as a woman finds the perfect dress to make her stand out in a crowd. This is a two-sheet poster.

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

5

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

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

CAPPIELLO | A-Z

210 210. Champagne de Rochegré. 1902.

38 5⁄8 x 53 5⁄ 8 in./98.2 x 136.2 cm Imp. P. Vercasson, Paris Cond A. Framed.

Ref: Cappiello/Rennert, 34; Cappiello, 247; Menegazzi-I, 433; Wine Spectator, 162; PAI-LXXX, 257 “For Champagne de Rochegré, one of the products of the Chamonard distillery in Epernay, Cappiello has an elegant woman in a formal black dress taking a delicate sip as if afraid that too much of the bubbly might go to her head” (Wine Spectator, 162).

This is one of Cappiello’s most effective and charming designs.

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

A-Z | CAPPIELLO

211

212

213

Cappiello

(Continued)

211. Charbon Chimique Rubaudo. 1903.

212. Docteur Rasurel : Tin Sign. ca. 1906.

213. Nos Actrices. 1899.

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

Ref: Cappiello/Rennert, 41; Wine Spectator, 209; PAI-LXXXIII, 242

19 1⁄2 x 26 3⁄4 in./49.5 x 68 cm G. de Andreis, Marseille Cond B/Some scrapes, largely near edges.

Ref (both var): Cappiello/Rennert, 522; PAI-LXIV, 156

13 3⁄4 x 17 7⁄8 in./35 x 45.2 cm Broken spine and binding; plates are excellent.

Ref: Cappiello/Rennert, p. 6; PAI-LXVI, 163

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

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

The early 20th century was the golden age for undergarments: union suits, corsets, and thermal underwear were promoted as healthy and hygienic, not to mention necessary. While the first underwear advertisement in print would not appear until 1911, it was common to see posters for such items on nearly every street corner by the turn of the century. Cappiello created a total of five posters for Docteur Rasurel during his career, of which this is the most visually charming, showcasing a full line of intimate articles of clothing for the entire family. This is a tin sign with the design on both sides.

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

Commissioned a few months after Cappiello’s arrival in Paris in 1898, this collection of theatrical caricatures attests to the artist’s immediate popularity with the French public. The book consists of eighteen plates featuring seventeen noted actresses (Bernhardt is shown in two poses). Other featured actresses include Réjane, Jeanne Granier, Marcelle Lender, Lucie Gerard, Simone Girard, and Mariette Sully. In many ways, this book launched his career, and the bold outline and flat color backgrounds in them foretell the early Cappiello poster style.

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

CAPPIELLO | A-Z

214 214. Pygmalion / Winter Fur Sale. 1911.

149 1⁄2 x 93 1⁄4 in./279.7 x 236.8 cm Imp. P. Vercasson, Paris Cond A. Ref: Cappiello/Rennert, 188 Cappiello created two designs for the Pygmalion department store; for his summer fashions design, see Cappiello/Rennert, 187. “In numerous instances, Cappiello created designs for commercial products in which his penchant for exuberance and exaggeration remains quiescent. What we get instead of extravagance are commercial images executed in fine style with the quiet competence of a talented artist. These two large, 4-sheet posters... [typify] this approach. The carefully arranged scenes could easily stand alone as pieces of fine art; note how they create an aura of refinement and gentility without ostentation. Where is the exuberant, outrageous, capricious Cappiello that we know and love? He’s still there, but in these designs he shows his quiet side: the artist who may easily have chosen a less volatile professional career, a skilled posterist who knows when excess would be inappropriate or unnecessary” (Cappiello/Rennert, p. 134). This four-sheet poster is the only known copy.

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

A-Z | CAPPIELLO

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

CAPPIELLO | A-Z

Cappiello

(Continued)

215. Carnaval / Vinho do Porto : Maquette. 1911.

18 3⁄4 x 23 in./47.7 x 58.5 cm Signed pastel maquette with signed dedication. Framed.

Ref: Cappiello/Rennert, 181 (var)

216

“The Carnaval / Vinho do Porto is surely one of Cappiello’s most spectacular posters, with a traditional pantomime figure being tempted by the masked woman holding the drink. The whole aura of enchantment and temptation, in the midst of the confetti strewn merriment, is precious and compelling.

The highly-prized Portuguese sweet wine takes its name from Porto, the northern trade center of the small country, not necessarily because most of the grapes are grown there, but because nearly all the region’s wine is exported through there; hence, merchants have made that association since the 18th century. Here, for example, the winery is actually in Almeida, an inland town near the border with Spain, but it’s still ‘Vinho do Porto’ for all practical purposes” (Cappiello/Rennert, p. 131). This is a hand-signed and dedicated maquette for that incredibly rare poster.

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

216. Pâte Éclair. 1912.

47 x 63 in./119.5 x 160 cm Imp. P. Vercasson, Paris Cond B+/Slight tears at folds and edges.

Ref: Cappiello/Rennert, 240; PAI-XL, 263 “Hoisting a stove over her head with one hand while balancing insouciantly on the spinning wheel of progress, a Cappiello sylph suggests how easy this tube of Pâte Éclair metal polish makes keeping shiny things bright.

All this is conveyed in a splash of primarily primary colors. Only Cappiello could turn a stove polish into a product of glamour, speed and excitement” (Cappiello/Rennert, p. 163).

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

217. Triple-Sec Fournier. 1907.

46 1⁄4 x 62 1⁄ 2 in./117.4 x 159 cm Imp. P. Vercasson, Paris Cond B+/Restored tears.

Ref: Cappiello/Rennert, 122; Célébrités, 34; PAI-LXXVIII, 215 Emphasizing the release of one’s inner demons, Cappiello presents us with a male and female devil, peering eagerly into a box of Fournier TripleSec. Founded in 1865, Fournier-Demars’ original specialty was absinthe, a possible other explanation for the use of hell-bound creatures in this poster.

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

217

A-Z | CAPPIELLO

218

Cappiello

219

(Continued)

218. Exposition Internationale Lyon. 1913.

219. Naol. 1919.

58 1⁄8 x 94 3⁄4 in./147.6 x 240.7 cm Imp. P. Vercasson, Paris Cond B+/Horizontal folds.

Ref: Cappiello/Rennert, 263

46 1⁄8 x 62 1⁄2 in./117.2 x 158.8 cm Imp. du Naol, Paris Cond A-/Unobtrusive folds.

Ref: Cappiello/Rennert, 286

“The design for the large 3-sheet poster for the 1914 Exposition Internationale in Lyon is an allegorical composition reminiscent of fine art and Cappiello utilizes a sumptuous painterly technique for its execution.

He dates his design ‘1913’” (Cappiello/Rennert, p. 176). The World’s Fair, which focused on urban planning and public health, was ultimately cut short with the onset of World War One in early August. The 184 acre exhibition area created for the event included the Halle Tony Garnier, which was then transformed into an arms factory. Rare!

“Although printed by the client’s own presses, this was, in fact, one of the first Devambez commissions. The Visa censorship requirement, seen at bottom, continued into 1919. This is one of the artist’s most flamboyant clowns of record, quite in line with Cappiello’s firm conviction that the more humble the product, the more ballyhoo it required. Naol, as the shoe polish tin states, is for all leather goods, including saddles” (Cappiello/Rennert, p. 190). Rare!

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

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

CAPPIELLO | A-Z

220

221

220. Cigarettes Matossian. 1921.

221. Bitter Campari. 1921.

39 x 55 1⁄2 in./99 x 141 cm Imp. P. Vercasson, Paris Cond B+/Slight tears, largely at folds.

Ref: Cappiello/Rennert, 279 (var); PAI-XXXIX, 189

27 5⁄8 x 39 1⁄4 in./70.2 x 99.5 cm Imp. Devambez, Paris-Torino Cond B+/Horizontal fold; slight stains in margins.

Ref (all var but PAI): Cappiello/Rennert, 330; Menegazzi-I, 180; Takashimaya, 94; PAI-LXXX, 272

“The Cigarettes Matossian design is a somewhat obscure image, perhaps because the poster was evidently used largely in Arab countries. It is also something of a puzzle: Although [there exists] a small, in-store placard with Arab text, there is also a known specimen without the Arabic, in a larger format... bearing the Vercasson imprint... Also baffling is the unusual design; it’s not clear if the central crossbar ‘X’ mark has any other function than to mark the spot of the viewer’s attention” (Cappiello/Rennert, p. 185). This is the larger format.

“As we have seen, Cappiello, steeped in theatrical tradition from his years as a stage caricaturist, often chose pierrots, harlequins, or clowns to represent various products. Here, in one of his most inspired designs, the clown embodies the spirit of the orange peel, a zesty ingredient in the Bitter Campari. This image has become one of the classics of poster design, effortlessly combining the element of surprise with the essence of the product. The story of this world-famous brand name started in 1860 in the little Italian town of Novara, where Gaspar Campari opened his small wine shop. Within two years, he earned enough to open a cafe on a busy street corner in Milan. Annoyed that his competitors were able to sell everything that he did, he determined to produce his own distinctive liqueur in order to serve something unique; to this end, he developed a recipe for a type of bitters and made a sample batch. His timing was impeccable: bitters... were just coming into vogue at the time, and the Campari bitter was an instant success. The enterprise grew, and by the time of Gaspar’s death in 1882, the product was selling throughout the world. His son, Davide (1887-1936), expanded the family business even more, and in 1892, added a second successful beverage, Cordial Campari” (Cappiello/Rennert, p. 214). This is the smaller format.

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

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

A-Z | CAPPIELLO

222

CAPPIELLO | A-Z

Cappiello

(Continued)

222. Automoto / Byrrh. 1926.

85 3⁄4 x 122 1⁄8 in./217.5 x 310.3 cm Imp. Devambez, Paris Cond A. Ref: Cappiello/Rennert, 431; Sport à l’Affiche, cover; PAI-IX, 89

223

In one of the earliest examples of joint advertising, Cappiello simultaneously promotes the Automoto bicycle and Byrrh apéritif. And although we think he handled the design with aplomb, the image was quite controversial at the time.

The magazine Vendre thought that while the two products might appeal to the same sporting crowd, their juxtaposition was inappropriate, as the reliance on alcohol rather than water could shortly result in an accident. “Nonetheless, what the poster lacks in persuasion, it more than makes up in notoriety. Cappiello’s hand assures that result” (Sept. 1926, #35, p. 225). The notoriety they mention was due to a major dispute in advertising circles of the time, proving that promotional shock can indeed work in favor of brand recognition. This is a four-sheet poster and rare!

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

223. Cognac Monnet. 1927.

50 3⁄4 x 78 1⁄2 in./129 x 199.5 cm Imp. Devambez, Paris Cond A. Framed.

Ref: Cappiello/Rennert, 443; Publicité, p. 92; PAI-LXXXIV, 247 Founded by a group of local vintners in 1838 under the name “Company of the Vineyard Owners of Cognac,” Cognac Monnet did not obtain its current name until 1897 when Jean-Gabriel Monnet became the owner of the society. Here, the slogan “sunshine in a glass” is interpreted quite literally by Cappiello as a Bacchus-like nymph expresses adoration for the beverage. This is the larger format.

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

224. Contratto. 1922.

76 3⁄8 x 109 1⁄4 in./194 x 277.5 cm Imp. Devambez, Torino Cond A. Ref (all var but PAI): Cappiello/Rennert, 366; Cappiello/St. Vincent, 4.45; Menegazzi-I, 436; PAI-XXXVIII, 222 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 largest, four-sheet version of all known formats.

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

224

A-Z | CAPPIELLO

226

225

Cappiello

(Continued)

225. Parapluie-Revel. 1929.

78 1⁄4 x 123 1⁄4 in./198.7 x 313 cm Imp. Devambez, Paris Cond A-/Slight tears at seams.

Ref: Cappiello/Rennert, 373; Karcher, 245; Cappiello/St. Vincent, 4.68; Publicité, p. 86; PAI-LXXXIV, 248 When M. Revel founded his Lyon-based umbrella company in 1851, one could purchase his wares in both silk and cotton. While the subject matter may seem slightly ordinary, the poster is one of Cappiello’s most ingenious and delightful designs. As effective as it is simple, one sees “the umbrellas braving the storm like black ships’ sails. All the elements of fine poster design are here: bold shapes, strong contrasts (the background is a surprising sunny yellow), tight yet lively composition, unusual perspective—and no more detail than necessary” (Cappiello/Rennert, p. 236). Although the company closed its doors in the 1950s, this poster remains a testament to its once brilliant advertising campaign.

This is the larger four-sheet version of the poster.

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

227

CAPPIELLO | A-Z

228 226. Jako. 1935.

227. O’Cap : In-Store Display. ca. 1930.

228. L’Oie d’Or. ca. 1930.

47 ⁄4 x 62 ⁄4 in./120 x 159.5 cm Imp. Devambez, Paris Cond A-/Unobtrusive folds.

Ref: Cappiello/Rennert, 512; PAI-LXXXIII, 268

17 x 31 in./43.2 x 78.5 cm Cond B+/Holes at bottom.

Ref (both var): Cappiello/Rennert, 478; PAI-IX, 80

63 x 46 3⁄4 in./160 x 119 cm Imp. Devambez, Paris Cond A. Ref: Cappiello/Rennert, 483; Publicité, p. 109; PAI-LXXI, 266

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Cappiello masterfully depicted animals in his designs; in the case of this image for Jako, Cappiello ups the ante by personifying the parrot with an apron as she goes about her household chores. His flamboyant style and keen understanding of advertising is clear: the bird is not just an attention-getter, but a viable sales pitch for the product—a general use household cleaner with a gentle bleaching agent meant to whiten and brighten every square inch of your abode. For good measure, there are vignettes showing its uses for dish washing, bathroom cleaning, and clothes laundering. It’s both charming and effective.

“This design for O’Cap shampoo, which is supposed to work even without water, is yet another Cappiello classic.

The overgenerous suds, the black sleeves framing the whiteness of the product—it’s all a meticulously calculated effect made to look deceptively simple. This brand was launched in 1927 by L’Oreal” (Cappiello/ Rennert, p. 296). This is an in-store display on wood.

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

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

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Cappiello undoubtedly saw the dark humor in the Golden Goose brand, and chose to take on the less savory aspects of foie gras head on: he used the label’s “Queen of Foie Gras” sobriquet to fashion a regal golden gander mourning over his mate, now in the tin. A bloodred background and a dramatic shadow falling over the crowned tin complete a scene that is simultaneously poignant, dangerous, risqué, and tempting.

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

A-Z | CAPPIELLO

229

Cappiello

(Continued)

229. Kub. 1931.

77 3⁄4 x 51 in./197.5 x 129.4 cm Imp. Devambez, Paris Cond B+/Slight tears at folds; vivid colors.

Ref: Cappiello/Rennert, 490; Crouse/Deco, p. 212; Graphic Design/Taschen, p. 214; Publicité, p. 17; Müller-Brockmann, p. 83; PAI-LXIV, 176 “When this poster first appeared on the streets of Paris in 1931, it had as much shock value as Édouard Manet’s unapologetic Olympia... Nothing so bold or graphically aggressive had ever been done in advertising. It was, and remains, a revolutionary poster, pushing the medium to a new level of compositional directness and intensity” (Crouse/Deco, p. 211). It’s also a milestone for Cappiello, whose penchant for exaggeration is here expressed with a surprising economy of means. Two simple shapes and the omission of extraneous text form a powerful and unforgettable visual.

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

CAPPIELLO | A-Z

230 230. Le Petit Dauphinois. 1933.

62 1⁄8 x 45 5⁄8 in./157.8 x 116 cm Imp. Devambez, Paris Cond A-/Unobtrusive folds.

Ref: Cappiello/Rennert, 509; Encyclopédie/Weill, p. 344; PAI-IX, 103 “Le Petit Dauphinois, ‘the largest daily newspaper of the French Alps,’ was founded by Pierre Baragnon in 1885; its avowed aim, as Cappiello’s design indicates, was to keep an eye on the world and report back to its readership. The paper earned a reputation as one of the better regional publications in France” (Cappiello/Rennert, p. 314). Rare!

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

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A-Z | CAPPIELLO

232

231

Cappiello

233

(Continued)

231. Mossant. 1938.

232. Premier Fils. 1935.

233. Crème Éclipse : Tin Sign. ca. 1937.

46 3⁄4 x 62 3⁄4 in./118.8 x 159.3 cm Editions Nouvelles Cappiello, Paris Cond A. Ref: Cappiello/Rennert, 530; PAI-LXXIX, 275

35 1⁄8 x 49 5⁄ 8 in./89 x 126 cm Imp. P. Vercasson, Paris Cond B+/Slight tear in upper right backing.

Ref (both var): Cappiello/Rennert, 519; PAI-LXXXIII, 271

13 3⁄4 x 19 1⁄2 in./35 x 49.5 cm Cond B/Slight stains.

Ref (both var): Cappiello/Rennert, 522; PAI-LXXXIII, 272

“This design featuring three hand-held hats appears so deceptively simple one is tempted to feel that there’s nothing to it; yet, the careful, rhythmic composition creates a pattern so upbeat that it gives the product an unmistakable aura of class. The Mossant firm, in existence since the 1860s, was known for high-quality hats—especially men’s hats, whose expensive models were made from pile of rabbit and hare—and Cappiello conveys it perfectly, making it look easy in the bargain” (Cappiello/Rennert, p. 324).

Premier Fils was considered to be an especially feminine absinthe, thanks to its pale, subtle green color, warm perfumed quality, and hints of violet on the nose. But this poster aims to get the gents interested: a man’s suited arm hoists the botanical beverage above the rest, as if to say “the old French brand—for everyone.” “Similar in composition to the Dubonnet poster [see PAI-XXVIII, 185], the bottle of Premier Fils liquor needs only to be held by an arm in a neat sleeve to be elevated to the status of a better class of product” (Cappiello/Rennert, p. 319). This is a rare, never-before-seen variant of the design without the brand name at bottom and with the Vercasson printing credit at left—although Cappiello left the firm in 1917.

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

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

“Eclipse shoe polish is represented by the person most likely to employ it in all the better households —a domestic worker from one of the French colonies.

This product was made by the same firm that produced Jako household cleaner [see No. 226]” (Cappiello/Rennert, p. 321). This is a tin sign version of the poster.

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

CAPPIELLO | A-Z

234 234. Conchita Supervia / Frasquita. 1932.

47 1⁄2 x 63 in./120.6 x 160 cm Imp. Devambez, Paris Cond A. Ref: Cappiello/Rennert, 496; PAI-LXXX, 287 “The haughty sensuality of this Spanish dancer is captured with sunny aplomb by Cappiello, featuring the legendary Conchita Supervia (1895-1936) in the title role of [Franz Lehár’s] Frasquita, coincidentally the only light-opera appearance ever made by the sultry diva. The featherweight musical indulgence revolves around gypsy fascination, unjust accusation and, of course, eventual love” (Cappiello/Rennert, p. 307). All known copies of this image appear without text.

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

A. M. CASSANDRE

235

A. M. Cassandre

236

(Adolphe Mouron, 1901-1968)

235. Normandie. 1935.

237. Étoile du Nord. 1927.

24 ⁄2 x 39 ⁄2 in./62.2 x 100.5 cm L. Danel, Paris Cond A-/Restored tears in bottom text area. Framed.

Ref (all var but PAI): Mouron, 56; Brown & Reinhold, 53; Cassandre/Suntory, p. 91; Weill, 345; Deco Affiches, p. 33; Moderno Francés, p. 194; PAI-LXXX, 296

29 x 41 1⁄4 in./73.7 x 104.8 cm Hachard, Paris Cond B/Restored tears, largely in text area. Framed.

Ref: Mouron, 22; Brown & Reinhold, p. 37; Cassandre/Suntory, 48; Cassandre/BN, 14; Cassandre/Weill, p. 55; Deco Affiches, p. 25; Crouse/Deco, p. 255; Avant Garde, p. 158; Timeless Images, 105; Weill, p. 199; Modern Poster, 154; Art Deco, p. 59; Moderno Francés, p. 161; PAI-LXXXIV, 252

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This stately design—one of several from the Normandie’s inaugural cruise year— features the text “Le Havre – Southampton – New York.” “The simplicity and symmetry of Cassandre’s frontal view of the looming hull of the liner immediately conveys its gigantic scale and streamlined elegance. Cassandre developed a striking visual language inspired by avant-garde art in Paris and counts among the most important graphic artists of the 20th century” (V&A Museum). This is a rarely seen text variant.

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

236. Londen. 1928.

24 3⁄8 x 39 1⁄8 in./62 x 99.4 cm Cond A. Framed.

Ref: Cassandre/BN, p. 60; Mouron, 14; Cassandre/Weill, p. 21; Brown & Reinhold, 37; Publicité, p. 152; PAI-LX, 188 In his posters for maritime subjects, Cassandre always played with the geometry of decks and stacks, and this is an outstanding example of the basic Art Deco approach. Note how the shape of the train engine is artfully hidden in the side of the ship’s hull.

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

The North Star was the name of a Paris-to-Amsterdam express; Cassandre gave it glamour by catching the purely sensual enjoyment of rail travel: the rhythm of the wheels, the fascination of the endless perspectives of converging tracks, and the North Star itself.

In their book on the artist, Brown and Reinhold claimed that this poster “May be his most audacious... Cassandre solves the problem of having to advertise a daytime service that uses a nocturnal image as its name. He achieves his solution by using the somewhat surreal device of turning a night sky into the ground of the poster and having the star hover above it. In what could have been a static arrangement, the rails are laid out so that they imply forward movement... Even though such an arrangement is mechanically false... it is precisely because of it that the poster attains a dynamic realism more compelling than ‘reality itself,’ which is why Étoile du Nord is one of Cassandre’s best images” (p. 13). Hillier declares this work “his masterpiece,” and we couldn’t agree more: it’s a truly mesmerizing achievement, and arguably one of the best posters ever created.

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

CASSANDRE | A-Z

237

A-Z | CASSANDRE

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CASSANDRE | A-Z

239

Cassandre

(Continued)

238. Angleterre : Maquette. 1935.

239. L’Atlantique. 1931.

11 7⁄8 x 15 7⁄8 in./30.2 x 40.2 cm Signed gouache and ink maquette. Framed.

Ref (all var): Brown & Reinhold, 70; Mouron, p. 67 & 49; Cassandre/Weill, 141; Cassandre/Tokyo, 67; Cassandre/Suntory, 61

24 1⁄2 x 39 3⁄8 in./62.3 x 100 cm Alliance Graphique, Paris Cond A-/Horizontal fold.

Ref: Cassandre/Weill, p. 48; Cassandre/BN, 55; Mouron, pl. 34; Brown & Reinhold, 67 & pl. 31; Cassandre/Suntory, 66; Moderno Francés, p. 172; Timeless Images, 107; Avant Garde, p. 161; PAI-LXXXIV, 254

“Maurice Moyrand had sold in 1934 to the Bureau of British Railways a whole campaign with, in addition to posters, press inserts and leaflets. England and Scotland [see PAI-I, 278] form a pair, like a breath of fresh air in welcoming nature. Cassandre inscribes them in a frame, which encourages us to see them as decorative paintings more than as posters. England is a gradient of green with a light coming from above on the left, which comes to caress the trees and form their shadow. To catch the eye, Cassandre can not help a little game of scale by miniaturizing the two horses” (Cassandre/Weill, p. 144).

Provenance: The collection of Mr. O’Meara, the director of the review Arts & Metiers Graphiques, and close friend of Cassandre. This drawing was presented to Mr. O’Meara

by Cassandre, possible in recognition of his English roots, and was published in the 1935 Draeger book, “Le Spectacle est dans la Rue,” featuring Cassandre’s posters (see PAI-LXIII, 187).

“Instead of ‘a sleek oceangoing vessel,’ as writers often describe modern ships, Cassandre’s rendition [of The Atlantic] becomes a mammoth wall of steel that towers in fantastic and unreal fashion over a minuscule tugboat. He further adds to this startling effect by collapsing the upper decks and the three smokestacks so that they appear almost flat. [He] also distorts perspective in an ingenious way; the stern of the ship extends into the front of the top decks as well as down from them... into the ocean to form a reflection. When taken together, all of these elements, along with the block of text, form one awesome rectangular shape that passes through a ‘wreath’ formed by the coming together of the smoke from the tugboat and the steamship” (Brown & Reinhold, p. 16).

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

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

A-Z | CASSANDRE - CASSIERS

240

Cassandre

(Continued)

240. Bonal. 1935.

47 1⁄4 x 63 in./120 x 160 cm Alliance Graphique, Paris Cond A-/Slight tears at bottom edge.

Ref: Cassandre/BN, 91; Cassandre/Weill, p. 127; Cassandre/Suntory, 43; Mouron, 63; Moderno Francés, p. 189; Apéritif, 75; PAI-LXXXI, 244 “Opens the appetite,” Bonal claims, and Cassandre quite literally depicts this. Founded in 1865, Bonal is a sweet vermouth-like apéritif wine, infused with quinine, gentian, and many of the herbs featured in Chartreuse. This is the second version of the image, printed two years after the original with slightly different coloration.

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

Giovanni Battista Carpanetto

(1863-1928)

241. Impermeabili. 1897.

39 3⁄4 x 65 1⁄2 in./101 x 166.2 cm Armanino, Genova Cond A-/Slight stains, largely at edges.

Ref: Italia che Cambia, 139 Downpours are of no concern for this signora, who—despite being entirely underdressed—is safeguarded by her G. Acconciamessa raincoat. Notice that even her feet are exposed in a pair of shower shoes, but that’s no issue for her. It’s an audacious image, and a savvy advertising ploy. Carpanetto studied art at the Albertina in Turin and worked primarily as a painter, but he had an important impact on lithography: he was one of Italy’s first poster artists, and he designed the poster for Fiat’s first automobile in 1899. This is a two-sheet poster—and rare!

241

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

CASSANDRE - CASSIERS | A-Z

242

Henri Cassiers

(1858-1944)

242. Red Star Line / New York-Antwerp. ca. 1899.

32 1⁄8 x 21 7⁄8 in./81.7 x 55.5 cm Sackett & Wilhelms, New York Cond A. Ref: DFP-II, 997; Affiches Belges, 14; Duchesne, 61; Compagnies Maritimes, p. 24; Cassiers, 70; Takashimaya, 52; Masters 1900, p. 66; Le Coultre, p. 139; PAI-LXXXIII, 65

243

The hallmark of Cassiers’ style is the sympathetic and colorful rendering of native people—usually farmers and fishermen—seeing a product from their perspective. In this poster for the Red Star Line, we are given the poignant contrast between the charmingly posed and brightly dressed peasants lining the shore and the sleek ship streaming its way from Antwerp to America. This is the smaller format.

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

243. Red Star Line / Antwerpen-New York. ca. 1908.

59 3⁄4 x 43 3⁄ 8 in./152 x 110.2 cm O. de Rycker, Bruxelles Cond B-/Slight tears at folds and edges.

Ref: DFP-II, 1006; Masters 1900, p. 99; Cassiers, p. 91; PAI-LXXXIII, 66 Here, Cassiers employs his characteristic local perspective to show two sailors looking on in anticipation as the Lapland makes her way into port after one of her Antwerp to New York journeys. Built for the Red Star Line in Ireland in 1908, the Lapland carried some 2,500 passengers on this transatlantic run. She remained in service there until 1930; afterwards she served the more leisurely cruises, and was retired in 1934.

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

244. Red Star Line / Antwerpen-New York. 1901.

43 1⁄2 x 62 in./110.5 x 157.3 cm O. de Rycker & Mendel, Bruxelles Cond B+/Slight tears at bottom.

Ref: Cassiers, 77; DFP-II, 1003; PAI-LIII, 185 One of Cassiers’ many designs for Red Star Line, he draws from traditional blue-and-white Dutch tile, creating a trompe-l’œil effect of a mosaic on the paper. Timeless and sedate, this poster exudes the masculinity and refinement of the high seas aboard a luxury liner.

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

244

A-Z | CHAGALL - CHÉRET

245

Marc Chagall

246

(1887-1985)

245. Metropolitan Opera / Opening September 1966. 1966.

246. Nice / Soleil, Fleurs. 1962.

25 ⁄4 x 39 ⁄ 8 in./65.2 x 100 cm Mourlot, Paris Cond A. Ref: Sorlier, p. 109; Lincoln Center, 14; Theaterplakat, 223; PAI-LXXXII, 230

24 5⁄8 x 39 in./62.6 x 99 cm Imp. Mourlot, Paris Cond A. Ref: Affiches d’Azur, 56; Sorlier, p. 38; PAI-LXXX, 300

This is the second poster Chagall created for the inaugural season of the Metropolitan Opera’s move to Lincoln Center in New York. According to Sorlier, the subject is the opera Carmen; but the central figure is Rudolf Bing, the Met’s director and the man who commissioned Chagall to create the large paintings framing the entrance to the Opera.

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.”

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

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

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JULES CHÉRET

247

Jules Chéret

248

249

(1836-1932)

247. Folies-Bergère / O. Métra. 1876.

248. La Tzigane. 1877.

249. La Petite Mionne. 1884.

16 ⁄2 x 23 in./41.8 x 58.6 cm Imp. J. Chéret, Paris Cond A-/Slight stains at edges.

Ref: Chéret, 102; Broido, 86; Maindron 1896, 81; PAI-LXXVIII, 235

23 ⁄8 x 31 ⁄ 8 in./58.6 x 79 cm Imp. J. Chéret, Paris Cond B+/Slight tears and stains at edges.

Ref: Chéret, 12; Broido, 11; Maindron 1896, 11; French Opera, 46; Spectacle, 731; Reims, 536; PAI-LXX, 284

32 7⁄8 x 50 in./83.5 x 127 cm Imp. Chaix, Paris Cond B/Slight tears at edges; horizontal fold.

Ref: Broido, 624; Maindron 1896, 511; PAI-XXXV, 241

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For many years, Olivier Métra conducted the band at the Folies-Bergère, often incorporating his original compositions into the evening’s performance. He must have been a popular figure of the day, for Chéret gives him notable billing in this design from the venue’s first decade. This is a very early lithograph from Chéret’s eponymous printing firm.

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

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This poster possibly depicts one of the more complicated political twists in operetta history. Strauss’s now-famous Die Fledermaus originally premiered in Vienna to a lessthan-enthusiastic audience. Not until it traveled to Berlin did it become known as one of the greatest operettas ever written, at which point it was reintroduced in Vienna with unparalleled success. The next logical stop was Paris; however, the two original writers of the book— Ludovic Halévy and Meilhac—protested so much against this new production that the libretto had to be heavily edited by a third party before it could be performed.

With the new title of La Tzigane, and a slightly altered plot line in which Rosalinde is now the disguised principal figure, Die Fledermaus was introduced to Paris as a slightly different operetta than it would ultimately come to be known.

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

The serialized novel: get the public hooked with a few free chapter installments and you’re on your way to publishing success. And though Richebourg’s chronicles of this Parisian Polly Purebred is by no means a staple of the New York Times Bestseller list, it was quite successful in its day, spawning two sequels and a lavishly staged production of our heroine’s adventures.

Chéret’s approach is classic: present the public with wide-eyed naiveté and they most certainly will fall head over heels.

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

A-Z | CHÉRET

250

Chéret

(Continued)

250. Aux Buttes Chaumont / Jouets. 1887.

47 3⁄8 x 108 1⁄2 in./120.3 x 174 cm Imp. Chaix, Paris Cond B+/Slight tears, largely at folds.

Ref: Chéret, 879; Broido, 696

251

The children are parading to the Aux Buttes Chaumont department store for new toys, and Chéret is all too happy to show off their exuberance.

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

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

34 x 48 3⁄4 in./86.2 x 124 cm Imp. Chaix, Paris Cond B/Slight tears at folds.

Ref: Chéret, 154; Broido, 125; Maindron 1896, 113; DFP-II, 233; Maitres, 73; Reims, 411; Wine Spectator, 13; Loïe Fuller/Current, p. 129; PAI-LXXXII, 236 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: $3,000-$4,000.

252. Théâtre de la Tour Eiffel / Paris-Chicago. 1893.

35 1⁄ 8 x 50 1⁄ 2 in./89.2 x 128.3 cm Imp. Chaix, Paris Cond B+/Slight tears at folds.

Ref: Chéret, 343; Broido, 273; Maindron, 239; DFP-III, 2379 (var); Reims, 467; PAI-XXXIII, 283 When plans to take down the Eiffel Tower after the end of the 1889 World’s Fair fell through, the Flamand restaurant on its first level was converted into the 400-seat Théâtre de la Tour Eiffel by Charles Bodinier. In an attempt to make it a more trendy and artsy venue, the “Paris-Chicago” revue, written by co-owner Alphonse Frank, opened on May 16, 1893, to great success. Here, Chéret depicts the many characters of the show joyously floating through lithographic space. This is the rare version before letters.

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

252

CHÉRET | A-Z

253

255 253. Palais de Glace. 1893.

33 x 47 3⁄8 in./84 x 120.4 cm Imp. Chaix, Paris Cond B/Tears along folds. Framed.

Ref: Chéret, 471; Broido, 362; Maindron 1896, p. 292; DFP-II, 240; Reims, p. 455; PAI-LXXXIV, 282 More merry and carefree than its romantic counterparts, this poster for the Palais de Glace showcases ice skating in all its welcoming, wild abandon.

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

254. Palais de Glace. 1894.

14 1⁄8 x 24 1⁄2 in./36 x 54.5 cm Imp. Chaix, Paris Cond A. Framed.

Ref: Chéret, 477; Broido, 365; PAI-LXXVIII, 239 Between 1893 and 1900, Chéret created a multitude of captivating designs for the Palais de Glace, a large skating rink located on the Champs-Elysées. Here, the brightly dressed beauty, complete with fur stole, glances back toward us with a flirtatious look, while her forward arm seems to suggest, “This way, love!” This is the Courrier Français supplement from January 28, 1894.

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

255. Palais de Glace : Maquette. 1894.

12 3⁄ 8 x 19 in./31.5 x 48.2 cm Signed ink drawing on light board. Framed.

Ref (all var): Chéret, 477; Broido, 365; PAI-LXXVIII, 239 This is the preparatory work for the Courrier Français supplement from January 28, 1894, as seen in the previous lot.

254

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

A-Z | CHÉRET

257

256

Chéret

258

(Continued)

256. Palais de Glace. 1896.

257. Quinquina Dubonnet. 1895.

258. Vin Mariani. 1895.

33 5⁄8 x 48 3⁄8 in./85.5 x 123 cm Imp. Chaix, Paris Cond A. Framed.

Ref: Chéret, 484; Broido, 368; DFP-II, 256; Wine Spectator, 19; Gold, 131; Encylopédie/Weill, p. 39; PAI-LXXXI, 248

14 7⁄8 x 21 7⁄8 in./37.7 x 55.5 cm Imp. Chaix, Paris Cond A. Framed.

Ref: Chéret, 1143; Broido, 879; Maindron 1896, 29; PAI-LXXVIII, 244

15 3⁄8 x 22 7⁄8 in./39 x 58 cm Imp. Chaix, Paris Cond A. Ref: Chéret, 1124; PAI-LXVI, 209

In another design for the Palais de Glace, a brightly dressed beauty balances daintily on one foot as her partner glides her around the ice. This is the larger format.

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

One of the many products Chéret’s merry redhead promoted was Quinquina Dubonnet, an herb-based fortified wine blended with quinine. In this insert for Le Courrier Français, she is seen toasting the skies while looking temptingly over her shoulder at the viewer. The design was originally conceived the year prior, but appeared in the weekly newspaper on June 16, 1895.

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

Created in 1863 by Angelo Mariani, Vin Mariani is simply a combination of Bordeaux wine and coca leaves. The restored “health and vitality” mentioned in the full-text poster is the result of the small amount of cocaine laced in the beverage—an ingredient used by many popular drinks of that era, including Coca-Cola. Mariani was also one of the first publicists to recognized the value of celebrity endorsements, and succeeded in getting Thomas Edison, Queen Victoria, and two popes, as well as then-famous musicians, doctors, public figures, and actors to praise the product in his many advertisements. This is the smaller, Courrier Français version of the poster.

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

CHÉRET | A-Z

260

259 259. Théâtre de l’Opéra / 3me Bal Masqué. 1896.

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

34 ⁄8 x 49 ⁄8 in./88 x 124.8 cm Imp. Chaix, Paris Cond A-/Unobtrusive folds.

Ref: Chéret, 379 (var); Broido, 297; Maitres, 57 (var); PAI-LXXXIII, 286

34 3⁄4 x 49 in./88.3 x 124.5 cm Imp. Chaix, Paris Cond A. Framed.

Ref: Chéret, 608; Broido, 471; DFP-II, 267; PAI-LXXX, 314

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The eye mask does nothing to conceal the charm of this lovely reveler whose dazzle throws all other participants into shadowy insignificance. Not only was this delectable design used to promote the first grand masked ball of the 1896 season, but it was also utilized to call attention to various subsequent masked balls.

This is the before-lettering version of Chéret’s charming poster for Les Fantoches, a puppet show extravaganza staged at the theater of the Musée Grevin, a frequent client of Chéret’s. The design was so eye-catching that it was also used to announce a Fête des Artistes at the venue (see PAI-LI, 273), as well as a variety of other shows.

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

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

260. Pastilles Poncelet. 1896.

262. La Fileuse. 1900.

14 ⁄8 x 21 ⁄2 in./37.2 x 54.7 cm Imp. Chaix, Paris Cond A. Framed.

Ref: Chéret, 1183; Broido, 909; DFP-II, 260 (var); Health Posters, 29 (var); Gold, 33 (var); PAI-LIX, 296

34 3⁄4 x 51 in./88.3 x 129.5 cm Imp. Chaix & de Malherbe, Paris Cond B+/Slight tears at edges.

Ref: Broido, p. 64; Chéret, 80; PAI-LXXVII, 190

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“With consummate mastery, this poster does credit to the artist as both illustrator and poster designer... Its dynamic hinges on the opposition between the violence of the storm and the serene resistance of the young girl... This symbolism is engaged to support the message of the publicity slogan [‘For Colds–Coughs–Bronchitis’].

Pastilles Poncelet were made from tar, licorice, ipecac, codeine and potassium chlorate” (Health Posters, p. 31).

This is the smaller format.

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

261

This is one of the twin decorative panels Chéret created for the publisher de Malherbe at the time of the 1900 World’s Fair in Paris. “La Dentellière” (The Lacemaker; see PAI-LIX, 303) was paired with “La Fileuse” (The Spinner) seen here. As Chéret depicts her, she has hair as soft, fluffy, and fine as the wool she is turning into yarn for the weaver at the loom in shadows behind her. In typical Chéret fashion, she’s a bit overdressed for the job.

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

262

A-Z | CHÉRET

263

Chéret

(Continued)

263. Les femmes dans le parc : Painting.

264. Danse avec Pierrot : Painting. 1900.

10 ⁄4 x 13 ⁄2 in./26 x 34.2 cm Signed pastel painting. Framed.

18 1⁄4 x 31 1⁄ 2 in./46.4 x 80 cm Signed pasted painting. Framed.

Chéret imagines one of his beautiful ladies lounging coquettishly in the park while her companion looks on in admiration. But who is our Chérette trying to impress with her come-hither display? Perhaps her flirtation is meant for us, the viewers.

In this impressive original work, Chéret employs his dancing maiden from his Musée Grévin / Fantoches de John Hewelt poster of the same year. “According to his set of themes, the play masks, the femme fatale (Colombine or Chérette, whatever her name) is not just a dummy model corresponding to the ethereal and sensually magnetic feminine type made sacred by the symbolists, but rather a bewitching wily woman who pierces Pierrot’s heart in the realm of Coquetterie... [His women are all] fairies but some are spectres. They are almost made up dead women, shaken up by frenzied laughter blown away by the fanatic search for pleasure above Montmartre and the towers of Notre Dame to the daily Sabbath of the music hall and public balls. This ghostly side ferociously stresses its madness and modernity” (Jean Forneris, p. 23).

It’s one of Chéret’s finest and most accomplished paintings.

1

1

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

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

CHÉRET | A-Z

264

A-Z | CHÉRET - CODOGNATO

266

Chéret

(Continued)

265. La Charmante : Painting.

9 1⁄2 x 19 in./23.5 x 48.2 cm Signed pastel painting. Framed.

There’s no denying that Chéret had a very particular type: redheaded, lithe but well-endowed, always wearing yellow, and preferably accessorized with a hat and floral blooms. Here we get another glimpse of his Chérette, who this time engages directly with the viewer as she casts her spell of enchantment.

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

Clérice Frères

(Victor Clérice, 1880-? & François Clérice, 1882-?)

266. Jam. 1925.

24 x 32 1⁄8 in./61 x 81.6 cm Imp. Ch. Cordinne, Liège Cond A. The text only tells us that Jam “is and always will be the best” and is available to purchase from all the major hardware, iron, and metal dealers in Belgium and abroad. But what, exactly, is Jam? Look past the admiring couple and you’ll see one chimney billowing smoke into the ground floor window, while another chimney, equipped with a Jam-looking device, blows its smoke straight upward.

Est: $800-$1,000.

Plinio Codognato

(1878-1940)

267. Gran Premio d’Europa / Fiat. 1923.

38 3⁄8 x 54 3⁄4 in./97.5 x 139.2 cm Ricordi, Milano Cond A-/Unobtrusive folds.

Ref: Piloti, p. 49 (var); Manifesto Fiat, 40; Fiat Archive, p. 48 (var); PAI-XLVI, 287 (var)

265

A concentrated distillation of focus and determination give off the distinct impression that the poster—initially created for L’Illustrazione Italiana —could, under the right conditions, jet from the page into our reality with little to no effort whatsoever. The image was also used to promote Fiat’s success at the first running of the European Grand Prix at the Autodromo Nazionale Monza (see Piloti, p. 49). Won by Italian racer Carlo Salmano, the Grand Prix at this point in time was created as an honorific title that rotated from country to country; it became a stand-alone event in 1983, most frequently held at the Nürburgring. Codognato was one of the best Italian graphic artists of the 20th century, creating about 150 first-rate posters for commercial products, theatre, and sporting events. He is best known for his work for Fiat, Pirelli, Campari, and Cinzano, as well as his auto racing posters. All his work is charged with motion that gives it a unique intensity.

Est: $70,000-$90,000.

CHÉRET - CODOGNATO | A-Z

267

A-Z | COLIN - DAURES

268

Paul Colin

(1892-1986)

268. Ces Messieurs Dames : Maquette. 1932.

269. L’Age des Plastiques. ca. 1930.

30 1⁄4 x 45 7⁄8 in./77 x 116.6 cm Signed gouache and ink maquette. Framed.

Ref: Colin Affichiste, 23 (var); Colin/Spectacles, 118; PAI-XXV, 268

45 3⁄4 x 62 1⁄ 2 in./116.2 x 158.7 cm Imp. S. A. Courbet, Paris Cond A-/Slight tears at edges.

This maquette for a poster promoted a revue with music by Vincent Scotto (Josephine Baker’s favorite composer who wrote her biggest hit, “Two Loves”); the star was Cora Madou. Colin contributed 25 set designs for the show, which was presented at the Studio de Paris.

This incredibly rare Colin design advertises an exhibition titled “The Age of Plastic,” held at the headquarters of the chemical industry in Paris. The uncanny image presents the material as a wonder to behold, and equates it to organic matter.

Unfortunately, the world had no idea how much damage this new material would wreck on our environment.

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

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

COLIN - DAURES | A-Z

269

271

270

Tom Daly

Ph. Daures

270. 46th Annual New York Art Director’s Club Exhibition. 1966.

271. Edith Piaf. ca. 1953.

63 x 12 1⁄4 in./160 x 31 cm Cond A/Usual mailing folds.

Ref: Images of an Era, 47; Suntory, p. 99; PAI-LVIII, 367

30 3⁄8 x 47 in./77.2 x 119.6 cm Atelier Girbal, Paris Cond B-/Slight tears and stains, largely at edges.

“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. This includes the original mailing envelope.

Daures created this solemn image to announce Édith Piaf’s self-titled 1953 album, released by Columbia; a variant of his image was also used as the album cover.

Although she was just 37 at the time, the virtuoso was already nearing the end of her life and would die 10 years later. Daures captures her, somewhat prophetically, walking through the mist towards a fallen rose, which is no doubt a reference to her greatest hit, “La Vie en Rose.” Rare!

Est: $800-$1,000.

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

A-Z | DE LA RIVA - DROZ

272

274

de la Riva

S. Dola

272. Badajoz. 1954.

274. Bullier.

24 ⁄8 x 35 ⁄4 in./62 x 101 cm Lit. Ortega, Valencia Cond A. Ref: España, 175

31 x 47 1⁄8 in./78.8 x 119.7 cm Hérold, Paris Cond B+/Slight stains, largely in margins.

3

273

3

The Badajoz Fair goes way back, tracing its roots to the year 1255. Traditionally a market and cattle fair with dances and attractions, it developed into its current form in the 20th century. The event honors San Juan Bautista, the patron saint of the Cathedral and Diocese of Badajoz.

It’s one of the largest and liveliest events in the region.

Today’s visitors can expect pyrotechnic shows, attractions and booths, musical performances, dances, and a large fireworks display. De la Riva’s 1954 promotion shows two flamenco dancers in traditional dress, who probably continue to entertain the crowds to this day.

Est: $800-$1,000.

David Dellepiane

(1866-1932)

20 1⁄4 x 29 in./51.4 x 73.6 cm S.A.D.A.G., Genève Cond B-/Tears at folds and edges.

Ref: Génèvoise, p. 117; Dellepiane, p. 155; PAI-LXXXIII, 303 In this stunning example of the best of Swiss Art Nouveau, we are presented with an early camera amidst a wall of sunflowers. This poster is noted as being the first in Europe created via the héliochrome printing method, and, as the inquisitive artist shown alongside the camera indicates, utilizing this technology does not at all remove the artistic process from color lithography.

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

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

Jean-Gabriel Domergue

273. Societé des Arts Graphiques. 1899.

275

The Bal Bullier, also known as the Closerie des Lilas, was constructed by Bullier on the grounds of an old convent at the corner where the Boulevard de Port-Royal crosses the Avenue de l’Observatoire. A new owner transformed the gardens, planting clumps of trees and lilacs and building a room inspired by the Moorish architecture of the Alhambra.

A popular student hangout, the venue included a dance floor as well as billiards and archery practice. Here, two joyous young women invite us to join them at a weekly gala and dance soirée.

(1889-1962)

275. Monte-Carlo. ca. 1937.

24 1⁄4 x 38 3⁄4 in./61.4 x 98.3 cm Imprimerie Nationale, Monaco Cond A. Ref: Affiches Riviera, 441; Affiches Azur, 216; PAI-LXXVIII, 267 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: $1,700-$2,000.

DE LA RIVA - DROZ | A-Z

277 276 276. Monte-Carlo. 1937.

24 1⁄2 x 38 1⁄2 in./62.2 x 98 cm Imp. Nationale, Monaco Cond A. Ref: Affiches Riviera, 440; Affiches Azur, 215; PAI-LXXXIII, 306 Known for his lithe, elongated women in comely poses, Domergue was the designer of choice when one wanted coy elegance to exude from an advertisement. Here, a sun-kissed nymphette is perched on a diving board, charming us into taking a swim with her.

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

Dorfi

(Albert Dorfinant, 1881-1976)

277. La Grande Roue de Paris. ca. 1900.

47 1⁄2 x 63 in./120.7 x 160 cm Imp. Kahn, Paris Cond B-/Slight tears at top edge; slightly light-stained.

Ref: PAI-LXXVIII, 268 In 1899, an immense Ferris wheel was constructed on the Avenue de Suffren in Paris. Towering over the city at a remarkable 350 feet, it was often compared to the Eiffel Tower, which can be seen behind the wheel in this poster. Both were presumed blights: too audacious for the surrounding classical architecture.

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

P. Droz 278. Fête de Gymnastique. 1931.

25 3⁄8 x 36 in./64.5 x 91.5 cm Affiches Debély, Maspoli, Le Locle Cond A. The Federal Gymnastic Society of Switzerland was officially inaugurated in 1833. After 1848, these events became symbols of democratic, progressive, and secular values. In 1931, the canton of Neuchâtel had the honor of hosting this celebratory event, and P. Droz created this dynamic Art Deco design to announce the festivities. Rare!

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

278

A-Z | DUDOVICH - EGGLESTON

279

Marcello Dudovich

(1878-1962)

279. Marca Zenit / G. B. Borsalino. 1911.

40 1⁄2 x 56 3⁄8 in./102.8 x 143.2 cm G. Ricordi, Milano Cond B-/Restored tears.

Ref: Menegazzi I, 498; Dudovich, Fig. 92, cat. 94; Weill, 143; Hillier, p. 218; Ricordi, 205; Charmes, p. 13; Masters 1900, p. 130; Le Coultre, p. 170; Weill/Art Nouveau, p. 269; PAI-LXXVIII, 269 “The poster with which he won a competition organized by the Borsalino Company in 1910 has been described by Attilio Rossi in these almost metaphysical terms: ‘It actually anticipates the so-called ‘poster-object’ later theorized by the German, L. Bernhard. In fact, in that dominant and unusual yellow light that invades the entire poster, the ‘still-life’ of the article to be advertised, the black bowler hat, becomes the inseparable protagonist while the armchair, the gloves and the stick recite sotto voce their subordinate role to the distinction and courtliness of the product’” (Hillier, p. 221). This is the larger, two-sheet format of this magnificent work.

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

DUDOVICH - EGGLESTON | A-Z

280

281

Maurice Dufrène

(1876-1955)

282

Léon Dupin

(1898-1971)

Edward M. Eggleston

(1887-1941)

280. Rayon des Soieries. 1930.

281. Carles. ca. 1927.

282. Billy Rose’s Aquacade. 1937.

31 5⁄8 x 47 1⁄ 8 in./80.4 x 119.6 cm Imp. Chaix, Paris Cond A-/Slight stains at bottom edge.

Ref: French Opera, 17; Timeless Images, 116; Femme s’Affiche, 196; Theaterplakate, 166; Spectacle, 665; Art Deco/Tokyo, 27; PAI-LXXXIII, 309

27 5⁄8 x 39 3⁄4 in./70.2 x 101 cm Imp. Joseph-Charles, Paris Cond A-/Slight tears at bottom edge.

28 1⁄ 2 x 40 1⁄ 8 in./72.5 x 102 cm Cond A-/Horizontal fold.

Ref: PAI-LXXVI, 268

A Deco sophisticate becomes a discerning endorsement for the Carles company’s “most beautiful earthenware” and “most beautiful porcelain.” Dupin began working with the printer Joseph-Charles in 1926 and later worked with Draeger as a photographer and printer. He also designed many bright Art Deco posters. In 1936, Walt Disney studios offered him a position, but Dupin turned it down—he didn’t want to leave France, or learn English.

If anything could top Eggleston’s Atlantic City triumphs (see PAI-LX, 259, PAI-LXVII, 294, and PAI-LXXXII, 262), this would be it: a Deco swimming spectacular, with a ’30s Hollywood starlet fronting the extravaganza! Billy Rose’s Aquacade debuted here at the Great Lakes Exposition in Cleveland in 1937. What is an Aquacade, you ask? Nothing less than an all-singing, all-dancing, all-swimming, and diving dream spectacle—the type of performance you’d see in Hollywood spectaculars, but live. Flush with success in Cleveland, Billy Rose took his Aquacade to the 1939 New York World’s Fair where it instantly became the most popular attraction—thanks in part to the starring roles of Johnny Weissmuller (Tarzan) and the Olympian Eleanor Holm, who was also Billy Rose’s lover. Rare!

This archetype of high Art Deco was created for the 1930 opening of an operetta by Manuel Rosenthal which involved intrigues in the silk department of a clothing store. Most of the design is black and white, but some of the lengths of fabric hanging from the figure’s arm are tinged with the most exquisitely pale shades of pink and yellow. Dufrène also created the operetta’s sets and costumes.

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

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

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

A-Z | ENGELHARD - FORAIN

284

283

Julius Ussy Engelhard

(1883-1964)

283. Box-Kampf. 1919.

35 ⁄8 x 49 in./90.5 x 124.6 cm Oscar Consée, München Cond A-/Unobtrusive folds.

Ref: Plakate München, 444; PAI-LII, 360 5

Full of masculinity and movement, Engelhard presents us with the 1919 title fight in Munich’s largest theatre.

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

Georges Favre 284. Calor Automatic. ca. 1925.

39 1⁄2 x 59 in./100.5 x 150 cm Affiches Gaillard, Paris Cond A. Ref (both var): Personnages, 258; Plumeau, 112 “Half-maid, half-model little girl, Suzy has embodied the image of the Calor brand almost since the creation

of the company in 1917. Her origin remains obscure...

For nearly 40 years, the girl kept her white apron and black dress that evoke the outfit of a servant, as well as the big bow in her red hair, the white socks and the patent sling-back shoes that are similar to a child’s...

According to the inspiration of the various illustrators (Favre, Henri le Monnier, E. Derouet, and G. Lauve), she kept getting older... and her skirts got shorter. When she first appeared in 1919, she barely knew how to stand and could hardly use the electrical devices she was supposed to promote. She therefore gained a few years to properly handle the vacuum cleaner and, in the 1930s, she appeared between twelve and fifteen years old. Always smiling and impeccable, she personifies the image of an efficient and fulfilled hostess. Her youthful appearance indicates that handling these new domestic devices is child’s play” (Personnages, p. 156). Here, Suzy demonstrates the ease of use of Calor’s electric water heater, which “boils water in minutes for pennies.”

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

285

Fernand Fernel

(1872-1934)

285. Quinquina Michaud.

39 x 55 1⁄8 in./99 x 140 cm Imp. Bourgerie, Paris Cond B+/Unobtrusive folds.

Even the most sophisticated men are driven to groveling for a snifter of Quinquina Michaud, an aromatised wine apéritif. The tantalization is made even more deliriously irresistible when served up by an exotic goddess bejeweled with flowers, snake accessories, and a Mucha-esque headdress.

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

ENGELHARD - FORAIN | A-Z

286

287

288

Georges de Feure

(1868-1943)

Alice Luella Fidler

(1883-?)

Jean-Louis Forain

(1852-1931)

286. Jane Derval / Folies-Bèrgere. 1904.

287. Yale. ca. 1908.

288. La Vie de Bohême. 1897.

42 3⁄8 x 58 7⁄8 in./107.7 x 149.5 cm Imp. Minot, Paris Cond B/Restored tears at folds and edges.

Ref: Folies-Bergère, 24; de Feure, p. 212; PAI-LXXVI, 274

12 1⁄8 x 22 3⁄4 in./30.8 x 58 cm U.S. Lithograph Co., New York Cond A.

43 x 17 1⁄2 in./109.2 x 44.5 cm Imp. Hérold, Paris Cond B+/Slight restored tears. Framed.

Ref: DFP-II, 363; PAI-LXIX, 368

This was de Feure’s very last poster, although he would continue working as an artist for another 39 years. A celebration of the Folies-Bergère dancer Jane Derval, it’s a pitch-perfect evocation of the French cultural atmosphere in 1904: Asian stylistic flourishes, floral patterns, and Art Nouveau bird life in a crimson train; meanwhile, Derval’s face has the unmistakable quality of an illustration created from photography.

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

Along with her two sisters—Pearle Eugenia and Elsie Catherine—Alice Fidler was responsible for many drawings of beautiful girls and women during the early 20th century. They produced postcard series called “Glamour Girl,” “American Girl,” and “College Lad and Lassie,” as well as larger color prints that were customized for specific schools, such as this ladylike image for Yale. Published by the Decorative Poster Company of Cincinnati, this charming memento belies the darker history of the Ivy League university, which did not become fully coeducational until 1968.

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

Commenting in the August/September, 1898, edition of The Poster, critic P. Duverney observed: “At the present moment we think the best posters on the Paris murailles are one by E. Grasset and the other by Forain... Forain’s poster is for Puccini’s Vie de Bohême. The artist shows us the finishing scene: the lovely lorette Mimi Pinson in her attic, forgotten by her lover, dying as she lived, with a smile on her lips” (p. 110). This poster announced the premiere of the opera in Paris.

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

A-Z | GESMAR - GIPKENS

289

290

291

Charles Gesmar

Pierre Fix-Masseau

(1900-1928)

289. Mistinguett / Moulin Rouge. 1926.

290. Mistinguett. 1925.

30 5⁄8 x 47 3⁄8 in./77.8 x 120.4 cm Imp. H. Chachoin, Paris Cond B/Slight tears, largely at folds.

Ref: Gesmar, p 155; Moulin Rouge, p. 102; FoliesBergère, 63; Hillier, p. 249; Theaterplakate, 155; PAI-LXXIII, 297

44 1⁄2 x 62 in./113 x 157.5 cm Imp. H. Chachoin, Paris Cond B/Slight tears at folds. Framed.

Ref: Delhaye, p. 47; Gesmar, p. 117; PAI-LXXXII, 272

Mistinguett achieved her greatest success at the Moulin Rouge, where her 1926 revue was simply called Mistinguett. “It is one of Gesmar’s most beautiful posters: without jewels or fancy dress, it’s the Miss, child of Paris, which he shows us here... alluring, tender, and roguish with the rose between her lips which we would like to pluck” (Folies-Bergère, p. 11).

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

This wry image of Mistinguett plays on her legendary performance style involving luxurious flirtation with the viewer. It’s also a testament to the seamless collaboration between the showgirl and her costumedesigner artist, the young prodigy Charles Gesmar, who designed thousands of costumes and 55 posters for her.

Note the identical hue of coral upon wrist-bauble, nails, and lips; the lapis lazuli upon her finger, and in her eye shadow; the emerald upon her ring finger, and in her eyes; the black pearls and Mistinguett’s mascara.

Peek-a-boo, the colors say: I see you.

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

(1905-1994)

291. Venice Simplon Orient-Express : 12 Posters.

1979-1982.

Each: 12 1⁄4 x 19 3⁄4 in./31 x 50 cm Cond A. Ref: Train à l’Affiche, 347; PAI-XIII, 222 (var) When he was commissioned in 1982 to create a series of posters for the revived elegant train ride from London to Venice, Fix-Masseau used both his linear and mannerist expressions to recall the amenities of the luxurious life aboard this prestigious train of earlier days.

He succeeded brilliantly. This is the complete set of 12 posters in a presentation case that is hand-signed on the title page and at the bottom of the first poster. This is an artist’s proof; the total edition was 300 copies.

Est: $2,500-$3,000. (12)

GESMAR - GIPKENS | A-Z

292

293

Albert Fuss

(1889-1969)

294

Charles Dana Gibson

(1867-1944)

Julius Gipkens

(1883-1968)

292. Hamburg-Amerika Linie / Tropische Heimat. 1938.

293. The Christmas Scribner’s. 1899.

294. Die-Woche. 1914.

33 1⁄2 x 46 7⁄8 in./85.2 x 119 cm Muhlmeister & Johler, Hamburg Cond A.

14 1⁄2 x 22 in./37 x 56 cm Grignard Litho., New York Cond A. Ref: DFP-I, 240; PAI-XLVII, 263

18 5⁄ 8 x 28 1⁄ 8 in./47.3 x 71.4 cm Hollerbaum & Schmidt, Berlin Cond A. Ref: DFP-III, 1048; PAI-LI, 338

As far as the publishers of Scribner’s were concerned, Christmas was more than presents and decoratively frosted cookies—it was a serious formal affair. So instead of picking a representative image from one of the “Two Christmas Stories” featured in the pages of their publication, they opted for one of Gibson’s “Seven Ages of American Women,” also a feature in that month’s magazine.

And though the featured black-and-white drawing is by Gibson, the design of the poster was executed by the initially-identified “H.G.” who did include a bit of holly at top and bottom in order to indicate a smidge of holiday cheer. Gibson was one of the most influential illustrators of his day, recognized for his creation of the “Gibson girl,” the graphic synonym for a well-dressed, sophisticated young woman of the 1890s—and one of the earliest associations of an artist’s name with the popular image he created.

Heavily influenced by the work of Lucian Bernhard, Gipkens was a successful graphic designer in Berlin during the first half of the 20th century. One of his many clients was the weekly newspaper Die Woche, a “moderne illustrierte Zeitschrift” (modern illustrated magazine). Here, a leggy shadow is seen slipping away with the latest edition, the text literally pouring off the page.

One can immediately feel the heat of the tropics in this sun-soaked design promoting travel on the HamburgAmerica line. In fact, the shipping line had launched its own film company in 1920, and “From the Tropical Home of the Gulf Stream” was one such visual endeavor, released in 1927. It focused on the countries around the Antilles Sea—the north coast of South America and southern Central America—with an emphasis on their economic resources: bananas, cocoa, coconuts, tobacco, et al. Though the film was met with some criticism, the company apparently decided to revisit the idea with this design by Fuss.

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

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

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

A-Z | GOLAY - HALL

295

Mary Golay

(1869-1944)

295. Poésie de Crépuscule & Lumière Matinale: 2 Panels.

296. Poppy Perfection.

Each: 15 x 41 in./38 x 104 cm Cond A-/Slight tears and creases at top edge. Framed.

Ref: PAI-XXXIX, 301

15 5⁄8 x 38 1⁄2 in./39.8 x 98 cm Cond A. Framed.

Ref: PAI-LXXX, 358

Golay, never one to use her talents in the crude service of commerce, takes us on a sensual stroll into the heart of the “Poetry of Twilight” and “Morning Light.” The enigmatic artist, an utter devotee to the precepts of Art Nouveau and all the splendid excesses which that entails, ushers us into our Garden of Eden with a pair of exotic herons and sends us luxuriantly into the evening in the company of two Ward’s herons, both set in marshy landscapes so pristine, so free of man’s wasteful thumbprint, that they can’t help but induce a wistful longing to be transported into their realm.

When last we saw this captivating design, it was part of a decorative panel series known as “Les Demoiselles” (see PAI-XXVII, 410) in which four beauties appear to have lost themselves in the sensual nature that surrounds them. In this panel, our poppy-ensconced Byzantine maiden retains all of the raven-haired charm of the dusky lithographic seductress seen in the aforementioned series.

Est: $4,000-$5,000. (2)

DOWNLOAD OUR MOBILE BIDDING APP AT POSTERAUCTIONS.COM

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

296

GOLAY - HALL | A-Z

297

299

Jules-Alexandre Grün

298

(1868-1938)

(1873-1958)

297. La Boîte à Fursy. 1901.

299. Münchener Herz. 1936.

33 5⁄8 x 48 1⁄2 in./85.2 x 123.4 cm Imp. Chaix, Paris Cond A. Ref: Grün, p. 39; PAI-LXXII, 232 (var)

33 7⁄8 x 47 1⁄4 in./86 x 120 cm Sonntag, München Cond A.

This madness before you—a squadron of gendarmes in a riotous state over a threadbare showgirl—advertises a very Fursy production. Henry Fursy, cabaret manager and show runner, purchased the famous venue Le Chat Noir after its owner’s death, and transformed it into Le Boîte de Fursy, a home for cabaret parodies of current events he’d penned. In February 1901, inspiration struck: a seamstress’s strike consumed Paris. In the middle of the month, they demonstrated on the Rue de la Paix, which had been cordoned off by police. Grün decided to send up this moment, while advertising Fursy’s boîte. The lettering emphasizes the political goal: Viva the Strike!

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

Albert Guillaume

(1873-1942)

37 1⁄2 x 51 in./95.4 x 129.4 cm Affiches Camis, Paris Cond A-/Slight stains at edges.

Ref: DFP-II, 453 (var); PAI-LXXVI, 292 That lush and lissome cancan dancer, swinging her arm with abandon, is none other than Marguerite Duclerc, who became a headliner at the Ambassadeurs in 1892.

This poster is halfway through her incredibly successful run at the venue; in 1896 she’d saved her pay to buy out the Café Concert des Decadents and transformed it into her own place, the Concert Duclerc.

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

“The heart of Munich and the air of Schwabing”— Bavaria’s capital—are the themes of this art students’ party held at the Deutschen Theater. Gulbransson joyfully personifies these concepts with a romantic couple feeling lighter-than-air atop Munich’s rooftops.

Although born in Oslo, Norway, Gulbransson later moved to Munich, where he became an integral figure in the poster and art world. He was a contributor to Simplicissimus, gained notoriety for his political caricatures, and was a professor of drawing and painting at the Munich Academy. Rare!

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

Tom Hall

298. Ambassadeurs / Duclerc. 1894.

300

Olaf Gulbransson

(1885-1972)

300. Hunt Big Game in Canada. 1938.

23 7⁄8 x 35 3⁄4 in./60.7 x 91 cm Cond B+/Slight tears, largely in bottom text area.

Ref: Canadian Pacific II, p. 149; Canadian Pacific, 72; PAI-LXXXIII, 338 For the Canadian Pacific Railway, Hall created this bold design with expanses of fascinatingly unnatural colors and a large black bear staring us down—the object of the hunter’s game.

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

KEITH HARING

301

Keith Haring

(1958-1990)

301. Montreux Jazz Festival. 1983.

27 5⁄8 x 39 3⁄8 in./70.2 x 100 cm Cond A-/Slight tears at right edge. P. Ref: Haring, 25; Haring Posters, 8; PAI-LXXVII, 245 Keith Haring designed a series of playful posters for the 1983 Montreux Jazz Festival; each one features a dancing figure with a slinky-like midsection and some variation of neon yellow, aquamarine, and a nearly hot pink shade of purple. At that year’s festival, jazz, blues, and Brazilian music were emphasized; performers included Buddy Guy, Fats Domino, Roy Ayers, Willie Dixon, Caetano Veloso, and John Lee Hooker. We imagine attendees felt just like this mustard yellow-colored dancing man: dizzied with delight.

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

302

303

302. Montreux Jazz Festival. 1983.

304. Keith Haring at FUN Gallery. 1983.

27 5⁄8 x 39 3⁄8 in./70.2 x 100 cm Cond A/P. Ref: Haring, 26; Haring Posters, 10; PAI-LXXVII, 246

23 x 29 1⁄4 in./58.2 x 74.2 cm Cond A-/Slight tears at edges. P. Ref: Haring checklist, p. 187; Haring Posters, 4; Kunstlerplakat, p. 199; PAI-LXXXIII, 346

This is the second image for the 1983 Montreux Jazz Festival.

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

303. Montreux Jazz Festival. 1983.

27 5⁄8 x 39 3⁄8 in./70.2 x 100 cm Uldry, Berne Cond A-/Slight tears at left edge. P. Ref: Haring, 27; Haring Posters, 9; PAI-LXXVII, 247 This is the third image for the 1983 Montreux Jazz Festival, with text in French.

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

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.

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

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HARING | A-Z

304

306

305

305. Keith Haring / Galerie Hans Mayer. 1988.

307. Keith Haring à Paris. 1986.

23 1⁄4 x 32 3⁄4 in./59 x 83.3 cm Cond A/P. Ref: Haring, p. 187; PAI-LXXVII, 249

19 3⁄4 x 24 3⁄ 8 in./50 x 62 cm Imp. Blanchard, Paris Cond A/P. Ref: Haring Posters, 51; PAI-LXXXII, 295

1988 was a big year for Keith Haring: his exhibitions were mounted internationally in California, New York, Florida, and here, in Germany, at Galerie Hans Mayer.

This poster for his exhibition hints at the mesmerizing works on view—and two years later, he would use a similar abstract print on one of his painted cars, which was also exhibited at the gallery.

Est: $800-$1,000.

306. Galerie Watari, Tokyo. 1983.

20 3⁄ 8 x 26 3⁄4 in./51.6 x 68 cm ...On Sunday Publication, Tokyo Cond A/P. Ref: Haring Posters, 5; Haring checklist, p. 187; PAI-LXXVIII, 315 This rare poster was published in conjunction with Keith Haring’s first exhibition in Tokyo, Japan at the Galerie Watari in 1983. Haring employs his wry sense of humor in this illustration: a dolphin-riding man battles against an incoming UFO—or perhaps he’s trying to hitchhike a ride? In any case, it’s a pure Haring delight—printed on pearlescent Japanese paper from an edition of 1,000.

307

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

Haring promotes his exhibition at Galerie Daniel Templon with a bright, playful design with his Haring-figures climbing atop a robo-elephant creature. The exhibition featured large-scale paintings and painted steel sculptures, which naturally made use of bold primary colors and his signature geometric characters. This poster is from an edition of about 200.

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

A-Z | HARING - HELLEU

309

Haring

(Continued)

308. Keith Haring at Tony Shafrazi Gallery. 1984.

23 1⁄8 x 35 in./59 x 89 cm Cond A/P. Ref: Kunstlerplakat, p. 199; Haring Posters, 12; PAI-LXXXI, 312

308

To promote his exhibition “Into 84” at New York’s Tony Shafrazi Gallery, Haring depicts a wild, almost tribal-looking man, who is in fact the famous choreographer, Bill T. Jones. Haring and Jones met at a graffiti exhibition in London, and quickly became both friends and creative collaborators— naturally, the artist and dancer turned to body art. Haring used Jones’ body as a canvas, painting him from head to toe in his graphically stylistic manner, and Tseng Kwong Chi photographed Jones as he danced and performed spontaneously. The photographs were printed in black and white, and Haring reiterated the expressive forms by applying bold pops of color, resulting in this powerful and explosive design.

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

309. Knokke Casino 87. 1987.

20 1⁄2 x 28 1⁄4 in./52 x 71.8 cm Cond A/P. Ref: Haring checklist, p. 187; Haring Posters, 58; PAI-LXXXII, 301 To promote his exhibition at the Knokke Casino—a sea-front venue in Flanders that is also the country’s largest casino—Haring designed a typically playful image of a Haring-figure riding a dolphin (which apparently has managed to evolve to walk on land). The venue not only has permanent Haring works on view, but is also home to work by Paul Delvaux and a giant 360° mural by the surrealist master René Magritte.

It seems that Haring’s work is in good company.

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

310. Free South Africa. 1985.

48 x 48 1⁄ 2 in./122 x 122.5 cm Cond A-/Slight creases.

Ref: Dörning, p. 93; Haring Posters, 26; PAI-LXXXIII, 342

310

Distributed at an anti-apartheid demonstration, this iconic Haring design shows a native African figure crushing his oppressor. Initially created as a painting, Haring felt the image was strong enough to work well as a poster too. “20,000 of the posters were given away for free; the print was later sold in the Pop Shop for the symbolic price of one dollar” (Haring Posters, 26).

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

HARING - HELLEU | A-Z

311

312 311. American Music Festival / NYC Ballet. 1988.

313. New York is Book Country. 1985.

35 3⁄4 x 24 in./90.7 x 61 cm Cond A. Ref: Haring Posters, 67; PAI-LXXXII, 302

19 7⁄8 x 25 1⁄4 in./50.5 x 64.2 cm Panorama Press, New York Cond A. Ref (both var): Haring Posters, 33; PAI-LXXVIII, 318

Haring created this charmingly patriotic design for the 40th Anniversary of the New York City Ballet; it was one of a series of 11 artists’ posters commemorating the event. The poster was published by Philip Morris Companies.

313

This variant of the previous lot is hand-signed by the artist.

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

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

312. New York is Book Country. 1985.

Paul C. Helleu

19 3⁄4 x 25 1⁄ 2 in./50 x 64.6 cm Panorama Press, New York Cond A/P. Ref: Haring Posters, 33; PAI-LXXXVIII, 318

314. Ed. Sagot. 1900.

Haring illustrated this exuberant book-lover’s poster for the New York Book Fair, which was held September 22, 1985 on the streets along 5th Avenue in Manhattan.

The event was hosted by the New York Public Library, and a portion of funds were donated to support the Children’s Services department of the library.

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

(1859-1927)

27 3⁄4 x 40 1⁄2 in./70.5 x 103 cm Imp. Chaix, Paris Cond A-/Slight mat stains.

Ref: DFP-II, 466; Affichomanie, 3; Gold, 34; PAI-LXVIII, 424 “The customer of Sagot’s, one of the principal print and poster dealers in Paris, considers several pieces of artwork. Even though we see only her back, we can tell from the way she leans forward how intensely she’s concentrating. Sagot was an early convert to the lure of posters and contributed substantially to the emergence of posters as collectible art in the 1890s” (Gold, p. 23).

Est: $800-$1,000.

314

A-Z | HERKOMER - HOHENSTEIN

315

Hubert Herkomer

(1881-?)

Adolfo Hohenstein

(1854-1928)

315. Normandie. 1935.

316. A. Calderoni. 1898.

24 5⁄8 x 39 3⁄4 in./62.5 x 101 cm Hill, Siffken & Co., London Cond A. Framed.

Ref: Mer s’Affiche, p. 155; Fantastic Voyage, 16; PAI-LXXXIV, 339

38 1⁄8 x 54 1⁄4 in./97 x 137.7 cm G. Modiano, Milano Cond B+/Unobtrusive folds.

Ref (all var): Menegazzi-I, 329; Italia che Cambia, 178; Vetrina Belle Epoque, cover; PAI-LIII, 280

This nighttime image of the Normandie offers a very different experience from Cassandre’s poster of the same title (see No. 235). 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: $14,000-$17,000.

In one of the most exquisite posters for a jeweler ever created, Hohenstein depicts a willowy young beauty sifting through an overflowing jewelry box. Meanwhile, in the background of this two-sheet image, we catch a dreamy glimpse of the storefront in Milan. “Hohenstein can stand as a father to the Italian poster. Although he certainly had an eye on Mucha and, like him, loved large elongated formats, the similarity stops there. His figures were treated with impeccable photographic realism, and colored with a palette of dazzling richness which plays with the effects of light and shade” (Weill, p. 84). This variant does not include the bottom text with the store’s address.

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

HERKOMER - HOHENSTEIN | A-Z

316

LUDWIG HOHLWEIN

317

Ludwig Hohlwein

(1874-1949)

317. Turf. 1909.

Each: 19 3⁄4 x 19 3⁄8 in./50.2 x 49.5 cm Graphia, München Cond A/Slight wear on cover.

Ref: Hohlwein, 132 & 133; PAI-XLVII, 290 This complete Turf portfolio of twelve hand-signed plates features a dramatic array—both competitive and social—of equestrian events that amply displays both Hohlwein’s love of horses and his abundant skill of portraying them. Hohlwein was a passionate huntsman and horse rider.

In this series, he brilliantly portrays all the aspects and sequences of a day at the race track: the arrival of spectators by coach, the riders in front of the grandstand, presenting the favorite horses, riders in the midst of the race, the drama of an overthrow, and the winning jockey.

“The Turf series shows the marked influence with exceeding clarity of English archetypes, particularly that of William Nicholson, one of the two ‘Beggarstaff Brothers’” (Hohlwein, p. 133).

This lot includes the complete portfolio and the original presentation case with the multicolored print on the linen folder. Rare!

Est: $8,000-$10,000. (12)

HOHLWEIN | A-Z

318

319 318. Kaufhaus Oberpollinger München. ca. 1910.

319. Granger. ca. 1927.

36 x 23 ⁄8 in./91.5 x 60.7 cm Fritz Matson, München Cond B/Slight tears at folds.

Ref: PAI-XLV, 341

21 x 10 1⁄8 in./53.5 x 25.8 cm Cond B+/Two vertical folds.

Ref: Hohlwein/Frenzel, p. 158

7

Young and old, wealthy and working class, black and white. What do all of these Munich natives have in common? They all shop at the Oberpollinger department store. And Hohlwein recognizes that there’s positively no need to recreate a single article for sale because the diversity of the clientele more than amply demonstrates that there’s something for everyone at Oberpollinger. Rare!

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

During his only trip to the United States, Hohlwein produced this small poster advertising Granger pipe tobacco. Rarely seen, it is one of at least two designs he created for the company (for another, see PAI-LX, 299), both of which showcase the simple pleasures of men smoking outdoors with their canine companions.

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

A-Z | HOHLWEIN - JOSSOT

320

Hohlwein

(Continued)

320. Kitty Starling. 1914.

35 3⁄8 x 49 5⁄8 in./89.8 x 126 cm Consée, München Cond B+/Slight tears at folds.

Ref: DFP-III, 1454; Hohlwein/Stuttgart, 145; Dance Posters, 58; PAI-XIX, 362 Kathleen Starling was a British music hall star who spent most of her career with a traveling troupe of vaudeville artists. The dancer, known as much for her physical vitality as for her art, was last seen in Louise at the London Opera House in the 1919 season. Hohlwein “was as meticulous with his image (note here the fine use of the large white background to better contrast with the black and purple of her clothing to emphasize the ‘lightness’ of Kitty) as with the words, the typography here being entirely and appropriately his own invention. Perfect harmony and engaging charm: the Hohlwein hallmarks are all here” (Dance Posters, p. 10). Rare!

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

321. Wonalancet / Direct China Cotton Importers. 1909.

23 1⁄4 x 32 5⁄8 in./59 x 82.8 cm Vereinigte Druckereien & Kunstanstalten, München Cond A. Ref: Masters 1900, p. 152; Weill/Art Nouveau, p. 237; Graphic Design/Taschen, p. 144; PAI-LXXVII, 258 Hohlwein’s bold graphic style proved appealing to American audiences, which landed him many commissions abroad. This, though, is his first work produced for a non-German client: New Hampshire’s Wonalancet Company, an importer of Chinese and Peruvian cotton. The rich jewel tones and simple composition clearly influenced his more famous piece for Marco-Polo Tee the following year (see PAI-XXXIV, 401).

321

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

HOHLWEIN - JOSSOT | A-Z

322

323

Louis Icart

(1887-1951)

324

Gustave-Henri Jossot

(1866-1951)

322. Monte-Carlo. 1948.

323. Mince de Trognes!! 1895.

324. Saupiquet Sardines. 1897.

44 7⁄8 x 30 1⁄4 in./114 x 76.8 cm Imp. Monégasque, Monte-Carlo Cond A. Ref: Affiches Azur, 213; Affiches Riviera, 103; PAI-LXXX, 378

14 x 21 1⁄ 2 in./35.5 x 54.5 cm Imp. Paul Lemaire, Paris Cond A-/Slight tears in top margin. Framed.

Ref (both var): DFP-II, 487; Wember, 448

78 1⁄4 x 49 1⁄ 8 in./198.7 x 124.7 cm Affiches Camis, Paris Cond B/Slight tears at folds.

Ref: Collectionneur, p. 32; Célébrités, 201; PAI-XXVIII, 359

“In his latest caricature album, Mince de Trognes [A Slice of Faces], the outline and colors are made with zinc printing, while the artist himself made the stone slabs in Pains d’Épices de Dijon and La Critique; the stylistic treatment is always the same. Jossot knows how to treat the face and the human figure ornamentally in a humorous way; only working with lines and surfaces, he achieves such a high degree of monumentality, even in small sheets” (Sponsel, p. 75). This image was used as the cover of his album of illustrations, which included a preface by Henry Bauer.

When L’Estampe et l’Affiche asked Jossot about his approach to creating Saupiquet Sardines, he explained: “The poster on the wall must howl, it has to force itself on the glance of the passer-by. I have to say without self-conceit that I have done an immense advertisement for the house of Saupiquet, doing as much with my noisy colors as with my grotesque drawing pushed almost to the monstrous” (Célébrités, p. 202). Curiously he didn’t speak about the celebrities he represented in the rather unflattering process of eating their sardines straight from the can with their hands. This illustrious panel includes—from left to right—Sidi-Ali Bey (notorious politico Doctor Grenier after his conversion to Islam), Yvette Guilbert, journalist and politician Henri Rochefort, Sarah Bernhardt, and Aristide Bruant.

Most famous for his fashion plates and scantily clad ladies, Louis Icart also created a series of posters promoting Monte-Carlo. All of them feature a blonde and a brunette, wearing either the most sensual of bathing ensembles or the most glamorous evening attire, as seen here. Unlike his other Monte-Carlo posters, though, there is an element of mystery and excitement about this piece which makes it all the more magical.

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

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

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

A-Z | JUNOT - LIVEMONT

326

325

J. P. Junot

Guillermo Laborde

325. Paris-Liège. 1930.

327. 1er Campeonato Mundial Football / Uruguay. 1930.

24 1⁄2 x 39 1⁄4 in./62.4 x 99.6 cm Imp. Danel, Lille Cond A. Ref: Modern Poster, 170; PAI-LXVII, 382 This excellent Modernist design combines hints of Cassandre’s famous LMS (see PAI-LXI, 184) with photomontage to announce the nonstop four-hour trip one can take from Paris to Liège aboard the French National Railway.

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

Kinsey 326. Tanganyika / Kilimanjaro.

24 3⁄4 x 39 3⁄ 8 in./63 x 100 cm Storey Evans & Co., Yorkshire Cond A-/Slight tear at horizontal fold.

The territory of Tanganyika in East Africa was administered by the United Kingdom until 1961; this British advertisement lures voyeurs to what is currently the mainland of Tanzania. The country is home to a wealth of native wildlife, including the elephants seen here. In the distance, we glimpse Mount Kilimanjaro, the highest mountain in Africa.

Another version of this poster advertises trips via BOAC, but this printing includes a blank space for tourist agencies to insert their information.

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

(1886-1940)

17 5⁄8 x 35 1⁄2 in./44.8 x 90.4 cm Olivera Fernandez, Montevideo Cond A. Ref: Crouse/Deco, p. 114; Sportissimo, p. 94; Graphic Design/Taschen, p. 256; PAI-LXXXIII, 359 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: $4,000-$5,000.

327

JUNOT - LIVEMONT | A-Z

328

Alphonse Auguste J. Lemaire 328. Lumière & Jougla. ca. 1904.

16 1⁄2 x 27 in./42 x 68.5 cm Imp. Georges Lang, Paris Cond A. Ref: PAI-LXXX, 384

329

This simple image depicting the lone photographer working in a dark room advertises Lumière & Jougla, purveyors of photographic equipment.

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

Privat Livemont

(1861-1936)

329. Absinthe Robette. 1896.

31 1⁄2 x 43 1⁄4 in./80 x 110 cm Goffert, Bruxelles Cond A. Framed.

Ref: DFP-II, 1062; Maitres, 104; Belle Epoque 1970, 75; Timeless Images, 38; Wine Spectator, 80; Absinthe, p. 134; Masters 1900, p. 88; Weill/Art Nouveau, p. 164; Absinthe Affiches, cover & 105; Livemont, p. 93; Belle Èpoque/Belgique, 246; Schoonbroodt, 6; PAI-LXXXIV, 355 One of the most iconic posters of all time, Livemont’s design for Absinthe Robette perfectly captures the spirit of Art Nouveau. Every element of the image is lavishly decorative yet delicately organic. Holding up her glass with the reverence of a holy relic, we do not see the hand that pours the water over the sugar, adding a mystical, otherworldly quality to the concoction. The background is made up of sensual plumes of mint on green, echoing the milky swirl within the cup.

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

330. Manufacture Royale de Corsets. 1897.

19 x 28 in./48.2 x 71 cm L. Van Leer, Amsterdam (not shown) Cond A. Framed.

Ref: Belle Epoque 1970, 83; DFP-II, 1066; Graphic Design/Taschen, p. 80; PAI-LXXI, 380 In a graphic and lithographic tour de force, Livemont creates a lush riot of ornamentation, from the marquee archway to the floral wallpaper and lilies at lower left, to the fabulous adornment of the model’s flame-haired tresses—all contrasting with the rigidity of control in the corset and in the vertical spine of crowns to the left.

As a visual metaphor for the fine intricacy involved in corset construction, it’s never been surpassed.

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

330

A-Z | LIVEMONT

331

332

LIVEMONT | A-Z

333

Livemont

(Continued)

331. Rajah. 1899.

332. Cherubs: Two Panels. 1903.

333. Automobile Club de France. 1903.

15 7⁄8 x 29 3⁄8 in./40.3 x 74.6 cm Van Leer, Amsterdam Cond B+/Restored tears in top text area.

Ref: Belle Epoque 1970, 87; DFP-II, 1071; Wine Spectator, 82; Müller-Brockmann, 31; Hillier, 175; PAI-LXXIII, 348

Each: 40 1⁄8 x 16 in./102 x 40.6 cm Cond A. Ref: PAI-LXXXIII, 367

39 x 50 7⁄8 in./99 x 129.2 cm Imp. J. Barreau, Paris Cond A-/Unobtrusive folds.

Ref: Auto Show II, 8; Auto Show III, 38; Collectionneur, p. 226; Gold, 77; Automobile/Lopez, p. 144; PAI-LXXVIII, 43

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

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

Eight adorable toddlers per panel romp merrily in a sylvan dell. Livemont provides a maximum amount of charm with a limited use of color: an olive green background, infantile flesh tones, and a smattering of pink.

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

In 1902 and 1903, Livemont created several posters for the Automobile Club of France and its exhibitions using elegantly adorned Art Nouveau women as embodiments of the organization as a whole. “Here, the figure is seated on a throne in front of the Grand Palais exhibition hall, drenched in roses and hints of an international throng come to admire progress” (Gold, p. 56). She has a flywheel for a halo—a witty nod to Mucha’s goddesses—and her foot rests upon an engine block. Cyclists adorn her throne in a gesture to the history of transport manufacture.

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

A-Z | LOUPOT - MAUZAN

334

Charles Loupot

(1892-1962)

335

E. Charle Lucas

334. RV / Route et Ville. 1957.

335. Paris Parisien. 1897.

45 3⁄4 x 63 1⁄4 in./116.2 x 160.7 cm Cond B+/Slight tears at folds.

Ref: Loupot, 105; Loupot/Zagrodzki, 117

23 3⁄4 x 31 3⁄4 in./60.2 x 80.7 cm Imp. Charles Verneau, Paris Cond B+/Slight tears and stains at top and bottom edge.

Ref: DFP-II, 552; PAI-LIII, 330

The two letters R and V symbolize roads and intersections on a map; this is the heart of the business for this company, Route et Ville, the largest advertising agency specializing in outdoor and highway billboards. Late in his career, Loupot became less spontaneous and more cerebral. He also played with typography in another poster, using the letters AL to signify the message for L’Air Liquide (see Loupot/Lyon, p. 100 and Loupot/Zagrodzki, 123). “Abstract painting will possibly become the poster style of the future,” surmised Loupot at the end of his career.

The only other known copy of this poster is in the collection of the Musée des Arts Décoratifs in Paris.

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

Strolling through the Place de la Concorde, our smartly dressed blonde quietly skims over a few pages of her “Paris Parisien,” a local guidebook. As the text to her right reads, whatever you need to see or know about Paris, whatever useful or practical information you could desire about the city, it is all held within these pages.

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

LUCIANO ACHILLE MAUZAN Mauzan produced well over 2,000 posters during the course of his long, prodigious career. His boundless imagination is a landscape of ingenious concepts and incongruous associations working in harmony. He lays on color freely, but what marks his designs as unique is his sense of humor, by turns witty, grotesque, mad, pungent, charming, and openly affectionate.

Born in France, Mauzan began his life as an illustrator in Italy in 1909, working for Ricordi and other top notch printing firms. He remained there until 1927 when he and his wife were invited to Buenos Aires. He continued a frantic pace of poster production, doing most of his best, and also set up the Argentinian division of his publishing house, Editorial Affiches Mauzan. In 1933, the Mauzans returned to France, where he would continue his work for the rest of his days.

336

Luciano Achille Mauzan

337

(1883-1952)

336. Credito Italiano. 1917.

337. Credito Italiano. 1917.

39 1⁄4 x 54 7⁄8 in./99.7 x 139.5 cm G. Ricordi, Milano Cond B+/Slight tears at folds.

Ref: Mauzan, A072; Mauzan/Paris, frontispiece & 2; Imperial War Museum I, p. 43; Rickards, 10; Italia che Cambia, 48

39 1⁄4 x 55 in./99.7 x 139.5 cm G. Ricordi, Milano Cond B+/Unobtrusive folds.

Ref: Mauzan, A073; Mauzan/Paris, p. 37

Mauzan’s fierce and embattled soldier nearly reaches off the page to proclaim to us: “Do your duty! Take out the loan!” So powerful was this image that it is considered by many to be the image of the First World War. “This [poster] was to take its place in the ranks of the world’s army of exhortation—the pointing, beckoning, declaiming figures that called from everywhere to everyone for more of everything. No less compelling than his counterparts, the Italian version certainly appeared in greater numbers, and in a wider variety of shapes and sizes than the pointers and beckoners of any other country. He was hung in gigantic reproductions across the streets, posted in multiple sets on outsize hoardings, printed by the million as postcards, folders and leaflets, and reproduced in magazine and newspaper advertisements... It was an indignity that he survived: his accusing hand remained for decades, rankling in the general memory” (Rickards, p. 24).

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

So powerful was Mauzan’s first poster for Credito Italiano (see previous lot) that the Italian government “did not hesitate to publish the poster representing the head of the soldier in gigantic proportions in order to display it on the most prestigious squares and monuments in the country” (Mauzan, p. 88). To see this face plastered throughout the streets, squares, and even theatres must have been a powerful act of intimidation. And for Mauzan, these two posters established his position as a leading poster artist of his time.

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

A-Z | MAUZAN

338

Mauzan

(Continued)

338. Gallia / Oeufs Séchés. 1921.

54 x 77 1⁄2 in./137.2 x 196.8 cm Maga, Paris Cond B+/Slight tears and stains at bottom edge.

Ref: Publicité, p. 84; PAI-LXXIX, 376

339

The Incredible Edible Egg stands triumphant, a platter held aloft, in this 1921 ad for breakfast innovation. Powdered egg products first gained major popularity during the 1920s, as eggs became used in more foodstuffs, and economies became increasingly concerned about freshness and breakage in transport. This poster is particularly notable for its crisp, bold colors—and for the whimsical, always slightly weird sense of humor that Mauzan brings to his advertising icons. It’s a rare image from his earlier French period.

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

339. Copertoni Impermeabili Moretti. 1921.

52 x 77 in./132 x 195.6 cm Maga, Milano Cond B/Slight tears at folds and edges.

Ref: Mauzan, A181; Mauzan/Cartellonista, p. 59; Takashimaya, p. 95; PAI-LXXVII, 278 Clearly, this grinning elephant launched this poster into infamy: the backward glance and the delightful gleam in his eye seem to remark, “This is clever. Remember.”

Sometimes, the most improbable image is the most remarkable, and Mauzan championed memorable mystery in this one: rather than featuring a well-attired person, the elephant receives the Moretti rain jacket treatment. And Mauzan ups the ante with his use of tart lemon yellow that brings joy to the otherwise dark and dour scene, proving that he is one of the masters of this art form.

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

340. Bonomelli / Vermouth Bianco. 1922.

37 3⁄4 x 53 3⁄4 in./95.8 x 136.5 cm Maga, Milano Cond A. Framed.

Ref: Mauzan, A036; PAI-XXIX, 485 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.

340

MAUZAN | A-Z

341 341. Bertozzi. 1930.

342

39 x 55 3⁄8 in./99.2 x 140.6 cm Mauzan Morzenti, Cernusco-Lombardone Cond A. Ref: Mauzan/Treviso, p. 76; Mauzan, A033 (var); Mauzan Affiches, p. 99; PAI-LXXVI, 344 In this fourth incarnation of his ever-popular design, Mauzan gives us three discerning judges deliberating over the quality of Bertozzi cheese, a mere whiff of which has brought them like bloodhounds to the freshly cut wheel.

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

342. Exposicion L.A. Mauzan. 1926.

53 3⁄4 x 77 1⁄8 in./136.5 x 196 cm Cond A. Ref (all var but PAI): Mauzan A002; Mauzan/Paris, p. 57; Mauzan Cartellonista, p. 86; Chaumont Exposons, p. 46; PAI-LXVII, 417 In this image which promotes the artist’s own exhibition and introduces him to the Argentine public, Mauzan makes it clear that an effective advertising poster has to shout at you. As he put it himself: “Our posters will scream the brand name; having entered one ear, it won’t be able to go out the other.” That he felt so strongly about this is confirmed by the fact that he used this design as one of his last posters before leaving Italy (see PAI-XXIV, 399), as well as one of his first when moving to Buenos Aires. This is a two-sheet poster.

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

343. Zapatos Firestone. ca. 1927.

36 1⁄2 x 51 3⁄8 in./92.6 x 130.5 cm Affiches Mauzan, Buenos Aires Cond A. Ref: Mauzan, A366 Footwear is not the product we immediately associate with Firestone; the company, founded in 1900, specializes in rubber and pneumatic tires. But rubber soles, as this poster points out, can help you last the distance. Our gleeful vagabond takes a rest from his galavanting at a 1,000 kilometer marker; the text at bottom reinforces that these shoes offer “higher mileage!”

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

343

A-Z | MAUZAN

344

Mauzan

(Continued)

344. Crosley. 1929.

41 1⁄8 x 61 3⁄8 in./104.5 x 155.8 cm Affiches Mauzan, Buenos Aires Cond A. Ref: Mauzan, A354; Mauzan/Paris, 44; PAI-XXVI, 382 This brilliant design recommends that you “Listen on a Crosley radio” for a full spectrum of music. One can almost see the music swing right out of these feminine musicians. “This composition is undoubtedly one of the best [of Mauzan’s]. Grace, elegance, a tasteful decorative layout and gorgeous colors; this poster obtained the strong approval of [the French] public and even more difficult, the unreserved approval of the North American public” (Mauzan/Paris, p. 66).

Est: $7,000-$8,000.

MAUZAN | A-Z

345 345. Untisal. 1929.

29 x 43 1⁄4 in./73.7 x 110 cm Affiches Mauzan, Buenos Aires Cond B/Slight tears and stains.

Ref: Mauzan, A451; Mauzan/Paris, 31; Mauzan Cartellonista, p. 87; Health Posters, 76; PAI-XLIII, 422 (var)

346

Anyone who suffers from arthritis or rheumatism can testify that this exquisitely simple Mauzan design is not that much of an exaggeration. The powerful serpent has coiled itself tightly around the pale legs, its grip tightening and crippling the victim with ever increasing pressure and pain. But just when things look their worst, the liberating hand of Untisal appears, brandishing its golden sword, slicing through the merciless viper, and releaving the discomfort with one fell swoop. The war against pain is never over, but Untisal is there to provide a welcome respite. This is the smaller format.

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

346. Oscaria. 1930.

41 3⁄4 x 61 1⁄4 in./106 x 155.5 cm Affiches Mauzan / Cosmos, Buenos Aires Cond A-/Slight creases at bottom.

Ref: Mauzan, A415; Publicidad, 531; PAI-L, 322 Mauzan’s years in Buenos Aires led to the production of some of his best work, as we see in this poster for a shoe manufacturer. The design also proves that given enough legs, one character can suffice to model three shoes.

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

347. Cafiaspirina / Saca el dolor. 1930.

42 3⁄4 x 58 5⁄ 8 in./108.5 x 149 cm Creación Mauzan / Agencia Cosmos, Buenos Aires Cond B/Horizontal creases at top and bottom edges.

Ref: Mauzan, A329; Mauzan/Paris, p. 54; Health Posters, 82; Santé, 154; PAI-XXVI, 389 Mauzan’s brilliant interpretation of headache relief was clearly inspired by the text— “Cafiaspirina lifts the pain”—which he very well may have written himself. He shows us a miserable, green-haired mask of pain being lifted by the product to reveal a smiling, pain-free face beneath. It’s a difficult abstract idea handled with winning clarity; Mauzan even liked it so much that he adapted it for the cover of one of his catalogues. The product was manufactured by Bayer, and posters like these aimed to introduce the medication to Argentinean audiences. Rare!

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

347

A-Z | MAUZAN

348

350

Mauzan

(Continued)

348. Ginger-Bilz. 1930.

40 7⁄ 8 x 60 5⁄8 in./103.7 x 154 cm Affiches Mauzan, Buenos Aires Cond A-/Slight tears at bottom edge.

Ref: Mauzan, A320; Mauzan Affiches, p. 113 (var); PAI-XXXIII, 95 With a sly glance from a blushing Scotsman, Mauzan clues us in on the refreshing bite that’s only an uncapped Bilz bottle away. And though the poster was printed in Argentina, the bilingual text makes it appear as if this “first rate” design was possibly intended for wider distribution. Mauzan also used this Scottish pitchman to hawk Cigarettes Andross. With an offhanded stroke of casual genius, the artist kept this fellow’s limbs disembodied, allowing him to drop in a new set of appendages holding onto the desire product whenever this Celt struck a client’s fancy.

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

349. Casa America / El Hogar de la Musica. 1930.

41 x 61 1⁄4 in./104 x 155.5 cm Affiches Mauzan / Cosmos, Buenos Aires Cond A-/Slight tears at bottom edge.

Ref: Mauzan, A340; PAI-LXV, 392 One of four designs Mauzan created for the Casa America, Argentina’s “home of music,” this image focuses on an elaborately attired chanteuse strumming an oversized music note.

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

350. Emilio Pitzer. ca. 1930.

29 x 43 1⁄8 in./73.5 x 109.5 cm Affiches Mauzan, Buenos Aires Cond B/Slight tears and stains at folds and edges.

Ref: PAI-LXVI, 365

349

This rare design from Mauzan’s Argentine period advertises the Buenos Aires-based piano retailer Emilio Pitzer, saying that one can “find a Pitzer piano everywhere.”

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

MAUZAN | A-Z

352

351

353

351. Veramon. 1931.

352. Nestlé.

353. Juguetes Voss.

43 3⁄4 x 60 3⁄ 8 in./111 x 153.4 cm Affiches Mauzan, Buenos Aires Cond B+/Slight tears at edges.

Ref: Mauzan, A454; Mauzan/Paris, 26; Health Posters, 83; PAI-XXXIII, 100

29 3⁄ 8 x 43 1⁄4 in./74.6 x 110 cm Cond A. Ref: Mauzan, A408; PAI-XXVII, 499

40 3⁄4 x 60 7⁄8 in./103.6 x 154.5 cm Affiches Mauzan, Buenos Aires Cond A-/Slight tears at bottom edge.

This Spanish-language design for Nestlé’s chocolate incorporates a bit of Mauzan’s characteristic elements: humor, surrealism, and wily absurdity. Although not necessarily associated with the cooling properties one normally couples with summertime refreshment, it seems to be just the ticket for the bathing clown, as well as the gaping goldfish clamoring for a morsel. As if his triple-chinned delight weren’t enough to convince us of the candy’s soothing properties, the bottom text states for the record: “If you’re hot, it’s the best.”

It turns out that the master of the bizarre can also conjure up a perfectly adorable advertisement for children’s toys. This is a previously undocumented design by Mauzan and rare!

This barbiturate claimed to relieve minor aches and pains, and in classic Mauzan fashion, he’s exaggerated the ailment as a full-blown, baseball-sized toothache.

Thank goodness for these tablets, which promise to “slay the pain.” Veramon is a grand testament to this fertile Argentine creative period and shows Mauzan at his tongue-in-cheek peak.

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

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

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

A-Z | MAYOL - MOLINÉ

356

354

355

Josep Triadó Mayol

357

Mazhar

Henri Meunier

354. Album Salon. ca. 1900.

355. VI Balkan. 1935.

356. Cartes Postales Artistiques / Dietrich. 1898.

16 3⁄4 x 24 in./42.5 x 61 cm Cond A-/Slight stains in margins.

27 5⁄8 x 39 1⁄ 2 in./70.2 x 100.3 cm Alaeddin Kiral, Istanbul Cond A. Ref: PAI-LXXXII, 359

37 1⁄ 2 x 29 1⁄2 in./95 x 75 cm O. de Rycker, Bruxelles Cond A. Ref: DFP-II, 1085; Belle Epoque 1970, 95; Belgische Affiche, 111; Belgique/Paris, 38; PAI-LXXI, 419

(1870-1929)

Album Salon was an art and literary journal edited

by Miguel Seguí in Barcelona from 1897 to 1906.

It advertised itself as the “first and most important Spanish illustration in colors,” and “read by most of the aristocratic and noble families, including the Spanish Royal family, those of the Presidents of almost all the Spanish-American Republics, and in general by all people of position in Spain and America.” Accordingly, Mayol created a decadent promotion with a studious young woman and ornamental details.

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

Beginning in 1930, the Balkan Games united athletes from Albania, Bulgaria, Romania, Turkey, Yugoslavia, and Greece, who competed in basketball, equestrian sports, boxing, fencing, wrestling, tennis, and more.

The first four Games were held in Athens, after which participating countries rotated hosting. The 6th edition, in 1935, took place in Istanbul.

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

(1873-1922)

“The Dietrich firm, established at the end of 1881, was the first art bookstore in Brussels... It also sold editions of prints and commissioned postcards from artists of the highest quality” (Belle Epoque 1970, p. 69). Like a frame from a contemporary graphic novel, Meunier’s design for the shop is elegant and clean in its simplicity, inviting the viewer to become the third head reading the text.

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

MAYOL - MOLINÉ | A-Z

359

358

Victor Mignot

360

Amadeo Minardi

Gabor Modos

Moliné

357. P. Darville-Rosart. ca. 1897.

358. P. Adamoli. ca. 1900.

359. TSF / Evernice. ca. 1930.

360. Îles Canaries. 1920.

22 ⁄8 x 30 ⁄8 in./56.3 x 77 cm Imp. J. E. Goossens, Bruxelles Cond A.

53 ⁄2 x 77 ⁄4 in./136 x 196 cm A. Marzi, Roma Cond B+/Slight tears, largely at seams.

Ref: PAI-LXXXIII, 40

31 ⁄8 x 47 ⁄4 in./80.2 x 120 cm Imp. F. Bouchet & Lakara, Paris Cond B+/Slight tears at folds.

27 1⁄8 x 41 1⁄2 in./68.8 x 105.5 cm Artes Graficas, Gijon Cond A-/Unobtrusive folds.

Ref: Affiche Art Deco, p. 220; España, 1010; PAI-LXXIV, 364

1

(1872-1944)

3

For the patisserie P. Darville-Rosart in Namur, Mignot created this dashing Art Nouveau reverie in which an elegant woman enjoys her treats. Meanwhile, the little girl behind her is not offered the same indulgence, try as she might to grab a delicious tidbit from her dietconscious mother. Rare!

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

1

1

From a little-known artist and an obscure woodworking manufacturer comes this intense and evocative design recalling mythic legends and Bernini sculptures. Our goddess accompanies the artisan to promote P. Adamoli’s furniture, wood-turned sculpture, common and luxury fixtures, and complete apartment furnishings. It would appear that the designer of this poster was also the director of the company. This is a four-sheet poster.

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

5

1

The TSF Evernice radio’s mascot has come to life as a tailor to prove that the brand has a model for each person’s measure and position. The verbal messaging could use some fine-tuning, but the imagery is sure to catch your attention, and that’s what really counts in poster advertising. The artist’s name is not clear, but appears to read Modos.

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

Before the widespread adoption of color photography, it was impossible to capture the improbable, breathtaking colors of the Canaries. Moliné sidesteps this problem with minimalist shapes, forcing the viewer to concentrate on the poetry in the lower right corner.

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

A-Z | MONTELS - MUCHA

361

362

363

Jean Montels

José Morell

361. Cameroun / Toute l’Afrique. ca. 1950.

362. Playas de Andalucia. ca. 1939.

363. Cigarettes Gitanes. 1956.

25 1⁄4 x 34 1⁄4 in./64 x 87 cm Imp. Service Géographique, Brazzaville Cond A/P. Ref: PAI-LXXXIII, 382

24 7⁄8 x 39 1⁄8 in./63 x 99.5 cm J. G. Piulats, Barcelona Cond A. Ref: España, 984

45 1⁄4 x 63 in./115 x 160 cm Imp. Courbet, Paris Cond B+/Slight tears at folds and edges.

Ref: Morvan, 423; Seita, p. 140

Using a clever bit of visual trickery, Montels depicts a striking elephant whose flapping ears become the northern geography of Africa. Highlighted in red is Yaoundé, the capital of Cameroon and the country’s second largest city with 2.8 million inhabitants. From 1922 to 1960, Cameroon was a League of Nations Mandate territory of France; this poster was created sometime in that period, and aims to attract French tourists to visit the “fauna, flora, sites, and folklore” of Cameroon.

Situated on Spain’s southern coastline, Andalucia abounds with beaches, both Mediterranean and Atlantic.

But rather than selecting one of the many seaside sights, Morell zeroes in on a family scene under brightly colored umbrellas—because any Spanish beach is a good beach to relax on. Although Morell created a great number of travel posters from the 1920s to 1940s, these works generally avoid the trap of mere decoration and exhibit the same strong graphic qualities we see here.

Although Morvan’s male Flamenco dancer for Gitanes is perhaps better known (see PAI-LXXIX, 384), this poster was his first stab at a design for the cigarette company.

And what an initial triumph it is! The movement of our female dancer perfectly parallels the crisscross pattern of the cigarettes behind her. Conceptually, the design pairs M.C Escher’s infinite landscapes with Art Deco geometry and Morvan’s keen sense of line, form, and whimsy.

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

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

Est: $1,700-$2,000

(1899-1949)

Hervé Morvan

(1917-1980)

ALPHONSE MUCHA

364

Alphonse Mucha

(1860-1939)

364. Amants. 1895.

92 5⁄ 8 x 40 7⁄8 in./113.7 x 103.7 cm Affiches Camis, Paris Cond B+/Usual tears at folds. Framed.

Ref: Rennert/Weill, 72; Lendl/Prague, p. 44; DFP-II, 625; PAI-LXXVI, 373 This “comedy by Maurice Donnay starred Maurice Granier and Lucien Guitry, and premiered on November 5, 1895. There is very rich ornamentation... which adroitly divides it into three scenes and thereby harmonizes elements which might otherwise appear quite busy: there is a Punch-and-Judy show in the upper left, a tragic commentary in the upper right, and the entire bottom section is given to the play’s party scene, replete with fashionable guests, strolling violinists, dancers, flowers, champagne, and other indications of a good time had by all” (Rennert/Weill. p. 62).

This poster has the finest colors we’ve ever seen!

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

A-Z | MUCHA

Mucha

(Continued)

365. La Dame aux Camelias. 1896.

29 1⁄2 x 81 3⁄8 in./74.8 x 206.7 cm Imp. F. Champenois, Paris Cond A-/Slight tears in top and bottom text areas.

Ref: Rennert/Weill, 13, Var. 1; Lendl/Prague, p. 45; Mucha/Art Nouveau, 8; DFP-II, 267; Maitres, 144; Weill, p. 40; Reims, 898; PAI-LXXXI, 379 “Alexander Dumas Jr.’s drama... had been very popular since its premier in 1852. Sarah Bernhardt considered it to be the key drama in her repertoire.

This is perhaps Mucha’s most beautiful poster. The story of the tragic love of the great courtesan is portrayed in the poster with shocking impact.

The figure of the heroine in a white robe leans against a balustrade with a background of silver stars. Her rich swept-back hair is adorned with her favorite flower, the camellia. This heraldic flower is repeated at the bottom of the poster, held by a mysterious hand... The tragedy is also symbolized by the hearts twined by thorny branches in the corners above the figure’s head...

Mucha’s ability to characterize the substance of the play for which he created this poster, as well as his ability to express the most beautiful features of Sarah’s personality, was brought to perfection in this poster” (Mucha/Art Nouveau, p. 146). This is a two-sheet poster.

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

366. Leslie Carter. 1908.

28 1⁄2 x 80 1⁄4 in./72.5 x 204 cm Strobridge Litho., Cincinnati Cond B+/Slight tears at horizontal folds. Framed.

Ref: Rennert/Weill, 94; Lendl/Prague, p. 266; Mucha/Art Nouveau, 33; PAI-LXXXIII, 400 The great, ghostly Leslie Carter is here adorned with some of the most exquisitely detailed jewelry ever designed by Mucha for lithographic immortality. But who was this otherwise unknown goddess? Mrs. Leslie Carter was a “captivating woman who desired to become a great actress...

She gained a fortune after a marriage to—and later divorce from—a billionaire, Leslie Carter, whose name she retained” (Lendl/Prague, p. 266).

She conceived a vanity project, a play named Kassa, about “a Hungarian virgin ready to enter a convent, [but then] was seduced by Prince Béla, who a year later left her with a child. Kassa became insane and entered a convent, thinking that only a single day had passed” (Mucha/Art Nouveau, p. 174).

Mucha contributed over 250 designs for the project, including stage, costume, and scenery design, but the play was a failure and Carter went bankrupt.

Neither Mucha nor Long, the author, received an honorarium.

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

367. La Tosca. 1898.

15 1⁄8 x 40 7⁄8 in./38.5 x 103.8 cm Imp. F. Champenois, Paris Cond A. Ref: Rennert/Weil, 57; Lendl/Prague, p. 57; PAI-LXXXIII, 389 “Today La Tosca is known to most people only from the opera which Giacomo Puccini composed and introduced in 1900; however, for the 13 years prior to that, it was a romantic tragedy, written especially for Sarah Bernhardt

by Victorian Sardou. Mucha’s poster shows Bernhardt in her costume for the first act of the play, dressed in a fashion dating from 1800 when the play takes place” (Rennert/Weill, p. 221).

365

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

MUCHA | A-Z

366

367

A-Z | MUCHA

368

Mucha

(Continued)

368. Cycles Perfecta. 1902.

369. Job. 1896.

38 ⁄4 x 56 ⁄ 8 in./98.3 x 144 cm Imp. F. Champenois, Paris Cond B-/Restored tears, largely at folds and edges. Framed.

Ref: Rennert/Weill, 81; Lendl/Prague, p. 125; Weill, 57; Mucha/Art Nouveau, 29; Petite Reine, 44; Encyclopédie/Weill, p. 44; Posters of Paris, 72; PAI-LXXXIV, 394

18 1⁄8 x 26 1⁄4 in./46.2 x 66.7 cm Imp. F. Champenois, Paris Cond A. Framed.

Ref: Rennert/Weill, 15; Lendl/Prague, p. 118; Mucha/Art Nouveau, 20; DFP-II, 635; Maitres, 202; Weill, p. 41; Timeless Images, 33; Driehaus, p. 79; PAI-LXXXII, 373

“It is clear that Mucha understood well the principles of selling not the object itself, but the feeling that is associated with it. Here, he is barely showing a piece of the bicycle... but as to the pleasure of riding, this sylph has it all over any dreary mechanical details.

Airily she caresses the machine, her windblown hair embodying motion and a restless spirit, a vision of idle loveliness and a perfect Mucha maiden. Her gaze at us is straight and direct, not flirtatious but inviting and challenging, daring us to take her on in a race... Mucha finally had a perfect subject that justified hair in motion, and he took full advantage of it, giving her the most dizzying configurations of his famous ‘macaroni’ [hair]. The Perfecta was an English brand bicycle, which makes this one of the very few Mucha posters for an English client. It was also sold in France” (Rennert/Weill, p. 294).

This is the larger format.

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.

3

5

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

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

MUCHA | A-Z

369

A-Z | MUCHA

370

Mucha

(Continued)

370. Vin des Incas. 1897.

14 x 5 1⁄ 8 in./35.5 x 13 cm Imp. F. Champenois, Paris Cond A. Framed.

Ref: Rennert/Weill, 43, Var. 1; Lendl/Paris, 25 (var); Health Posters, 119 (var); PAI-LXXX, 432 “Vin des Incas was... a coca-based potion sold in pharmacies with the vague medicinal claim that it helps ‘convalescents.’

Mucha shows an ancient Indian paying obeisance to a luscious goddess. Both are wearing feathered headdresses, and the atmosphere is one of languorous tropical idyll” (Rennert/Weill, p. 176). This is the smaller format version.

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

371. Nestle’s Food for Infants. 1897.

13 1⁄ 2 x 28 1⁄8 in./34.3 x 71.3 cm Imp. F. Champenois, Paris Cond A-/Horizontal fold. Framed.

Ref: Rennert/Weill, 26; Lendl/Prague, p. 79; DFP-II, 646; PAI-LXXXII, 375 “This poster is sharply divided into two halves, the bottom part devoted to the baby and the sales message, the top half providing a semi-circular mosaic background for the lovely mother. Note the use of the mother birds feeding their young in the decorative corners at top” (Rennert/Weill, p. 124).

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

372. Salon des Cent / XXme Exposition. 1896.

16 1⁄ 8 x 24 1⁄2 in./41 x 62.2 cm Imp. F. Champenois, Paris (not shown) Cond A-/Slight creases at lower edge. Framed.

Ref: Rennert/Weill, 12, Var. 1; Lendl/Prague, p. 133; DFP-II, 634 (var); Wine Spectator, 74 (var); Salon des Cent/Neumann,19; Gold, 192 (var); PAI-LXXIII, 385A This is the rare proof before letters—signed and numbered (#9 of 50) before the addition of bottom text. “This poster is one of the artist’s first works to follow his standard archetype.

It advertises the twentieth exhibition of the group of artists who exhibited at the premises of the art journal La Plume.

The members were famous Parisian artists: ToulouseLautrec, Bonnard, Steinlen, Ensor, Grasset, Rassenfosse, and the American Louis Rhead. Mucha’s ambition was to become a member of the group, and he succeeded with this poster, which attracted the attention of the gallery owner, Léon Deschamps. [He] visited Mucha in his studio while he was designing the poster. Fascinated by what he saw, he persuaded Mucha to print it in this unfinished version, according to the artist. 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).

371

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

MUCHA | A-Z

372

A-Z | MUCHA

REGISTER FOR ONLINE BIDDING AT POSTERAUCTIONS.COM

MUCHA | A-Z

373

Mucha

(Continued)

373. The Seasons. 1896.

Each: 20 3⁄4 x 39 3⁄ 8 in./52.7 x 101.3 cm Imp. F. Champenois, Paris (not shown) Cond: All except Winter: B+/Slight tears and stains, largely at edges. Winter: B/Restored tears and stains.

Ref: Rennert/Weill,18; Lendl/Prague, p. 182-183; Mucha/Art Nouveau, p. 186-187; PAI-LXXXIII, 384 “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 is the larger format.

Est: $30,000-$40,000. (4)

A-Z | MUCHA

374

Mucha

(Continued)

374. The Seasons. 1900.

Each: 12 1⁄4 x 27 5⁄8 in./31.6 x 70.2 cm Imp. F. Champenois, Paris (not shown) Cond B-/Slight tears and stains. Framed.

Ref: PAI-LXXVI, 359 Mucha’s imagination with decorative panels representing the Four Seasons was so successful, he made at least three different sets—in 1896, 1897, and this one in 1900. This set, created at the same time as some of his most celebrated works for the 1900 Paris World’s Fair, is arguably the most emotive and artistically imaginative of the three. Winter is secluded, hidden, in tones of white and brown; Spring steps forward with erotic directness of intent; Summer is warm, languid, and indolent; while Autumn, regal Autumn, sets her bounty out with Byzantine splendor. It is exceptionally rare to have all four of these panels together in a single lot; it is even rarer to find this full 1900 set printed on silk, which gives an added luster to the presentation.

Est: $20,000-$30,000. (4)

375. The Seasons / Summer. 1900.

12 x 27 5⁄8 in./30.5 x 70.4 cm Imp. F. Champenois, Paris (not shown) Cond A. Framed.

Ref: Rennert/Weill, 74, Var. 5; PAI-LXXXIII, 386 A voluptuous midsummer stunner—parting the wheat with a soft undulance as she returns from an abundantly successful blossom-picking excursion— breathes sensual life into the 1900 “Seasons” decorative panel set. Composed of “four Mucha maidens representing the times of the year... Summer covers the ripening harvest with its salutary rays” (Rennert/Weill, p. 270).

375

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

MUCHA | A-Z

376 376. The Seasons. 1897.

24 x 17 1⁄8 in./61 x 43.6 cm Imp. F. Champenois, Paris (not shown) Cond A. Ref: Rennert/Weill, 37, Var. 2; PAI-XXXV, 416 This is the second set of beguiling women Mucha created to represent the four seasons. Other than Winter, who is cozily hooded against the cold, they all sport Mucha’s trademark flowing cascades of hair and assume languid poses of sensual allure. A big marketing success for the printer Champenois, this set was used in a number of ways: with calendars for various years or without them, with the names of each season imprinted or not, sometimes with commercial clients’ names, and sometimes entirely blank. This variant, printed on a single sheet, includes a blank calendarium at bottom.

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

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A-Z | MUCHA

377

Mucha

(Continued)

377. Times of the Day. 1899.

379. Bières de la Meuse. 1897.

Each: 14 1⁄8 x 40 1⁄8 in./36 x 102 cm Imp. F. Champenois, Paris (not shown) Cond B/Two panels (B and C) have tears and slight losses at top and bottom edges. Framed.

Ref: Rennert/Weill, 62; Lendl/Prague, p. 214-215; Wine Spectator, 77; PAI-LXXIX, 386

41 x 58 5⁄8 in./104 x 149 cm Imp. F. Champenois, Paris Cond A-/Unobtrusive horizontal fold. Framed.

Ref: Rennert/Weill, 27; Lendl/Prague, p. 93; Mucha/Art Nouveau, 23; Timeless Images, 36; Maitres, p. 182; DFP-II, 633; PAI-LXXXI, 383

In subdued pastels, this “quartet of barefoot young ladies represents the different times of the day. The borders are decorated in identical patterns... and the crisscross areas at the top have different floral panels. Each girl appears in an outdoor setting, with slender trees or tall flowers emphasizing her slim figure... The borders are worked out in such an exquisite pattern that each picture appears to be mounted in an elaborate frame of its own, or else seen through a decorated window. Quite possibly Mucha’s whole concept for the series was that of gothic stained-glass windows” (Rennert/Weill, p. 232). This is the larger format.

One of the world’s most famous posters, this piece was commissioned to promote the historic breweries of the Meuse River Valley, as competition and corporate consolidation led to closures by the end of the 19th century. Above, our beer-maiden leans in, hops and wheat and poppies in her wild tendrils of hair. Below, on the left, the town of Bar-le-Duc, capital of the Meuse département; on the right, Les Caves du Roi, Sèvres, where a major brewery is located—both in grayscale, as if to define the difference between beer-as-business, and beer as wild-lush-delight-of-the-gods.

Est: $25,000-$30,000. (4)

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

378. Times of the Day / Reverie du Soir. 1899.

16 3⁄8 x 43 1⁄ 2 in./41.6 x 110.6 cm Cond B-/Restored tears at horizontal fold.

Ref: Rennert/Weill 62; Wine Spectator, 77; PAI-LXXV, 391 “Evening Reverie,” the third “Day” panel, permits us to share in a dreamy moment of twilight reflection, suspended in the eternity of pensive beauty as she ponders the bittersweet fleeting of remembrances past and the divergent uncertainties of the paths which lay ahead.

378

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

MUCHA | A-Z

379

A-Z | MUCHA

380

Mucha

(Continued)

380. Byzantine Heads. 1897.

Each: 12 x 14 1⁄2 in./30.5 x 37 cm Imp. F. Champenois, Paris (not shown) Cond A. Framed. Matted to image.

Ref: Rennert/Weill 40, Var. 1; Lendl/Prague, p. 196-197 (var); PAI-LXXX, 443 “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, a 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).

Est: $17,000-$20,000. (2)

381. Byzantine Heads / Brunette. 1897.

14 3⁄4 x 21 in./37.5 x 53.5 cm Imp. F. Champenois, Paris (not shown) Cond A. Framed.

Ref: Rennert/Weill, 40, Var. 1; Lendl/Prague, p. 196 (var); Mucha/Art Nouveau, 48 (var); PAI-LXIX, 550 (var) This is the brunette half of the Byzantine duo, with the decorative border.

381

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

MUCHA | A-Z

a.

b.

382

c.

382. Le Carillon de Paques.

A: 8 3⁄4 x 13 1⁄2 in./22.3 x 34.3 cm B: 11 x 13 3⁄8 in./28 x 34 cm C: 9 3⁄4 x 14 1⁄4 in./24.7 x 36.2 cm Cond A: Hand-signed ink and watercolor drawing. Framed.

B: B/Stains, largely in margins. Framed.

C: A-/Slight tears at edges. Framed.

Ref: Rennert/Weill, 8 This lot includes three versions of this work by Mucha: an ink and watercolor drawing (A); a color lithograph, hand-signed and numbered 16 of 45 (B); and the cover of Soleil du Dimanche from March 29, 1896 (C). “The title of the piece, ‘The Bells of Easter Awaken Nature,’ explains the concept of an allegorical vernal vision, showing a maiden in a still wintry forest rapturously listening to the voices of Spring. Dimly perceived in the background are several angelic beings heralding the joyous event” (Rennert/Weill, p. 64).

Est: $7,000-$9,000. (3)

383. L’Illustration / Noël. 1896.

11 1⁄8 x 15 1⁄8 in./28.3 x 38.5 cm Cond A. Ref: Mucha/Bridges, R8 “As indicated by the title, 1896-Noel-1897, this edition of the magazine marks the turn of the year—the passing of the old year and its renewal. The pale figure of the dead (or dying) woman in the foreground seems to symbolise the passing year, while the winged figure is wrapping her body in a shroud.

The silhouetted flower held by the passing woman is a thistle, which often symbolises sin and earthly suffering. However, the hope for renewal and redemption is indicated by the image of the silhouetted church building in the background (considering the occasion, probably the Church of the Nativity) as well as the band of decorative motifs on the left, consisting of three pairs of hands and snowy branches of a Christmas tree. In the Christian context, pairs of hands often allude to spiritual power or the conduits to convey spiritual energy, while Christmas trees represent vitality or life force. Whilst these motifs were inspired by the Christian tradition, the idea of ‘mechanical’ hands with cogs is totally unique. By this, probably Mucha expressed the power of a mysterious God who governs time and the harmonious working of Nature” (Mucha Trust).

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

383

A-Z | MUCHA

384

Mucha

(Continued)

384. The Flowers. 1900.

25 x 18 1⁄4 in./63.5 x 46.5 cm Imp. F. Champenois, Paris (not shown) Cond B+/Slight tears and stains at edges; matted to image. Framed.

Ref (both var): Rennert/Weill, 49, Var. 2; PAI-LXVIII, 502 These panels were originally designed as four separate images in a larger format, and sold as a set. Here, these idealized, allegorical women are placed side by side on a single sheet, complete with a decorative boarder reminiscent of an Oriental folding screen. “One of the fundamental premises of Art Nouveau was to look for inspiration in nature, and in The Flowers set Mucha produced one of the best arguments for it. The four ethereal sprites represent [from left to right] the Rose, the Iris, the Carnation, and the Lily, respectively, and it is a clear case of Beauty celebrating beauty in each instance. By using only soft pastels and harmonious composition, Mucha imbued each scene with a sense of tranquility and quiet enjoyment” (Lendl/Paris, p. 86-87). This printing advertises the Librairie & Papeterie Vve. G. Muller in Bordeaux.

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

385. Job. 1898.

39 1⁄2 x 61 in./100.3 x 155 cm Imp. F. Champenois, Paris Cond A. Ref: Rennert/Weill, 51; Lendl/Prague, p. 121; DFP-II, 634; Modern Poster, 9; Wine Spectator, 74; Gold, 2; Posters of Paris, 71; Encyclopédie/Weill, p. 121; PAI-LXXXIII, 390 “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).

385

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

MUCHA | A-Z

386

387 386. Ivy & Laurel. 1901.

387. Dawn & Dusk. 1899.

Each: 19 5⁄8 x 25 1⁄8 in./50 x 64 cm Imp. F. Champenois, Paris (not shown) Cond A. Framed.

Ref: Rennert/Weill, 76; Lendl/Prague, 227; PAI-LVII, 441

Each: 37 5⁄8 x 21 1⁄8 in./95.8 x 53.6 cm Imp. F. Champenois, Paris (not shown) Cond B+/Slight tears at vertical fold.

Ref: Rennert/Weill, 70; Lendl/Prague, p. 217; PAI-LXXXIII, 393

“Reminiscent in concept to the Byzantine Heads, this is a coupling of two girls’ profiles in cameos. Since they represent leafy garden plants, they are framed in pale green decorative oblongs of rich foliage. The backgrounds behind the girls in their respective cameos feature mosaic patterns.

The decorative use of foliage of this sort was characteristic of many of the designs which appeared in Mucha’s Documents Décoratifs portfolio, published at the same time” (Rennert/Weill, p. 280).

“This pair of ladies represents the two transitory stages between night and day. Dawn throws off her cover as the morning sun chases away the night’s shadows; Dusk settles comfortably under the blanket as the sun sinks toward a crimson horizon. Only a barely perceptible difference in the delicate pastels distinguishes the two” (Lendl/Prague, p. 216).

Est: $17,000-$20,000. (2)

Est: $15,000-$20,000. (2)

A-Z | MUCHA

388

Mucha

389

(Continued)

388. Monaco-Monte-Carlo. 1897.

389. Precious Stones / La Topaze. 1902.

29 1⁄8 x 42 3⁄4 in./74 x 108.7 cm Imp. F. Champenois, Paris Cond A. Framed.

Ref: Rennert/Weill, 31; Lendl/Prague, p. 111; DFP-II, 639; Wine Spectator, 73; Affiches Azur, 194; Voyage, p. 15; Train à l’Affiche, 114; Mucha/Art Nouveau, 24; Affiches Riviera, 92; PAI-LXXXIV, 384

16 1⁄8 x 40 in./41.2 x 101.6 cm Imp. F. Champenois, Paris Cond A. Framed.

Ref: Rennert/Weill, 73; Lendl/Prague, p. 225; Wine Spectator, 75; PAI-LXXIX, 397A

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

This is the Topaz panel from Mucha’s revered Precious Stones.

“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—milky-white to reddish-orange, pale green, or the rare pink—is reflected in the maiden’s skin and in the circular background. This is the smaller format.

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

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

MUCHA | A-Z

390 390. Plume et Primevère. 1899.

Each: 11 3⁄4 x 29 3⁄8 in./30 x 74.7 cm Imp. F. Champenois, Paris (not shown) Cond A. Framed.

Ref: Rennert/Weill, 64; Lendl/Prague, 219; Much/Art Nouveau, 51; PAI-LXXXIV, 386 “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)

A-Z | MUCHA

391

MUCHA | A-Z

392

Mucha

393

(Continued)

391. Reverie : On Silk. 1898.

393. Flirt. 1900.

20 x 26 ⁄8 in./51 x 67.6 cm Imp. F. Champenois, Paris (not shown) Cond A-/Slight stains at edges. Framed.

Ref (all var): Rennert/Weill, 39, Var. 4; Lendl/Prague, p. 166; Gold, 36; PAI-LXXVII, 306

11 1⁄4 x 24 5⁄8 in./28.6 x 62.6 cm Imp. F. Champenois, Paris Cond A. Ref: Rennert/Weill, 72, Var. 1; Lendl/Prague, p. 73; Art du Biscuit, p. 9; Gold, 63; PAI-LXXXIII, 396

5

As one of Mucha’s most popular and beautiful designs, this rare version before text presents the sublime beauty as the sole subject of the poster—and being printed on silk adds an additional layer of luster. This work is printed on silk, hand-signed by the artist, and numbered 1 of 25.

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

392. Moravian Teachers’ Choir (Pevecké Sdruzení Ucitelu Moravskych). 1911.

31 3⁄8 x 43 7⁄8 in./79.7 x 111.5 cm Cond A-/Slight tears at edges. Framed.

Ref: Rennert/Weill, 98; Lendl/Prague, 274; Mucha/Art Nouveau, 35; PAI-XXVI, 448 “The Moravian Teachers’ Choir was a choral ensemble which presented programs of popular and classical choral works. They were quite well known in Czechoslovakia as well as the rest of Europe and America where they toured extensively... The idealized, ultra-elegant and ethereally lovely Mucha maiden of his Paris period has been replaced by a pert, down-to-earth rustic lass in an attitude of listening to a thrush... The poster is extremely rare” (Rennert/Weill, p. 336).

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

“Flirt” was a brand of biscuit sold by Lefèvre Utile, but that becomes almost irrelevant to admirers of this classic depiction of love blossoming. Indeed, it’s almost impossible to avoid falling in love with the Victorian elegance on display, with romantic effusiveness held at bay—with difficulty!—for the moment. You can just barely see the baker’s L-U logo patterned on the damsel’s dress, and doesn’t that just take the biscuit? This is the variant reprinted after the 1900 World’s Fair, announcing their Grand Prix win.

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

A-Z | NEUMONT - OLSKY

394

395

396

Maurice Louis Henri Neumont (1868-1930)

Dorothy Newsome

394. Fête Henry Monnier. 1904.

395. Kashmir. ca. 1925.

396. “Campari” / l’aperitivo. 1926.

51 x 36 3⁄4 in./129.6 x 93.4 cm Imp. Minot, Paris Cond B+/Slight stains at folds.

Ref: DFP-II, 657

25 1⁄8 x 39 1⁄4 in./63.8 x 99.8 cm G. Claridge & Co., Bombay Cond A.

55 x 76 3⁄4 in./140 x 195 cm Star, Milan Cond A. Ref: Nizzoli, p. 10; Campari, Vol. 3, p. 133; Menegazzi II, 182; Affiche Art Deco, p. 230; Crouse/Deco, p. 190; PAI-LXXIX, 193

Neumont was one of the founders of the association “Les Humoristes;” the group put on at least two costume galas named for the satirical cartoonist and writer Henry Monnier (1805-1877). This one, held at the Casino de Paris, asked guests to dress in the fashion of the 1830s to 1850s, which explains Neumont’s Victorian group at the left. Admission to the event—10 francs—benefitted members of “Les Humoristes,” including Bac, Cappiello, Chéret, Faivre, de Feure, Grün, Guillaume, Metivet, Pean, Roubille, Steinlen, Villon, and more. But if you think this event was all fun and games, a stamp at lower left might give you pause: “Anyone who owns this poster not bearing the signed note paid by the author will be SENTENCED TO DEATH.” Est: $1,700-$2,000.

(ca. 1900-1980)

Newsome studied book illustration at the Birmingham School of Art, where she met fellow artist Kathleen Irene Nixon. In the late 1920s, the two were commissioned by the Oxford University Press to visit India to produce a series of drawings; while they were there, they received another commission from the Indian State Railways to design posters. This is one such work, touting the tranquility of this Himalayan region, which is home to several large rivers and many high-elevation freshwater lakes.

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

Marcelo Nizzoli

(1887-1960)

Nizzoli’s work for Campari is a masterpiece of composition and a classic of Cubism: as the table is raked forward and down, the bottles and glass manage to stay upright; the entirety of the composition lunges toward the viewer in gravity-defying space. All is grounded by the very traditional lettering. It’s one of the most brilliant Art Deco designs ever created.

This is the two-sheet, Italian-language format.

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

NEUMONT - OLSKY | A-Z

397

398

Philippe Henri Noyer

(1917-1985)

Eugene Ogé

(1869-1936)

399

Olsky

397. Limonade Brault. 1938.

398. La Menthe-Pastille. 1904.

399. Chapeaux Mossant. 1928.

46 ⁄4 x 63 ⁄ 8 in./118.6 x 161 cm Publicité Joel Bellon, Paris Cond A. Ref: PAI-LXXXIII, 410

77 ⁄8 x 49 ⁄ 8 in./196.6 x 125.4 cm Imp. P. Vercasson, Paris (not shown) Cond B-/Recreated borders; slight tears at folds.

Ref (all var but PAI): Ogé, 240; Boissons, 380; PAI-LXXXII, 399

46 1⁄2 x 62 1⁄2 in./118 x 158.7 cm Imp. P. Vercasson, Paris Cond A. Framed.

Ref: Deco Affiches, p. 69; Publicité, p. 97; PAI-LXXXII, 400

To promote the natural mineral water in this lemonade beverage, Noyer concocts a fairy tale vision of mermaids flitting about the underwater bubbles.

Though digestifs are not usually associated with politics, Ogé takes up the task of distilling current events in the service of advertising. The Hague Tribunal serves as the gathering place for the politicos seen here: William II serves a drink to the Japanese Emperor, Matsuhito, behind the Emperor of France; the new Catholic Pope puts his arm around King Emmanuel III of Rome; Edward VII, King of the United Kingdom, gazes at a globe alongside Jacques Lebaudy; Leopold II of Belgium gazes at an image of his muse, Cleo de Merode; the new King of Spain, Alfonso XIII, boasts his new crown; and Uncle Sam serves a glass of liquor to a black baby—certainly, Ogé’s criticism of American racism. But we can rest assured that conversations should be peaceful thanks to the MenthePastille that absolves the differences between these men.

Cappiello’s triple-chapeaux tableau may be the more famous (see No. 231), but Olsky’s dramatic Deco image for Mossant may be the more handsome design. Combining elements of the Object Poster with mysterious, seductive graphics, the product pops off the page while the background figure lures us in with desire.

It’s an intriguing visual tease.

3

3

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

3

3

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

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

A-Z | ORAZI - OST

400

Manuel Orazi

(1860-1934)

400. La Maison Moderne. 1900.

46 3⁄4 x 31 1⁄2 in./118.7 x 80 cm Imp. J. Minot, Paris Cond A. Framed.

Ref: DFP-II, 676; Musée d’Affiche, 57; Weill, 51; Wagner, 80; Abdy, p. 162; PAI-LXXIX, 421 Julius Meier-Graefe’s La Maison Moderne opened in 1899 as a competitor of Bing’s Maison de l’Art Nouveau, both high-end art dealers focusing on the latest in new, modern art—which, at the time, included the works of Louis Comfort Tiffany, Henri de Toulouse-Lautrec, Felix Aubert, and Pierre Selmersheim. The Maison, however, had a generally younger clientele and was more at the forefront of the movement than Bing’s. Orazi, the master lithographer and designer featured at the gallery, created one of the most brilliant masterpieces of the era to promote the gallery. The model—dance celebrity Cléo de Mérode—sits in serene stillness, surrounded by all manner of delicate object d’art, from elaborate combs to fanciful lamps, curious statues to languid glassware. These are the works of Alexander Carpenter, Maurice Dufrène, Adrien Dalpayrat, Henry van de Velde, Gustave Gurschner, and Joseph Mendes da Costa. It’s a tour de force in graphic design!

Est: $70,000-$80,000.

ORAZI - OST | A-Z

401

402

Alfred Ost

(1884-1945)

401. Palais de la Danse. 1900.

402. Bruxelles / Théâtre Royale de la Monnaie. 1926.

22 3⁄8 x 63 3⁄4 in./57 x 162 cm Imp. Bourgerie, Paris Cond B+/Slight tears in margin; creasing in bottom area.

Ref: DFP-II, 674; Weill/Art Nouveau, p. 120; PAI-LXX, 531

36 3⁄4 x 51 1⁄8 in./93.3 x 130 cm J. Goffen, Bruxelles Cond B+/Slight tears at folds.

Ref: Ost, p. 68; PAI-XXIV, 463

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.

Extravagantly swirling, dipping and twirling, this exhilarated couple invites us to join them on the dance floor.

With such a dramatic focal point, Ost certainly could have cut corners on the rest of the design, but he paid great attention to the faces, costumes, and attitudes of the other revelers and framed the whole image in a confetti-strewn border. This specimen has a tip-on promoting a set of masked balls to benefit flood victims.

A notation at the bottom indicates that small text-based posters contained the details of the event. During World War I, Ost left Belgium for neutral Holland and made his living designing posters for the Amsterdam printer Kotting. The emotionally charged images he created there on behalf of Belgian refugees—his work donated free of charge—rank among his best. After the war, he returned to Brussels, where his wide-ranging works as a painter, illustrator, and designer reveal his lively spirit and abundant talent.

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

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

A-Z | PAL

403

404

Pal

(Jean de Paléologue, 1860-1942)

For others by Pal, see Nos. 37, 39-42, and 101 403. Bouffes Parisiens / Simon Girard. 1894.

405

406

41 1⁄2 x 56 1⁄ 2 in./105.4 x 143.5 cm Imp. Paul Dupont, Paris Cond A-/Slight tears at edges. Framed.

Ref: Reims, 935

405. Folies-Bergère. ca. 1898.

39 1⁄ 8 x 51 1⁄ 8 in./99.5 x 130 cm Imp. Paul Dupont, Paris Cond B+/Tears at edges. Framed.

Ref (all var): DFP-II, 693; Meisterplakate, 175; PAI-LXXIX, 430

Juliette Simon-Girard was a born-and-bred Parisian who performed as a soprano in operettas throughout the city’s cabarets and music halls. Here, she trades out her French roots for a Spanish role in a performance at the Bouffes Parisiens. Pal captures her energetic movement as she tangos and twirls.

This preliminary design by Pal would later become the canvas for several other promotions for the infamous music hall; the blank space at right would be used for details on specific performances. But without the additional text, it’s a lovely scene of a lithe dancer caught mid-pirouette. This is the larger format of the stock poster.

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

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

404. Job. ca. 1895.

406. Yves Sans Peur. ca. 1898.

43 x 59 3⁄ 8 in./109.4 x 151 cm Cond B/Slight tears and stains at edges.

Ref: Job, p. 47 (var); Encyclopédie/Weill, p. 121; PAI-LXVIII, 528

60 3⁄4 x 87 in./154.3 x 221 cm Caby & Chardin, Paris Cond A. Ref: PAI-XXIX, 573

In one of Pal’s more sensuous designs, we are met with a daringly clad siren, coquettishly teasing us as she smokes a cigarette made with Job rolling paper. As with most advertisements for this brand, the company’s name is seen repeatedly in the poster. Here, the product is shown on the table—logo prominently displayed outward—and again on a folding screen behind the girl, which is conveniently the same color and style as the table-bound version. This is the before-letters version of the poster, and it is hand-signed by the artist.

This poster advertises the new dramatic novel “Fearless Yves,” by G. de Wailly. Apparently, Yves is not only unafraid of the burly rogue trying to shove her aside, but also has no qualms about the stormy sea threatening to rip the tiny boat away from under them.

This is a two-sheet poster.

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

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

PAL | A-Z

408

407 407. Crême Orientale. ca. 1898.

409. Cusenier Peach-Brandy. ca. 1900.

40 ⁄2 x 57 ⁄2 in./103 x 146 cm Imp. Paul Dupont, Paris Cond B+/Slight tears at folds.

Ref: Parfum, p. 46; PAI-LXXIX, 436

35 7⁄8 x 50 1⁄ 2 in./91.2 x 128.4 cm Affiches Pichot, Paris Cond B/Slight tears at folds and edges.

Ref: Boissons, 516 (var); Pierrot, 38; PAI-LXXXIII, 421

Since the cream, powder, and soap are supposedly “oriental,” Pal obligingly depicts an exotic odalisque in an oddly cut dress. Feminine allure being his stock in trade, Pal is in his element, lavishing careful attention to every detail of the lady’s charms.

In this pleasing piece by Pal, Pierrot, the perpetually lovelorn clown, is offered a pick-me-up courtesy of Columbine: a peck of Liqueur de Pêches. Note the especially fine artistry on Columbine’s black lace ruffles. Cusenier, a French spirits producer founded in 1868, was acquired by Pernod-Ricard in the late 1970s.

1

1

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

408. A la Place Clichy / Blanc. 1900.

38 ⁄4 x 54 ⁄8 in./98.6 x 139.2 cm Imp. Chardin, Paris Cond B/Slight tears at folds.

Ref: Masters 1900, p. 39; PAI-LXXXI, 417 3

409

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

7

For one of the white sales at La Place Clichy, Pal presents a lady in an impressively frilled housecoat as she inspects the newly purchased delicate linens as shown to her by her maid. It’s quite the image of luxury.

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

410. Suprême Cusenier. 1901.

41 1⁄2 x 59 1⁄4 in./105.5 x 150.6 cm Imp. Chardin, Paris Cond B-/Restored tears, largely near edges.

Ref: PAI-LXXIX, 451 Suprême Cusenier liqueur is specially marketed in a mysterious bouteille inviolable, a feature obviously intended to lend value and mystery to the product.

Pal’s design enhances the image of voluptuous and magical–oriental splendor as uncommon, cabalistic, and, without question, intoxicating.

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

410

A-Z | PARRISH - POFFÉ

411

Maxfield Parrish

(1870-1966)

Edward Penfield

(1866-1925)

411. Poster Show / Pennsylvania Academy. 1896.

412. Harper’s / Christmas. 1896.

28 x 43 3⁄4 in./71 x 111 cm Ledger Show Print, Philadelphia Cond B+/Restored tears at folds. Framed.

Ref: Margolin, p. 211 (var); Affichomanie, 27; Reims, 1250; Parrish, 29 (var); Weill, 82 (var); Lauder, 133; PAI-LXVII, 469 (var)

12 7⁄ 8 x 17 3⁄ 8 in./32.8 x 44 cm Cond A. Ref: DFP-I, 363; Lauder, 187; Penfield, 4; PAI-LXXV, 422

To many collectors, this is the single most beautiful and important American poster created at the turn of the century. Incredibly rare, it stands apart from the rest of Parrish’s oeuvre, who typically rendered elaborate, heavily-detailed illustrations in brilliant hues. Instead, he gives us a simple image in muted tones, with flat planes of color and a masterful use of negative space similar to that of Toulouse-Lautrec. The uncluttered nature of the composition forces the viewer to lock eyes with the central figure—a gaze that only grows increasingly harder to break.

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

With extraordinary economy of expression, Penfield captures all the contradictory emotions of the Christmas season: cold weather, warm feelings, anticipation, loneliness, desire, and companionship; note the little dog racing by at left, and the manila envelope clasped in the woman’s arms.

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

PARRISH - POFFÉ | A-Z

413

412

415

Otto Jacob Plattner

414 (1886-1951)

Constant Poffé

413. Harper’s / June. 1898.

414. Schwimmbad Liestal. ca. 1930.

415. Koloniale Dag. 1921.

15 5⁄8 x 9 in./39.6 x 22.8 cm Cond A. Framed.

Ref: DFP-I, 391; Lauder, 211; PAI-XXXIV, 126

35 3⁄4 x 50 in./91 x 127 cm Wassermann, Basel Cond A. Ref: Crouse/Deco, p. 284; PAI-LXXV, 427

24 1⁄4 x 33 1⁄ 8 in./61.7 x 84 cm A. Stevens Cond A.

Even the gold letters add to the sunshiny feel of this design, as this side-saddled young woman takes us on a rare Harper’s excursion to a non-urban setting.

Est: $800-$1,000.

Liestal, southeast of Basel, has cold winters, mild summers, and a spectacular public swimming pool worthy of an equally spectacular Art Deco poster. The diver almost appears like he’s elongating as he dives at a perfect 45-degree angle into the inviting waters. David Hockney would approve.

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

This rare poster promotes the “Colonial Day” of the Belgian Congo. Our Congolese man is depicted as strong, patriotic, and even a bit blissful. But the conditions of colonialism were far from idyllic; an implicit apartheid allowed the Belgian government to take advantage of the Congo’s economic resources while suppressing many of their rights and denying basic benefits like healthcare and education.

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

A-Z | RAGAN - REDON

417

416

Leslie Ragan

(1897-1972)

416. New York Central / Empire State Express. 1941.

27 1⁄4 x 41 in./69.2 x 104.3 cm Brett Litho. Co. Cond A. Ref: Travel By Train, 154; PAI-LXXXIII, 440 “When Central streamlined the Empire State Express, Ragan set the train in the Hudson River Highlands on an autumn afternoon... Locomotive driving wheels and apparatus are lost in a blur while elegantly fluted stainless-steel passenger cars reflect the day’s waning light. In the background, mountains cast in brilliant hues of red and orange dominate. Ironically, the new streamliner made its debut on December 7, 1941, the day of Japan’s attack on Pearl Harbor.

Railroading and advertising were about to change forever” (Travel by Train, p. 124).

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

417. New York Central / 20th Century Limited, Industrial America. 1943.

16 x 33 1⁄2 in./40.6 x 84.8 cm Cond B/Tears at edges. Framed.

Ref: PAI-XLVIII, 413 (var) The clean, smooth lines of the Art Deco era found their ultimate expression in Henry Dreyfuss’ 1938 streamlining of the New York Central’s Twentieth Century Limited. From the Mohawk-inspired fin atop the Hudson-class locomotive’s smoke box to the tail sign on the observation car, the famous train’s elegant, sleek design spoke of machinery, steel, and precision. Like a shiny silver bullet, Ragan’s “Century” streaks past an appropriate industrial backdrop of Chicago steel mills as it sets out on another all-first-class run to New York. Ragan, an Iowa native who studied painting and illustration in Chicago before moving to New York City, spent most of his career creating posters for the Norfolk & Western and the New York Central railroads. This poster includes the December 1943 calendar with metal strips at top and bottom.

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

418

RAGAN - REDON | A-Z

419 418. New York Central / The Century in the Highlands of the Hudson. 1944.

16 x 33 1⁄2 in./40.5 x 85 cm Cond A-/Slight tears at edges. Framed.

Ref: Travel by Train, 154 (var); Favre/Chemin de Fer, p. 109; PAI-XLVIII, 415 (var) Cognizant of the fact that superior graphics can be transplanted into different surroundings with an equally stunning impact, Ragan transposed his streamlined locomotive previously seen on the banks of the Hudson (see PAI-LXXXIII, 441) into the autumnal splendor of the Hudson Highlands. Very few changes have been made to the 20th Century, but the change in location highlights the technological marvel of design and transportation as it simultaneously generates a panoramic reason to ride the rails. This poster includes the December 1944 calendar with metal strips at top and bottom.

420 419. New York Central / 20th Century Limited. 1945.

15 7⁄8 x 33 1⁄2 in./40.3 x 85 cm Cond B/Creasing in image. Framed.

Ref: PAI-XLVIII, 416 (var) “Leslie Ragan set the new trains in surreal landscapes, bathing their reflective surfaces in shimmering natural light, creating dream-like poster icons. In June 1938 the new 20th Century Limited, designed from locomotive to matchbook cover by New York City industrial designer Henry Dreyfuss, made its debut... (‘One of the most distinctive pieces of mechanism ever seen on any track,’ bragged Central publicists). Dreyfuss had designed a dignified two-tone gray paint scheme for NYC’s new flagship, and Ragan made its reflection dance in the river’s shimmering water; Central was, after all, ‘the water level route’” (Travel by Train, p. 124). This serene winter wonderland image, with the Century’s distinctive satin-finished crescent-shaped prow illuminated by a powerful single-headlight, is here seen with the October 1945 calendar with metal strips at top and bottom.

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

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

Georges Redon

(1869-1943)

420. Scala. 1905.

36 7⁄8 x 50 in./92.4 x 127 cm Imp. Minot, Paris Cond A-/Slight tears at edges. Framed.

For a revue at the Scala called “Hello you!” Redon gives us a fashionable couple and a flirtatious welcome to join them at the cabaret for a show.

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

A-Z | RHEAD - SAVIGNAC

421

422

Louis J. Rhead

423

Manuel Robbe

(1858-1926)

(1872-1936)

421. Bechstein. ca. 1896.

422. The Century / For Xmas. 1895.

423. L’Eclatante. 1895.

29 7⁄8 x 19 3⁄4 in./75.8 x 50.2 cm Hare, London Cond B+/Slight tears at folds and edges.

Ref (all var): DFP-I, 467; Wember, p. 261; Farbe, p. 51; PAI-LXXIV, 416

14 1⁄2 x 21 3⁄ 8 in./37 x 54.2 cm G. H. Buck, New York Cond A. Ref: DFP-I, 448; Reims, 1297; Farbe, p. 47; Affiches Etrangeres, p. 156; Lauder, 259; PAI-LVIII, 508

36 3⁄4 x 51 3⁄ 8 in./93.4 x 130.5 cm Imp. Bougerie, Paris Cond B+/Slight tears at folds and edges.

Ref: DFP-II, 761; Maitres, 143; Reims, 987; Wagner, 98; European Electricity, p. 73; PAI-LXXIV, 415

Louis J. Rhead was able to extend the aesthetic of the Pre-Raphaelites right into the Art Nouveau period, and his work is as unmistakable as it is heart-lifting. Here, a choir of angels arrives in response to the tones from a Bechstein piano, played by a classic Pre-Raphaelite maiden wearing poet’s laurels. Bechstein Pianos was founded in Berlin in 1853; the company began supplying pianos to Queen Victoria, and in 1885 they opened a branch in London, paving the way to become one of the leading piano makers in the world. It remains so today. This is a rare variant with the company information included.

Accompanying a procession focused on a steaming platter of Christmas pudding, this holiday issue of The Century contains reproductions of Tissot’s painting “Life of Christ” as well as a complete novelette by Rudyard Kipling. Rhead was one of the first poster artists to gain an international reputation, moving from England to the United States in 1882. He had a successful career on both continents.

Robbe is beloved for his decorative prints, but his posters are exceedingly rare. This one, a splendid convergence of Art Nouveau in the model of Toulouse-Lautrec and Japanese aesthetics, is an early advertisement for the L’Eclatante kerosene lamp. Its light remains brilliant against a painterly sunset sky.

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

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

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

RHEAD - SAVIGNAC | A-Z

424

425

426

Fernande Rousseau

(?-1963)

Munetsugu Satomi

(1900-1995)

Raymond Savignac

(1907-2002)

424. Boulogne s. Mer.

425. Côte d’Azur. 1934.

426. Océanic. 1960.

25 1⁄8 x 39 1⁄2 in./63.8 x 100.3 cm Imp. d’Art Moderne, Paris Cond A. Ref: PAI-XLIV, 446

23 7⁄8 x 38 in./60.4 x 96.5 cm La Novateur, Paris Cond A. Ref: Affiches Azur, 16; Train à l’Affiche, 279; PAI-XXX, 636

39 x 31 3⁄4 in./99.2 x 80.8 cm Publi-Rexor, Paris Cond A. Ref: Savignac Affichiste, 342; PAI-LXIII, 440

The style is old-fashioned and the approach formal, yet somehow the shipboard vista makes a pleasing image to promote travel to a seaside resort on the Channel coast.

The colors are restrained, but clear and bright. Rousseau died in Belgium in 1963, but whether she was Belgian by birth has not been determined.

Satomi arrived from his native Osaka to study art in Paris at an early age—in fact, he entered the École des BeauxArts before his eighteenth birthday, which is normally the minimum age required for entry to the prestigious school.

He became very active in graphic design of all kinds during the ’30s, producing posters that were not only effective but even quite startling by the standards of the period. Here, in a design for the PLM railroad, Satomi shows his mastery of graphic expression. The bold red letters juxtapose the diagonal thrust of the train as it rushes out of the darkness towards the bulls eye of the sun.

Savignac is better than almost anyone else at radically simplifying an idea, and then making you delight in it.

For Océanic transistor radios, we’re all the little boy, following the hypnotic tune from a modern Pied Piper.

His sailor costume is the only nod to the brand name, and that’s all we need.

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

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

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

A-Z | SCHNACKENBERG - SEBILLE

427

Walter Schnackenberg

(1880-1961)

427. Odeon Casino. 1912.

428. Peter Pathe / Maria Hagen. 1918.

35 3⁄8 x 47 1⁄4 in./90.5 x 120 cm Consée, München Cond A. Framed.

Ref: DFP-III, 2940; Avant Garde, p. 116; Gallo, p. 220; Takashimaya, 150; Dance Posters, 48; Art Deco, p. 290; Plakate München, p. 91; PAI-LXX, 626

35 3⁄8 x 48 3⁄ 8 in./90 x 123 cm O. Consée, München Cond B+/Slight tears at top and bottom edges.

Ref: Schnackenberg, unnumbered; Plakate München, 419; Femme s’Affiche, p. 50; PAI-LXXXIV, 431

One of Schnackenberg’s finest creations, this couple exudes Art Deco style and sensuality.

“One of Munich’s finest amusement venues, where the elegant world gathered after the theater and concert, was the Odeon Casino, for which Walter Schnackenberg designed a series of unusual posters. His vampy type of woman with a pageboy haircut and a fashion that anticipated the 1920s was a sensation and provocation in Munich at a time when the busty, sumptuously equipped ladies of the Wilhelmine era still dominated the image of women. [Schnackenberg’s woman was] thus a powerful motif for the ‘Jeunesse dorée’ (golden youth)” (Plakate München, p. 92). But there is also a sense of the uncanny, especially with the male dancer who emerges out of the shadows, his body confined to the darkness around him. It’s a perfect example of this artist’s “scenes of a decadent morbidity” (Weill, p. 111). This is the finest specimen we’ve ever seen!

Schnackenberg came from the generation of German artists who valued color and simplicity when creating a design. By placing figures in front of abstract backgrounds, he drew attention to and emphasized the product or celebrity being promoted by the poster without being overbearing. Here, the ballet duo Peter Pathe and Maria Hagen are portrayed with such elegance and grace that one knows the type of music to which they are performing without actually hearing it. The feather-light touch of their fingers, his chin almost brushing her hair as she leans forward, implies that this is that moment in the performance where their bodies echo the swell of the music before falling back into motion. It’s a haunting and truly beautiful design.

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

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

SCHNACKENBERG - SEBILLE | A-Z

430

Paul Scheurich

(1883-1945)

429. Die Gartenlaube. 1905.

31 1⁄2 x 22 1⁄4 in./80 x 56.4 cm Hollerbaum & Schmidt, Berlin Cond A-/Unobtrusive folds.

Ref: DFP-III, 2838; Historische Plakate, p. 108; Kunst Kommerz Visionen, 414

428

Launched in 1853, Die Gartenlaube was Germany’s first successful mass newspaper. Articles ranged from entertainment and instruction to politics and religion; novels, short stories, and prose were included as supplements. Beginning in 1905, the Welt der Frau (Women’s World) periodical was added to the Gartenlaube’s offerings. These articles covered traditional aspects of womanhood—fashion, sewing, housewives’ duties—but also championed the Modern Woman by underscoring the importance of education and equal rights. Here, Scheurich gives us an idyllic Jugendstil scene, in which mother, daughter, and dog stroll through the gardens of their own feminine universe.

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

Albert Sebille

(1874-1953)

430. Paris, Havre, New York. ca. 1930.

24 7⁄ 8 x 39 1⁄ 2 in./63.2 x 100.2 cm Novia, Paris Cond A-/Slight tear in bottom text.

Ref: Mer s’Affiche, p. 137; PAI-XL, 180 As both the French Line and the French Railways are sponsors of this poster, we see the train at left bringing passengers to Le Havre where they are embarking on their transatlantic voyage. The convenience of it all is made graphically clear by the artist. Sebille was a successful and prolific maritime artist; many of his paintings adorned the staterooms of French Line ships.

His maritime posters for the company are some of the best ever done.

429

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

A-Z | SELTEN - STÉPHANE

432

433

Paul Selten

(Seltenhammer, 1903-1987)

431. Folies-Bergère / Folies en Folie / Mistinguett. 1933.

46 5⁄8 x 123 3⁄4 in./118 x 314.5 cm Impressions France, Paris Cond B+/Slight creasing in background.

Ref: Folies-Bergère, 71; PAI-LXXXI, 443 “It was in this revue, ‘Folies en Folie,’ that Mistinguett created her most famous song, ‘C’est vrai’ (It’s true). Colette, writing a review of this in Le Matin, ends a laudatory article as follows: ‘She is a national property. This year she still has this gait which reminds us of Réjane’s, her pupils the color of the chicory flower, her long legs, her unimpeachable set of teeth, her cheerful smile and her sentimental expression. [Selten], a regular collaborator of the Folies-Bergère... was given the honor of producing the poster for the show. He did a fine job.

Two rows of boys shaded from grey to black surround the Miss. Three hands (two black and one grey, a skillful color scheme) try to hold her. She—frail but delighted—smiles. Her arms are covered with the usual bracelets, her famous legs (at the time insured for the price of a private house on the Champs-Élysées) are barely hidden by a veil’” (Folies-Bergère, p. 12). This is a two-sheet poster without the “Folies-Bergère” tip-on.

431

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

SELTEN - STÉPHANE | A-Z

Sepo

(Severo Pozzati, 1895-1983)

432. Duval-Leroy. 1923.

19 3⁄4 x 27 1⁄4 in./50 x 69.4 cm Maga, Paris Cond B+/Slight tears and creases in background.

Ref: Gourmand, p. 43; PAI-LXXV, 444 Sepo takes a page out of Cappiello’s book with this tiny little aristocrat, hurriedly ushering a great big bottle of Duval-Leroy—presumably over to the big-people’s table, where it belongs.

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

Mark Fernand Severin

(1906-1987)

433. Alberteum Planetarium. 1935.

21 5⁄8 x 28 3⁄4 in./54.8 x 73 cm Affiches Marci, Bruxelles Cond B+/Horizontal fold.

Established for the 1935 World’s Fair, the Brussels Planetarium (originally named Alberteum) boasts one of the largest planetarium domes in Europe. Modern-day visitors—which typically total 45,000 annually—can watch eight video projectors displaying one hundred thousand stars. There are also virtual interplanetary journeys and traverses across the galaxy. While this impressive technology certainly wasn’t available in 1935, Severin nevertheless creates a futuristic design to promote the venue.

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

M. Stéphane 434. Cognac Briand.

46 7⁄8 x 62 1⁄4 in./119 x 158 cm Imp. Moullot, Marseille Cond B+/Restored tears, largely at edges.

Ref: Gourmand, p. 54; Poitou-Charentes, cover & p. 139; PAI-XXXIX, 480

434

Vaulting free from the confines of her verdant launching pad, this nimble nymph brandishes a smile and bottle of Briand cognac in each hand as she greets us with the golden optimism only a fine distillate can instill. Her wardrobe, carefully composed and palpably fertile, yet profoundly unrestrained, calls to mind a Folies-Bergère showgirl’s extravagance.

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

435. MAB. ca. 1895.

62 5⁄8 x 46 1⁄2 in./159 x 118 cm Eugène Verneau, Paris Cond B+/Slight tears and stains.

Ref: PAI-LXXVIII, 6 M. Stéphane’s rare, brilliant, and futuristic design elevates the humble ball bearing to its rightful place: ball bearings, in fact, are the spheres upon which the entire Earth turns.

Other planets look on with envy, comets blaze past, and a beautiful nude Muse lies back in dreaming repose, confident in the knowledge that MAB-brand ball bearings spin the gears that crank the Cosmos. This poster includes an interesting stamp notice which states the poster can only be shown indoors. We’re not sure if it’s the lack of a tax stamp—or the brazen nudity—that compelled this decision.

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

435

A-Z | STEINLEN

436

STEINLEN | A-Z

Théophile-Alexandre Steinlen

(1859-1923)

436. Clinique Chéron. 1905.

53 3⁄4 x 76 3⁄ 8 in./136.4 x 194 cm Imp. Ch. Wall, Paris Cond B+/Stains at bottom edge.

Ref: Bargiel & Zagrodzky, 45; Crauzat, 511; DFP-II, 799; Wagner, 66; Suntory, p. 30; Gold, 39; PAI-LXVI, 476 This life-size poster for a veterinarian is one of Steinlen’s most beautiful, and today, it’s one of the rarest. The fine grouping of affectionate animals makes for a most appealing image. It also shows Steinlen’s gift for effective poster design: his composition forces us to look at the advertising message as our eyes go from the cats above to the dogs below. This is a two-sheet poster.

437

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

437. Compagnie Française des Chocolats et des Thés : Maquette. 1895.

23 1⁄2 x 32 in./59.7 x 81.5 cm Signed pochoir on canvas. Framed.

Ref (all var): Bargiel & Zagrodzki, 19B; Crauzat, 494; DFP-II, 784; Timeless Images, 49; Gold, 55; PAI-LXXX, 488 This is the maquette for one of Steinlen’s most tender posters, in which we are offered an intimate peek into his private life. Using his wife Emilie and his daughter Colette as models, we witness the artist’s family at breakfast. As Emilie quietly meditates over the day at hand, she sips on Chinese black tea. Meanwhile, young Colette stares curiously back at the signature household pet, protectively guarding her hot chocolate from a potential feline thief. As charming as it is cozy, this scene promotes the French Chocolate and Tea Company, a staple in all real—rather than overly fancy—homes.

Provenance: Collection of Georges Salis, friend of Aristide Bruant.

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

438. Lait pur Stérilisé. 1894.

38 1⁄8 x 53 1⁄2 in./96.8 x 136 cm Imp. Charles Verneau, Paris 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; Encylopédie/Weill, p. 54; Posters of Paris, 80; PAI-LXXXIV, 443 All the warmth, humanity, and affection for which Steinlen is so loved comes through gloriously in this poster for the newly marketed “lait stérilisé” that was touted over the “lait ordinaire” at that time. Charles Knowles Bolton, writing a year after its publication, proclaimed that this “is perhaps the most attractive poster ever made. No man with half a heart could fail to fall in love with the child.” Louis Rhead himself commented: “When I saw it in Paris last year... it seemed to me the best and brightest form of advertising that had appeared.”

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

438

A-Z | STEINLEN - TICHON

440

Steinlen

(Continued)

439. Winter Cat / Summer Cat. 1909.

Each: 24 1⁄4 x 19 3⁄4 in./61.6 x 50.2 cm Imp. R. Engemann, Paris (not shown) Cond A. Ref: Crauzat, 282 & 293; Steinlen’s Cats, 15 & 16; PAI-LXXXIV, 444

439

The comfortably reclining Winter feline was originally used to announce an exhibition of artists who paint animals at the Cercle International des Arts in the spring of 1909. Apparently, it was so warmly received that a separate lithograph without letters was published, using a different printer, with only minimal changes—for example, the background color, beige in the poster, is here grey. The publisher, Sagot, titled it “L’Hiver Chat sur un Coussin” (Winter Cat on a Pillow) and coupled it with a companion, “L’Été Chat sur un Balustrade” (Summer Cat on a Balustrade): “the cheetahlike cat of summer drops a hind leg and its tail over the edge of the railing to catch a breeze. Its yellow eyes squint less with ferocity than with lassitude” (Steinlen’s Cats, p. 48). We present both in a single lot. The Winter cat poster is hand-signed by the artist.

Est: $7,000-$9,000. (2)

Gustave-Max Stevens

(1871-1946)

440. Plage de Westende. 1898.

38 3⁄8 x 26 1⁄2 in./97.6 x 67.4 cm Oscar Lamberty, Bruxelles Cond B+/Slight stains and creases at edges.

Ref: Côte Belge, 118; PAI-LXVIII, 609 One of the more evocative and beautiful Belgian travel posters, this charming design promotes the sun-dappled beauty of Westende, located along the Flemish coast.

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

Kay Stewart 441. French Line / France Afloat. ca. 1938.

24 1⁄ 2 x 39 1⁄ 2 in./62.2 x 100.3 cm Brown, Knight & Truscott, England Cond B+/Slight tears.

Ref: PAI-XL, 181 This is surely one of the most extraordinary posters created for the French Line.

The jewel in the line’s crown, the Normandie, is seen bows-on; it’s flanked by the Champlain and the Lafayette. The three stream towards us in glorious union, like Liberté, Egalité, and Fraternité. Their reflections in the water transpose into the Eiffel Tower and the Arc de Triomphe; the clear message is that these ships are equally deserving symbols of France—that they are, as labeled, “France Afloat.”

It’s a splendid image.

441

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

STEINLEN - TICHON | A-Z

442

443

444

445

Niklaus Stoecklin

(1896-1982)

442. Basel. 1939.

35 3⁄4 x 50 1⁄8 in./90.7 x 127.4 cm Wassermann, Basel Cond A. Ref: Stoecklin, p. 72; Wobmann, 179; PAI-XXXIX, 482 The fortified entrance gate, a standard feature of medieval towns, looks properly imposing with its battlements and guard posts; yet by giving the roof a storybook-tiled pattern, Stoecklin also gave it the light touch of a gingerbread house. At any rate, it’s a terrific tourist poster for the city of Basel.

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

443. Weltmeisterschaften Kunstturnen. 1950.

35 1⁄8 x 49 1⁄2 in./89.2 x 125.8 cm Frobenius, Basel Cond A-/One-inch tear in left margin.

Ref: Stoecklin, 105; PAI-XXIX, 483 Stoecklin announces the 1950 World’s Gymnastics Championships with a shrewdly conceived design in which the angles of the man competing on the rings creates a pattern that leads our eye to the text.

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

Ikko Tanaka

(1930-2002)

444. UCLA Asian Performing Arts Institute / Nihon Buyo. 1981.

28 5⁄8 x 40 1⁄ 2 in./72.8 x 103 cm Toppan Printing, Japan Cond A/P. Ref: Modern Poster, 280; Japanese Affiches, 9; Best 100 Japanese Posters, p. 77; PAI-LXXXIII, 459

446

Charles Tichon 445. Au Grand Paris.

47 1⁄4 x 63 3⁄4 in./120 x 162 cm Affiche Kossuth, Paris Cond A-/Slight stains at edges.

To advertise the latest ladies’ fashions at this Toulon department store, Tichon shows us two women in their finest turn-of-the-century garments.

A geisha is brilliantly abstracted into geometric form: a specialty of Ikko Tanaka, who created a style of graphic design that fused modernist principles and aesthetics with the Japanese tradition. It’s probably Tanaka’s most representative work, among a portfolio that includes work for Mazda and Issey Miyake. It’s one of a series of twelve posters made by Japan’s leading graphic artists for the 1981 Asian Performing Arts Festival held at UCLA. Nihon Buyo refers to a Japanese performing art that includes elements of dance and pantomime.

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

Est: $800-$1,000.

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

446. A la Place Clichy.

35 7⁄8 x 50 1⁄2 in./91.3 x 128.3 cm Affiches Kossuth, Paris Cond A. Donning dramatic fur accessories, this Belle-Époque lady announces the winter season novelties at the Place Clichy department store.

HENRI DE TOULOUSE-LAUTREC

447

Henri de Toulouse-Lautrec

(1864-1901)

447. Troupe de Mlle Églantine. 1896.

448. Confetti. 1894.

32 x 24 1⁄2 in./81.3 x 62.1 cm Cond A/Includes the rarely seen full margins. Framed.

Ref: Wittrock, P21C; Adriani, 162-III; Wine Spectator, 43; Driehaus, p. 107; DFP-II, 850; Wagner, 23; Posters of Paris, 100; Reims, 791; PAI-LXXXIII, 463

16 3⁄4 x 22 3⁄ 8 in./42.7 x 57 cm Imp. Edw. Ancourt, Paris Cond A. Framed.

Ref: Wittrock P13; Adriani, 101; DPF-II, 834; Wagner, 14; Wine Spectator, 53; Driehaus, p. 105; Reims, 799; PAI-LXXXIV, 455

“At the height of cancan’s popularity, dancers formed groups which offered their services as a unit: whether the Troupe de Mlle Églantine was the best of them we don’t know, but it is certainly the only one publicized by the best. Toulouse-Lautrec did it at the request of his friend Jane Avril. From left to right, we see Jane Avril, Cléopâtre, Églantine, and Gazelle. As with his Moulin Rouge poster, he lets the white of the petticoats, punctuated by stockinged legs, do most of the talking, but he also offhandedly gives each girl a distinct character in only a few lines lining their facial expressions” (Wine Spectator, 43).

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

Confetti has been with us since the Middle Ages, for weddings, triumphs, and seasonal red-letter days. But in the 19th century, “confetti” took the form of plaster lozenges. They made a mess. They hurt people. J. & E. Bella paper manufacturers of London had a better way: flecks of paper that were as pretty as they were harmless. The J. & E. Bella Co. commissioned this poster from Lautrec, then featured it as the catalog cover for one of the poster exhibitions the company hosted at the London Aquarium. “Confetti epitomizes Lautrec’s conceptual simplicity; broad masses are effectively defined with utmost economy of means. His deftly inflected lines emerge more calligraphically by virtue of the lightcolored image, with its broad sweep of billowing, off-white dress. In this poster Lautrec’s dematerialization of form borders on abstraction” (Wagner, p. 25-26). The result: ToulouseLautrec’s delightful, gladdening design popularized the new form of confetti, literally transforming the way the world celebrates.

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

TOULOUSE-LAUTREC | A-Z

448

A-Z | TOULOUSE-LAUTREC

449

TOULOUSE-LAUTREC | A-Z

450

Toulouse-Lautrec

(Continued)

449. L’Artisan Moderne. 1896.

450. Babylone d’Allemagne. 1894.

25 1⁄4 x 36 3⁄8 in./64.2 x 92.3 cm Imp. Bourgerie, Paris Cond A-/Slight stains at edges. Framed.

Ref: Wittrock, P24A; Adriani, 59-II; Wagner, p. 13; PAI-LXXXI, 469

33 5⁄8 x 47 7⁄8 in./85.4 x 121.5 cm Imp. Chaix, Paris Cond A-/Slight tears at edges. Framed.

Ref: Wittrock, P12B; Adriani, 58; DFP-II, 832; PAI-LXXXIV, 472

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).

The subject is a book exposing the decadence of Berlin society, written by Lautrec’s friend Victor Joze. His “poster focuses the spectator’s attention on the hindquarters of four horses, the largest of which [is] also being closely observed by a caricature of the Kaiser standing in a guardbox. The implications of this, along with the book’s title, provoked a protest from the German ambassador to France and nearly caused an international incident. Joze, too, wrote Lautrec asking for him to withdraw the poster, as he felt the depiction of a German officer, together with the anti-German tone of the book, would not be tolerated by the police and could get him in trouble. Lautrec, however, refused to stop distribution of the poster, and as he had paid for it [himself], the publisher was not able to stop the distribution. [Thereafter], according to art dealer Edmond Sagot, the value of [Lautrec’s] work quadrupled” (Frey, p. 398).

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

Est: $35,000-$45,000.

A-Z | TOULOUSE-LAUTREC

451A

TOULOUSE-LAUTREC | A-Z

451B

Toulouse-Lautrec

(Continued)

451A. Salon des Cent. 1896.

451B. Aristide Bruant Dans Son Cabaret. 1893.

17 1⁄4 x 24 in./40.4 x 60.8 cm Imp. Bourgerie, Paris Cond A. Framed.

Ref: Wittrock, P20; Adriani, 137-III; Salon des Cent, p. 37; Wagner, p. 31; Gold, 195; Reims, 790; PAI-LXXXIV, 464

38 7⁄8 x 53 1⁄2 in./98.8 x 136 cm Imp. Edw. Ancourt, Paris Cond A. Ref: Wittrock, P9C; Adriani, p. 130; Maitres, p. 82; DFP-II, 827; PAI-LXXXIV, 460

Summer, 1895. Lautrec and fellow artist Maurice Guibert are on board the steamer Le Chili, en route along the Atlantic coast from Le Havre to Bordeaux. Lautrec cannot keep his eyes off the young woman berthed in cabin No. 54. She’s meeting her husband in Senegal. Lautrec, suddenly obsessed, ignoring pleas from Guibert, refuses to get off the boat at Bordeaux. Finally, he is persuaded off the boat at Lisbon. But not before he’s captured a photograph of the unknown woman, which he turned into a lithograph of the exact same pose, “exquisite both in its execution and in the remoteness of the subject’s personality” (Wagner, p. 31): ideal for the Salon des Cent, with its running themes of meditation, admiration, and preoccupation.

Est: $25,000-$30,000

Bruant’s strong, forceful, and in many ways vulgar style was ideally suited to the intimate cabarets where fashionable society went “slumming” for thrills. Lautrec captures this brutal quality of the entertainer and the disdain with which he treated his audiences by having him show us the broad of his back, with his red scarf forming an exclamation point on it. The pose itself makes a complete, selfcontained statement—Toulouse-Lautrec at his very best.

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

A-Z | TOULOUSE-LAUTREC

452

TOULOUSE-LAUTREC | A-Z

Toulouse-Lautrec

(Continued)

452. La Loge au Mascaron Doré. 1894.

12 5⁄8 x 19 1⁄8 in./32.2 x 48.7 cm Imp. Edw. Ancourt, Paris Cond A. Framed.

Ref: Wittrock, 16; Adriani, 69-I; Lautrec/Montreal, 26; PAI-LXXXII, 452

453

“For Lautrec the theatre was to be found in the boxes as much as on stage.

One of his best known inventions, La Loge au Mascaron Doré (The Box with the Gilded Mask) was a programme for Marcel Luguet’s play Le Missionnaire (The Missionary), which had its première at the Théâtre Libre on 24 April 1894.

With its economical use of colour, this is one of Lautrec’s greatest achievements in the field of small scale colour lithography... Above left we see the profile of the English illustrator Charles Edward Conder... who had met Lautrec at the Moulin Rouge” (Adriani, p. 110). This is one of 100 hand-signed copies with the Kleinmann blind stamp. It also has a signed dedication to his dear friend André Antoine, the actor and director of the Théâtre Libre.

Est: $35,000-$40,000.

453. Bruant au Mirliton / Bock 13 Sous. 1893.

23 1⁄2 x 31 3⁄4 in./59.7 x 80.6 cm Imp. Chaix, Paris Cond B+/Horizontal fold; slight tears and stains at bottom edge. Framed.

Ref: Wittrock, P10A; Adriani, 57-II; DFP-II, 831; PAI-LXXIV, 463 This is the first of three versions of this poster: one announces Bruant’s latest cabaret (see PAI-LXXVI, 444); one advertises the sale of a songbook by the performer (see No. 455); this version promotes the 13 sous beer special that will be available during Bruant’s show. All are distinguished by Bruant’s insolent stance: the point made is that we can recognize the famous performer not only despite his turning his back to us, but because of it. Wittrock rates this design as “Rare.”

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

454. Le Deuxième Volume de Bruant. 1893.

22 3⁄4 x 29 7⁄8 in./57.8 x 76 cm Imp. Chaix, Paris Cond B/Slight tears at folds. Framed.

Ref: Wittrock, P10C; Adriani, 57-IV; DFP-II, 832; PAI-LXXXIV, 462 In this version of the Aristide Bruant poster, the sale of a songbook by Bruant, illustrated by Steinlen, is promoted.

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

454

A-Z | TOULOUSE-LAUTREC

Toulouse-Lautrec

(Continued)

455. May Milton. 1895.

24 x 31 1⁄4 in./61 x 79.3 cm Cond B/Slight tears at top edge. Framed.

Ref: Wittrock, P17B; Adriani 134-II; PAI-LXXX, 499 An English dancer at the Moulin Rouge, May Milton was in an affair with May Belfort. Toulouse-Lautrec’s portrait of her is so subtly bizarre that Picasso included it in the background of his early painting, “The Bath” (1901). “Milton is shown in a seemingly impossible position,” Ebria Feinblatt writes. “Lautrec so twists the position of Milton’s right leg that, instead of a back kick, the foot emerges from the side. At the same time, this pose answers the artist’s need to continue the unbroken, undulating pattern that starts with the wavy hair hanging down to her puffed shoulder sleeve... the undeniable presence of the figure [is] arresting” (Wagner, p. 27).

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

455

456. Caudieux. 1893.

36 1⁄4 x 50 in./92 x 127 cm Imp. Chaix, Paris Cond B+/Slight tears at folds and edges; exceedingly fresh colors. Framed.

Ref: Wittrock, P7; Adriani, 15; Wagner, 8; Reims, 776; PAI-LXXXIV, 471 A well-loved cabaret personality in Montmartre, Caudieux was a large, floppy ball of a man, shown here with coattails billowing behind him as he exits, stage right. As the actor purses his lips in self-satisfaction after what we can imagine to be a fine performance, a hollow-cheeked audience member gawks curiously up from the orchestra pit. Feinblatt calls this “a study in dynamic motion and concentrated energy... and his bustling sweep across the boards is an unparalleled rendering of movement among Lautrec’s posters” (Wagner, p. 20).

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

457. Jane Avril. 1899.

14 3⁄4 x 22 1⁄4 in./37.6 x 56.5 cm Cond A. Framed.

Ref: Wittrock, P29A; Adriani, 354-II; Abdy, p. 80; DFP-II, 851; Iskin, pl. 18; Wagner, 30; PAI-LXXV, 479 This 1899 lithograph of Jane Avril, one of the landmark works of the Art Nouveau period, is the second-to-last poster Toulouse-Lautrec would ever design. It was a fitting, poetic coda for the artist. Avril and Lautrec’s friendship blossomed with their careers. Beautiful but shy, elegant but melancholic, Avril was the opposite of La Goulue, her boisterous rival at the Moulin Rouge. But with several superb early posters, Lautrec elevated her fame such that Avril replaced La Goulue as the star of the show in 1895. In the early months of 1899, Toulouse-Lautrec had a nervous breakdown and was confined to a sanatorium. Out of friendship, Avril commissioned this work from him. Working from a photograph as an aide-mémoire, Lautrec “distilled the very essence of Avril, where the serpentine nature of her dancing is emphasized by her swaying body... and the wrap-around snake motif” (National Gallery of Australia). “She liked the poster very much, but her impresario refused it, and it was never shown” (Abdy, p. 80-81). For this poster, Lautrec used an innovative process which required only three printings for the four colors used (Adriani, p. 411). This is the rarest of the versions: from an edition of only 25 copies, hand-signed by the artist, and including a small snake remarque in the lower left.

456

Est: $100,000-$120,000.

TOULOUSE-LAUTREC | A-Z

457

A-Z | TOULOUSE-LAUTREC

458

Toulouse-Lautrec

(Continued)

458. Elles / Femme au Lit. 1896.

20 1⁄ 2 x 15 7⁄8 in./52 x 40.3 cm Cond A/P. Framed.

Ref: Wittrock, 163; Adriani, 179; PAI-LXXXIII, 471 This is part of the Elles series, and is numbered 11 of 100 impressions, with Pellet’s watermark. One scholarly interpretation of the Elles suite is that, rather than being simply a collection of brothel motifs, it portrays the intimacies and mundane rituals of the women who worked at the maisons closes. “Lautrec showed the prostitute marked by the meaninglessness of her acts—gone are the poses of the desirable temptress—and he gave back to his Olympias and Nanas their humanity, as he showed them in their daily routine... Yet Lautrec does not take a moral stand. His sense of decency lies hidden in the graphic detail, in the beauty and reserve of the colour in these sheets” (Adriani, p.

222). Here, Lautrec depicts a morning visit between Madame Juliette Baron and her daughter Paulette, known as Mademoiselle Popo, both of whom worked in the brothel in the Rue des Moulins.

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

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

TOULOUSE-LAUTREC | A-Z

459

459. Elles. 1896.

17 5⁄8 x 24 5⁄8 in./44.7 x 62.6 cm Cond A. Framed.

Ref: Wittrock, 155-III; Adriani, 177-IV; DFP-II, 842; Reims, 782; PAI-LXXXIV, 468 This poster announces Lautrec’s “Elles” collection, his famous brothel series, an edition of lithographs depicting prostitutes simply referred to as “Elles” (Them).

This ambiguous title both recalls the common phrase ces dames (these ladies), and at the same time is the pronoun indicating all females. Although the women of the “Elles” series are prostitutes, they appear desexualized, shown in postures that emphasize the everyday and unglamorous nature of their occupation. In this instance, putting her hair back up after finishing with a client; the only indication that a man is even in the room is his top hat resting gingerly on her bed. It was the pictorial epilogue to what the artist had experienced in the maisons closes of the rue des Moulins, the rue d’Amboise, and the rue Joubert. “They” are “women to my liking,” as he used to say, and he often lived with them for weeks at a time during the years 1892 to 1895, a constant witness of their daily lives, of their suffering and intimacy.

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

460. La Revue Blanche. 1895.

36 3⁄4 x 51 in./93.2 x 129.6 cm Imp. Edw. Ancourt, Paris Cond A-/Slight tears at edges.

Ref: Wittrock, P16B; Adriani, 130-II; Driehaus, p. 117; PAI-LXXXIV, 459 “This official poster for La Revue Blanche is considered by many to be Lautrec’s strongest individual work. In it, using a combination of economical line and implied movement, large flat areas of color and carefully observed detail, he shows Misia Natanson, wife of the magazine’s editor, Thadée Natanson, ice-skating at the Palais de Glace, an ice rink opened at the Rond-Point des Champs-Élysées by Jules Roques in 1894. The entire poster is like a little joke, as if Lautrec were amusing himself by proving that he could show an ice-skater without ever showing her skates” (Frey, p. 408).

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

460

A-Z | TOULOUSE-LAUTREC

461

Toulouse-Lautrec

(Continued)

461. Reine de Joie. 1892.

37 1⁄4 x 57 3⁄4 in./94.6 x 146.6 cm Imp. Edw. Ancourt, Paris Cond B-/Restored tears at folds and edges. Framed.

Ref: Wittrock P3; Adriani, 5; DFP-II, 823; Wagner, 4; Posters of Paris, 88; Wine Spectator, 49; PAI-LXXXIV, 453 Victor Joze, a Polish writer of cheap erotic novels and a friend of Lautrec, in 1892 published “Reine de Joie/ Moeurs du Demi-Monde” (Queen of Joy, or, The World of Easy Virtue). It was a perfect subject for Lautrec.

The episode shown is one in which the heroine of the novel, Hélène Roland, kisses the corpulent Olizac on the nose at dinner. At the insistence of Baron Rothschild—who believed the main character in the novel, a Baron Rosenfeld, to be modeled on himself—attempts were made to suppress the entire edition. This did not, however, prevent the publishers of Fin de Siècle from riding on the publicity of such a scandal and selling parts of the story. As Ebria Feinblatt notes: “The poster is one of the most piquant and popular that the artist produced... Aside from the acutely realistic characterizations, the impact of the composition lies in the skillful use of pure color to model the forms, which assume an abstract quality” (Wagner, p. 19).

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

TOULOUSE-LAUTREC | A-Z

463 462. La Dépêche / Le Tocsin. 1895.

462

17 1⁄ 2 x 21 7⁄8 in./45.5 x 55.6 cm Cassan Fils, Paris (not shown) Cond A. Framed.

Ref: Wittrock, P19A; Adriani, 143-I; PAI-XLIV, 489 (var) Arthur Huc, art collector and editor of the Toulouse newspaper La Dépêche, had already used one of Lautrec’s earlier posters successfully in 1892; this time he is advertising a serialization of the novel “The Warning Bell” by Jules de Gastyne in his publication, seen here before the addition of letters. Toulouse-Lautrec strikes the perfect note for the gothic romance, with the pale heroine followed by a dejected dog strolling through the gloom of the night, with the forbiddingly austere walls of a castle behind her. Adriani makes it clear that this blue-ink first-state version before lettering was intended for the poster collecting market (p. 203). Frey says that “the poster he did in December 1895... was somber and nocturnal, reflecting what seemed to be his own mood” (Frey, p. 416). This is the rare version before letters.

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

463. Zamboula-Polka. 1901.

6 7⁄ 8 x 10 1⁄ 2 in./17.6 x 26.5 cm Crevel, Paris Cond A/Matted to image edge. Framed.

Ref: Wittrock, 333; Adriani, 360; PAI-LXXVI, 439 (var) “This print was made between the end of April and 15 July 1901, during Lautrec’s last visit to Paris... Désiré Dihau had asked his cousin and friend, now fatally ill, for a title page for this comic song to a text by P. Valfé, to be published

by Georges Ondet. The litho stone is now in the Musée d’Albi” (Adriani, p. 420).

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

464. Miss Ida Heath. 1894.

10 7⁄8 x 14 3⁄4 in./27.5 x 37.3 cm Cond A-/Slight stains at edges. Framed.

Ref: Wittrock, 64; Adriani, 99 “Henry also painted, drew and made prints of a series of transient British and Irish music hall stars such as Ida Heath, whose aquiline nose he portrayed both onstage and at the bar, dedicating one of the lithographs to Chéret. This attention in his art to British friends and performers is noteworthy, as Henry is not known to have used other non-French models with any consistency” (Frey, p.

386). This is one of 40 impressions with the red monogram stamp at lower left.

Exhibited: Museum of Modern Art, New York City, 11/7/85-1/22/86.

464

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

A-Z | TOULOUSE-LAUTREC - UNGERER

Front

465

Verso

466

Toulouse-Lautrec

467

(Continued)

465. Miss Ida Heath : Drawing. ca. 1895.

466. Chanteuse Légère. 1898.

467. Guy et Mealy. 1898.

8 1⁄ 2 x 6 1⁄2 in./21.5 x 16.2 cm Signed pencil and ink drawing. Framed.

Ref: Dortu, D. 3840-D. 3.841; Joyant II, p. 213

11 x 13 1⁄4 in./28 x 33.5 cm Cond A. Framed.

Ref: Wittrock, 291; Adriani, 307

10 1⁄2 x 12 3⁄8 in./26.7 x 31.5 cm Cond A. Framed.

Ref: Wittrock, 295; Adriani, 305; PAI-XI, 406

Adriani calls this sensitive drawing a record of “the dance step in what is virtually a caricature in style” (p.

140). On the front, we see Ida Heath in two dance poses, with the red monogram stamp at lower left; on the verso is an unsigned drawing of four men’s heads. According to Dortu, this drawing was in Ludwig Charell’s collection.

This is one of 25 unsigned impressions of this “light singer” with a commanding stage presence. Wittrock calls this print “very rare.”

Provenance: Collection of M. Ludwig Charell.

“The première of the revue Paris qui marche was held at the end of 1897 at the Théâtre des Variétés, starring Georges Guillaume Guy (1859-1917) and Juliette Samany, known as Mealy (1867-1951). This lithograph was commissioned by Maurice Joyant; it was offered for sale at 20 francs, and deposited at the Bibliothèque Nationale, Paris, on 19 November 1898” (Adriani, p. 372).

This is #27 of 100 impressions, signed in pencil with the stamp at lower left.

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

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

Exhibited: The Arts Council of Great Britain, London, n.d.

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

TOULOUSE-LAUTREC - UNGERER | A-Z

469

468

Adolph Treidler

(1886-1981)

Louis Trinquier-Trianon

(1853-1922)

468. New York Central / The Wonder City. 1927.

470. Lamalou les Bains. ca. 1905.

26 x 39 3⁄4 in./66 x 101 cm Latham Litho., Long Island City Cond B+/Slight tears at edges.

Ref: Travel by Train, p. 72; Posters & Publicity, p. 18

29 x 40 7⁄8 in./74 x 104 cm E. Baudelot, Paris Cond A. Ref: PAI-LIV, 252

The mighty Lady Liberty invites us to visit the “wonder city of the world.” Treidler imbues the scene with pure urban majesty: stars twinkle in the evening blue sky while Manhattan’s lights flicker on below; a spotlight at the island’s southernmost tip washes a golden glow over our Statue of Liberty. One can even imagine the nighttime hush of the city following the daytime noise: taxis whir past, friends walk home from dinner, and the city cools off after another metropolitan day. Rare!

Trinquier-Trianon spares no elegant details when promoting the spas of Lamalou les Bains in southern France. A Monet-inspired pool reflects the red walls and palm fronds while the robed visitors alternate between swimming, basking, and relaxing. Ah, couldn’t we all use that sort of treatment right about now?

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

470

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

Tomi Ungerer

(1931-2019)

471. Jazz Festival Zürich. 1980.

469. New York Central / The Wonder City : Maquette. ca. 1920.

35 1⁄2 x 50 1⁄4 in./90 x 127.7 cm Cond A/P.

5 3⁄ 8 x 7 5⁄8 in./13.5 x 19.2 cm Signed gouache and ink maquette. Framed.

Ref (both var): Travel by Train, p. 72; Posters & Publicity, p. 18

Ungerer likens the compositional process to that of a sculptor rearranging materials in her studio. And, appropriately for a jazz festival, his impassioned musician is tearing up the tired old score to create an innovative work. It’s another testament to Ungerer’s ability to transform a clever concept into a whimsical image that is both succinct and brilliant.

This is the original maquette for Treidler’s magnificent poster for the New York Central lines. Varying only slightly from the finished product, this small painting is an intimate and special work. Treidler’s estate stamp is on the verso.

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

Est: $800-$1,000.

471

A-Z | VAN CAULAERT - VILLEMOT

472

Jean-Dominique van Caulaert

(1897-1979)

473

475

474

476

Henry van de Velde

(1863-1957)

472. Mistinguett / Féerie de Paris / Casino de Paris. 1938.

473. Tropon. 1899.

15 3⁄4 x 22 7⁄ 8 in./39.8 x 58 cm Imp. Delattre, Paris Cond A-/Slight tears at left edge.

Ref: Folies-Bergère, 79; PAI-XLI, 410

10 1⁄2 x 14 1⁄8 in./26.7 x 36 cm Cond B+/Slight tears.

Ref: DFP-II, 1134 & pl. XXIII (var); Avant-Garde, p. 17 (var); Word & Image, p. 39 (var); V & A, 169; Modern Poster, p. 19; Müller-Brockmann, p. 67; Encyclopédie/Weill, p. 13; Kunst Kommerz Visionen, p. 488 (var); PAI-LXXI, 523

“Féerie de Paris” was such a hit that the box office of the Casino de Paris had to be enlarged. The theme of the revue was a tour of Paris monuments, led by Mistinguett wearing a six-foot high Eiffel Tower of a costume. Van Caulaert could only fit part of it into this design: a great cascade of blue plumes, against which Mistinguett’s accessories and, well, other accessories stand out. The poster—produced for the enduring success of the show’s run “d’après” the previous year’s original design—certainly doesn’t give away the star’s age at the time: 62. Van Caulaert’s specialty was portraits. He painted all the luminaries of his time and brought that skill to bear in his posters as well. He became the official painter of the French war department in the 1930s and his poster portraits include all the music hall and recording greats of France, such as Josephine Baker, Cécile Sorel, Rina Ketty, and, of course, Mistinguett. This is the smaller format.

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

“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 avantgarde posters of the 20s” (Avant-Garde, p. 21). Many slight variations in size and coloration exist in the original large format of the lithograph. This is the smaller format which appeared as an insert in Pan. 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).

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

VAN CAULAERT - VILLEMOT | A-Z

477

Eugène Vavasseur

(1863-1949)

Bernard Villemot

(1911-1989)

474. Ripolin. 1898.

475. Vichy. 1960.

477. Orangina. 1975.

72 5⁄8 x 50 3⁄8 in./184.5 x 128 cm Imp. Emile Acker, Paris Cond A. Ref: DFP-II, 863; Weill, 72; Collectionneur, p. 50; PAI-XXVIII, 577

24 3⁄ 8 x 39 1⁄2 in./62 x 100.3 cm Imp. S. A. Courbet, Paris Cond B+/Slight tears at edges. P. Ref: Villemot, p. 79; Bon Salle, 255; Golf, p. 26; Voyage, p. 170; L’Auvergne, p. 97; PAI-LXXII, 391

90 5⁄8 x 61 3⁄8 in./230.2 x 156 cm Lalande-Courbet, Wissous Cond A. Ref: Villemot/La Femme, p. 54; Villemot/Forney, 131; Bon Salle, 367; PAI-LVI, 197

Still a preferred name in the paint world, Ripolin lacquer undoubtedly owed its initial success to the advertised claims of its ability to cover any surface with a weatherresistant, porcelain-like brilliance. But one must not discount the contribution of Vavasseur’s three painting cronies that appear in this product’s inaugural 2-sheet design. “This is one of the most celebrated posters in French advertising, whose success was immediate and has never been refuted... [For] one century legend has stirred over the origin of the name. There remains one certainty, that the lacquer’s inventor was a Dutchman by the name of Diep. As for the word [Ripolin], there are two possible interpretations: the more rational one averts that ‘olin’ comes from olie—the Dutch word for oil; the other more romantic notion maintains that Riep’s wife was named Pauline... hence the two last syllables” (Collectionneur, p. 50). As a posterist, Vavasseur was well known for his invention of humorous characters such as these. He also contributed drawings to such periodicals as La Caricature, La Silhouette, and, under the pseudonym Ripp, to L’Eclipse, La Gaudriole, and La Revue Illustrée.

“Villemot was one of Paul Colin’s students. To boast Vichy, Villemot was even more radical than his ‘master.’

No more letters, just Vichy and two silhouettes flattened on an azure blue background. Everything is a suggestion with strength! The drapes and lustre seem to convey a scene from a play at the Théâtre de Vichy” (Golf, p. 26).

Villemot famously conceived of the orange peel as an abstract symbol to represent the Orangina brand, and adapted the shape to fit a multitude of purposes.

“Whether it’s the orange or its skin, we soon wind up with the woman... There is surely more than just a dash of sensuality in Villemot’s Orangina posters (you can say that again) but his images are controlled and never go as far as eroticism. Moreover, we have never been prudes at Orangina and we liked being associated with this atmosphere of summer, of the heat of bodies and of encounters... Villemot understood this in the 1950s, when the flaunting of sensuality wasn’t nearly what it would become later on” (Bon Salle, p. 190). This is a two-sheet poster and rare!

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

Est: $800-$1,000.

476. Contrex. 1977.

46 3⁄8 x 68 1⁄2 in./118 x 174 cm Cond A/P. Ref: Bon Salle, 406 (var); PAI-LXXVIII, 482 Villemot created four posters for Contrex in the 1970s, and we think the two best versions (including this one) depict a a tender moment between a nude muse and her mineral water. For our other favorite, see PAI-LXXIV, 476.

Est: $800-$1,000.

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

A-Z | VILLEMOT - D’YLEN

478

480

479

Villemot

(Continued)

Jupp Wiertz

(1881-1939)

William Willmarth

(1898-1984)

478. Bally. 1973.

479. Libelle. ca. 1919.

480. New Mexico and Arizona Rockies. 1934.

46 x 63 in./117 x 160 cm IPA, Paris Cond A/P. Ref: Bon Salle, 306; Weill, 528; Villemot, cat. # 250, p. 99; Villemot/A to Z, p. 13; Publicité, p. 207; PAI-LXXIV, 477

37 1⁄2 x 27 3⁄4 in./95.3 x 70.6 cm Richard Labisch, Berlin Cond A.

27 x 41 3⁄8 in./68.6 x 105 cm Cond B+/Slight tears at folds.

Villemot has posed the two nude dancers to look like a lotus blossom. His study for this poster was, in fact, titled “Lotus” and on publication was quickly dubbed “Les Femmes-Fleurs.” The inspired choice of colors for the shoes, in an eerie coincidence, resembles the stockings in Socha’s poster for the 1974 film “Moja Miłoéc” (see PAI-LXXII, 357). The bottom text panel has been eliminated in this specimen.

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

The Libelle dance hall opened in 1919 in Berlin, and only lasted a year—a terrible fire in April, 1920 burned down the entire ballroom, including the band’s instruments. Wiertz immortalizes the brief existence of this venue with a romantic image of a couple swaying to the music. Rare!

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

Born in Chicago, William Willmarth and his family— including posterist brother Kenneth—would later move to Omaha, where the brothers found work designing posters and other materials for the Union Pacific Railroad and various national parks. William created this poster to commemorate “National Parks Year,” an initiative launched by President Franklin Roosevelt, who said, “There is nothing so American as our national parks.”

The goal was to increase tourism to these areas, and posters were key messaging tools. Here, we’re waved off by a Native American family while embarking on a tour of the southern Rockies.

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

VILLEMOT - D’YLEN | A-Z

482

481

Newell Convers Wyeth

(1882-1945)

Newell Convers Wyeth

(1882-1945)

483

Jean d’Ylen

(1866-1938)

481. Pennsylvania Railroad / Pittsburgh. ca. 1929.

482. Pennsylvania Railroad / Philadelphia ca. 1929.

483. Cusenier. ca. 1900.

27 3⁄8 x 40 7⁄8 in./70.5 x 103.8 cm Pennsylvania Railroad Patriotic Posters No. 3 Cond A.

27 3⁄4 x 40 7⁄8 in./70.5 x 103.7 cm Pennsylvania Railroad Patriotic Posters No. 1 Cond A. Ref: PAI-LXVIII, 672

13 1⁄2 x 21 1⁄2 in./34.4 x 54.6 cm Imp. P. Vercasson, Paris Cond B+/Slight creases. Framed.

Ref: d’Ylen, catalogue; Boissons, 515; PAI-LXXIX, 519

In the first image from his patriotic Pennsylvania Railroad series, Wyeth depicts the ringing of the Liberty Bell to mark the reading of the Declaration of Independence on July 8, 1776.

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. 151-152). This is the smaller format.

In 1929, Wyeth was commissioned to create approximately 12 patriotic posters for the Pennsylvania Railroad, linking its many destinations with important events in American history. Here, he idealizes a meeting between Native Americans and Colonists to establish Fort Prince George in modern-day Pittsburgh. In reality, the Virginians constructing the fort were captured by 1,000 French soldiers and Indians led by Claude-Pierre Pécaudy de Contrecœur. Wyeth certainly overlooked historical facts in favor of patriotic effect.

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

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

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

A-Z | ZIG - BOOKS AND PERIODICALS

484

Zig

(Louis Gaudin, 1882-1936)

484. Casino de Paris / Mistinguett / Paris Miss. 1930.

15 3⁄4 x 23 3⁄4 in./40 x 60.4 cm Central Publicité, Paris Cond A. Ref: Femme s’Affiche, 64; Folies-Bergère, 65; Delhaye, p. 36; PAI-LXXVI, 54 Dripping in fur, feathers, and jewels, this design for Mistinguett’s “Paris Miss” revue at the Casino de Paris makes up for its small size with enormous glamour.

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

485. Josephine Baker / Paris Qui Remue / Casino de Paris. ca. 1930.

9 1⁄2 x 12 1⁄8 in./24 x 31 cm Cond A-/Slight creases at edges. Framed.

In 1930, Josephine Baker opened a new show at the Casino de Paris entitled “Paris qui Remue.” Overflowing with elaborate costumes and wild dance numbers, it emphasized the true extent of the Josephine craze in France by even including a doppelgänger of the lead. The show was such a success that a similarly titled (and themed) production, “Paris qui Brille,” was organized soon after for Mistinguett. Zig designed the poster for this show (see PAI-LXV, 328); here he’s designed the song cover.

485

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

BOOKS AND PERIODICALS

486 486. Gli Avvisi Delle Officine G. Ricordi. ca. 1914.

11 x 14 3⁄8 in./28 x 36.5 cm G. Ricordi, Milano Overall excellent condition, with slipcase showing slight wear; plates excellent.

Ref: PAI-LXIX, 746 Executed much in the manner of Les Maîtres de l’Affiche, this rare and complete portfolio of 70 beautifully lithographed Ricordi posters reproduces the work of Italian master posterists in a more manageable size. Published with the same meticulous care and quality as the Maîtres series— which in some respects makes it even more rare and impressive seeing as it exhibits the work of a single publishing firm—the artists and works presented in the portfolio are astounding: Cappiello (4 posters—a pair for Mele, Livorno, and the tremendous Musica e Musicisti), Hohenstein (10 posters, including Monaco, Germania, Monte Carlo, and Tosca), Metlicovitz (15, including Fleur de Mousse, Exposition Milan, and several Mele designs), Dudovich (7, with Mele being the primary representative), Franz Laskoff (10, including S. Petrus and Mele), and Mauzan (a pair of film posters). Other artists present in this prodigious assemblage include Achille Beltrame, Caldanzano, Cavaleri, Gallo, Adolfo de Karolis, Gian Malerba, Giovanni Mataloni, Aldo Mazza, Plinio Nomellini, Palanti, Enrico Sacchetti, Aleardo Terzi, and Aleardo Villa. An absolute must-have for the Italian poster aficionado!

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

210

SELECTED INDEX ALCOHOL

FOOD / DRINK

SPORTS

Absinthe . . ...................... 2 17, 232, 329

22, 116, 121, 163, 176, 191, 205, 228, 229, 284, 324, 331, 338, 341, 348, 352, 357, 370, 371, 393, 397, 437, 438, 473, 476, 477

Boxing.......................... 1 35, 283

Apéritifs / Digestifs......... 1 85, 221, 222, 240, 257, 285, 340, 396, 398

Golf.............................. 4 75 Olympics....................... 1 8

Beer............................. 1 80, 379

LITERARY

Champagne / Wine. . ........ 1 70, 197, 210, 215, 224, 258, 432

157, 194, 230, 249, 293, 294, 312, 313, 323, 335, 354, 406, 412, 413, 422, 429, 450, 461, 462

Liqueur s / Spirits............ 1 75, 198, 223, 409, 410, 434, 483

MUSIC / DANCE Ballet. . .......................... 3 11

ANIMALS Birds.. ........................... 9 4, 112, 113, 123, 180, 226, 228, 292, 295 Cats............................. 5 2, 83, 101, 109, 120, 257, 436-439, 485

Cabarets / Music Halls.. ... 2 52, 268, 274, 297, 298, 403, 420, 451B, 453, 454, 456, 479 Dance........................... 2 34, 264, 272, 274, 308, 363, 427, 428, 447, 455, 457, 464, 465, 479

Horses.......................... 8 6, 106, 107, 238, 317, 413, 450

Folies-Bergère.. .............. 2 09, 247, 251, 286, 405, 431

Other............................ 1 7, 80, 108, 140, 149, 150, 198, 229, 300, 306, 309, 326, 339, 345, 359, 361

Jazz.. ............................ 1 82, 301-303, 471

ART EXHIBITIONS

Mistinguett.................... 2 89, 290, 431, 472, 484

183, 192, 201, 269, 270, 273, 304-309, 342, 356, 372, 411, 451A

Opera........................... 1 41, 245, 248, 280, 288, 367

BEAUTY / PERFUME

Other............................ 1 65, 166, 171, 188, 271, 344, 349, 350, 421, 463

Josephine Baker............. 1 38, 485 Loïe Fuller..................... 1 86, 251

161, 207, 227, 407

POSTERS ON POSTERS

156, 179, 189, 190, 208, 212, 214, 219, 231, 241, 279, 280, 316, 318, 330, 343, 346, 399, 445, 446, 478

Winter Sports................. 1 -8, 10, 11, 13-19, 253-256, 460 Other............................ 4 1, 82, 143, 146, 158, 172, 200, 278, 327, 355, 414, 443

Bals. . ............................ 2 59, 299, 394, 401, 402

Dogs. . ........................... 1 02, 107, 201, 319, 412, 436

FASHION

Tennis. . ......................... 52, 54, 204

183, 192, 314, 411

SCIENCE & TECHNOLOGY 284, 328, 344, 359, 423, 426, 433

THEATRE 164, 167, 234, 252, 261, 364-366, 452, 456

TOBACCO 159, 177, 202, 220, 319, 363, 369, 385, 404

TRAVEL By rail. . ......................... 1 42, 155, 167, 168, 178, 187, 203, 204, 236, 237, 291, 300, 325, 388, 416-419, 425, 468, 469, 480-482 By ship.. ........................ 1 48, 173, 184, 206, 235, 236, 239, 242-244, 292, 315, 430, 441 New York....................... 8 8, 93, 95, 173, 245, 270, 304, 308, 311-313, 315, 416, 468, 469 World’s Fairs / Expos . . ..... 7 4, 164, 169, 178, 199, 218, 262, 282, 401, 415, 433, 444 Other............................ 1 -18, 66, 75, 77, 80-99, 144-154, 181, 196, 238, 246, 275, 276, 322, 326, 335, 360-362, 395, 424, 440, 442, 470, 475

211

BIBLIOGRAPHY

The following is a list of books used in the preparation of this catalogue. In the interest of brevity, these works have been abbreviated in the Reference (“Ref:”) section of the description of each lot. The abbreviations can be found below, accompanied by the work’s full title, author or editor, publisher’s name, city, and date of publication. It should be noted that we have made no reference to the many magazines and annuals which are essential tools in this area, such as The Poster, L'Estampe et l'Affiche, La Plume, Arts et Métiers Graphiques, Vendre, Das Plakat, Gebrauchsgraphik, and Graphis Posters.

NOTE: References to prior PAI books are limited to the last auction in which the poster was offered. Results from all 84 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

Affiches Suisses

Auto Show III

Berthon & Grasset

The French poster, by Jane Abdy. New York : Clarkson N. Potter, 1969.

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.

L’automobile et la publicité. Catalogue of the exhibition at the Musée de la Publicité, Paris, 1984.

Berthon & Grasset, by Victor Arwas. London : Academy Editions; New York : Rizzoli, 1978.

Automobile/Lopez

Best 100 Japanese Posters

Affiches de l’automobile, by Emmanuel Lopez.

Paris : Citadelles & Mazenod, 2011.

Best 100 Japanese Posters, 1945‑1989 : a catalogue of posters collected in celebration of the 90th anniversary of Toppan Printing Co. Tokyo : Toppan Printing Co., 1990.

Absinthe Absinthe : history in a bottle, by Barnaby Conrad, III. San Fransisco : Chronicle Books, 1988.

Absinthe Affiches L’absinthe : les affiches, by Marie-Claude Delahaye. Auvers-sur-Oise : Musée de l’Absinthe, 2002.

Adriani Toulouse-Lautrec : the complete graphic works,

by Götz Adriani. London : Thames & Hudson, 1988. The catalogue raisonné, featuring the Gerstenberg collection.

Affiche Art Deco L’affiche Art Deco, by Alain Weill. Paris : Editions Hazan, 2013.

Affiches Automobiles 100 ans d’affiches automobiles/100 years of auto posters, by Dominique Dubarry. Paris : Maeght, 1991.

Affiches Azur Affiches d’Azur : 100 ans d’affiches de la Côte d’Azur et de Monaco, by Charles Martini de Chateauneuf. Nice : Editions Gilletta, 1992.

Affiches Belges Affiches Belges/Belgische affiches, by Ph. Minguet. Liège, Belgium : IBM, 1981.

Affiches d’Aviation Affiches de l’histoire d’aviation, by Gerard Hartmann & Francoise Leloup-Perier (with Englishlanguage insert: The history of aviation in posters). Paris : Citadelles & Mazenod, 2009.

Affiches Etrangères Les affiches etrangères illustrées, by M. Bauwens, T. Hayashi, La Forge, Meier-Graefe & J. Pennel.

Paris : Boudet, 1897.

Affiches Riviera Affiches de la Riviera, by Annie de Montry, Françoise Lepeuve & Charles Martini de Chateauneuf.

Nice-Matin : Editions Gilletta, 2001.

Affiches Sports d’Hiver Affiches de Sports d’Hiver, by Jean-Daniel Clerc & Jean Charles Giroud. Lausanne: Citadelles & Mazenod, 2014.

Affichomanie L’affichomanie : collectionneurs d’affiches, affiches de collection, 1880-1900, by Alain Weill.

Paris : Musée de l’Affiche, 1980. Catalogue of the exhibition on the subject of the Postermania of the 1880-1900, held at the Musée de l’Affiche, Paris, January 30-April 30, 1980.

Avant Garde

Bambace

Biró

Ailes

Will H. Bradley : his work, a bibliographical guide,

by Anthony Bambace. New Castle, Del. : Oak Knoll Press, 1995.

Mihály Biró, by Emil Horn. Hannover, Germany : PlakatKonzepte, 1996.

Bargiel et Zagrodzki

Les boissons : un siècle de réclames, by F. Ghozland. Toulouse : Editions Milan, 1986.

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.

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.

Poster art of the airlines, by Don Thomas. Dunedin, Florida : D. Thomas, 1989.

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).

American Posters

Baumberger

Posters American style, by Therese Thau Heyman.

New York : Harry N. Abrams, 1998.

Otto Baumberger : 1889-1961, by Martin Heller.

Zurich : Schule und Museum für Gestaltung, 1988. Catalogue of the exhibition at the Museum für Gestaltung, Zurich, May 26-July 17,1988, and subsequently in Basel and Essen.

Airlines

Art Deco Art deco graphics, by Patricia Frantz Kery. New York : Harry N. Abrams, 1986.

Art Deco/Tokyo Art Deco posters, by Masami Shiraishi & Kenji Kaneko. Tokyo : The National Museum of Modern Art, 1995. Catalogue of the exhibition at the National Museum of Modern Art, Tokyo, August 8-October 7, 1995.

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.

Belgique Sportives

L’art du biscuit, by Patrick Lefèvre-Utile. Verona : Éditions Hazan, 1995.

Affiches sportives en Belgique : 1890-1940.

Bruxelles : Crédit Communal, 1981. Catalogue of the exhibition in Brussels, December 1, 1981-January 10, 82.

Art/Skiing

Belle Epoque 1970

The art of skiing, by Jenny de Gex. New York : Universe Publishing, 2006.

La Belle Epoque : Belgian posters, watercolors and drawings from the collection of L. WittamerDe Camps, by Yolanda Oostens-Wittamer. New York : Grossman, 1971. The catalogue of the touring exhibition of the Wittamer-De Camps collection.

Art du Biscuit

Auto Show I 1er salon de l’affiche automobile, by Jacques Perier. Paris : Automobile Club of France, 1978.

Catalogue of the exhibition, compiled by Jacques Perier, and sponsored by the Automobile Club de France, Paris, October 1978.

Auto Show II 2eme salon de l’affiche automobile, by Jacques Perier. Paris : Fédération Internationale de l’Automobile, 1979. Catalogue of the exhibition at the Musée de l’Affiche, Paris, September 29-October 14, 1979.

Belle Epoque/Belgique Affiches de la Belle Epoque : 329 documents de la collection L. Wittamer-De Camps à Bruxelles,

by Yolande Wittamer. Liège : Imp. Bénard et Centrale Réunies, 1961. Catalogue of the exhibition held at Fraiture-en-Condroz, and organized by L’Association Royale des Demeures Historiques de Belgique, September 9-October 31, 1961.

Bicycle Posters 100 years of bicycle posters, by Jack Rennert.

New York : Harper & Row, 1973.

Boissons

Bon Salle Embracing an Icon: The Posters of Bernard Villemot, by George & Jeanne Bon Salle. New York: The Poster Art Library, Posters Please, 2015.

Bouvet Bonnard : the complete graphic work, by Francis Bouvet. New York : Rizzoli, 1981.

Broders Voyages : les affiches de Roger Broders, by Annie de Montry & Françoise Lepeuve. Paris : SyrosAlternatives, 1991.

Broders/Travel Roger Broders : travel posters, by Alain Weill & Israel Perry. New York : Queen Art Publishers, 2002.

Broido The posters of Jules Chéret : 46 full color plates and an illustrated catalogue raisonné, 2nd ed., by Lucy Broido. New York : Dover, 1992.

Brown & Reinhold The poster art of A. M. Cassandre, by Robert K. Brown & Susan Reinhold. New York : E. P. Dutton, 1979.

Brussels Homage to Brussels : the art of Belgian posters, 1895‑1915, by Jane Block & T. Victoria Hansen.

New Brunswick, N.J. : Rutgers, 1992. Catalogue of the exhibition at the Jane Voorhees Zimmerli Art Museum at Rutgers University, New Brunswick, New Jersey, April 12-June 6, 1992.

212

BIBLIOGRAPHY (CONTINUED) Die Bugattis

Célébrités

Dellepiane

Favre/Chemin de Fer

Die Bugattis : automobile, möbel, bronzen, plakate, by Conway, Fersen, Jedding, Malhotra, Saldern and Spielmann. Hamburg : Christians Verlag, 1983.

Célebrités à l’affiche, by A. C. Lelieur & R. Bachollet. Lausanne : Edita, 1989.

David Dellepiane : peintre, affichiste, illustrateur,

by Françoise-Albane Beudon. Marseilles : Editions Parentheses, 1999.

Affiches du chemin de fer, by Thierry Favre. Paris : Citadelles & Mazenod, 2010.

DFP-I

Charmes

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.

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.

Les charmes de la publicité, by Jacques Stenberg & Pierre Chapelot. Paris : Denoël, 1971.

DFP-II

de Feure

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.

Georges de Feure : maitre du symbolisme et de l’art nouveau, by Ian Millman. Paris : ACR Editions, 1991.

DFP-III

Posters from the Fiat Archive 1900-1940, ed.

by Cesare De Seta and Emanuele Pirella. Milan : Gruppo Editoriale Fabbri, 1991.

Campari Thirty years and a century of the Campari Company, in three volumes, by Guido Vergani. Milano : Davide Campari, 1900.

Canadian Pacific Canadian Pacific posters : 1883-1963, by Marc.

H. Choko & David L. Jones. Montreal : Meridian Press, 1988.

Canadian Pacific II Posters of the Canadian Pacific, by Marc H. Choko & David L. Jones. Richmond Hill [Canada] : Firefly, 2004.

Cappiello Cappiello, 1875-1942 : caricatures, affiches, peintures et projets decoratifs, by Claire FrèchesThory & Réjane Bargiel. Paris : Réunion, 1981.

Catalogue of the exhibition at the Galerie Nationale du Grand Palais, Paris, April 3-June 29, 1981.

Cappiello/Rennert Cappiello : the posters of Leonetto Cappiello, by Jack Rennert. New York : Poster Art Library, Posters Please, Inc., 2004.

Cappiello/St. Vincent Leonetto Cappiello : dalla pittura alla grafica, by Raffaele Monti & Elisabeth Matucci. Firenze : Artificio, 1985. Catalogue of the exhibition at the Hotel Billia in Saint-Vincent, Italy, March 30-May 30, 1985.

Cardinaux 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.

Cassandre/BN

Chaplin Charlie Chaplin : movie posters, by Israel Perry & Jean-Louis Capitaine. New York : Queen Arts Publishers, 2005.

Chaumont/Exposons Exposons affichons : 300 affiches d’expositions.

Paris : Somogy, 1994. Catalogue for the 5th Poster Festival in Chaumont, France; includes a section on “L’Affiche pour l’Affiche” (Posters on Posters) from the Rennert collection.

Chéret La Belle Epoque de Jules Chéret : de l’affiche au décor, ed, by Réjane Bargiel and Segolène Le Men. Paris : Les Arts Décoratifs, 2010. (Distributed in the U.S.A. by Posters Please, Inc.) Catalogue of the exhibition at the Musée des Arts Décoratifs, Paris, June 23-November 7, 2010.

Colin Affichiste Paul Colin : affichiste, by Alain Weill & Jack Rennert. Paris : Editions Denoel, 1989.

Colin/Spectacles Paul Colin et les spectacles, by Claude PértyParisot. Nancy : Musée des Beaux-Arts. Catalogue of the exhibition at the Musee des Beaux‑Arts, Nancy, May 2-July 31, 1994.

Collectionneur Collectionneur d’affiches, edited by Laurence Prod’homme. Paris : Editions Apogé, Musée de Bretagne, 1996.

Cassandre, by Alain Weill. Paris : Editions Hazan, 2018.

Cassiers Henri Cassiers : 1858‑1944, by Tony Oost, Iris Kockelbergh, et al. Antwerpen : Pandora, 1994.

Catalogue of the exhibition at the Vleeshuis Museum in Antwerp, Belgium, April 1-June 12, 1994, and the Katwijks Museum, June 25-September 24, 1994.

Folies-Bergère

Dorning

100 years of posters of the Folies Bergère and music halls of Paris, by Alain Weill. New York : Images Graphiques, 1977.

Power to the Imagination, by Jurgen Dorning.

Hirmer Verlag, 2011.

Dortu Toulouse-Lautrec et son oeuvre, by M. G. Dortu.

New York : Collectors Editions, 1971. In six volumes.

Driehaus L’Affichomania : Catalogue of the exhibition at the Driehaus Museum, Chicago, by Jeannine Falino.

Chicago: University of Chicago Press, 2017.

Duchesne

Dudovich

The art deco poster, by William Crouse & Alastair Duncan. New York : Vendome Press, 2013.

Cassandre/Weill

The bicycle, by Pryor Dodge. Paris, New York : Flammarion, 1996.

Affiches des companies maritimes, by Gabriele Cadringher & Anne Weallans. Paris : Citadelles & Mazenod, 2008.

Cassandre/Suntory

Marcello Dudovich : cartellonista, 1878-1962, by Roberto Curci. Treiste : Lint Edizioni, 1976.

L’oeuvre gravé et lithographié de Steinlen, by E. de Crauzat. Paris : Société de Propogation des Livres d’Art, 1913. Reprinted, San Fransisco : Alan Wofsy Fine Arts, 1983.

Encyclopédie/Weill

Crouse/Deco

España en 1000 carteles, by Jordi Carulla & Arnau Carulla. Barcelona : Postermil, 1995.

Dance Posters 100 years of dance posters, by Walter Terry & Jack Rennert. New York : Avon Books, 1973.

Darracott The First World War in posters, by Joseph Darracott. New York : Dover Publications, 1974.

Deco Affiches Affiches art deco, by Alain Weill. Paris : InterLivres, 1990.

Delhaye Art deco posters and graphics, by Jean Delhaye.

London : Academy Editions, 1977.

Flagg James Montgomery Flagg, by Susan E. Meyer.

New York : Watson-Guptill Publications, 1974.

Compagnies Maritimes

Crauzat

Fiat Archive

Dodge

L’affiche en Belgique, by Jean-Patrick Duchesne.

Bruxelles : Editions Labor, 1989.

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.

Every face of the great master Cassandre, by Masutani Yoko. Tokyo : Suntory Museum, 1995.

Catalogue of the exhibition held at the Suntory Museum, Osaka, Japan, June-August, 1995.

Das frühe plakat in Europa und den USA. Volume III, German Posters. Edited by Helga Hollman, Ruth Malhotra, Alexander Pilipczuk, Helga Prignitz and Christina Thon. Berlin : Mann Verlag, 1980.

Femme s’Affiche

Encyclopédie de l’affiche, by Alain Weill. Paris : Hazan, 2011.

España

European Electricity

Jean Forneris Jules Chéret : collection du Musée des BeauxArts de Nice, by Jean Forneris Nice : Direction des Musées de Nice, 1987.

Fox-Parkinson The circus in America, by Charles Philip Fox & Tom Parkinson. Waukesha, Wisc. : Country Beautiful, 1969.

French Opera French opera posters : 1868-1930, by Lucy Broido. New York : Dover, 1976.

Frey Toulouse-Lautrec : a life, by Julia Frey. New York : Viking Penguin, 1994.

Galerie CGER L’art de l’affiche en Belgique : 1900-1980, by Pierre Baudson. Bruxelles : Caisee d’Épargne et de Retraite, 1980. Catalogue of the exhibition at Galerie CGER, Brussels, April 4-May 4, 1980.

Gallo The poster in history, by Max Gallo. New York : American Heritage Publishing, 1974.

European electricity : flashback on a momentous era, spotlight on an exciting future, by Eurelectric.

[Antwerp] : Brugge Union of the Electric Industry, 2007.

Genevoise

Farbe

Gesmar

Farbe fürs volk : Amerikanische graphik und plakate um 1900, by Jürgen Döring & Susan Kähler. Hamburg : Museum für Kunst und Gewerbe, 1999. Catalogue for the exhibition of American posters from the 1890s through 1920 at the Museum für Kunst und Gewerbe, Hamburg, March 3-June 31, 1999.

Charles Gesmar : 1900-1928, by Angelo Luerti, Milano : Luerti, 2009.

L’affiche artistique Genevoise : 1890-1950, by Jean-Charles Giroud. Genève : Bibliothèque Publique et Universitaire, 1991.

Gold First ladies of the poster : the Gold collection, by Laura Gold. New York : Poster Art Library, 1998.

213

BIBLIOGRAPHY (CONTINUED) Golf

Illustrator in America

Kunstlerplakat

Mangold

L’affiche de golf/Golf posters, by Alexis Orloff.

Toulouse : Éditions Milan, 2002.

The illustrator in America, 1860-2000, by Walter Reed. New York : The Society of Illustrators, 2001.

Gourmand

Imperial War Museum I

Kunsterplakat, by Jurgen Doring. Hamburg : Museum fur Kunst und Gewerbe, Edition Braus, 1998.

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.

First World War Posters: The Imperial War Museum, by Joseph Darrecott and Belinda Loftus.

London: The Corwin Press, 1972.

Burkhard Mangold (1873-1950), by Oskar Bätschmann, Thomas Bolt & Paul Brüwiler. Zurich : The Museum, 1984. Catalogue of the exhibition at the Museum für Gestaltung Zürich, Kunstgewerbemuseum, September 20-November 11, 1984; and the Museum für Gestaltung, Gewerbemuseum Basel, January 29-March 3, 1985.

Graphic Design/Taschen The History of Graphic Design, by Jens Müller and Julius Weidermann. Koln : Taschen, 2017.

Grün Jules-Alexandre Grün : the posters/les affiches,

by Alain Weill & Israel Perry. New York : Queen Art Publishers, 2005.

Haring Keith Haring: Editions on Paper 1892-1990.

Stuttgart : Edition Cantz, 1993.

Haring Posters Keith Haring – Posters, by Jürgen Döring and Claus von der Osten. Munich/New York: Prestel, 2019.

Handlebars/Joystick Du guidon au manche a balai : affiches du Musée Mational du Sport de France/From handlebars to joystick : posters from the French Sport Museum,

by Jean Durry. Lausanne : Musée Olympique, 2001. Catalogue of the exhibition at the Musée Olympique, Lausanne, March 8-June 17, 2001.

Lauder

Second World War Posters: The Imperial War Museum, by Joseph Darrecott and Belinda Loftus.

London: The Corwin Press, 1972.

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.

Iskin

L’Auvergne

The Poster, by Ruth E. Iskin. Hannover, New Hampshire: Dartmouth College Press, 2014.

L’Auvergne en affiches, by Alan Weill. Thiers : Page Centrale, 2016.

Manifesti Posters: Irony, Imagination and Eroticism in Advertising, 1895-1960, by Dario Cimorelli. Spa: Silvana Editoriale, 2010.

Italia che Cambia

Le Coultre

Margadant

L’Italia che cambia : attraverso i manifesti della raccolta salce, ed. by Pepa Sparti. Firenze : Artificio, 1989.

A century of posters, by Martin F. Le Coultre & Alston W. Purvis. Burlington, VT : Lund Humphries, 2002.

Das Schweizer plakat/The Swiss poster : 19001983, by Bruno Margadant. Basel : Birkhaus Verlag, 1983.

Ives

Lendl/Prague

Margolin

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.

Ivan Lendl : Alfons Mucha, by Jack Rennert & Karel Srp. Bratislava : Nakladatelství, 2013.

American poster renaissance, by Victor Margolin.

New York : Watson-Guptill Publications, 1975.

Leupin

Marx

Herbert Leupin : plakate, bilder, graphiken, by Karl Lüönd & Charles Leupin. Basel : Friedrich Reinhardt, 1995.

Bonnard : lithographie, ed. by Claude Roger-Marx.

Monte Carlo : Éditions du Livre, 1952.

Lincoln Center

Japanese Affiches

Lincoln Center Posters, by Vera List & Herbert Kupferberg. New York : Harry N. Abrams, 1980.

Masters of the poster 1900, by Alan Weill. Paris : Bibliothèque de l’Image, 2001.

Imperial War Museum II

Japanese Affiches: Modern Posters of Japan. Dai Nippon Printing Co., Ltd., Blondie N.V., 1989.

Livemont

Health Posters

Job

Posters of health, by Marine Robert-Sterkendries.

Brussels : Therabel Pharma, 1996.

Job, by Danielle Job. Privately printed in Switzerland, ca. 2009.

Privat Livemont : entre tradition et modernité au Coeur de l’Art nouveau, 1861-1936, by Benoit Schoonbroodt. Bruxelles : Editions Racine, 2007.

Herlihy

Josephine Baker: Image & Icon

Loïe Fuller

Bicycle : the history, by David V. Herlihy. New Haven : Yale University Press, 2004.

Josephine Baker : image & icon, ed. by Olivia Lahs-Gonzales. St. Louis : Reedy Press, 2006.

Book of the exhibition at the Sheldon Art Galleries in St. Louis and the Portrait Gallery of the Smithsonian Institution, Washington, DC, April 28-August 26, 2006.

Loïe Fuller : magician of light, by Margaret Haile Harris. Richmond, Va. : TheVirginia Museum, 1979. Catalogue of the exhibition at the Virginia Museum, Richmond, March 12-April 22, 1979.

Hillier Posters, by Bevis Hillier. London : Weidenfeld and Nicholson, 1969; New York : Stein & Day, 1969; New York : Spring Books, The Hamlyn Publishing Group, 1974.

Historische Plakate Historische plakate : 1890-1914, by Susanne Anne. Stuttgart : DACO-Verl. Bläse, 1995. Catalogue of the exhibition at the Städtischen Kunstsammlungen Chemnitz, June 18-July 30, 1995.

Joyant Henri de Toulouse-Lautrec, by Maurice Joyant.

Paris : H. Floury, 1927. In two volumes.

Loïe Fuller/Current Loïe Fuller: Goddess of Light, by Richard Nelson Current & Marcia Ewing Current. Boston: Northeastern University Press, 1997.

Looping the Loop

Manifesti d’Epoca Manifesti d’Epoca, Mosha Mercato, Viterbo, Palazzo dei Papi, 1896.

Manifesti Posters/Advertising

Masters 1900

Mauzan The posters of Mauzan : a catalogue raisonné,

by Mirande Carnévalé-Mauzan. Gières : Mirande Carnévalé-Mauzan, 2001.

Mauzan Affiches Mauzan : affiches. oeuvres diverses, by A. Lancellotti. Milan : Editrice d’Arte Bestettie Tumminelli, ca. 1928.

Mauzan/Cartellonista Mauzan : cartellonista degli anni ruggenti, ed. by Eugenio Manzato. Treviso : Edizioni Canova, 1983.

Catalogue of the Mauzan collection in the Salce Collection of the Treviso Museum.

Mauzan/Paris

Posters of World War II, by Denis Judd. New York : St. Martin’s Press, 1973.

Looping the loop : posters of flight, by Henry Serrano Villard & Willis M. Allen, Jr. San Diego, Calif. : Kales Press, 2000.

Achille Mauzan, by Alain Weill. Paris : UCAD, H. Veytier, 1983. Catalogue of the exhibition held at the Musée de la Publicité, Paris, September 14-October 23, 1983.

Hohlwein

Karcher

Maindron, 1896

Mauzan/Treviso

Ludwig Hohlwein, 1874-1949 : kunstgewerbe und reklamekunst, by Volker Duvigneau & Norbert Gota. Munich : Klinkhardt & Bierman, 1996.

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).

Les Affiches Illustrees (1886-1895), by Ernest Maindron. Paris : G. Boutdet, 1896.

Manifesti di A. L. Mauzan, by Antonio Mazzaroli.

Treviso : Editrice Canova, 1983.

Maitres

Meisterplakate

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.

Franzosische Meisterplakate un 1900, by Hermann Schardt & Karl Heinz Feuerstein. Essen, Germany : Webels, 1968. Catalogue of the exhibition of the posters of the Sammlung der Folkwangschule für Gestaltung at the Villa Hugel, Essen, Germany, held November 12-December 15, 1968.

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.

Judd

Kunst Kommerz Visionen Kunst! Kommerz! Visionen! Deutsche Plakate 1888-1933, ed. by Hellmut Rademacher and René Grohnert. Heidelberg : Edition Braus, 1992.

Catalogue of the exhibition of the Hans Sachs collection at Deutsches Historisches Museum, Berlin, May 16-August 18, 1992.

214

BIBLIOGRAPHY (CONTINUED) Mele

Ogé

PAI-XIV

PAI-XXXII

I manifesti Mele : immagini aristocratiche della “belle époque” per un pubblico di Grandi Magazzini, by Mariantonietta Picone Petrusa. Milano : A. Mondadori, 1988. Catalogue of the exhibition at the Museo Diego Aragona Pignatelli Cortes, Napoli, October 22-November 30, 1988.

Eugène Ogé, affichiste : 1861-1936, by AnneClaude Lelieur & Raymond Bachollet. Paris : Agency Culturelle, 1998. Catalogue of the exhibition at the Bibliothèque Forney, Paris, May 26-August 1, 1998.

Poster Extravaganza. Auction held in New York City, May 3, 1992.

Dream Posters. Auction held in New York City, May 6, 2001.

PAI XV

PAI-XXXIII

Rarest Posters. Auction held in New York City, November 8, 1992.

Swank Posters. Auction held in New York City, November 11, 2001.

Menegazzi-I

PAI-XVI

PAI-XXXIV

Il manifesto Italiano : 1882-1925, by Luigi Menegazzi. Milan : Electa Editrice, 1975.

L’olympisme par l’affiche/Olympism through posters : 1896-1984, by Monique Berlioux. Lausanne : International Olympic Committee, 1983.

Poster Parade. Auction held in New York City, May 2. 1993.

Poster Pride. Auction held in New York City, May 5, 2002.

Menegazzi-II

Ost

PAI-XVII

PAI-XXXV

Il manifesto Italiano, by Luigi Menegazzi. Milan : Arnoldo Mondadori Arte, 1989 (revised edition).

Alfred Ost : affiches/posters, 1884-1945 : oeuvrecatalogus, by Karl Scheerlinck. [Antwerpen] : Snoeck-Ducaju & Zoon, 1997. Catalogue of the exhibition held at the Cultureel Centrum A. Spinoy, in Mechelen, Belgium, April 18-May 25, 1997.

Poster Classics. Auction held in New York City, November 14, 1993.

Posters Perform. Auction held in New York City, November 10, 2002.

PAI-XVIII

PAI-XXXVI

Winning Posters. Auction held in New York City, May 1, 1994.

Posters Persuasion. Auction held in New York City, May 4, 2003.

PAI – Books of the auctions organized

by Poster Auctions International, Inc.

PAI-XIX

PAI-XXXVII

PAI-I

Prima Posters. Auction held in New York City, November 13, 1994.

Poster Holiday/The Wright Stuff. Dual auction held in New York City, November 9, 2003.

PAI-XX

PAI-XXXVIII

Poster Panorama. Auction held in New York City, May 7, 1995.

Poster Style. Auction held in New York City, May 2, 2004.

PAI-XXI

PAI-XXXIX

Timeless Posters. Auction held in New York City, November 12, 1995.

Poster Intoxication. Auction held in New York City, November 14, 2004.

PAI‑XXII

PAI-XL

Positively Posters. Auction held in New York City, May 5, 1996.

Posters Excel. Auction held in New York City, May 1, 2005.

PAI‑XXIII

PAI-XLI

Poster Delights. Auction held in New York City, November 10, 1996.

Matchless Posters. Auction held in New York City, November 13, 2005.

PAI-XXIV

PAI-XLII

Poster Pleasures. Auction held in New York City, May 4, 1997.

Posters Charm. Auction held in New York City, May 7, 2006.

PAI-XXV

PAI-XLIII

Sterling Posters. Auction held in New York City, November 9, 1997.

Posters Va-Va-Voom. Auction held in New York City, November 12, 2006.

PAI-XXVI

PAI-XLIV

Postermania. Auction held in New York City, May 3, 1998.

Winning Posters. Auction held in New York City, May 6, 2007.

PAI-XXVII

PAI-XLV

Poster Ecstasy. Auction held in New York City, November 8, 1998.

Top Posters. Auction held in New York City, November 11, 2007.

PAI-XXVIII

PAI-XLVI

Poster Vogue. Auction held in New York City, May 2, 1999.

Picture-Perfect Posters. Auction held in New York City, May 4, 2008.

PAI-XXIX

PAI-XLVII

Posters for the Millennium. Auction held in New York City, November 4, 1999.

Posh Posters. Auction held in New York City, November 9, 2008.

PAI-XXX

PAI-XLVIII

Poster Allure. Auction held in New York City, May 7, 2000.

Poster High. Auction held in New York City, May 3, 2009.

PAI-XXXI

PAI-XLIX

Poster Power. Auction held in New York City, November 12, 2000.

Soaring Posters. Auction held in New York City, November 8, 2009.

Mer s’Affiche La mer s’affiche, by Daniel Hillion. Rennes : Editions Ouest-France, 1990.

Modern Poster The modern poster, by Stuart Wrede. New York : Museum of Modern Art, 1988. Catalogue of the exhibition at the Museum of Modern Art, New York, June 6-September 6, 1988.

Moderno Francés El cartel moderno Francés : el espectáculo está enel calle : Colin, Carlu, Loupot, Cassandre, by Carlos Pérez. Madrid : MNCARS, 2001. Catalogue for the Colin, Carlu, Loupot and Cassandre exhibition at the Museo Nacional Centro de Arte Reina Sofia, Madrid, November 15, 2001-January 21, 2002.

Morvan Hervé Morvan : affichiste, by Anne-Claude Lelieuer & Raymond Bachollet. Paris : Agence Culturelle de Paris, 1997.

Moulin Rouge 120 ans de Moulin Rouge, by Alain Weill. Paris : Seven Sept, 2010.

Mouron A. M. Cassandre, by Henri Mouron. New York : Rizzoli, 1985.

Mucha/Art Nouveau Alphonse Mucha : the spirit of art nouveau, by Victor Arwas, Jana A. Brabcová-Orlíková & Anna Dvorák. Alexandria, Va. : Art Servicse International, 1998. Catalogue of the traveling exhibition.

Mucha/Bridges Alphonse Mucha : the complete graphic works, by Ann Bridges. London : Academy Editions, 1980.

Müller-Brockmann History of the poster, by Josef & Shizuko MüllerBrockmann. Zurich : ABC Edition, 1971.

Musée d’Affiche Trois siècles d’affiches francauses : 1ère exposition du Musée de l’Affiche/Three centuries of French posters, by Alain Weill & Réjane Bargiel.

Paris : Muséee d’Affiche, 1978. Catalogue for the inaugural exhibition at the Musée d’Affiche, Paris, 1978.

Nizzoli Marcello Nizzoli, by Germano Celant. Milano : Edizioni di Comunità, 1968.

Olympics

Premier Posters. Auction held in New York City, March 9, 1985.

PAI-II Prize Posters. Auction held in Chicago, November 10, 1985.

PAI-III Poster lmpressions. Auction held in New York City, June 1, 1986.

PAI-IV Prestige Posters. Auction held in New York City, May 3, 1987.

PAI-V Poster Pizzazz. Auction held in Universal City, California, November 22, 1987.

PAI-VI Poster Splendor. Auction held in New York City, May 1, 1988.

PAI-VII Poster Potpourri. Auction held in New York City, November 13, 1988.

PAI-VIII Poster Treasures. Auction held in New York City, May 7, 1989.

PAI-IX Poster Palette. Auction held in New York City, November 12, 1989.

PAI-X Elegant Posters. Auction held in New York City, May 20, 1990.

PAI-XI Poster Passion. Auction held in New York City, November 11, 1990.

PAI-XII Poster Panache. Auction held in New York City, May 5, 1991.

PAI-XIII Poster Jubilee. Auction held in New York City, November 10, 1991.

215

BIBLIOGRAPHY (CONTINUED) PAI-L

PAI-LXVIII

Parrish

Posters of Paris

Poster Celebration. Auction held in New York City, May 3, 2010.

Rare Posters. Auction held in New York City, January 31, 2016.

Maxfield Parrish, by Coy Ludwig. New York : Watson-Guptill Publications, 1973.

PAI-LI

PAI-LXIX

Peikert

Rare Posters. Auction held in New York City, November 14, 2010.

Rare Posters. Auction held in New York City, May 15, 2016.

Martin Peikert – Les Affiches, by Jean-Charles Giroud. Genève : Patrick Cramer Editeur, 2014.

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.

PAI-LII

PAI-LXX

Penfield

The Winter Sale. Auction held in New York City, February 13, 2011.

Rare Posters. Auction held in New York City, October 30, 2016.

PAI-LIII

PAI-LXXI

Rare Posters. Auction held in New York City, May 1, 2011.

Rare Posters. Auction held in New York City, March 12, 2017.

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-LIV

PAI-LXXII

Rare Posters. Auction held in New York City, September 8. 2011.

Rare Posters. Auction held in New York City, June 22, 2017.

PAI-LV

PAI-LXXIII

Rare Posters. Auction held in New York City, November 13, 2011.

Rare Posters. Auction held in New York City, October 22, 2017.

PAI-LVI

PAI-LXXIV

Food & Wine. Auction held in New York City, February 12, 2012.

Rare Posters. Auction held in New York City, February 25, 2018.

PAI-LVII

PAI-LXXV

Rare Posters. Auction held in New York City, May 6, 2012.

Rare Posters. Auction held in New York City, June 26, 2018.

PAI-LVIII

PAI-LXXVI

American Posters. Auction held in New York City, September 6, 2012.

Rare Posters. Auction held in New York City, October 28, 2018.

PAI-LIX

PAI-LXXVII

Rare Posters. Auction held in New York City, November 18, 2012.

Rare Posters. Auction held in New York City, February 24, 2019.

PAI-LX

PAI-LXXVIII

Rare Posters. Auction held in New York City, March 10, 2013.

Rare Posters. Auction held in New York City, June 23, 2019.

PAI-LXI

PAI-LXXIX

Rare Posters. Auction held in New York City, September 12, 2013.

Rare Posters. Auction held in New York City, October 27, 2019.

PAI-LXII

PAI-LXXX

Rare Posters. Auction held in New York City, January 12, 2014.

Rare Posters. Auction held in New York City, February 23, 2020.

PAI-LXIII

PAI-LXXXI

Rare Posters. Auction held in New York City, May 4, 2014.

Rare Posters. Auction held in New York City, July 21, 2020.

PAI-LXIV

PAI-LXXXII

Rare Posters. Auction held in New York City, September 21, 2014.

Rare Posters. Auction held in New York City, November 15, 2020.

PAI-LXV

PAI-LXXXIII

Rare Posters. Auction held in New York City, January 25, 2015.

Rare Posters. Auction held in New York City, March 14, 2021.

PAI-LXVI

PAI-LXXXIV

Rare Posters. Auction held in New York City, May 3, 2015.

Rare Posters. Auction held in New York City, July 20, 2021.

PAI-LXVII

Parfum

Rare Posters. Auction held in New York City, October 11, 2015.

Femmes de parfum : visages d’hiers & d’aujourd’hui, by Marie-Christine Grasse. Milan, Italy : Musée International de la Parfumerie, 1996.

Personnages

Publicité Affiches de la Publicité, by Emmanuel Lopez.

Paris : Citadelles & Mazenod, 2013.

Pyrénées Les Pyrénées s’affichent, by Jean-Loup Fricker & Philippe Tevranche. Toulouse : Edition Milan, 2004.

De bébé Cadum à Mamie Nova… Un siècle de personnages publicitaires, ed. by Anne-Claude Lelieur. Catalogue of the exhibition at Bibliothèque Forney, Paris, December 14, 1999-April 1, 2000.

Paris : Paris-bibliothèques, 1999.

Rawls

Pessis & Crepineau

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.

Folies-Bergere, by Jacques Pessis & Jacques Crepineau. Paris : Inter Forum/Fixot, 1990.

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.

Wake up, America : World War I and the American poster, by Walton Rawls. New York : Abbeville Press, 1988.

Reims

Rennert/Weill

Pierrot

Alphonse Mucha : the complete posters and panels, by Jack Rennert & Alain Weill. Boston : G. K. Hall, 1984.

Les 100 plus belles images de Pierrot, by Daniel Bordet. Paris : Editions Dabecom, 2003.

Rickards

Plakat Schweiz

Posters of the First World War, by Maurice Rickards. New York : Walker & Company, 1968.

Das plakat in der Schweiz, by Willy Rotzler, Fritz Schärer & Karl Wobmann. Zurich : Edition Stemmle, 1990.

Ricordi

Plakate München Plakate in München 1840-1940 : eine documentation zu geschichte und wesen des plakats in München, by Gude Suckale-Redlefsen & Volker Duvigneau. München : Stadtmuseum, 1975.

Catalogue of the exhibition at the Münchner Stadtmuseum, October 16, 1975-January 6, 1976.

Grafica Ricordi : dal manifesto storico all produzione d’avanguardia, by Giovanni Sangiorgi, Giorgia Mascherpa & Giulia Veronesi. Roma : Ente Premi, 1967.

Rockwell Illustrator Norman Rockwell : illustrator, by Arthur L. Guptill.

New York : Watson-Guptill, 1946.

Rockwell’s America

Plumeau

Norman Rockwell’s America, by Christopher Finch.

New York : Harry N. Abrams, 1976.

Le plumeau, la cocotte et le petit robot : un siècle d’arts graphique et d’arts ménagers by Claudine Chevrel et al. Paris : Somogy, 1994.

Rogers

Poitou-Charentes Poitou-Charentes, by Arthur Saizeau and JeanMichel Saizeau. Toulouse : Editions Privat, 2007.

Polnische Filmplakat Das Polnische Filmplakat, ed. by Tadeusz Kowalski. Warsaw : Filmowa Agencja Wydawnicza, 1952.

Posters & Publicity 1928 Posters & publicity : fine printing & design annual, 1928. London : The Studio. 1928.

A book of the poster, by W. S. Rogers. London : Greening & Co., 1901.

Salon des Cent Le Salon des Cent, 1894-1900 : affiches d’artistes, by Jocelyne Van Deputte. Paris : ParisMusées, 1994. Catalogue of the exhibition held at the Musée Carnavalet, Paris, 1995.

Salon des Cent/Neumann Les affiches du Salon des Cent, by Helen Biri Thomson, Patricia Eckert Boyer, Jocelyne van Deputte & Edith Carey. Gingins : Fondation Neumann, 1999. Catalogue of the exhibition sponsored by the Foundation Neumann at the Musée de Pont-Aven, Paris, Jannuary 31, 2000, and the Musée des Arts Decoratifs de Bordeaux, May 17-August 19, 2001.

216

BIBLIOGRAPHY (CONTINUED) Santé

Stoecklin

Timeless Images

Weill/Art Deco

La santé s’affiche, by Marine Robert-Sterkedries.

Bruxelles : Thérabel, 2003.

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.

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.

L’Affiche Art Deco, by Alain Weill. Paris: Editions Hogan, 2013.

Schardt 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).

Schermi di Carta

Strobridge

Train à l’Affiche

Die jugend der plakate : 1887-1917, by Paul Wember. Krefeld : Scherpe Verlag, 1961.

Le train à l’affiche : les plus belles affiches ferroviaires française, by Florence Camard & Christophe Zagrodzki. Paris : La Vie du Rail, 1989.

Wine Spectator

The amazing American circus poster : the Strobridge Lithographing Company, ed. by Kristen L. Spangenberg & Deborah W. Walk. Cincinnati : Cincinnati Art Museum, 2011.

Travel by Train

Suntory

Veloscopie

Privat Livemont : entre classicisme et art nouveau, by Benoit Schoonbroadt. Bruxelles : C.I.D.E.P., 2003.

Women of the century. Osaka : The Museum, 1994. Catalogue of the inaugural exhibition at the Suntory Museum, Osaka, November 3, 1994-January 22, 1995.

Veloscopie. Knotte-Heist [Belgium] : Casino Knokke, 1977. Catalogue of the exhibition help at Casino Knokke, June 26-September 4, 1977.

Schweizer Hotel

Swiss/Basel

Schweizer Hotelplakate : 1875-1982, by Karl Wobmann. Luzern : Biregg Verlag, 1982.

Swiss posters from historism to computer design : 450 selected works from the Basel Poster Collection, by Rolf Thalman. Osaka : Toho Shuppan 2004.

Vetrina della Belle Epoque, by Gian Paolo Cesarani. Roma : Editori Laterza, 1980.

Schermi di carta : la collezione di manifesti del Museo Nazionale del Cinema di Torino, ed. by Paolo Bertetto. Torino : Edizioni d’Arte Fratelli Pozzo, 1995.

Schoonbroodt

Seita Années 30, 40, 50 : graphismes et créations Seita, by Marie-Claire Adès & Jean-Hugues Piettre. Paris : Musée-galerie de la Seita, 1988.

Catalogue of the exhibition of the Musée-Galerie de la Seita, Paris, June 22-September 3, 1988.

Shell The Shell poster book, by David Bernstein. London : Hamish Hamilton, 1992.

Sorlier Chagall’s posters : a catalogue raissonné, ed.

by Charles Sorlier. New York : Crown Publishers, Inc., 1975.

Spectacle

Swiss Poster Art Schweizer plakatkunst/Swiss poster art, ed. by Wolfgang Luthy, and published in German, French and English. Zurich : Verlag der Visualis, 1968. [IS THIS SAME AS SWISS 1941-1965?]

Swiss Posters 50 ans : affiches suisses preimées par le Départment Fédéral de l’Intérieur. Bern : KummerIy & Frey, 1991.

Swiss Skies Conquering the skies in Swiss poster art, by JeanCharles Giroud. Geneva : Patrick Cramer, 2008.

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).

Swiss Winter Posters

Sponsel

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.

Das moderne plakat, by Jean Louis Sponsel.

Dresden : Verlag von Gerhard Kuhtrmann, 1897.

Sport à l’Affiche Sport à l’affche, by Jean Durry. Paris : Editions Hoebeke, 1988.

Sportissimo Sportissimo : cent ans de grandes et petites histoires du sport, by Françoise Laget & Serge Laget. Paris : Editions du Chêne, 1996.

Steinlen’s Cats Steinlen’s cats, by Francois Fossier. New York : Harry N. Abrams, 1990. Steinlen images from the Bibliothèque Nationale, Paris.

A century of Swiss winter sports posters, by Jean-Charles Giroud. Geneva : Patrick Cramer, 2006.

Takashimaya

Le Tennis Le tennis à l’affiche : 1895‑1986, by Jean‑Pierre Chevallier. Paris : Albin Michel, 1986.

Theaterplakate Theaterplakate : ein internationaler historischer uberblick, by Hellmut Rademacher. Leipzig : Edition Leipzig, 1990.

Theofiles American posters of World War I, by George Theofiles. Dafran House, New York.

Wember

Travel by train : the American railroad poster, 1870-1950, by Michael E. Zega & John E. Gruber.

Bloomington : Indiana University Press, 2002.

Vetrina Belle Epoque

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

Villemot/A to Z

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.

Villemot : l’affiches de A à Z, by Guillaume Villemot. Paris : Éditions Hoëbeke, 2005.

D’Ylen

Villemot Les affiches de Villemot, by Jean François Bazin.

Paris : Denoël, 1985.

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.

Villemot/La Femme Villemot : affiche la femme, by Bernard Villemot & Hélène Decaen-Le Boulanger. Cabourg : Editions du Temps, 2006. Catalogue of the exhibition at the Musée de Trouville, October 14, 2006-January 28, 2007.

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.

Weill The poster : a worldwide survey and history, by Alain Weill. Boston : G.K. Hall, 1985.

Weill/Art Nouveau The Art Nouveau Poster, by Alain Weill. Francis Lincoln Limited, 2015.

Jean d’Ylen, by Anne-Claude Lelieur. Paris : Bibliothèque Forney, 1980. Catalogue of the exhibition at the Bibliothèque Forney, Paris, April 18-June 28, 1980.

CONDITIONS OF SALE

217

The Conditions of Sale in this catalogue, as it may be amended by any posted notice during the sale, constitutes the complete terms and conditions under which the items listed in this catalogue will be offered for sale. Please note that the items will be offered by us as agent for the consignor.

Every potential buyer should read these Conditions of Sale and it will be agreed, acknowledged and understood by such buyer that said buyer has consented to each and every term and condition as set forth herein.

1. Authenticity and Terms of Guarantee.

3. Transfer of title and property.

For a period of five years from the date of this sale, Poster Auctions International, as agent, warrants the authenticity of authorship of all lots contained in this catalogue as described in the text accompanying each lot.

Upon the fall of the auctioneer’s hammer, title to the offered lot shall pass to the highest bidder, who may be required to sign a confirmation of purchase; and, shall be required to pay the full purchase price. The purchaser shall assume full risk and responsibility for the lot purchased upon the fall of the auctioneer’s hammer.

Poster Auctions International, at its option, may withhold delivery of the lots until funds represented by check have been collected or the authenticity of bank or cashier checks has been determined. No purchase shall be claimed or removed until the conclusion of the sale. In the event Poster Auctions International shall, for any reason whatsoever, be unable to deliver the lots purchased by the buyer, its liability shall be solely limited to the rescission of the sale and refund of the purchase price and purchaser’s premium.

This warranty and guarantee is made only within the five year period and only to the original buyer of record who returns the purchased lot in the same condition as when sold to said buyer; and, it is established beyond doubt that the identification of authorship, as set forth in the description in this catalogue as may have been amended by any posted signs or oral declarations during the sale, is not correct based on a reasonable reading of the catalogue and the Conditions of Sale herein. Any dispute arising under the terms in this paragraph will be resolved pursuant to final and binding arbitration at the American Arbitration Association.

Upon a finding by an Arbitrator in favor of buyer, the sale will be rescinded and the original purchase price, including the buyers premium, will be refunded. In such case, Poster Auctions International and the purchaser shall be deemed released of any and all claims that each may otherwise have had against the other arising out of the sale of such item.

The benefits of any warranty granted herein are personal to the buyer and are not assignable or transferable to any other person, whether by operation of law or otherwise. Any assignment or transfer of any such warranty shall be void and unenforceable. The purchaser refers only to the original buyer of the lot from Poster Auctions International and not any subsequent owner, assignee, or other person who may have or acquire an interest therein.

It is understood, in the event of disputed authenticity of authorship of any lot results in a rescission of the sale and restitution of the original price and premium paid by such purchaser, stated aforesaid, such restitution is buyer’s sole remedy and Poster Auctions International disclaims all liability for any damages, incidental, consequential or otherwise, arising out of or in connection with any sale to the buyer.

Poster Auctions International has provided as much background information for each item listed in this catalogue as possible and has made reasonable efforts to insure the accuracy of the descriptions provided; but Poster Auctions International disclaims any warranty with regard to such descriptions and statements which accompany the listings in this catalogue, including but not limited to, the year of publication, the size, the condition, the printer, the references or any other background information or fact. Accordingly, buyer has due notice that any such information and/or descriptions cannot and will not be considered as material facts to this transaction and will not affect any sales herein.

On the fall of the gavel, THE SALE IS FINAL. All items are sold AS IS. The consignor warrants good title to the buyer. Poster Auctions International and the consignor make no representations or warranty that the buyer acquires any reproduction rights or copyright in items bought at this sale.

Any statements made by Poster Auctions International, whether in this catalogue or by its officers, agents or employees, whether oral or written, are statements of opinion only and not warranties or representations of material facts as to each and every transaction herein.

2. Auctioneer’s Discretions.

Poster Auctions International has absolute discretion to divide any lot, to combine any of them, to withdraw any lot, to refuse bids and to regulate the bidding. Poster Auctions International reserves the right to withdraw lots at any time prior to or during the sale. The highest bidder acknowledged by the auctioneer will be the purchaser of the lot. Any advance made on an opening bid may be rejected if the auctioneer deems it inadequate. In the event of any dispute between bidders, or in the event of doubt as to the validity of any bid, the auctioneer shall have the final decision either to determine the successful bidder or to re-offer and re-sell the lot in dispute. If any dispute arises after the sale, the auctioneer’s sale record shall be deemed the sole and conclusive evidence as to the purchaser of any lot or item.

Poster Auctions International disclaims all liability for damages, incidental, consequential or otherwise, arising out of its failure to deliver any lots purchased.

Poster Auctions International does not charge extra or sell separately any frame if a poster is so offered; but it is clear that it is the poster and not the frame which is being offered for sale. Poster Auctions International shall not be responsible for any damage to the frame or to any poster within the frame. Generally, framed posters offered for sale were received framed, photographed that way, and Poster Auctions International can make no warranty or representations regarding the condition of the poster in unseen areas of any such frame. All items are sold strictly as is and the purchaser assumes full risk and responsibility for the purchased lot upon the fall of the hammer, as stated aforesaid.

All lots shall be paid for and removed at the purchaser’s risk and expense by noon of the second business day following the sale. Lots not so removed will, at the sole option of Poster Auctions International and at purchaser’s risk and expense, be stored at Poster Auctions International’s office or warehouse or delivered to a licensed warehouse for storage. Purchaser agrees, in either event, to pay all shipping, handling and storage fees incurred. In the case of lots stored at Poster Auctions International’s own warehouse, the handling and storage fee will be an amount equal to 2% of the purchase price for each such lot, per month, until removed, with a minimum charge of 5% for any property not removed within thirty days from the date of the sale.

In addition, Poster Auctions International shall impose a late charge, calculated at the rate of 2% of the total purchase price per month, if payment has not been made in accordance with these Conditions of Sale.

Poster Auctions International may, on the day following the sale, remove all unclaimed items in their offices or warehouse.

Unless purchaser notifies Poster Auctions International to the contrary, purchaser agrees that Poster Auctions International may, at its discretion, use purchaser’s name as buyer of the item sold. If the purchaser fails to comply with one or more of these Conditions of Sale, then, in addition to any and all other remedies which it may have at law or in equity, Poster Auctions International may, at its sole option, cancel the sale without notice to the buyer. In such event, Poster Auctions International shall retain as liquidated damages all payments made by the purchaser, or sell the item and/or lots and all other property of the purchaser held by Poster Auctions International, without notice. Such liquidation sale shall be at standard commission rates, without any reserve. The proceeds of such sale or sales shall be applied first to the satisfaction of any damages occasioned by the purchaser’s breach, and then to the payment of any other indebtedness owing to Poster Auctions International, including, without limitation, commissions, handling charges, the expenses of both sales, reasonable attorneys fees, collection agency fees, and any other costs or expenses incurred thereunder. The purchaser here by waives all the requirements of notice, advertisement and disposition of proceeds required by law, including those set forth in New York Lien Law, Article 9, Sections 200-204 inclusive, or any successor statue, with respect to any sale pursuant to this section.

4. Buyer’s Premium.

A premium of 20% (23% for online bidding; 25% for online bidding through Invaluable/Auction Zip) will be added to the successful bid price of all items sold

by Poster Auctions International. This premium shall be paid by all purchasers, without exception.

218 5. Order Bids.

Poster Auctions International shall make reasonable efforts to execute bids for those not able to attend the auction; and act on the prospective purchaser’s behalf to attempt to purchase the item desired at the lowest price possible, up to the limit indicated by purchaser in writing as if the purchaser were in attendance. Poster Auctions International shall not be responsible for any errors or omissions in this matter. Poster Auctions International reserves the right not to bid for any such purchaser if the order is not clear; does not arrive in sufficient time; the credit of the purchaser is not established prior to the sale; or, for any other reason in its sole discretion. An Order Bid Form shall be provided on request.

6. Sales Tax. Unless exempt by law, prior to taking possession of the lot, the purchaser shall be required to pay the combined New York State and local sales tax, or any applicable compensating tax of another state, on the total purchase price.

7. Packing and shipping.

Packing and/or handling of purchased lots by Posters Auctions International is performed solely as a courtesy for the convenience of purchasers. Unless otherwise directed by purchaser, packing and handling shall be undertaken at the sole discretion of Poster Auctions International. Poster Auctions International, at its sole discretion as agent of the purchaser, shall instruct an outside contractor to act on its behalf and arrange for or otherwise transport purchased lots. Charges for packing, handling, insurance and freight are payable by the purchaser. Poster Auctions International shall make reasonable efforts to handle purchases with care, but assumes no responsibility for damage of any kind. Poster Auctions International disclaims all liability for loss, or damages of any kind, arising out of or in connection with the packing, handling or transportation of any lots/ items purchased.

9. Notices and jurisdiction. (a) All communications and notices hereunder shall be in writing and shall be deemed to have been duly given if delivered personally to an officer of PAI or if sent by United States registered mail or certified, postage prepaid, addressed as follows:

From: Poster Auctions International

To: (Seller)

From: (Seller)

To: Poster Auctions International

26 W. 17th Street

New York, New York 10011 or to such other address as either party hereto may have designated to the other by written notice. (b) These Conditions of Sale contain the entire understandings between the parties and may not be changed in any way except in writing duly executed by PAI and buyer. (c) These Conditions of Sale shall be construed and enforced in accordance with the laws of the State of New York. (d) No waiver shall be deemed to be made by any party hereto of any rights hereunder, unless the same shall be in writing and each waiver, if any, shall be a waiver only with respect to the specific instance involved and shall in no way impair the rights of the waiving party or the obligations of the other party in any other respect at any other time. (e) The provisions of these Conditions of Sale shall be binding upon and inure to the benefit of the respective heirs, legatees, personal representatives and successors and assigns of the parties hereto.

8. Reserves.

All lots are subject to a reserve, which is the confidential minimum below which the lot will not be sold. Poster Auctions International may implement the reserve by bidding on behalf of the consignor. The consignor shall not bid on consignor’s property.

(f) The Conditions of Sale are not assignable by either party without written permission of the other party; any attempt to assign any rights, duties or obligations which arise under these Conditions without such permission will be void.

DESCRIPTION OF THE POSTERS

The following ratings have been used:

I. Artist’s name.

Unless otherwise indicated, the artist’s name, mark or initials that appear on the poster.

2. Year of the Poster.

The year given is that of the publication of the poster, not necessarily the date of the event publicized or the year that art for it was rendered.

3. Size.

Size is given in inches first, then centimeters, width preceding height. Size is for entire sheet, not just the image area.

4. Printer.

Cond A Designates a poster in very fine condition. The colors are fresh; no paper loss. There may be some slight blemish or tear, but this is very marginal and not noticeable.

A+ is a flawless example of a poster rarely seen in such fine condition. A– indicates there may be some slight dirt, fold, tear or bubble or other minor restoration, but most unobtrusive.

Cond B Designates a poster in good condition. There may be some slight paper loss, but not in the image or in any crucial design area. If some restoration, it is not immediately evident. The lines and colors are good, although paper may have yellowed (light-stained). B+ designates a poster in very good condition. B– is one in fairly good condition. The latter determination may be caused by heavier than normal light-staining or one or two noticeable repairs.

Cond C Designates a poster in fair condition. The light-staining may be more pronounced, restorations, folds or flaking are more readily visible, and possibly some minor paper loss occurs. But the poster is otherwise intact, the image clear, and the colors, though possibly faded, still faithful to the artist’s intent.

Unless otherwise indicated, the name of the printer is that which appears on the face of the poster. It should be kept in mind that frequently the establishment credited on the poster is, in fact, an agency, studio or publisher.

Cond D Designates a poster in bad condition. A good part of such poster may be missing, including some crucial image area; colors and lines so marred that a true appreciation of the artist’s intent is difficult, if not impossible. There are no D posters in this sale!

5. Condition of the Poster.

The above condition ratings are solely the opinion of Poster Auctions International, and are presented only as an aid to the public. Prospective purchasers are expected to have satisfied themselves as to the condition of the posters. Any discrepancy relating to the condition of a poster shall not be considered grounds for the cancellation of a sale.

We have attempted a simplified rating of all the posters in this sale. It should be kept in mind that we are dealing, in many cases, with 50 to 100-year-old advertising paper. The standards of the print collector cannot be used. Prints were, for the most part, done in small format, on fine paper, and meant to be immediately framed or stored in a print sleeve or cabinet. A poster, for the most part, was printed in a large format, on the cheapest possible paper, and was meant to last about eight weeks on the billboards.

Most important to the condition of a poster — not eight weeks but often eighty years later—is the image of the poster: is that image (the lines, the colors, the overall design) still clearly expressed? If so, it is a poster worth collecting.

While details of each poster’s condition are given as completely and accurately as possible, blemishes, tears or restorations which do not detract from the basic image and impact should not seriously impair value.

All posters are lined, whether on linen or japan paper, unless otherwise indicated. But please note that posters received in frames are not inspected out of their frames and therefore no warranty can be made about them.

All photos are of the actual poster being offered for sale. A close look at the photo and a reading of the text should enable the buyer who cannot personally examine the item to make an intelligent appraisal of it.

Some other notes and designations relating to the condition of a poster: Framed Where a poster is framed, this is indicated. In many cases, we have photographed the poster in the frame and the dimensions given are those which are visible within the matting or edges of the frame.

Paper All posters in this sale are linen- or japan-backed unless the designation “P” appears.

6. Bibliography.

An abbreviation for each reference (Ref) is given and can be found in the complete Bibliography.

The reference is almost always to a reproduction of that poster. If a “p.” precedes it, it means the reproduction or reference is on that page; if number only, it refers to a poster or plate number. Every effort has been made to refer to books that are authoritative and/or easily accessible.

7. Pre-Sale Estimate.

These estimates are guides for prospective bidders and should not be relied upon as representations or predictions of actual selling prices. They are simply our best judgment of the fair market value of that particular poster in that condition on the date it was written.

219

Poster Auctions International, Inc. at Re nnert’s Galler y

Absentee Bid Form

2 6 West 1 7 t h S t r eet , New York, N Y 10011 Tel : 2 1 2 . 7 8 7 . 4 0 0 0 | Fax: 212. 604. 9175 www. p ost er au c t i on s. c om | i n f o@ p os terau cti on s . com

PAI-LXXXV: Rare Posters

Please bid on my behalf on the following lots up to the price shown. I understand that all bids are subject to the Conditions of Sale which are printed in the Catalogue.

Poster Auctions International will make every effort to execute bids for those not able to attend and act on the prospective purchaser’s behalf to try to purchase the item desired at the lowest price possible up to the limit indicated by purchaser below as if the purchaser were in attendance, but Poster Auctions International cannot be responsible for any errors or omissions in this matter. Poster Auctions International may reserve the right not to bid for any such party if the order is not clear, does not arrive in sufficient time, or the credit of the purchaser is not established, or for any other reason in its sole discretion.

CUT AT PERFORATED EDGE

The purchase price will be the total of the final bid and a premium of 20% (23% for online bidding; 25% for online bidding through Invaluable/ Auction Zip) of the final bid together with any applicable sales tax. Unsuccessful bidders will not be informed but may telephone for sales results.

(Signed)

Date

Name Address City

State

Phone: Home:

ZIP

Office:

Fax:

Email Address Bank: Name Address

Account Number

Officer

Credit Card #

Exp

V-Code

Billing Zip

n Order Bid n Telephone Bid - Telephone numbers where you can be reached on Sunday, November 14

Lot #

Artist

Title

BID (excluding premium)

$

$

$

$

$

$

$

$

$

$

START BIDDING NOW YOU CAN JOIN OUR NOV 14 AUCTION FROM ANYWHERE IN THE WORLD THROUGH THESE OPTIONS: LIVE BIDDING Join us in person on auction day. You may register for a paddle with our staff at any point during the sale.

ONLINE BIDDING Bid now and on auction day through our site: visit posterauctions.com and click Register to Bid. Or download our app — Poster Auctions International is available for Apple iOS and Android. To bid on either platform, you must register a credit card ; please be sure to do this before the live auction.

On auction day, follow the Live Auction link on our website to begin bidding—and remember to confirm your bid.

We recommend using our platforms for a lower buyer’s premium ( 23%), but you may also bid through Invaluable and AuctionZip ( 25%).

ABSENTEE & TELEPHONE BIDDING Complete the form on page 219 or download at posterauctions.com.

For absentee bidding, indicate your maximum bid for each desired lot. You may indicate an “either-or” bid if you want to purchase only a portion of the items on your wish list. You can also indicate an overall maximum dollar amount. We’ll execute your bid on your behalf at the lowest price possible.

For telephone bidding, complete the absentee bidding form with the best phone number to reach you on November 14. When your lot comes up, one of our staff members will call you and execute your bids on your behalf.

SEND US THE COMPLETED FORM Email: info @ posterauctions.com Fax: 212-604-9175 Mail: 26 W. 17th St. N Y, N Y 10011. It should arrive by Friday, Nov 12.

Or call Terry Shargel to register at 212-787-4000.

BID WITH CONFIDENCE — EVEN IF YOU CANNOT ATTEND We recommend all participants familiarize themselves with the Conditions of Sale before auction day: see page 217.

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

Lot 320: Kitty Starling, by Ludwig Hohlwein.

Poster Auctions International, Inc. 26 West 17th Street, New York, NY 10011